The provided text offers biographical information on Pakistani actress Mumtaz, detailing her career spanning Urdu and Punjabi films from 1971 to 1997, including a filmography and awards received. It also includes excerpts from the Punjabi-language film Naukar Wohti Da (1974), which features Mumtaz, providing a synopsis of the plot and a list of cast and crew. The text further presents dialogue from Naukar Wohti Da, offering a glimpse into its narrative and themes of family, love, and societal expectations. Finally, there’s a brief discussion on the political and cultural factors leading to the Bangladesh Liberation War, highlighting the parallels between that conflict and current tensions in Balochistan.
Film & Culture Study Guide: Naukar Wohti Da and Mumtaz
Short Answer Quiz
- What is the basic plot of the film Naukar Wohti Da? Naukar Wohti Da revolves around a young man who was betrothed as a child to a girl who, as they grew older, became wealthy and educated. She then refuses the marriage, leading the young man to find a way to win her back.
- When was Naukar Wohti Da released, and what was its reception in Pakistan? Naukar Wohti Da was released on July 26, 1974, and it celebrated a Platinum Jubilee at Pakistani cinemas. It was a box office hit and featured popular music.
- What are some of the key characteristics of Mumtaz’s acting career in the 1970s? Mumtaz was known for her lead roles in both Urdu and Punjabi films during the 1970s. She was often recognized for her dancing skills and played a range of characters, from modern women to dramatic roles.
- How did Mumtaz become famous in Pakistani cinema? Mumtaz gained overnight fame through her dance performance in the Punjabi film Banarsi Thug (1973) to a song sung by Noor Jehan, specifically the song “Ankh Lari Badu Badi.” This hit song established her as a prominent figure.
- What role did dance play in Mumtaz’s on-screen performances? Dance was a central element of Mumtaz’s performances, with many of her songs being very well known for her dancing. She would often have musical numbers highlighting her skills, further adding to her popularity.
- What are some of the languages in which Mumtaz acted in films? Mumtaz acted primarily in Urdu and Punjabi films during her career. She also appeared in some Pashto films.
- Describe Mumtaz’s early life before acting in Lollywood films. Before appearing in films, Mumtaz was known for dancing at social events in Karachi. Her father had moved to Pakistan from Agra following the partition of India.
- What are some of the notable awards that Mumtaz has received? Mumtaz has won 5 Nigar Awards during her cinema career, including a special award for her role in Haidar Ali.
- What was Mumtaz’s relationship to film producer Chaudhry Ajmal, and when was she married to Bari Malik? Mumtaz was reportedly in a relationship with film producer Chaudhry Ajmal in the late 1970s, although they were never married. She was married to film studio owner Bari Malik for a short period and had a son before they separated in the early 1980s.
- What are some of the social issues that are evident in the provided film script? Social issues such as class differences, the roles of men and women in Pakistani society, and forced marriage are all apparent in the film script. There also appears to be a critique of social norms and tradition.
Answer Key
- Naukar Wohti Da revolves around a young man who was betrothed as a child to a girl who, as they grew older, became wealthy and educated. She then refuses the marriage, leading the young man to find a way to win her back.
- Naukar Wohti Da was released on July 26, 1974, and it celebrated a Platinum Jubilee at Pakistani cinemas. It was a box office hit and featured popular music.
- Mumtaz was known for her lead roles in both Urdu and Punjabi films during the 1970s. She was often recognized for her dancing skills and played a range of characters, from modern women to dramatic roles.
- Mumtaz gained overnight fame through her dance performance in the Punjabi film Banarsi Thug (1973) to a song sung by Noor Jehan, specifically the song “Ankh Lari Badu Badi.” This hit song established her as a prominent figure.
- Dance was a central element of Mumtaz’s performances, with many of her songs being very well known for her dancing. She would often have musical numbers highlighting her skills, further adding to her popularity.
- Mumtaz acted primarily in Urdu and Punjabi films during her career. She also appeared in some Pashto films.
- Before appearing in films, Mumtaz was known for dancing at social events in Karachi. Her father had moved to Pakistan from Agra following the partition of India.
- Mumtaz has won 5 Nigar Awards during her cinema career, including a special award for her role in Haidar Ali.
- Mumtaz was reportedly in a relationship with film producer Chaudhry Ajmal in the late 1970s, although they were never married. She was married to film studio owner Bari Malik for a short period and had a son before they separated in the early 1980s.
- Social issues such as class differences, the roles of men and women in Pakistani society, and forced marriage are all apparent in the film script. There also appears to be a critique of social norms and tradition.
Essay Questions
- Analyze the character of Mumtaz as portrayed in the film excerpts and the provided biographical information, discussing her agency, social position, and challenges she faced as a woman in Pakistani society in that era.
- Discuss the role of music and dance in Naukar Wohti Da and how they contribute to both the entertainment and the cultural commentary within the film.
- How does the film’s narrative address themes of social class, education, and tradition, and what might this reveal about the values and conflicts of Pakistani society in the 1970s?
- Using both the provided film script and Mumtaz’s biography, discuss how Naukar Wohti Da and its star reflect the cultural and societal tensions within Pakistan during the 1970s.
- Compare and contrast the social and cultural issues highlighted in Naukar Wohti Da with the socio-political factors discussed in the provided text related to the formation of Bangladesh, identifying any relevant parallels.
Glossary of Key Terms
- Platinum Jubilee: A special celebration marking the 75th anniversary, often used in the context of film successes to denote a long run in cinemas.
