Flamboyant girls in printed fabrics have been more than a few in every industry. And Lollywood has had its share of them, too. Amongst those, Mahpara was a prominent addition in the mid- ‘60s, who was a dusky damsel of delightful proportion!
Mahapara was fortunate to enter the foray during the golden period of Lollywood, as a heroine in Sindhi films. She did the lead for Shehero Feroze, a Sindhi film of quality, produced by Khadim Baloch and directed by Sheikh Hasan, a stalwart in film industry, who had the experience of making films since the earliest days of our film industry. Mahpara was inducted into the film business with the prior knowledge of what goes on in the top tiers when a film flops or when a film wins at the box office. So, she was ready for a career in films given any set of circumstances. Mahpara was cast opposite the top young actor of Sindhi cinema in those days, Mushtaq Changezi, who later became such a rage in 1970s. With Mahpara’s verve and curve, and Mushtaq’s simple rural grace, they made an instant hit with the people. The film, Shehero Feroze, which was released in 1968, had music from the best music director of Sindhi films, Ghulam Ali, and his finesse showed with a couple of hits. This was enough to give Mahpara a foothold, and she had the guts to make the best of it.
Next year, in 1969, Mahpara has another bit of luck in Sindhi film Chandoki. Not that it made headlines, but the fact is that the film registered on the minds of the people with its social romantic theme and some fascinating performances from Mahpara and Mushtaq Changezi. Sardar Altaf was a sensible producer, and with director Pirzada he made a nice film. Qurban Jilani played an important role in this film. When the 1960s came to an end, the list of the Urdu movies was growing to a very healthy century per year. Therefore, every young artiste felt it a privilege to work with the Urdu filmmakers. Mahpara also made the grade with the film called Shama Parwana. Mind you, this film is not the Nadeem-Shabnam-Rani starrer, Shama Aur Parwana. This one was a film from Karachi, which was created by a film maker called Nawab Ahmad, while the director was M. Sultan. The film flopped, but there is always some positive factor in any effort when the intentions are good. So, the industry got a very nice artist called Nazim through this film, who did the lead with Mahpara.
Khalid Saeed, a film maker, who always realized the importance of attractive damsels in his films, gave Mahpara a chance in his Punjabi film, Asghara. The film, which was released in 1971, had a main leading pair of Naghma and Ejaz, while Mahpara was also in a glamorous city girl role, which she did to perfection. The film was considerable hit, and was followed by other such movies. Mahpara was now being seen in the same mod squad roles, with the dance numbers being her specialty, one example of which was Munawwar Rasheed’s light hearted movie, Rootha Na Karo the same year, with Kamal and Shabnam in the lead, and Lehri getting his fair share of fun with Mahpara. 1971 was the best year for Mahpara, with another major Sindhi film, Laila Majnoon from director S. A Ghaffar making it to the silver screen. In Aansoo, which was released also in 1971, Mahpara again played a spoilt young woman with a penchant for picnics and dance, who is trying to attract Shahid with a glamorous lifestyle. The song by Noor Jahan, picturised on Mahpara, titled Husn Maghroor Ishaq Majboor was composed in a pop mood, by Nazeer Ali and was liked by the public.
Mahpara’s fifth film in 1971, and which fetched her the most profit was Iqbal Yousuf’s Aik Sapera, where Aaliya was doing the lead opposite Iqbal Yousuf himself, And Mahpara played the gypsy girl looking for love. A song from this film, sung by Rushdi and Mala, and titled “Tujhe Dhoonde Mera Pyar” was a hit those days. It was after this film that Iqbal Yousuf and Mahpara became close and later got married.
After marriage Mahpara became a good wife to Iqbal Yusuf, and remained a housewife, leaving the industry to keep her house in order. Iqbal Yusuf died in 1990s, while Mahpara is still alive and well, and keeps herself connected, with local press and the film circles.