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State of the Film Industry in Pakistan Aijaz Gul As we look back at the performance of films in the recent years, it reminds us of missed opportunities and lost goals. The production of films has gone down along with the quality. Cinema are closing almost every month and most of the studios have gone or turned into warehouse and residential colonies. One can take little solace from well-made and well-publicized Punjabi box office smash hit Proud (Majajan) in 2006 which also happens to be actress Saima’s debut venture as a producer. One feature films a year for the entire film industry!

The film trade lost two of its biggest assets with the passing away of actor Mohammad Ali and composer Nisar Bazmi. Two Indian films made a miserable theatrical debut here (after almost twenty-six years) due to bad selection of these titles. Kara Film Festival not only brought respect and distinction but also contributed to the close collaboration in film culture between Pakistan and India in its own modest way. Director Javed Fazil and producer Shoab Alam’s long-awaited film The Return (Mei Eik Din Lot Key Aaon Ga) turned out to be an impressive film. And another Punjabi film Wedding (Soa Jora) clicked with a socially-relevant subject (marriage plans of a young woman to an old rich man by force). Box office has not been kind to most of the films released in the last five years. But there could be good news around the corner. Now we are looking forward to Shoab Mansoor’s In The Name of God (Khuda Key Leye). In the recent years, the box office and critical record of the film industry has left a lot to be desired. A total of 43 feature films in Urdu, Pashto and Punjabi were produced in 2006. In 2007, merely 12 Urdu and Punjabi films made it to the cinemas. Saima and Syed Noor’s Punjabi film Proud (Majajan) played extremely well at many stations of Punjab circuit in 2006. Majajan is about a married couple (Shan and Madiha Shah) where the husband is attracted to a street singer, Saima. Syed Noor’s powerful direction, Zulfiqar Ali’s melodies and rich production values were commercially grabbing. Shan and Madiha Shah must also be credited for this rare hit. Director Javed Fazil who once made remarkably good films like Threshold (Dehleez), Eternal (Lazawal) and Angery (Naraaz), and later opted for successful Television serials, came back to films this year. Return (Mei Eik Din Lout Key Aoon Ga) took time in pre-production, production and post-production in India. The film could have done even better with more imaginative and creative pre-release promotion on the electronic medium and newspapers. As we review 2006-7, with the passing away of actor Mohammad Ali and composer Nisar Bazmi, the film industry has lost two of its major assets. Mohammad Ali was a spokesman of the film trade on every forum. He made his acting debut in The Light (Chiragh Jalta Raha) in early-sixties, after working for Radio Pakistan. Mohammad Ali soon became not only a household name but won respect and distinction. Mohammad Ali was not active in films for almost twenty years now and often complained of the low-grade products the industry was churning out and the mafia which had taken over. But he was always there at his residence with hospitality to listen to the problems of the trade and do whatever he could.