- Lollywood: The name given to the Pakistani film industry based in Lahore.
- Nigar Awards: A prestigious film award ceremony in Pakistan, recognizing excellence in various aspects of filmmaking.
- Urdu/Punjabi/Pashto Cinema: Regional film industries in Pakistan, each with its own language and cultural influences.
- Social Film: A film genre that focuses on social issues, often highlighting conflicts and norms within society.
- Diamond Jubilee: A celebration marking a 60th anniversary. In film, it would denote a film’s 60 week run in cinemas.
- Silver Jubilee: A celebration marking a 25th anniversary. In film, it would denote a film’s 25 week run in cinemas.
- Mujra: A traditional dance performance, often characterized by elaborate costumes and music.
- Qaumi Zabaan: A national language. This term is used within the text to discuss the political context surrounding the formation of Bangladesh.
- Doli: A palanquin or covered litter used in South Asia to carry a bride during wedding processions.
Pakistani Cinema: “Naukar Wohti Da,” Mumtaz, and a Film Script
Okay, here’s a detailed briefing document based on the provided text, which includes a synopsis of the movie “Naukar Wohti Da,” information about the actress Mumtaz, and a detailed transcript of a film:
Briefing Document: Pakistani Cinema, “Naukar Wohti Da,” and Mumtaz
I. Introduction
This document provides an overview of three interconnected subjects within the context of Pakistani cinema: the 1974 Punjabi film Naukar Wohti Da, the career of actress Mumtaz, and a detailed script excerpt that appears to be from a separate film production (which may or may not include Mumtaz). The sources provide insight into the themes, social issues, and entertainment landscape of Pakistan during the 1970s and beyond.
II. “Naukar Wohti Da” (1974) Film Analysis
- Plot Synopsis: The core premise of Naukar Wohti Da revolves around a pre-arranged marriage between a boy and a girl. However, as they grow up, their paths diverge significantly. The boy becomes poor and uneducated, while the girl becomes wealthy and educated. Consequently, she refuses to marry him, leading the young man to find a way to win her back. This plot explores themes of social class, education, and the challenges to traditional marriage practices.
- Production Details:Director: Haider Chaudhry
- Language: Punjabi
- Release Date: July 26, 1974 (Pakistan)
- Production Company: Shadman Productions
- Success: The film was a major success, achieving “Platinum Jubilee” status in Pakistani cinemas, a testament to its popularity. It is noted to have had “many hit film songs and superb music of Wajahat Attre.”
- Themes:Social Mobility and Class Conflict: The film highlights the stark contrast between the lives of the initially betrothed couple, emphasizing the impact of social class and access to education. The girl’s rise in status challenges the traditional hierarchical order.
- Traditional vs. Modern Values: The arranged marriage, a traditional practice, clashes with the girl’s modern outlook and independence gained through education. This reflects a changing societal landscape.
- Perseverance and Resourcefulness: The boy’s need to “find a way” showcases the theme of perseverance and resourcefulness in the face of adversity, likely leading to a humorous and engaging narrative.
III. Mumtaz (Pakistani Actress) Biography and Career
- Early Life and Background:Born as Riffat Qazalbash in Karachi on October 7, 1952.
- Her father migrated from India after partition.
- Before entering the film industry, she was known for her dancing performances at social events in Karachi.
- Film Career:Early Roles: Her film debut was in Dil Aur Dunya (1971). She had small roles in Ehsaas and Umrao Jaan Aada.
- Breakthrough: Her dance performance in the song “Ankh Lari Badu Badi” in Banarsi Thug (1973) made her famous overnight. The song was a “huge super hit.”
- Lead Roles: Intezaar (1974) was her first lead role. Shikaar released soon after, solidified her position. She went on to dominate the Pakistani film industry.
- Dancing: “Dancing was the central attraction in Mumtaz’s screen performances” . She was known for her dance in “Tut Turu Tara Tara” from Mohabbat Zindagi Hai.
- Filmography: She acted in over 200 Urdu and Punjabi films from the 1970s to the 1990s. Notable films include Pyaar Ka Mausam (1975), Mohabbat Zindagi Hai (1975), Jab Jab Phool Khile (1975), and Amber (1978). Her last film was Ghail (1997).
- Awards and Recognition: She won 5 Nigar Awards during her career. She won Nigar Awards for her roles in Jaadu (1975), Haidar Ali (1978), Nizam Daku (1979), Sohra Te Jawai (1980), and Dhee Rani (1985).
- Personal Life:Was in a relationship with producer Chaudhry Ajmal.
- Married and divorced film studio owner Bari Malik with whom she had a son.
- Later remarried a businessman and moved to Canada.
- Return to Acting: After a long hiatus, she returned to acting in films and television. In 2023, she appeared on television in Star & Style Season 4.
IV. Script Excerpt Analysis
This lengthy script excerpt provides significant insight into the complexities of relationships, societal expectations, and the challenges of love, power and class in what appears to be another Pakistani film:
- Characters & Relationships:
- Jagirdar Hashmat Khan: A patriarchal figure, head of a household with strong views on tradition and honor.
- Anwar: Hashmat’s son
- Razia: A young, educated woman who is initially engaged to marry Anwar but who refuses to honor the engagement.
- Munawar: A man from a poorer background who seems to take on an almost servant role in the household but later marries Razia.
- Baba Peeru: An elder advisor, respected by the family.
