One can perhaps say that the ‘angry young man’ of 1970s Indian cinema was the metaphorical love child of writers Salim Khan and Javed Akhtar, popularly known as Salim-Javed. Mostly essayed by Amitabh Bachchan in several films written by the duo, the angry young man was a reflection of the growing dissent of the time, sparked by the impending Emergency, street protests, political turmoil and rise of the middle class. He was the ultimate hero who fought the system. With a problematic past, he would grow up to avenge his mother or himself in films like Zanjeer (1973), Deewar (1975), Trishul (1977), Kaala Patthar (1979) and Shaan (1980).
However, what was translating onscreen was the trajectory of Salim-Javed’s own story. They were the quintessential angry young men, with a will to fight for what was right. That is why when Zanjeer―one of the biggest films of their career―was about to release, they demanded credit for their work on the posters. It was a rarity those days for screenwriters to be mentioned on a film poster, so they decided to take matters into their own hands. The night before the film’s release, they hired someone to print their names on all the film posters across the city. On some posters it was done on the heroine’s face, and in others, on the villain Pran’s, but the message was clear: they knew their worth and wanted to be known for their work.
In Amazon Prime Video’s recent three-part docuseries Angry Young Men, directed by Namrata Rao, Akhtar says it was Khan’s idea to print their names on the posters. It was a risky gamble, but they pulled it off because having them onboard almost guaranteed a blockbuster. Of the 24 films they did together, 22 were hits. Their cinematic excellence peaked with Sholay (1975). Most of the dialogues they wrote for the film―Kitne aadmi the? (How many men were there?) or Ye haath mujhe de de Thakur (Give me those hands, Thakur)―remain evergreen.
The docuseries reveals the untold story of their partnership, what really transpired during their closed sittings, and, of course, the ultimate split. Featuring Khan’s sons Salman and Arbaaz, and Akhtar’s children Farhan and Zoya, along with others like Hrithik Roshan, Reema Kagti, Helen and Honey Irani, the series keeps one hooked as years of their association are unravelled, anecdote by anecdote.
Going beyond their creative endeavours, the series also throws new light on their failed marriages. Khan reveals how he fell in love with Helen on the sets and had his children sit down with him to explain the situation. Akhtar, now married to Shabana Azmi, says he felt guilty about his failed marriage to Irani. “I helped him win in rummy and he proposed to me,” says Irani with a laugh. “I should have known gambling never pays.” Irani further says that the overwhelming success of the duo made them arrogant and thus, failure was sure to follow.
And it did. When the era of the angry young man came to an end, so did the appeal of their scripts. When Akhtar decided to explore his craft independently, it broke Khan. It also impacted Akhtar to the extent that he contemplated leaving Mumbai. But their mutual respect remained and they never spoke ill of each other. As the two return onscreen once more, the magic is recreated and their past turns electric. The series, however, does not delve deep into their personal lives. As the veterans narrate their professional journeys, much about their personal lives remain unsaid. Salman is guarded and his mother Salma, Khan’s first wife, opted out of being a part of the docuseries.