Written by: Muhammad Suhayb
Posted on: September 11, 2024 | 
| 中文
Syed Kamal
Once upon a time, filmmaking in Pakistan was at its zenith, becoming an essential part of the nation's cultural fabric. Movies were more than just a source of entertainment, for the actors of that era were celebrated as larger-than-life figures. The vibrant film industry of that period produced a wide range of genres, from romantic dramas to action-packed thrillers, with Urdu, Punjabi and Pashto films all making significant contributions.
From the 1950s to the 1980s, legendary actors rose to prominence and left a lasting impact on cinema. People eagerly awaited the release of new films, cinemas were filled with moviegoers, and stars became superstars overnight. For leading men, Waheed Murad and Nadeem were the embodiment of romance and charisma in Urdu cinema. Sultan Rahi was synonymous with Punjabi action-packed films, while Badar Munir's rise in Pashto cinema reflected the values and struggles of the Pashto-speaking population. Female Actors in Urdu cinema were often relegated to glamorous roles, with Neelo, Aaliya and Mumtaz shifting between Urdu and Punjabi films. In Punjabi cinema, Anjuman held her ground alongside Sultan Rahi, while Musarrat Shaheen was a counterpart to Badar Munir in Pashto films. Few people realize that these big names, who later influenced the industry and audiences alike, began with brief, uncredited roles before rising to stardom.
Mumtaz
Considered a successful leading pair, Neelo and Syed Kamal acted together in numerous films. Whether it was Insaaf (Justice, 1959), Hassan Tariq’s Banjaran (Gypsy, 1962), or Iqbal Yusuf’s Nehle pe Dehla (Tit for tat, 1964), audiences consistently applauded them. Both had a unique start in their careers, for their first exposure to the camera was in front of non-Pakistani technicians. Neelo appeared as a reporter in a scene from Hollywood’s Bhowani Junction (1956), starring Stewart Granger and Ava Gardner. The film was shot in Lahore about 1954, when a team of Hollywood technicians came over to do the shooting for the film. Syed Kamal played the role of an extra in Bollywood’s Jaagtay Raho (Stay Awake, 1956), alongside legendary actor/director Raj Kapoor. Kamal idolized Kapoor and soon after the film's release, he moved to Pakistan, aspiring to become Pakistan’s Raj Kapoor. Kamal starred in numerous films and eventually ventured into production and direction, with Insaan aur Gadha (Man and Donkey, 1973) being his most famous work. Neelo, on the other hand, gained fame after her appearance in the song Aaye Mausam Rangeelay (o colorful season of rain) from Jaffar Malik’s Saath Laakh (Seven hundred thousand, 1957), and quickly rose to stardom with films like Nagin (Female snake, 1959), Koel (Cuckoo, 1959), and Azra (Chaste, 1961)’. She married writer-director Riaz Shahid in the mid-1960s and took a sabbatical after Zarqa (Blue Eyes, 1970), Pakistan’s first diamond jubilee film.
Neelo
Known as the most popular non-violent Punjabi film couple of the 1960s, Akmal and Firdous acted together in over a dozen films. Malangi (Free-spirited, 1965) was their first major hit, and they were filming together when Akmal passed away under mysterious circumstances in 1967. Many of their films were released posthumously. Akmal, the younger brother of actor M. Ajmal, began his career as a make-up assistant. Director Anwar Kamal Pasha noticed his tall frame and sharp features, casting him in a brief scene in Qaatil (Killer, 1955), where he watched a dance sequence. Akmal caught the audience’s attention and soon landed a leading role in Jabroo (A spiritual person, 1956). Coincidentally, famous actor/director Rangeela appeared as an extra in Jabroo. Firdous, known as the eternal Heer of Lollywood, made her debut in Munshi Dil’s Gul Bakavli (White flower, 1961), and her small role caught the eye of poet/producer Nakhshab Jarchavi, who cast her in Fanoos (Chandelier) (1963).