Nisar Bazmi, a late-arrival from Mumbai, gave a new style to our film music in the 60s and 70s with his extremely rich orchestra in films ranging from Aisa Bhi Hota Hai and Unique (Lakhoon Mein Eik) to The Lady (Andaleeb), and The Dance (Anjuman) in the sixties and seventies. The film industry looks deprived and orphaned today without Mohammad Ali and Nisar Bazmi. With the passing away of all senior music directors, it is time that producers must sign the popular bands for scoring film score and engage pop singers. The entire film format would have to be changed to make new adjustments. Our youngest director is around fifty-five and that speaks volumes on the need for young talent. There is also an urgent need to bring in more new face, new technicians and opt for distinguished writers for the scripts and screenplays. Two Indian films The Great Mughal (Mughal-e-Azam) and Taj Mahal made it to the cinemas last year. Theatrical exhibition of Indian films has not been allowed since 1965. Two films The Queen Noor Jehan and Attraction (Kashish) were especially allowed by the then President General Ziaul Haq in 1980. This time, however, the selection of Indian films left a lot to be desired. Most of us had seen The Great Mughal (Mughal-e-Azam) (including the computerized color version on Cable, DVD, and VCD). As for Taj Mahal, there was nothing which could save this wreck. And like the Indian audiences, the filmgoers here sank this boat on the first day, first show. These two minor irritant should not halt the release of Indian films here. The cinemas have been reduced from over 700 in 1977 to less than 200 in 2007. The number of films produced in the country has been reduced from 111 in 1977 to 43 last year. The film import has also come down drastically due to piracy of Video/DVD/ and illegal telecast on CD Channels. The numbers of film studios have come down from 11 at Lahore and Karachi in the 70s to barely a couple at Lahore. This speaks volumes on the need to make good films and remove all restrictions on foreign films. After all, India is the only country in the world besides Pakistan where Urdu is spoken and understood. Film trade for new and old films from both sides could give a new life to dwindling cinemas. Let the market set the trends. If there is a market of our Punjabi films in India, our films would play and if there is a theatrical market of old or new Indian films here, they would play. As for the fear that Indian films would damage our film industry, the damage has already been done by the smuggled and uncensored video, VCD, DVD and illegal telecast on CD channels. Indian films are everywhere except where they ought to have been - cinemas. If the government is unable to control this menace, then import of Indian films should be allowed without waiting for the remaining cinemas to close down their shutters. A group of film trade representatives met the Prime Minister to handover a donation of three million for the earthquake victims, and to inform him of the problems of the film industry. Later the Government allowed the film trade to import equipment and machinery with minimum import duty of 5 %,( in reality, adding GST, it all adds up to over 35 %). In February 2007, a two-day film conference in Islamabad was held which again ended up with a meeting with the Prime Minister. Written requests (for National Film awards, Film Festival, reduction in import duty on raw film, shooting at historical places without charges,  rebate on film production and cinema equipment import, setting up a Film Academy, co- production with India and release of Indian films)were handed over to the Prime Minister. The Prime Minister recalled going to the cinema and munching on potato chips. The Ministry of Culture is now moving on making further cuts in reducing the import duty on equipment and raw film. As for the consent in the film industry on film import and co production with India, some producers and directors are against it but film import is largely a matter which concerns exhibitors and they are the real stakeholders in this game. The film industry is facing its worst crisis. All regulations and restrictions on import and co production with India should be removed. GST and import duty on film equipment, cinema projection machinery and raw stock should be abolished. There is a possibility that with the import of Indian films, businessmen could once again go for constructing multiplexes in commercial complexes provided video/ CD trade and CD channels are regulated. But the bottom-line is that script is the raw material for good films. Right now good scripts seem to be a rare commodity in films. The producers and directors would have to join hands to organize workshops and competitions for good scripts. Indian film import and co-production with India should be allowed. In due course of time, the corporate sector could pitch in to go for new multiplexes in existing and new commercial complexes. There is also a need to have new talent from television and modeling. The same hero and heroine working in fifteen  titles out of twenty-one films in a year is the best recipe for our ongoing stagnation.

Composer Nisar Bazmi

(1925-2007)

From Aijaz Gul

Film Composer Nisar Bazmi passed away in a Karachi hospital on the evening of March 22. Bazmi Sahab, as he was called in the film trade, was born in India and turned to music in his early teens. His first chance came with a theatrical production in Mumbai called Nadir Shah Durarani. He had also worked before on All India Radio Mumbai. His film career began when he was twenty-one with Jamana Paar (1946). And even though Bazmi Sahab went on to compose for dozen of mediocre titles like Jeb Kutra, Extra Girl, Daghabaaz Dost, Bholey Bhaley, Josh, Ghazab, Ram Bharosey, Gorilla, Khooj, Adam Khor, Pyara Dushman, Silver King, Bhala Admi, Kal Kia Ho Ga, Jungle Prince and Khaufnaak Ankhaeen, he always remained blunt and was always frank to admit that he never was able to get a prestigious assignment in Mumbai (Asha Bhonsley sang for him). According to Nisar Bazmi, his film share in Mumbai consisted of almost entirey stunt; Low-B and even C rated films. Nisar Bazmi wanted to cross the border and compose for Noor Jehan.

He migrated to Pakistan around 1962 and settled at Karachi. It was tough to get film assignments here or at Lahore. The film music scene was dominated by Khursheed Anwar, Rashid Attrey, Chishti, Inayat Hussain and they were joined in by Sohail Rana and Robin Ghosh. So where would Nisar Bazmi fit in. His first assignment in Karachi was Head Constable which was an instant disaster. However, he managed to have his wish come true with Noor Jehan’s “Ai kash merey lab pey tera naam na aata”. Saleem Raza’s “Jan-e-Jaan pyar aa raha hai” was also a soothing melody but Karachi’s poor orchestra was a damaging factor. For good A- Class orchestra, one had to move down to Lahore. He was signed by Fazal Karim Fazli for Asia Bhi Hota Hai in 1964 and the film came out with smashing musical score in 1965: Noor Jehan and Ahmad Rushdi’s all –time popular hit “Mohabat mey tery sar ki qasam” and Noor Jehan’s solo number “Ho tamana aur kiya jan-e-tamana aap haeen”. This was then the beginning of Nisar Bazmi in Pakistan and there was no looking back. Raza Mir and Syed Afzal Hussain’s Lakhon Mein Eik in 1966 turend Bazmi Sahab into a superstar. Aasra, Aag, Jesey Jantey Nahi, Anjuman, Amrao Jan Ada, Andaleeb, Anmoil, Wafa, Saiqa, Taj Mahal,Tehzeeb, Dushman, Peechan, Talaash, Sachai, Anila, Nag Mani and the rest is all now our precious film  history. He became the most expensive music director in Lahore and only super rich producers could afford his extra large orchestra. He was known for spending outrageously on his orchestra. Bazmi Sahab was not just a composer. He made sure to arrange the orchestra himself, thereby becoming a composer and arranger. And nobody could beat Bazmi Sahib in his game. He went for classical, semi-classical, folk and even pop compositions and turned them into all-time hits. Even his background score for films had its grandeur. His tussle with Noor Jehan over using Runa Laila in Umrao Jan Ada is also part of our film history. Noor Jehan could cross all boundaries on maintaining her stardom and monopoly, but she could also wipe off tea drops from Bazmi Sahab’s shoes with her sari. And when Bazmi Sahab asked her not to insult him with this gesture, Noor Jehan said “whatever singer’s worth is, it is due to composers like Bazmi Sahab. However, later when Bazmi Sahab described the supreme importance of a composer in film music, Noor Jehan was offended by this comment. And Bazmi Sahab decided to opt out.

