Click to play videoDirector Rajesh Roshan’s soon-to-be-released Krazzy 4 is topping music charts for “item” numbers by Hrithik Roshan, Shah Rukh Khan and Rakhi Sawant.
But it’s also hitting headlines for courting controversy.
Not only is the film ripped off from a Hollywood flick, it's also facing a copyright infringement case for lifting music without adequate permission. Advertising jingle composer Ram Sampath accuses the film’s producers of copying his music for the movie’s title track.
A court has allowed the release of the movie but has asked the producer Rakesh Roshan to pay Rs 25 lakh as damages to Sampath.
Apart from music, the Hindi film industry is notorious for blindly ripping off Hollywood hits and adapting them to cater to the Indian market.
But in the era of globalisation and especially when Bollywood's market is expanding across the world, the chances of being caught become relatively higher.
So is it fair to conclude that India’s film and music industry shameless about plagiarism? CNN-IBN debated the issue on Face the Nation with filmmaker Sudhir Mishra and music composer Anu Malek.
Malek has been perhaps most criticised for “lifting” tunes off popular international tracks. Taare Hain Baaraati (from Viraasat) being one example.
However, when he was asked about it, Malek was fiercely defensive. “Before you talk about plagiarism, let me remind you that you are speaking with Anu Malek, the man who is a very original composer. You are conveniently forgetting Border, Refugee, LoC-Kargil, Baazigar, Jaan-e-man, Aks, Fiza, Viraasat, Judwaa and thousands of others. I have been accused of few songs here and there but there have been many composers from RD Burman to today’s crop of composers who have lifted from here and there. So let’s not get personal,” he said.
Right to copy?
Malek refused to acknowledge lifting or getting “inspired” amounted to plagiarism. He reasoned that with changing times, the mindset needed to change too. “If you lift the song completely, it’s plagiarism. If you take something from the other person you must give him due credit or collaborate with him because lifting is entirely wrong. Anyone who lifts tunes completely won’t survive long and will fade away into oblivion.”
However, he refrained from commenting on Rajesh Roshan and the music composer of Krazzy 4. “That’s for the courts to decide.”
But is originality extinct? There’s often been an argument that originality was plagiarism in the guise of creativity. Malek furiously defended the composers’ community and said such debates “insulted” many in the fraternity. He maintained there was no such thing as “copying” and if a composer was using someone else’s product, due compensation must be paid.
But back in the 90s and even till some time ago, that was not the trend. “Don’t you remember Chamma Chamma (China Gate)?” Malek said, adding, “ It was taken in Moulin Rouge and I was not even given credit for it. In fact I am now contemplating suing them,” he said angrily, even threatening to walk out of the show if he were asked “personal” questions.
“Why can’t you talk about others? Why are you getting personal? Is this show about Krazzy 4 or Anu Malek? In fact the question you are asking me is also not original. This is not the first time I am being asked this. The truth is that when a person is honest, no one can take his honesty,” he said.
The original fakes
Is any form of originality in film as well as academic world plagiarism that has not been detected? There is an argument that with the multiplex boom and the inflow of billions of dollars into the Indian film industry, there seems to be an ever-increasing pressure on the creators of work to come up with original ideas.
Sudhir Misra said that was too cynical a viewpoint. “The word original is also based on something. We know what is plagiarised and what’s not. Eighty per cent of Hindi cinema is shamelessly lifted from western sources. If you compulsorily make stuff for the balance sheet, you will plagiarise or remake or ethically take rights,” he said.
Misra claimed a staggering 80 per cent of what Hollywood produces are remakes that have been done with due authorisation.
Malek said he was no one to speak on the industry or any particular producer’s behalf, he insisted composers must try and come up with original music.
Cynics might argue the malaise of copyright and plagiarism is here to stay. It’s a problem that could be tough to resolve considering the high stakes and pressure-cooker style operation of the industry. Misra said he agreed with Malek about working with the right people. “When he works with J P Dutta, what he’s trying to say is that the director allows him to compose music, sits with him and when this happens, Anu Malek comes up with original stuff.”
He concluded the debate on an objective note, pointing out that some directors were capable of extracting good work from the people they work with, while others suffer from illiteracy. “Some directors force actors, technicians and composers to come up with something that’s instant and that shows a certain illiteracy. When they have to come up with something original, it requires talent,” he wound up.
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