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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

 
 

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.

 
 
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.
 
 
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.
 
 
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.
 
 

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.

 

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

.Their recent television projects include Tum Se Mil Kar, Armaan, Yaadein, Taqdeer, Haan Isi Morh Per and Aurat Aik Kahani.