The main drawback in the Pakistani films on social subjects is that apart from the practice of romanticizing every issue, the writers are mostly concerned with its description, trying to exploit it melodramatically, and avoiding any scientific analysis of the problems or suggestions for remedy. There is hardly an ugly spot in the social set-up of which the man in the street is not conscious. To suggest that there is unhappiness in the life of a low-paid worker or that a woman sold into bondage suffers constantly does not contribute to a solution of the issue. Whether this is due to imperfect treatment or to a desire to eschew serious approach from something mistaken as routine entertainment, the results are obvious. They fail to make any deep impression on the mind of the audience.
The institution of prostitution, for instance. is one of the favorite subjects with film producers. But generally they take up individual characters instead of social types. Their personal sufferings and behaviors are presented in conventional stories on the box- office lines. The approach is wholly emotional.
The latest film in the series is “Baap ka Gunah.” The director has dealt with two aspects of a prostitute’s tragedy: that she tries very hard to break away from her environment but the society will not let her do that; and, secondly, that she is the daughter of a wealthy Nawab whom she does not know and even when she finds out her father, she cannot go to live with him. She has been brought into the disgraceful position following an accident. Her mother was driven out of her home by her husband and she found refuge in a prostitute’s house just before the birth of the girl.
Musarrat Nazir plays the young woman, Phool, who escapes from the house of shame. She relies on the help of a young writer, Najam (Darpan), who has pleaded for a fair deal to the fallen women in one of his hooks. The writer is willing to marry her but his mother rejects her positively. She finds employment in the Nawab’s house. She discovers that he is her father but keeps the secret to herself. Eventually her past is known and the Nawab throws her out since he does not want any bad influence to play upon his daughter, Nasreen.
Najam is seriously wounded by gangsters trying to abduct Phool. He needs money for treatment. Phool goes on the stage and sends all her earnings to Najam through Nasreen. Nasreen exploits the situation for her own benefit. When a sick Phool returns she finds Najam married to Nasreen. The Nawab learns of her identity on her death which takes place shortly afterwards.
The story has enough material to make a fairly gripping drama. It has been spoiled by the writer’s lack of clarity. He seems to be in doubt about the very purpose of the film. Confusion in the script effects characterization and robs the story of its impact. Of all the characters only that of Phool has been drawn in some detail. Najam writes and talks about many good things but when, it-comes to putting them into practice all his idealism melts into placid resignation. Similarly, the characters of Nasreen and Nawab Sahib, are no more than incomplete sketches.
“Baap ka Gunah” is Jafar Malik’s first directorial offering. He has handled the script according to safe and set conventions. In composition he shows little imagination, displaying a weakness for the stage composition. Quite often he leaves unnecessary space in the foreground. But he gives promise of better films provided he shows some boldness in developing his own ideas.
Year – 1957
Language – Urdu
Country – Pakistan
Producer – A.Kamal Pasha
Director – Jaffar Malik
Music Director – Rashid Attre
Box-Office Status – Average
Cast – Musarrat, Darpan, Salim Raza, Asif Jah, Nasreen
Miscellaneous Information – Not Available.
|More Khwabon Ke Raja Aaja Ho||1957||Munawwar Sultana||Rashid Attre||Saghar Siddiqui|