Raat Bhar Neend Nahi Aati

ajnabi

Ajnabi (Stranger) is an Urdu film released in November 1975. Though it ran for 20 weeks it was a commercial stinker and thus, receives the ugly sobriquet, ‘flop’.

1975 delivered a bumper crop of films. A total of 112 were released that year and Pakistan was riding high.  The disastrous civil war which had seen the creation of Bangladesh (and the loss of 50% or more of the audience for Urdu films) was history. Zulfikar Bhutto, the charismatic Prime Minister was confident and supreme in his political power. The country was positioning itself as the leader of the Muslim bloc of countries. Just a year earlier Bhutto had hosted the 2nd Islamic Summit in Lahore.  The casinos and cabarets in Karachi’s hotels were frequented by the rich citizens/subjects of more conservative Islamic countries like Saudi Arabia. Alcohol flowed openly. Religious parties occupied the pesky margins of national life. The Army, chastened after its humiliating defeat in 1971, was licking its wounds back in the barracks.

So shining was this golden age.

Though Ajnabi had a gaggle of stars (Mohammad Ali, Deeba and new arrival, Babra Sharif) it was unable to excite. Director Ali Sufiyan ‘Afaqi‘ was in essence a writer and journalist with an impressive CV in newspapers, magazines and as a screen writer. Throughout his long career (he passed away in 2015) he was associated with a number of major Pakistani films, the most famous of which is probably Kaneez (Slave Girl, 1965) which he both produced and wrote.  But Ajnabi was considered worthy enough, along with two other Afaqi films, Aas and Saiqa,  to be selected to represent Pakistan in the illustrious Film Festival of Asia and Africa held in Tashkent, USSR (Uzbekistan) in 1976 (?).

The song Raat Bhar Neend Nahi Aati (I Can’t Sleep All Night) is the work of the music director Nisar Bazmi and playback singer Nayyara Noor. It’s nothing to get overly excited about but does possess a nice lilt.  The entire 3 and half minutes is wrapped in swirling silvery strings  infused with flutes that sound like birds chirping in a morning tree. Its a dreamy sort of song.  One of restless anxious love,

Raat bhar neend nahi ati hain

Chandni dil ko tard pati hain

Kya yeh hua/ kyon yeh hua

Bata deejeeye

Zara meri nafs dekh kar dawa deejeeye

[I can’t sleep the night through

the moonlight makes my heart quiver

what is happening/ why is this happening?

oh tell me please!

Check my pulse and give me some medicine]

Nayyara Noor was born into a Punjabi merchant family in Assam, on the far eastern flank of India in 1950. At the age of 7 or 8 her family, sans her father who stayed behind to settle the family business, moved to Lahore.  In the early 70s, just a few years before Ajnabi was released, Nayyara put the industry on notice by winning a Nigar Award for best singer in her very first movie Gharana (1973).  What followed was a sparkling career as a playback artist and respected ghazal singer. Her interpretations of Ghalib and Faiz Ahmed Faiz’s poetry are particularly special.

In Raat Bhar she gives a perfectly toned performance. Her singing and aspiration is light and coquettish. She captures the starry eyed rapture of the young love-struck girl to a T. As she sighs into the line about having her pulse checked we are instantly transported into the bedroom of a teenager gazing at the picture of her absent lover.

This is pure pop and as such is quite disposable. But like all pop music it has enough of that essential dam to keep you humming the melody for  days on end.

Well done I say. Well done.

 

 

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Dil Dhadke Main Tujh Se Yeh Kaise Kahoon

anjuman

Anjuman (Anjuman) is an Urdu film released in 1970. It was a Platinum Jubilee ‘superhit’, with the public lining up at cinemas for 81 weeks straight to watch the show.

The film tells the story of Anjuman, a much-sought-after tawaaif (courtesan) who has caught the lustful eye of Nawab Wajahat Ali (Santosh Kumar). Anjuman (Rani) sadly is depressed and lovesick. She has no interest in the Nawab but under pressure from her mother strings the nobleman along to get access to his millions.

Meanwhile, Asif (Waheed Murad) the Nawab’s supposed younger brother has an unhealthy set of feelings for his sister-in-law, Nawab sahib’s wife,  played beautifully by Sahiba Khanum.  These feelings are eventually ( and thankfully) redirected to Nusrat (Deeba) an old childhood friend who has recently migrated from India.