- Various other characters including mothers, a film director (Sahab Ji), and a police inspector.
- Themes and Plot Points:
- Conflict Between Tradition and Modernity: The central conflict stems from the clash between the traditional arranged marriage system and the independent thinking of Razia, who refuses to marry Anwar, the man initially chosen for her. Razia’s education and modern outlook empowers her to question these traditions. She later marries a man of her own choosing.
- Social Hierarchy and Class: The script explores the power dynamics of a hierarchical society. The Jagirdar’s influence, the respect demanded from elders, and the status differences between characters are central to the narrative. The film explores the experiences of those lower in social status and their struggles for recognition and agency. Munawar’s journey is particularly poignant in this regard.
- Love and Choice: The characters grapple with love, duty, and personal choice. Razia’s determination to choose her own partner and the film’s depiction of Munawar’s love for her highlights the importance of personal autonomy in relationships.
- Honor and Respect: Issues of family honor and respect are consistently at the forefront. The Jagirdar’s strong views on preserving family honor and tradition contribute significantly to the plot’s conflict.
- Film Industry Metanarrative: A significant portion of the script follows Munawar’s journey as an aspiring actor, providing an insight into the film industry itself. This reveals both the glamour and challenges of the industry.
- Musical Numbers: The script contains lyrics of multiple songs. The lyrics often directly related to the themes and tensions of the narrative and express the characters’ emotional states.
- Notable Plot Developments
- Razia initially refuses the arranged marriage with Anwar, declaring that she will not marry anyone against her will.
- Munawar enters into a near servitude situation in the house, but is gradually revealed to be an intelligent, determined, and resourceful man who is in love with Razia.
- Munawar becomes an actor and has a “makeover” from “servant” to “hero”.
- Razia’s eventual marriage to Munawar.
- The script culminates in a musical sequence and a confrontation of a love triangle and a showdown where Munawar stands up for Razia and confronts those who would disrespect her.
- The film also has a side story about Razia’s friend and fellow actress Mumtaz and the film world.
- Quotes:
- Jagirdar on Tradition: “Every new person coming in this family will be chosen by the elders. Anwar’s son too will come as per his wish… The elder is giving the orders.” – This highlights the patriarchal control and emphasis on tradition.
- Razia’s Independence: “I am not in need of your favor… I am not a habitual master, I don’t suit Bahadur… I am an educated girl, I do n’t have money, I will die under a beggar but I will not get married.” – This reveals her strong will and rejection of pre-determined paths.
- Munawar on Love: “I want to find you in my temple if you become the shore, listen my heart is your lover only.” – A heartfelt expression of his devotion.
- Munawar’s determination: “For a crazy person, nothing is difficult, for a crazy person, everything is easy, every difficulty is easy…” – Highlighting his persistent and optimistic approach to life and the challenges in front of him.
- Munawar’s pride despite his hardships: “If you are insulted then I will lay my head down at your feet. I have not given up my demands, look at your pride, you have the status of a city of your own…” – Despite being in a subordinate position he does not compromise his self-respect or dignity.
- Razia in response to disrespect: “I am not a servant!” – Refusal to comply with demands that treat her as less than the powerful people around her.
V. Analysis of the Script’s Ending
The script ends with a musical performance that is meant to be an act within the movie that Munawar is shooting, as well as a scene where Razia is dressed in what she calls a shroud as she leaves the house of the Jagirdar. These final moments indicate a turn away from the expected ending as Razia’s independence and her choice of husband is put front and center.
- The final dramatic scene involves a showdown between several characters, a demonstration of Razia’s power in her agency and her choices and the ability to overcome some of the traditions that have oppressed her.
VI. Conclusion
These sources offer a glimpse into the Pakistani film industry during a pivotal period. Naukar Wohti Da, Mumtaz’s career, and the script excerpt all reveal a society grappling with the tensions between tradition and modernity, class distinctions, and the quest for personal freedom and love. They provide valuable insight into the cultural, social, and artistic landscape of Pakistan during this era. The use of music and dance as integral storytelling elements in the films also showcases their significance in engaging the audience and delivering complex emotions.
Naukar Wohti Da: Pakistani Cinema, Society, and Mumtaz
FAQ: Naukar Wohti Da and the Context of Pakistani Cinema and Society
- What is the basic plot of the film Naukar Wohti Da?
- Naukar Wohti Da centers around a couple whose marriage was arranged in their childhood. However, as they grow, their circumstances change drastically; the boy becomes poor and uneducated, while the girl becomes wealthy and educated. This leads to the girl refusing the marriage, and the boy has to find a way to win her back. The story explores themes of class difference, societal expectations, and the struggle for love against these odds.
- When was Naukar Wohti Da released, and what was its reception? The movie was released in Pakistan on July 26, 1974. It was a major success, celebrating a Platinum Jubilee run in Pakistani cinemas, which indicates a very high level of popularity. It also featured many hit songs, contributing to its widespread appeal and cultural impact. The film’s success highlighted the public’s interest in Punjabi cinema and music at the time.
- Who is Mumtaz, and what is her significance to Pakistani cinema? Mumtaz, born Riffat Qazalbash in 1952, is a prominent Pakistani actress who worked primarily in Urdu and Punjabi films from the 1970s through the 1990s. She is known for her lead roles in popular movies such as Pyaar Ka Mausam and Mohabbat Zindagi Hai. Mumtaz was celebrated for her dancing skills, and her performances were a major draw for audiences. She won five Nigar Awards, underscoring her talent and impact on the film industry. Mumtaz started her career with dancing at various social events, before transitioning to films. Her dance performance in Banarsi Thug became a huge hit and propelled her to stardom. Her characters were diverse, portraying both modern and traditional roles.