Actress Firdous
Sultan Rahi and Badar Munir may not have appeared in many films together, but they were doing similar work in their respective regions. Despite being born into an Urdu-speaking family, Sultan Rahi spent years battling jaagirdars (feudal lords) in Punjabi films, while Badar Munir fought either the British colonizers or local Pashtun tribal leaders in Pashto films, which were immensely popular in the then North West Frontier Province (NWFP) province. Sultan Rahi was frequently paired with Anjuman, while Musarrat Shaheen stood by Badar Munir’s side, their partnership beginning with Dulhan Ek Raat Ki (Bride for a night, 1975).
All four veterans, Sultan Rahi, Badar Munir, Anjuman and Musarrat Shaheen, started their careers with brief, virtually unknown roles in major films. Sultan Rahi had a minor role in the Sudhir-Musarrat Nazir starrer Baaghi (Rebel, 1956), while Badar Munir, who worked for Waheed Murad’s Film Arts, appeared in Jaag Utha Insaan (Awakening, 1966), where Waheed Murad, Muhammad Ali and Zeba teamed up for the second time after Kaneez (Maid, 1965).
Badar Munir
Sultan Rahi eventually rose to such prominence that by the mid-1970s, he dethroned Sudhir (real name Sher Zaman Afridi) as the leading man in Punjabi cinema. Badar Munir also gained immense popularity and confidence, to the point that he once considered producing a film for Waheed Murad during the latter’s difficult phase.
Anjuman may have made her debut as a leading lady opposite Waheed Murad in Waaday Ki Zanjeer (The bonds of Promise, 1979), but she had already worked with legendary comedians Munawwar Zareef and Rangeela in Khoufnaak (Gruesome) three years earlier. As for Musarrat Shaheen, she appeared in a small role in Aslam Dar’s Urdu film Zubieda (1976), which had Waheed Murad and Nisho in the lead. Shaheen continued playing the role of a 16-year-old girl successfully for a good 16 years, which clearly shows the way characters are portrayed in Pashto films.
Anjuman in Khaufnak (Frightening, 1976), with Rangeela and Munawwar Zareef
Do you know how Waheed Murad’s debut as a lead actor is somehow connected with Nadeem? It was during 1964, when Waheed Murad was working as a hero in Heera aur Pathar (A Pearl and A Stone) and Nazeer Baig was trying his luck as a singer. They knew each other well and Nazeer even sang a song at Waheed’s wedding. During the shoot of a scene in Heera aur Pathar, director Pervez Malik required a good-looking face and his eye caught the face of Nazeer Baig, who was still three years away from becoming Nadeem (Nazeer Baig took the name of Nadeem on the advice of director Ehtisham for his film). The aspiring actor had no dreams of being an actor yet he sat in a scene where Waheed’s character passes by in his tonga (horse drawn carriage). Legend says that Waheed Murad himself appeared as an extra in Darpan’s maiden production Saathi (Fellow, 1959), but not many confirm the fact.
Nadeem
Two of Waheed’s prominent heroines, Aaliya and Mumtaz, also started their innings with unknown roles in big films. Mumtaz was seen in a small role in Zafar Shabab’s Kochwan (Cabbies, 1969), while Aaliya was seen in SM Yusuf’s Aashiyana (Nest, 1964), after that she was signed for Mirza Jatt (1967). Afshan (spread out, 1971), Mastana Mahi (Cheerful Friend, 1971), and Anhoni (Impossible, 1973) with Waheed Murad were big hits for Aaliya, but she never rose above the role of a supporting actor. She was soon dethroned by a better-looking Mumtaz, who had constant hits in Lollywood during 1974-1981 period. Be it Shikar (Prey, 1974), Muhabbat Zindagi Hai (Love is life, 1975), Koshish (try, 1976), Jasoos (Spy, 1977), Amber (1978), Khushboo (aroma, 1979), Sala Sahib (brother-in-law, 1981).
The industry, however, could not survive the wave of dictatorship, and the Zia-ul-Haq regime dealt a major blow to Pakistani cinema. The aforementioned legends not only entertained audiences but also shaped the cinematic landscape of their time. Despite the humble beginnings of many, they rose to iconic status, leaving behind a legacy that continues to inspire, one that still resonates with fans and filmmakers today.
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