The more he hangs out with Anjuman the more coldhearted Nawabsahib becomes towards his wife and one day his excuses of ‘working late’ are exposed as lies. He confesses his affection for Anjuman to his wife but tells her to put up and shut up, which, of course, she does.

Asif is sent on a mercy mission to the dancing girl’s house. In a pique of righteous rage he tells her to stay out of his family’s affairs and desist from seeing his elder brother, the Nawab. As soon as she lays eyes on the handsome Asif, Anjuman falls in love. She agrees to break things off with the Nawab (no biggie, she couldn’t stand the man anyway) on the condition that Asif replace him.

So much does Asif love his sister-in-law who is suffering because of this prickly situation he agrees. ‘At least I’ll save her marriage,’ he says to himself.

Asif becomes increasingly alienated from himself and his family and Nusrat and sinks into the bottle to soothe his conflicted feelings.  About two thirds of the way through the film you are hit with the depressing realisation that all the main characters are incredibly unhappy, either abandoned by those they love, stuck in torturous moral dilemmas or scorned by society.

Eventually, though, things turn out ok. Sort of. When Anjuman refuses to see the Nawab anymore he realises the error of his ways and begs forgiveness from his wife. Asif has it out with his sister-in-law who accuses him of abandoning Nusrat. He lets Bhabi (sister in law) know of his deal with the devil, Anjuman. Bhabi confronts Anjuman and reveals that Asif is not her brother-in-law but in fact her son! ‘Take my husband if you must, but give me back my boy!’ Anjuman reluctantly agrees to release Asif from his vow but insists that she will dance at Asif and Nusrat’s wedding the following week.

With order restored to the feudal Universe the Big Day is marked with a wonderful dance by Anjuman. Just as the dance nears conclusion Anjuman collapses and dies at the feet of Asif. The final scene depicts Asif laying flowers at her tomb with hunched shoulders and a heavy heart.

The story may be full of moral quagmires, numerous loose ends and uncomfortable depictions of unchecked human desire but the music once again provides a degree of artistic ballast.

The tawaaif  film is a well-established sub-genre of South Asian cinema and is usually set in mid-19th century feudal Muslim India. In the case of Anjuman the location is contemporary 1960s Lahore which adds a hint of implausibility to the whole movie. Music director Nisar Bazmi does his best to cater to this split world by working in two idioms. In scenes involving Nawab sahib he creates the familiar haunting sarangi-based soundscape that such tawaaif movies employ. However, when Asif is in Anjuman’s company, he resorts to a more modern, ‘western’ sound led by non-traditional instruments like the guitar.

Dil Dhadke Main Tujh Se Yeh Kaise Kahoon (My Heart Races to Tell You) is a song Anjuman sings as she dances temptingly in front of grim Asif who has come to scold her.

It’s a delightful little song for a number of reasons. First, the twangy electric guitar intro would not be out of place on a Marty Robbins or Johnny Cash record. The country & western sound is so unexpected and refreshing at this point in what has turned out to be a heavy story you immediately perk up and find new energy to continue watching.

Second, it is a reminder of how connected the film culture of Lahore was with what was going on elsewhere in the world.  Sounds and musical styles from north America and other places were familiar to music directors in Pakistan and it is a testament to their creative talents that they could so quickly and naturally adapt these sounds to their own context.

Third, the smooth-as-polished-leather guitar playing is proof of just how talented the anonymous studio musicians in Lahore were. The string section too, is able to conjure a sound that is every bit as emotional and on point as Barry White‘s Love Unlimited Orchestra.

But in the end, it is the coquettish delivery of Runa Laila that makes the song so cool.  Laila was a Bengali girl raised in Karachi and grew up hearing the rock/pop music of Karachi’s then active nightclub scene as well as falling in love with the vocals of Ahmed Rushdie.

As soon as she burst on the scene in the 1966 film Hum Dono (We Two) she was recognized as an exceptional talent. In a few years she was a regular performer in India and the UK. She was one of Pakistan’s true pop stars and made well-received records of non-film music as well.

Her light and crisp voice is perfect for pop and upbeat music. Dil Dhadke is certainly one of my current favorites.

Anjuman