- What are some of the other films Mumtaz has acted in and when did she return to acting? Mumtaz starred in over 200 Urdu and Punjabi films. Some of her notable films include Intezaar (1974), where she played a modern girl, Shikaar (1974), where she played a mute girl, and Dushman (1974), a golden jubilee hit. After a break of almost 25 years following her marriage, Mumtaz returned to acting, first in films and later in television, showcasing her continued relevance and versatility.
- How did Mumtaz’s personal life intersect with her career? Mumtaz was reportedly in a relationship with a film producer in the late 1970s, and was married briefly to a film studio owner with whom she had a son. She later remarried and moved to Canada for many years before returning to Pakistan. Her personal life, including her marriages and relationships, has been a part of the public discourse surrounding her career. Her decision to take a 25-year break from the film industry due to her marriage highlights the challenges and choices faced by female actors.
- What themes are explored in the film besides the central romance?
- Beyond the central romantic plot, the film touches on issues of class disparity and the strict traditions and social hierarchies present in Pakistani society, such as arranged marriages, family expectations and the role of elders in decision-making. The film also shows the cultural norms regarding honor, respect, and familial obligations. The narrative highlights the conflicts that arise when traditional values clash with individual desires and aspirations, particularly when a woman achieves greater independence and education.
- How does the movie use the cultural setting to explore the tensions between tradition and modernity? The film uses a mansion and its occupants as a representation of tradition where the old ways are rigidly followed. This is contrasted with characters like the educated female lead, who is portrayed as modern and independent. The tensions arise when the traditional elders force a marriage, the female character refuses it, and the male lead needs to win her over. This shows the societal tension at the time with old traditions clashing with new ones, particularly surrounding women’s rights and agency.
- What broader socio-political issues were happening in Pakistan at the time the movie was released, and how do these connect to the content of the film? The film was released in 1974, which was a few years after the separation of Bangladesh from Pakistan. The source text briefly discusses issues that contributed to this split, such as language differences and perceived economic and political marginalization of East Pakistan (now Bangladesh). Although not a direct focus of Naukar Wohti Da, the socio-political climate of the time, which included debates about national identity, linguistic diversity, and power imbalances, provides a backdrop against which the film’s focus on societal hierarchies and resistance can be understood. Specifically, the issues of language and identity are highlighted as being central to the political tension within Pakistan. The movie may reflect these tensions in a smaller, microcosm kind of way.
Forced Marriage in “Naukar Wohti Da”
The sources provide several examples and perspectives on forced marriage, particularly within the context of the film “Naukar Wohti Da” and its themes. Here’s a breakdown of the key points:
- Initial Arrangement vs. Changed Circumstances: The movie’s plot centers around a couple who were betrothed as children, but the girl becomes wealthy and educated while the boy becomes poor and uneducated, leading her to refuse the marriage. This highlights how arranged marriages can clash with individual aspirations and changing social status.
- Refusal and Resistance: The woman’s refusal to marry the man underscores her agency and resistance against a pre-determined path. This is a central conflict of the movie. This resistance is shown again by Razia, who states that she will die a beggar but will not get married to the man her grandfather has chosen for her.
- Family Pressure: Despite the woman’s refusal, the family elders, particularly the grandfather, attempt to enforce the marriage. This demonstrates the powerful influence of family and tradition in forcing marriages. The grandfather asserts his authority and views the marriage as a matter of family honor and tradition, rather than the individual’s happiness.
- The Role of Elders: The film depicts the older generation as being insistent on upholding the traditional ways of arranged marriage, often disregarding the wishes of the younger generation. The grandfather’s character is presented as someone who wants to finalize the marriage to uphold family principles.
- Economic and Social Disparity: The difference in wealth and education between the betrothed couple is a key factor in the woman’s refusal, suggesting that forced marriages may overlook compatibility and individual growth. This also underscores how social mobility and education can empower women to challenge traditional norms.
- The Woman’s Perspective: The film showcases the woman’s desire for choice and agency in marriage, highlighting the emotional distress and conflict caused by forced unions. Razia voices her desire to not marry the man chosen for her and that she would rather die a beggar than marry him. She also expresses that she wants to marry someone that she chooses herself.
- Manipulation and Control There are several instances where men are attempting to manipulate and control women. One example is when a man tells a woman that her screaming cannot be heard and that he is the one in control. The grandfather in the movie is also shown to have an authoritative and controlling manner.
- Consequences of Forced Marriages: The movie portrays the distress and unhappiness caused by the attempt to force a marriage, where the woman feels trapped and unheard. Additionally, the unhappiness caused by an unwanted marriage is illustrated in several scenes of the film. For instance, Razia is shown saying that the marriage is her compulsion and that she does not want to listen to her grandfather.
In summary, the sources showcase forced marriage as a conflict between tradition and personal autonomy. It depicts the power of family pressure and the resistance of the younger generation, with a focus on women’s agency and the need for choice in marriage.
