Bin Badal Barsaat (Rain Without Clouds) is an Urdu movie starring Mohammad Ali, Zeba, Shahid and Sangeeta released in March 1975. Running for 54 weeks in Karachi it attained coveted Golden Jubilee status.
The film takes its title from a 1963 Indian horror film but tells a story not of curses but of a couple’s struggle to produce and raise a family. Zarina (Zeba) and Judge Akbar Ali (Mohammad Ali) are hopeful that at last they might have a child after several years of trying unsuccessfully. Zarina is so upset by her apparent infertility she advises Akbar Ali to find a second wife if the situation continues. “A wife that can’t produce a child is not worth anything,” she tells him.
A few months later Zarina does in fact deliver a healthy boy but through a series of twists of Fate, double crosses and colossal misreadings of the tea leaves the boy, Anwar, goes missing and ends up as a Pakistani Oliver Twist, cutting people’s pockets as part of a gang of beggars and prostitutes led by an obese and lecherous Fagin called Dada (Ilyas Kashmiri). Eventually, through yet more incredible strokes of luck, tortured confessions and even torture itself, the family is reunited thanks to the efforts of the golden hearted dancing girl Gori, played by the stunning beauty, Sangeeta and her reformed pickpocket fiance Badhshah (Shahid).
Though this film was a big hit there is not much to recommend it as far as the storyline, script or acting goes. Once again it is some of the music and one performance that saves the day. Sangeeta‘s playful enactment of the good hearted but mistreated dancing girl Gori shows up all the leading big names. By comparison Mohammad Ali and Zeba seem to sleep walk through their parts. A Karachi girl, Sangeeta got her start in 1971’s Yeh Aman (This Peace) but is perhaps best remembered for her work behind the camera as producer and director of such films as Society Girl, Nikah (Marriage) and Muthi Bhar Chawal (Fist Full of Rice).
In this film Sangeeta sticks to acting and dancing and leaves the direction to yet another woman, Zeenat, herself an actress whose track record went back to 1946 when she shared the screen with Noor Jehan in Hamjoli. After Partition Zeenat produced and directed half a dozen other films beginning with Khula Ja Sim Sim (1959). Her last appearance as director came in 1980 with Aap ki Khatir. The story of Pakistan’s women directors and producers is one that needs to be explored and told. Like so much else in Pakistan it comes a pleasant surprise that in country with such deep prohibitions against women working in the public sphere, and that too in such an industry as the movies, these women were able to martial the resources and withstand the severe social pressure to make so many films.
In the mid-1970s three giants of qawwali music were vying, sometimes bitterly, for top spot in listeners hearts. One one hand a raucous, dishevelled and brilliant upstart from Lahore, named Aziz Mian had sent shockwaves through polite society and the qawwali world with his hypnotic paeans to drunkenness and spiritual complaint. Horrified and scandalised, the Karachi-based sibling duo Sabri Brothers represented the traditional, less ecstatic , devotional stream of qawwali. The Brothers and Mian traded barbs publicly, and in song, but all three sang their way to the bank, making fortunes through their cassettes and live concerts.
The music for Bin Badal Barsaat was composed by another woman, Shamim Nazli, sister of playback singer Mala. In a critical scene near the film’s denouement, Nazli inserts one of the Sabri Brothers‘ most popular songs Bhar do Jholi (Fill My Sack) to accompany a distraught Mohammad Ali who has gone to a shrine to pray for God’s forgiveness and mercy and the safe return of his son, Anwar. The scene’s emotional tension is heightened by the qawwali beat, acute lyrics and resounding voices of the Sabris who give a genuine qawwali performance rather than a rip-off filmi qawwali number.
Bin Badal Barsaat may not be top quality cinema but as a study of the role of women in Lollywood, both on and off the screen, it is a film well worth viewing.