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obituary
An armaan against all odds
The story of Pakistan's son Pervaiz Malik
(1938-2008)
When you next hear the immortal song 'Akele Na Jana' think
of Pakistan's first qualified filmmaker Pervaiz Malik who dreamt
the dream with Waheed Murad to make Karachi a film centre alongside
Lahore and Dhaka
By Aijaz Gul
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We
lost one of our most sober and distinguished directors on November
18. Pervaiz Malik passed away in Islamabad of cardiac failure. He
was the first qualified director in Pakistan's film industry and
this training showed up in his films, most prominently the classic
Armaan. Produced by Waheed Murad and starring him and Zeba, the
film was a phenomenon. A young love story, it became all the rage
and songs from the film like 'Ko Ko Korina' and 'Akele Na Jana'
live on.
But the road he travelled was never easy.
Director-screenwriter-producer Pervaiz Malik was not born with a
silver spoon in his mouth. It was his hard work and discipline that
turned him into what he became - one of this country's most renowned,
respectable and distinguished film directors. His tryst with cinema
began when he went to the University of Southern California, Los
Angeles to earn his M.A. in Cinema. His M.A dissertation was on
the history of Pakistani films and it still remains in the university's
library. On his return from the States, he joined hands with Waheed
Murad in Karachi and directed Heera Aur Pathar, released in December
1964. In fact, Heera Aur Pathar heralded the rise of the great team
of director Pervaiz Malik, producer-actor Waheed Murad, composer
Sohail Rana and lyricist Masroor Anwar. It was the work of this
team that would reach a crescendo with Armaan. |
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Heera
Aur Pathar gave the audience an idea of what Pervaiz Malik was. In
his book Pakistani Cinema, Mushtaq Gazdar writes that Heera Aur Pathar
was "a sentimental but realistic tale of two brothers from a
poor village. The elder brother is sent to the city for a higher education
while the younger minds a donkey cart in the village to sustain the
family. After getting his education, instead of going back to village,
the older son breaks of all contact with his family settling down
in the city. The father goes to the city to look for him and ends
up as a domestic servant in his son's home."
Mushtaq Gazdar notes that despite the grimness of the subject the
issue interested the masses and the film went on to celebrate a Golden
Jubilee, that is a 50-week run at the box office. Pervaiz Malik had
arrived. |
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| Pervaiz
Malik had extremely good looks and he could be taken as a hero but
he decided otherwise and remained behind the camera (it was much later
in life that his hairline receded and he gained weight). But he preferred
to direct stars as opposed to being one. Some of the most talented
actresses in Pakistani cinema were his heroines. They ranged from
Zeba and Shamim Ara to Shabnam and eventually Babra Sharif. His heroes
were Waheed Murad followed by mostly Nadeem. His choice of heroes
show how urban and progressive he was. He also famously brought Talat
Hussain in the dramatic role of an old doctor in the classic film
Gumnam. Pervaiz wrote his screenplays based on stories of writers
like Jaleel Afghani and never wrote for other films; he only made
the effort for screenplays for his own films. |
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How
would one look back at the career of Pervaiz Malik? It has already
been said that he only made social films, romances with some comedy
and bits of tragedy which is the normal milieu of our films. However,
Pervaiz Malik definitely has to be distinguished from the rest. His
films were always decent and carried a grace and elegance of their
own. When he entered the films industry in 1964, there were other
exceptionally good directors around. Khalil Qaiser was making films
on rebellious themes like Farangi and Mustafeez, Ihtesham and Zaheer
Rehan were making Urdu films in Dhaka, while Shabab Khairanvi was
churning out family quickies every six months. There were other reputable
names like Hassan Tariq, Riaz Shahid and Masood Pervaiz.
With that kind of competition from two film centers (Lahore and Dhaka)
and Pervaiz Malik based in Karachi, along with Waheed Murad, had to
struggle even harder to promote filmmaking at the third center. Many
of his films had their songs recorded at Lahore due to not having
an A-Class orchestra at Karachi and films like Armaan had their outdoor
locations in Murree but the fact remains that Pervaiz Malik will always
stand out with Waheed Murad as one of the pioneers of promoting filmmaking
in Karachi. And that is a big plus for both of them. |
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The
great tragedy of Pervaiz Malik's life is probably when that time
came in the mid-70s when it was no longer possible to make films
in Karachi due to the non-cooperation of actors (read 'stars') who
insisted that they would only shoot in Lahore. It was then that
Pervaiz Malik had to move to Lahore to carry on making films. Years
later, when the scene in Lahore became too gloomy for him with assault
rifles, blood baths and body bags, thanks to the Gujjar mafia, he
moved up to Islamabad and later Dubai and involved himself in TV
serials with writers like Haseena Moin. After the demise of Masroor
Anwar, he felt the need of a lyricist-companion but there were none.
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His
film Gumnam was screened at the Moscow Film Festival in 1987
and he was in attendance. His last film was Shahzada in 1992
but we knew he was around. We will miss him. And here's hoping
that as the revival of cinema becomes the buzz word in Pakistan,
there rises another team like that of Pervaiz Malik and Waheed
Murad that has the vision to try making Karachi a film centre
again.
Pervaiz
Malik's legacy
Pervaiz Malik's elder son Imran Malik, has been trained by
Pervez Malik himself. He is carrying on his father's legacy
of filmmaking through television and started his career as
an actor/director eight years ago. Imran Malik and his younger
brother Irfan Malik are successfully running a TV and film
production house since 2000 |
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| .Their
recent television projects include Tum Se Mil Kar, Armaan, Yaadein,
Taqdeer, Haan Isi Morh Per and Aurat Aik Kahani. |
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