Poverty, Illiteracy, and “Naukar Wohti Da”
The sources highlight the themes of poverty and illiteracy, particularly in the context of the film “Naukar Wohti Da,” and how these factors contribute to the central conflicts of the plot. Here’s a breakdown of how poverty and illiteracy are portrayed and their implications:
- Poverty as a plot device: In “Naukar Wohti Da,” the male character is described as having become poor and illiterate, while the female character becomes wealthy and educated. This contrast is the catalyst for the central conflict of the movie, which revolves around the female character’s refusal to marry the male character because of this disparity.
- Social Disparity: The movie highlights the social gap created by poverty and illiteracy. The woman’s education and wealth empower her, giving her agency to reject the marriage, while the man’s lack of these things puts him at a disadvantage. This disparity challenges traditional norms of arranged marriage where such factors were often overlooked.
- Illiteracy as a disadvantage: The male character’s illiteracy is presented as a drawback that makes him unsuitable in the eyes of the woman. This underscores how lack of education can be seen as a barrier to social mobility and acceptance. Illiteracy is presented as a weakness that makes a person less desirable in marriage. The movie demonstrates how education and literacy empower women to make choices that were not traditionally available to them.
- Poverty and loss of status: The male character’s poverty has led to a loss of social standing, as he is not considered an equal match to the woman who has become wealthy. This challenges the notion that childhood betrothals are always binding, especially when circumstances change drastically.
- Challenging Traditional roles: The plot of “Naukar Wohti Da” and the characters’ changing fortunes showcase how economic and educational status can challenge traditional roles. The woman’s rejection of the marriage is a direct result of her social mobility and education, which contrasts with her betrothed’s lack of these. This implies that traditional arranged marriages do not always consider important social and economic factors.
- Class Consciousness: The text illustrates the complex dynamics of class and education as barriers that are difficult for some to overcome. The woman in “Naukar Wohti Da” rejects the man due to his poverty and lack of education. Razia similarly states she would rather be a beggar than marry the man her family has chosen, because he does not have the same status as her.
- Motivation for Change: The man’s impoverished and illiterate state motivates him to seek ways to win the woman back, though it is not explicitly detailed how he plans to do so. This situation could potentially show how poverty and illiteracy can be motivating factors for personal change.
In summary, the sources use the themes of poverty and illiteracy to highlight social inequalities and to serve as key plot drivers. The movie shows how these factors can dramatically affect relationships and individual choices, particularly in the context of traditional marriage arrangements.
Pakistani Cinema: Mumtaz and the Golden Age
The sources offer several insights into Pakistani cinema, particularly through the lens of the film “Naukar Wohti Da” and the career of actress Mumtaz. Here’s a comprehensive look at Pakistani cinema based on the provided material:
- Film Industry Activity: The sources indicate a thriving film industry in Pakistan during the 1970s, 1980s and 1990s. The actress Mumtaz was actively working in films during this time, with a large filmography that includes 202 Urdu and Punjabi movies.
- Genres and Languages: Pakistani cinema includes both Urdu and Punjabi language films. Mumtaz is noted for her work in both Urdu and Punjabi movies, demonstrating the linguistic diversity of the industry. Some Pashto films are also mentioned in her filmography, demonstrating the range of languages in Pakistani cinema.
- Popularity and Success: “Naukar Wohti Da” (1974) is cited as having celebrated its Platinum Jubilee in Pakistani cinemas, highlighting the film’s popularity. Several of Mumtaz’s films are mentioned as having been “jubilee hits” (e.g., “Sidha Raasta,” “Intezaar,” “Dushman”), which demonstrates their commercial success.
- Music and Dance: Music and dance are presented as essential components of Pakistani films. “Naukar Wohti Da” is noted for its hit songs and music by Wajahat Attre. Mumtaz’s dance performances are described as a central attraction in her screen performances. A song from the movie “Banarsi Thug” is mentioned as making Mumtaz famous overnight due to its popularity.
- Themes and Storylines: The sources indicate that Pakistani films explore a range of social issues and personal dramas. “Naukar Wohti Da” addresses the issue of forced marriage and changing social dynamics. Other films are noted to feature themes of love, family, and social change.
- Key Figures: The director of “Naukar Wohti Da” is mentioned as Haider Chaudhry. Several actors are also mentioned in the cast lists, such as Aasia, Afzaal, Abdul Karim Baloch, and Mumtaz herself. The actress Mumtaz is a key figure, with a long and successful career spanning multiple decades. Her filmography highlights the volume of films produced during her active years.
- Awards: Mumtaz is noted as having won 5 Nigar Awards for her work in Pakistani cinema, indicating a formal system of recognition and achievement within the industry. The awards she received include Best Actress for several of her films, and a special award for “Haidar Ali”.
- Film Production and Distribution: The source mentions Shadman Productions as the production company behind “Naukar Wohti Da”, which gives some insight into how films were produced. The mention of films being “diamond jubilee” and “silver jubilee” hits implies a system of film distribution and box office success measurement.
- Evolution of Career: Mumtaz’s career demonstrates a transition from dance performances to supporting roles and eventually leading roles. Her return to acting after a 25-year break indicates a continued interest in the industry. She also transitioned to television later in her career, reflecting changing media landscapes.
- Social Commentary: The plot of “Naukar Wohti Da” seems to offer some social commentary on the changing dynamics of society, particularly with regard to women’s education and their social status. The movie addresses traditional arranged marriages and their relevance in changing social circumstances, and challenges the authority of elders over marriage decisions.
In summary, the sources reveal a vibrant Pakistani film industry with a diverse range of films, actors, and themes, that explores issues of forced marriage, social status and the changing roles of women in society. The industry has a rich history of music, dance, and dramatic storytelling.
