Written by: Muhammad Suhayb
Posted on: January 25, 2022 | 
| 中文
Anjuman with Sultan Rahi
The year 2022 had been the luckiest for Pakistan films since Covid-19. It would always be remembered for the resurrection of Punjabi films, owing it to Bilal Lashari’s ‘The Legend of Maula Jatt’ (TLMJ). Lashari revived the ‘hero of the east’ through cutting-edge filmmaking techniques, mostly used in the west. Despite having a lot in common with Wehshi Jatt (1975) and Maula Jatt (1979), Fawad Khan’s portrayal of ‘Maula’ came as a breath of fresh air. Revival of regional cinema is essential for the survival of the film industry, and TLMJ did the same. It was the way that the Punjabi culture was portrayed complete with cholis, lehengas, tongas, havelis, outsized moustaches and loud dialogues that had popular appeal.
Anjuman with Javed Shaikh
Since the death of the original ‘Maula Jatt’, Sultan Rahi, veteran actors Ghulam Mohiuddin, Shaan, upcoming Babar Ali, Muammar Rana and Saud Qasmi have tried to fill the gap. They were moderately successful but always lived under the shadow of Rahi, who had acted in the highest number of films throughout his career (700 +). In TLMJ, Babar Ali and Resham appeared in cameos as parents of Maula Jatt, which did not come as a surprise. Both had played romantic leads in the mid-90s, and had been away from films for some time. Saud had quit films while Muammar Rana was still appearing as a lead, in that sense Babar’s selection was justified, who had the opportunity of his life of appearing in a film Sarak (1995) with Rahi, released a few weeks before the superstar’s death.
Had Sultan Rahi been alive, there was no question anyone else would have appeared as the father of Fawad Khan’s character in TLMJ. The director, Bilal Lashari, extracted the best from veteran actors Shafqat Cheema, and Nayyar Ejaz, the bad-boys of the 90s, hence proving that the fault lay somewhere else. With Punjabi films getting a new lease of life, producers must also include Anjuman. She can still emulate the charisma of the yore, and his century partnership with Rahi is a proof of that. Why Anjuman quit films in 2000 was simply due to the lack of powerful topics, scripts and good producers, but things have changed with TLMJ.
Anjuman and Waheed Murad in Waday Ki Zanjeer
The most sought-after actress of the 80s and 90s began her career as a lead opposite Waheed Murad in Waday ki Zanjeer (1979). She worked with Shahid, Nadeem and Muhammad Ali in the initial part of her career, but achieved fame after her successful pairing with Sultan Rahi. Director/Producer Shabab Kairanvi’s Waday ki Zanjeer was a moderate success as it was released just a week before Maula Jatt captured the box office and the audience. With film star Aasiya’s exit from films and legendary Rani sidelined due to illness, Makho’s (the heroine in Maula Jatt) shoes were filled in by Anjuman. With a tall figure, long hair and attractive personality, she was the true representation of Punjabi Jatti. She reminded viewers of Musarrat Nazir, who ruled the box office in the 50s with Yakke Wali and Mahi Munda.
Anjuman with producer and director Shabab Kairanvi and Bindya
Born in Multan as Anjum Shaheen, Anjuman was the name given to her by Shabab Kairanvi. By 1981, she became the top draw; five of her films were released on Eid and three achieved ‘super-hit’ status. Luddi hai jamalo, ve sone da kangna and jhanjhariya pehenda do became a rage as Anjuman’s charm balanced Rahi’s strong-willed character. Anjuman ruled for years to come, and appeared in films like Mela, Hunterwali, Madam Rani and Daku Haseena to name a few. She went into self-exile around the time of Sultan Rahi’s death and was replaced by the upcoming Saima. She returned and appeared in the title role in ‘Chaudhrani’ in 2000, directed by Hassan Askari. Despite the presence of Shaan, Saud and Saima, she emerged as the winner, as the film met with a thundering success. It was a tailor-made role for her, written by the veteran Bashir Niaz, who had a longlist of hit Urdu and Punjabi films to his credit. The non-professional approach of producers of the day, inability of writers to come up with powerful roles and the declining standard of Punjabi films, forced her to bid farewell. She never retired and despite being out of sight, was never out of mind and hearts of her fans. The tribute paid to her at the Lux Style Awards, is a clear indication of her popularity. At 67, she still means business! She may not dance and jump around trees and farms, but with her long experience, she can breathe life in roles written solely for her. Javed Shaikh, Waseem Abbas and Ghulam Mohiuddin, her contemporaries are still active, so why can’t Anjuman weave her magic, if given the opportunity. Sabiha Khanum is the prime example for producers, who after her ‘leading days’ were over, was quite successful in roles suited for her. Hasan Tariq’s Ek Gunah aur Sahi was the biggest hit for Sabiha Khanum, despite the presence of Rani, Muhammad Ali, Shahid and Nayyar Sultana in the cast. There were no songs for her, but her acting proved that no one retires until they want to. Similarly, Anjuman has and can, easily get into the skin of any character, and could prove to be a gold mine for the producers.
A recent picture of Anjuman
Anjuman has announced her availability to work in films and thanked all who have remembered her, and wanted her to stage a comeback. She is quite optimistic of the revival of films in Pakistan, and praised the work done by Bilal Lashari. She cited examples of Hema Malini and Amitabh Bachchan, who despite stepping into mid and late 70s, were doing well in Bollywood. Just like the Urdu proverb, woh apni zaat me ek anjuman hain (she is an institution in her own right), it is up to the budding producers and writers of today, to tap into her talent. The success of ‘The Legend of Maula Jatt’, is an indication that all could be changed.
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