Nisar Bazmi won numerous awards for Saiqa,Anjuman, Meri Zindigi Hai Naghma, Khak aur Khoon and Hum Eik Haeen. Even for a completely dry film like Khan Aur Khoon on the Pakistan Movement, Bazmi Sahib came out beautifully with a poem of Ahmad Faraz in Mehdi Hassan melodious voice “Mei teri yaad ko is dil sey bhaloon kesey”.

What was the forte of Nisar Bazmi! Good compositions with good lyrics by Masroor Anwar, Shevan Rizvi, Saifuddin Saif, Qateel Shiafai and others (Bazmi himself was a poet and his collection of his poems has been published). His other asset was to control a rich orchestra. He was also known for introducing and promoting fresh talent and the playback singers ranged from Runa Laila and Alamgeer to Akhlaq Ahjmad. But apart from Runa Laila, most of his best songs were rendered by Noor Jehan, Mehdi Hasan, Mala and Ahmad Rushdi, and in the later years, by Mehnaz and Naheed Akhtar in films like Peechan and Talaash. And since Nisar Bazmi was highly expensive composer, his choice of directors was highly selective: Hassan Tariq, Pervaiz Malik and S.Suleman. From his first film Head Constable to his last film Very Good Duniya Very Bad Loag, nobody could touch t him in his compositions and orchestra. Talking about music, Nisar Bazmi recalled that there are some ragas which settle firmly at the very earliest stage like Kalyan on which he based popular ghazal of Ahmad Faraz in Mehdi Hassan’s voice from film Mohabat “Rangish hi sahi”. He also praised Runa Laila who at the age of thirteen was able to grasps all the teachings of Bazmi Sahab. Many of her songs were okayed by Nisar Bazmi in the trial takes. And then there were though assignments like”Jo bacha tha who lutaney key leye aye haeen” in Umrao Jan Ada by Noor Jehan where Bazmi Sahib worked for seventeen hours and he was still not satisfied on what came out. One guess is that Noor Jehan by now had lost some of her magic and her vocal cords had been partly or wholly damaged by excess she had committed with too many loud Punjabi compositions.

Nisar Bazmi composed for seventy films in Pakistan in over thirty-five years, and spent last part of his life in Karachi, mostly teaching young music enthusiasts. He also composed some of the best TV national songs: “Yeh watan tumhara hai”, “Khayal rakhna and “Hum zinda qaum haeen”. Today, physically, Nisar Bazmi is no longer with us. He would always be with us through his compositions and imaginative use of highly impressive orchestra.

My Favourites from Bazmi Sahab

1.	Aisa bhai hota hai (Asia Bhi Hota Hai) 2.	Ho tamana aur kiya (Asia Bhi hota Hai) 3.	Bari mushkil sey huwa (Lakhon Mein Eik) 4.	Mun mandir key devta (Lakhon Mein Eik).The song was banned on Radio Pakistan. 5.	Chalo acha huwa tum bhool gayee (Lakhon Mein Eik) 6.	Dil dharkey (Anjuman) 7.	Katey na katey (Amroa Jan Ada) 8.	Kuch log rooth ker bhee (Andaleeb) 9.	Pyar kar key hum (Andaleeb) 10.Merey dil ki mehfil (Andaleeb) 11.Shama ka shola (Adil) 12.Merey Jadogar (Hatam Tai) 13.Aaj ki mehfil (Shama aur Parvana) 14.Yun zindigi ki rah mein(Jesey jantey Nahi) 15.Abhi dhoond hi rahi thi (Wafa) 16.Ranjish hi sahi (Mohabat) 17Yeh mehfil jo aaj saji hai (Mohabat) 18. Jan-e-Jaan pyar aa rahi hai (Head Constable) 19. Ai kash merey lab pey tera naam (Head Constable) 20. Ai Dil (Taj Mahal).