Mumtaz: A Pakistani Cinema Icon
The sources provide a detailed overview of Mumtaz’s extensive filmography, highlighting her career in Pakistani cinema during the 1970s, 1980s, and 1990s. Here’s a breakdown of her work:
- Active Years: Mumtaz worked in films from 1971 to 1997, with a return to acting later in her career. After a break of 25 years, she resumed her acting career in films, and then later transitioned to television.
- Languages: She acted in both Urdu and Punjabi films, demonstrating her versatility and popularity in different regional markets. Her filmography also includes some Pashto films, showcasing the linguistic diversity of Pakistani cinema.
- Total Films: Mumtaz acted in a total of 202 Urdu and Punjabi films.
- Early Career:
- Her first film was Dil Aur Dunya (1971).
- She had a small role in Ehsaas (1972) and Umrao Jaan Ada (1972).
- Her dance performance in the Punjabi film Banarsi Thug (1973) to the song “Ankh Lari Badu Badi” made her famous overnight.
- Breakthrough: After Banarsi Thug, her social film Sidha Raasta (1974) became a diamond jubilee hit, establishing her as a popular actress.
- Lead Roles:
- Her first lead role was in Intezaar (1974), where she played a modern girl. The film became a silver jubilee in Karachi.
- Shortly after, she appeared as the main heroine in Shikaar (1974), playing a dumb girl.
- Dushman (1974), also became a golden jubilee hit at the end of 1974.
- Popular Films: Some of her notable films include:
- Pyaar Ka Mausam (1975)
- Mohabbat Zindagi Hai (1975)
- Jab Jab Phool Khile (1975)
- Amber (1978)
- Sheeshay Ka Ghar (1978)
- Dancing Roles: Dancing was a major part of her screen presence, with the song “Tut Turu Tara Tara” from Mohabbat Zindagi Hai being a particularly praised performance.
- Later Career: Her last film was Ghail (1997).
- Awards: Mumtaz won 5 Nigar Awards during her career:
- 1975: Best Actress for Jaadu
- 1978: Special Award for Haidar Ali
- 1979: Best Actress for Nizam Daku
- 1980: Best Actress for Sohra Te Jawai
- 1985: Best Actress for Dhee Rani
- Variety of Roles: Her filmography includes films across genres, showcasing her versatility as an actress. She played a variety of roles, from modern women to characters with disabilities. She also did numerous dance performances in her films.
- Television: She also transitioned to television, appearing in Star & Style Season 4 (2023).
In summary, Mumtaz had a very successful career in Pakistani cinema, and her filmography showcases her talent and versatility. Her work includes a wide array of roles in both Urdu and Punjabi films, and she is remembered for her dancing and dramatic performances, along with the many awards that she received during her career.
The Genesis of Bangladesh
The sources discuss the topic of Bengali separatism in the context of the separation of East Pakistan and the creation of Bangladesh. Here’s a breakdown of the key points regarding Bengali separatism, as presented in the provided text:
- Cultural and Linguistic Differences: The text highlights that while both East and West Pakistan shared Islam as a unifying force, significant cultural and language differences existed between the two regions from the beginning. These differences were consistently ignored, which led to feelings of marginalization among Bengalis.
- Language Crisis: A major issue that fueled Bengali separatism was the language crisis. Bengalis demanded that their language, Bengali, receive the status of a national language, but this was not agreed upon by the powerful figures in Pakistan. The imposition of Urdu as the sole national language was seen as a disregard for the cultural identity of East Pakistan.
- Economic Disparity: Bengalis felt that they were not getting their due economic share and that their issues were not being addressed by the government. They felt that the economic benefits and foreign exchange from resources in East Pakistan were primarily benefiting West Pakistan. This economic disparity contributed to their sense of being treated unfairly.
- Political Marginalization: The text mentions that Bengalis felt cornered. They believed that they were being politically marginalized, with the bureaucracy largely being run by people from West Pakistan. Bengalis felt that they were being treated as if they were inferior and incapable of running their own province or Pakistan itself. This resulted in a desire to assert their superiority.
- Shifting of Capital: The decision to shift the capital from Karachi to Islamabad, without considering the aspirations of the people in East Pakistan, served as a further source of grievance. The Bengalis had wished for the capital to be in Dhaka, but this did not happen.
- Six-Point Formula: A six-point formula was presented, which was similar to the demands of Sheikh Mujibur Rahman, that called for the bureaucracy of West Pakistan to be immediately called back from East Pakistan, and East Pakistan’s officers should be posted in East Pakistan. However, the people in West Pakistan and Khan did not accept the proposal.
- Discrimination: The text specifically mentions discrimination against Bengalis with the statement that a “four feet tall Bengali” could not join the army. This discrimination led to further feelings of alienation and the desire for separation.
- Desire for Superiority: The text indicates that when a group of people are made to feel inferior, they have a desire to feel superior. The Bengalis, feeling inferior to people in West Pakistan, wanted to prove their superiority, which further contributed to the separatist movement.
In summary, Bengali separatism was fueled by a combination of cultural, linguistic, economic, and political factors. The consistent disregard for the identity and grievances of the Bengali people in East Pakistan ultimately led to their desire for separation and the formation of Bangladesh. The text emphasizes that the failure to recognize and address the unique needs and desires of the Bengali population was a major contributing factor to the conflict.
