Mussarat Nazir in Jhoomar (1959)

The most characteristic feature of the work of Khurshid Anwar-Masud Parvez unit is their endeavor to broaden the scope of filmic expression to bring screen spectacle closer to natural drama. With their technical skill and understanding of the medium they combine an admirable courage to experiment.

In Jhoomar, they have tackled one of the most fundamental problems faced by film-makers in Pakistan as well as in India – the accommodation of music in the narrative. In the traditional setup musical pieces are separate patches, put in rather arbitrarily, which hold up action and impair rational development. Some people have thought of overcoming this basic set-back by either eliminating the musical score altogether or by treating it as a part of the background music. Neither of the propositions satisfies the makers of Jhoomar, convinced as they are of the important place of music in our films. They have, therefore, launched a two pronged drive, purification of the film music and its adjustment as an integral part of the theme. This effort is more pronounced in Jhoomar than before and it is more successful as well.

Here is a musical score which does not distract by being a separate patch, which does not contradict characters or situations, but which furthers development, which, in short, just tells part of the story, of course, in notes. This achievement alone is sufficient to raise Jhoomar far above the level of the traditional films. Here is something to learn from, for the public as well as the film-makers.

The film opens on a fast note. The scene is the bungalow of a rich man (Nazir Bedi) who is worrying about his daughter (Rakhshi). She has gone much too far in imitation of Western manners. The father is grieved and he decides to marry her off to a trusted young man, Sudhir. There is cleavage between the newly-wed couple from the very start and soon there is a disaster, a disaster which shatters the nerves of Sudhir. Bedi advises him change of climate, offering him his hunting lodge in the hills.

Here ends what should be taken as a prologue to the story. From that moment action is shifted to the hillside – a different world is revealed to the audience. It is a beautiful valley with green slopes, majestic trees, and singing streams. The people there are simple and honest. From the very beginning the audience is conscious of a true, natural, and fresh atmosphere. The sunrise, the flocks of sheep moving out for grazing, the music of the brook, the birds and the flowers, and the people all make up the picture of a charming haven. Throughout it is looked at through the eyes of the principal characters, their joy is reflected in the flowers in bloom, and their grief transforms the silent trees into symbols of sorrow. That this effect is maintained all along is mainly due to the efforts of the director, the photographer, and the artistes. From their bearing, dress, and speech the players look part of the countryside. One has to believe they are real people in a real place.

Into this valley comes Sudhir, a nervous wreck. Allauddin, a tenant, looks after him. Allauddin’s sister – Musarrat – a simple, unspoiled, uninhibited daughter of spring consoles him. It is love but there is hardly a conventional scene. There is restraint, but within reasonable limits, there is villainy but it can hardly be called that. The situation becomes tense; Allauddin sticks to his honor, Musarrat must follow her love, and Sudhir has a load on his conscience.

The scene once again changes to the city. Here takes place the grand clash of characters, their desires and the bondage to conscious thought. Here also the writer finally emphasizes the sanctity of marriage bond and the virtue of standing by one’s duty. All the forces are brought together in a gripping court sequence, revealing what is noble about love, truth and sacrifice – the prime values of a living soul.

A GOOD SYNTHESIS

The film has the impact of romanticized realism which is the synthesis of compact screen-play, mature direction, correct portrayal, appropriate music, and highly imaginative camera-work. It moves along smoothly, stirring and entertaining the audience as it progresses. Since the characters have been established as creatures with normal desires, qualities, and failings, and as there is nothing unnatural about the situations, the audience can share the happiness, the pathos, and the tension that is there.

The scriptwriter adheres to the theme faithfully. There is not the least digression, every scene has some meaning.

The director follows the script, in letter and mood, and with the excellent support of the cameraman creates warm scenes of life.

The music is subservient to the same mood. The basis is classical and folk, the main ingredient is melody, with rhythm conforming to the situation or mood of the person concerned. As usual in Khurshid Anwar’s scores the silent pause has its own value, it gives meaning to the notes. And it is a delight to watch Nahid Niazi’s command over expression. The recording also is good.

The players have to depict a variety of characters. Musarrat and Sudhir appear more active in the sense they translate their thoughts and emotions in various forms of physical expression —they laugh and jump with joy, when they are hurt they cry like simple folk, and if they intend to do something their intention finds unmistakable expression. It is most refreshing to see Musarrat shorn of false glamour, looking every bit a mountain belle. Hers is a great performance and there is something to note when it is remembered that her previous best performance was in Zehr-e-lshq. In histrionics, however, Allauddin reaches a new height. The director has accommodated the star’s irrepressible zest for always doing something and in turn he has brought restraint when required. No doubt, it is a superb piece of acting. As compared to these two stars, bubbling with life, Sudhir’s character will look less active. There is a reason. He lives in a shell, guarded by his conscience. His conflict is purely mental; it can be felt and not seen. That the impression is near the object is a tribute to the star that is generally considered a ‘very acting’ type. Smaller roles are filled with distinction by Rakshi, Ghulam Mohammad, Azurie, Diljeet and Laila.

Mention has already been made of Nabi Ahmad’s excellent photography. In the strictly technical field his contribution rates second to none. His imaginative placing and sense of lighting give the film both mobility and substance – I. A. Rehman

Cast and Production Credits

Year – 1959, Genre – Drama, Country – Pakistan, Language – Urdu, Producer – Khurshid Anwar, Director – Masud Parvez, Music Director – Khurshid Anwar, Cast – Mussarat Nazir, Sudhir, Laila, Bibbo, Rakshi, Azurie, Ghulam Mohammad and Alauddin