Year – 1955
Language – Urdu
Country – Pakistan
Producer – Humayun Mirza
Director – H.Mirza
Music Director – Feroz Nizami
Box-Office Status – Flop
Cast – Jamila Razzaq, Masood, Nayyar Sultana, Abu Shah, Azad, Butt Kasher, M. Ismail
Miscellaneous Information – Jamila Razzaq’s debut Urdu film.
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Intekhab, the first film to come out of a Karachi studio, gives a promising start to the Karachi film Industry. As Producer-Director Humayun Mirza’s first offering the film is remarkable for a fine touch of craftsmanship. Although he is making concessions in favor of box-office demands, he does not appear to be willing to pander to the common taste beyond a certain limit. He has studied film keenly, has a reliable memory and knows how to utilize his knowledge. Several scenes in the film speak of careful planning for every incident. Besides this, the film marks the debut of Jamila Razzaq, an artiste of considerable merit.
The story of Intekhab is not much different from the common film stories of love. Here and there, in the beginning, the writer has tried to modernize the situations; the lovers do not fall in love in the legendary fashion. This adds a grain of realism to the film but later both the writer and the director are carried of the line and the plot drifts into the old grooves of artificial drama. They seem to have ignored the fact that It is not the feeling of love but a particular type of romantic tale that has become a dead theme. A real story of two persons in love is as goof today as ever, provided it is dealt with intelligently. In Intekhab the writer goes out for familiar causes to give the plot desired turns and loses his chance. Had he been a little more consistent with his matter, the result would have been far better.
Masud (Masud), a young foreign-qualified architectural designer, finds in Razia (Jamila Razzaq) all the qualities of a likeable wife. When after a pretty long game of hide-and-seek he finally succeeds in winning her affection and their engagement is approved by the girl’s father, the other girl takes hold of the plot. Nadira (Nayyar Sultana) is Masud’s cousin. Masud is informed that his father has previously promised to his sister that Masud would marry Nadira. Masud accepts his father’s verdict but he is a broken man. After giving sufficient proof of Masud’s genuine grief and of the shock suffered by Razia, the writer decides to clean up things. This he does in a hurry and somewhat carelessly. Razia is deprived of her property after a none-too-cleverly contrived episode and Nadira is killed in a traffic accident. Masud and Razia go to the sea-shore to end their lives but they find a new, carefree future before them.
Jamila Razzaq’s performance is creditable but she has to go a long way towards perfection. She has a charming figure and graceful manners but at moments she appears slow and a bit stiff. Her speech, too, is not quite satisfactory. How far these flaws can be removed by competent directors will determine Jamila Razzaq’s future in films. The other new comer, Nayyar Sultana, also has not fared badly. Neither her role nor her acting has been given due consideration.
Abu Shah as the self-styled nawab, has perhaps the longest individual running time in the film. Apart from a few lapses his acting is good. Although the writer has sometimes placed him in awkward situations, he always succeeds in bringing relief to the audience.
This film’s technical values leave much to be desired. The photography is not as bad as poor processing has made it. Sound is monotonous and flat, and there is very little movement or life in it. With some experience the technicians of Eastern Studios would surely be able to produce more satisfactory pictures.