Comparative Film Review: Naukar Wohti Da
This text is a film review by Zaheer Ahmad Nazrin of the Pakistani film Naukar Voti Da, comparing it scene-by-scene to an Indian film. Nazrin analyzes the acting, particularly Dharmendra’s performance, and discusses the film’s surprising success. He highlights the cinematic techniques and differences in the way the scenes are presented, arguing that the Pakistani film’s success surpasses expectations. The review also touches on the historical context of the film’s release and its long run at the Imperial Cinema in Rawalpindi. Finally, Nazrin contrasts the critical reception of the Pakistani and Indian films, noting a double standard in how they were perceived.
Film Analysis: A Deep Dive into Naukar Wohti Da and its Indian Counterpart
Quiz
Answer the following questions in 2-3 sentences each.
- What is the primary film being discussed in the source material, and what is its significance in the context of the speaker’s analysis?
- What is the name of the cinema in Rawalpindi where Naukar Wohti Da initially ran, and why is it significant to the discussion?
- Who directed Naukar Wohti Da, and who wrote its dialogues and story?
- According to the source, how does the success of Naukar Wohti Da compare to other films that ran at the Imperial Cinema?
- What are the names of the actors mentioned in the review who played roles in the Indian remake or comparison film?
- What specific scenes from both the original and the remake are compared and contrasted in the source material, and what aspect of the acting is the speaker focused on?
- What is the specific scene where the character played by Dharmendra had to “read at his mother’s feet,” according to the speaker, and why is this scene significant to the analysis?
- How does the speaker use the example of Om Prakash in his analysis of acting in the two versions of the scene?
- What does the speaker say about how people in Pakistan and India view each other’s film industries and the practice of making similar movies?
- What does the speaker say about Dharmendra’s own assessment of his work in the movie he made that was similar to Naukar Wohti Da?
Answer Key
- The primary film being discussed is Naukar Wohti Da, which is being analyzed in comparison to an Indian film with a similar story. The speaker emphasizes its significance as a major hit and a point of comparison in Pakistani and Indian cinema.
- The cinema was called Imperial, and it is significant because the film ran there for a long time (almost six months) which is the benchmark for a hit film, highlighting the film’s popularity in Rawalpindi and proving its success.
- Naukar Wohti Da was directed by Haider Chaudhary sahab; its dialogues were not written by Sheikh Abhishek Nyas and its story was written by Sheikh Iqbal.
- The source indicates that Naukar Wohti Da ran for 20 weeks at Imperial cinema, a rare feat. Usually, if a film ran for more than 10 weeks it was considered a superhit, so 20 weeks was highly unusual and signifies great success.
- The actors mentioned in the Indian remake are Dharmendra, who played the lead role of a Bajri; Anita Raj played Asia’s role; and Vinod Mehra played Habib. Om Prakash also appeared as Sakhi.
- The source primarily compares scenes where a dacoit character (first played by Kim, then by Dharmendra) visits his mother, focusing specifically on how each actor portrays the scene (fear vs. confidence) and the emotional depth, or lack of depth, in their performance.
- The scene where the character, played by Dharmendra, has to “read at his mother’s feet” is the one where he apologizes after removing his mask. This scene is crucial to the speaker’s comparison as he feels the actor does not do as well as the performer in the Pakistani version of the movie.
- The speaker uses Om Prakash’s portrayal in the Pakistani film as an example of a natural, authentic performance. He says that in the Indian version, the actor was trying too hard to be the character.
- The speaker believes that there is a double standard where India’s films are taken more seriously than Pakistan’s, even when they do the same thing. He finds the Pakistani film industry is made fun of unnecessarily.
- The speaker says that Dharmendra had acknowledged that he did not live up to the character the way he should have, and regretted that he didn’t perform the scene well.
Essay Questions
- Analyze the speaker’s methodology in comparing Naukar Wohti Da and the Indian film. What are the strengths and weaknesses of his comparative approach?
- Discuss the significance of the Imperial Cinema in the context of the film’s reception. How does the historical context of the cinema affect the analysis of Naukar Wohti Da‘s success?
- Explore the themes of cultural appropriation or adaptation presented in the speaker’s comparison of the Pakistani and Indian film industries. How does the speaker view the relationship between these industries?
- How does the speaker’s evaluation of the actors in Naukar Wohti Da and the Indian version reflect his views on the art of acting itself?
- To what extent does the speaker’s analysis rely on nostalgia and cultural pride? How does this influence his judgment of the films?
Glossary
Assalam waaleikum: A common Islamic greeting that means “Peace be upon you.”
Bajri: A character’s name, as well as a social class from some regions of India and Pakistan.
Dacoit: A member of a gang of robbers, in this context a bandit character type.
Aafat ki pudiya: A colloquial term (in Urdu) referring to a “pack of trouble” or someone who causes a lot of problems.
Maula Jat: A famous Pakistani Punjabi film that the speaker references because the actor, Dharmendra, was asked about it during an interview.
Pindi: A colloquial name for Rawalpindi, a city in Pakistan.
Simpu Simp: A nickname that is used for the character of the dacoit in the film.
Satyanashi: A derogatory term (in Urdu) that means to ruin or destroy something.
Zaheer: The name of the speaker in the source text.
Comparative Analysis: “Naukar Wohti Da” and its Indian Remake
Okay, here’s a briefing document analyzing the provided text, focusing on the main themes and key points:
Briefing Document: Analysis of Zee Entertainment Review
Source: Excerpt from a Zee Entertainment review (transcribed text)
Date: Not specified in source, but mentions the film’s release date as 26th July 1974.
Subject: Comparative film analysis of Pakistani film “Naukar Wohti Da” and an alleged Indian remake/copy.
Presenter: Zaheer Ahmad Nazrin
Main Themes and Key Ideas
- Plagiarism and Copycat Accusations: The central theme is the accusation that the Indian film industry copied the Pakistani movie “Naukar Wohti Da.” Zaheer Ahmad Nazrin repeatedly states that India “completely destroyed” the original film by creating a scene-by-scene copy. This accusation drives the entire review and comparison.
- Quote: “we had given a review of a movie 3 years ago with that scene by scene copy of that movie by India and we had told you how it was completely destroyed.”
- Detailed Scene-by-Scene Comparison: The reviewer doesn’t just make broad accusations; he meticulously breaks down specific scenes, comparing the acting, camera angles, and overall execution. He shows scenes side-by-side to illustrate his points. The focus is particularly on the scene where the “dacoit” (a robber) comes to his mother, and later how Dharmendra handles the scene in the Indian adaptation.
- Quote: “you can see both the scenes parallel and the purpose of showing this science is only that there are at least 15 angles of the camera, some dialogue, some little placement that He has grated some scenes of some characters from his side”
- Critique of Indian Adaptation: Zaheer is highly critical of the Indian version of the scene, especially Dharmendra’s acting. He contrasts it with the performance in “Naukar Wohti Da,” highlighting what he sees as a lack of authenticity and naturalness in the Indian film. He argues that Dharmendra’s portrayal was unconvincing and “over-acted” and that he didn’t do justice to the role. He emphasizes that the character was not a good fit for him.
- Quote: “there forgive me maa, it is clearly evident that it is not his personality, he just liked the film because he could make it, he made the film but you will see the difference in the way he ruled 17”
- Emphasis on the Success of the Original Pakistani Film: The presenter emphasizes the massive popularity of “Naukar Wohti Da” in its time, particularly its long run (20 weeks) at the Imperial Cinema in Rawalpindi. This highlights how well it was received in its region. He uses its success as a way of showing the level of talent that was present in Pakistani cinema at the time, and also to emphasize that the Indian remake was, in his eyes, inferior.
- Quote: “there is no such movie which ran in Imperial for 20 weeks, some 16 and side means If we see, a lot of films used to run in Lahore, Karachi, and in Pindi, if a film used to run for 10 weeks, I know about old films, then any film which ran for more than 10 weeks was considered a superhit”
- Nationalism and Cultural Pride: There’s a strong current of national pride throughout the review. Zaheer Ahmad Nazrin seems to take offense at the perceived plagiarism, viewing it as an insult to Pakistani cinema. He expresses the need to recognize the quality of Pakistani films, and not treat it as inferior to Indian productions.
- Quote: “we consider our chicken to be equal to dal and see that the Indian industry is very big, if he is doing the same scene, then we take it seriously that India is doing it, and if Pakistan had done the same scene before, then we try to make fun of it”
- Analysis of Acting Styles: The reviewer differentiates between the acting styles of Om Prakash (Indian) and the actor in the Pakistani version of the same role, and states that Om Prakash’s acting could not hold up to the acting in “Naukar Wohti Da.” He analyzes both the delivery, and the physical performance, concluding that it wasn’t just the words themselves, but the performance behind it that made the Pakistani performance better.
- Personal Anecdote and the Actor’s Regret: The reviewer mentions meeting Dharmendra and that Dharmendra expressed regret about the way he played the character in the Indian remake. This is used to further bolster the argument that the Indian remake was not as good as the original and that even the actor himself was aware of this.
- Quote: “I mean you are very grateful to me, but I could not do that character which I should have done, I also realized it later”
Key Facts & Information
- Film Title (Pakistan): “Naukar Wohti Da” (1974)
- Director: Haider Chaudhary
- Story: Sheikh Iqbal
- Release Date: July 26, 1974 (Imperial Cinema, Rawalpindi)
- Actors: Asia Mumtaz Shahid, Sheikh Iqbal
- Film Title (India – implied): Not explicitly named, but inferred to be a copy/remake starring Dharmendra, Anita Raj, and Vinod Mehra (likely also called “Naukar” or related name)
- Indian Actors: Dharmendra, Anita Raj, Vinod Mehra, Om Prakash, Pran
- Cinema: Imperial (Rawalpindi)
Conclusion
This review is not just a simple film critique; it is a passionate defense of Pakistani cinema and a harsh criticism of what the presenter views as an unacknowledged and inferior copy by the Indian film industry. The review uses the detailed comparisons and the alleged self-admitted failures of the Indian actors to bolster the argument that Pakistani films and actors of the time were of a very high caliber, and shouldn’t be overlooked simply because they come from a smaller industry. The reviewer’s nationalistic tone is evident, as is his clear disappointment in what he perceives as a lack of originality and an affront to Pakistan’s filmmaking efforts.
Naukar Wohti Da: A Pakistani Film’s Enduring Legacy
Okay, here’s an 8-question FAQ based on the provided text, formatted using markdown:
FAQ
- What is the main focus of the film review being discussed?
- The film review primarily focuses on a comparison between the Pakistani film Naukar Wohti Da (released in 1974, also sometimes referred to as Naukar Vote Da) and how the Indian film industry allegedly copied specific scenes and elements of the film, particularly with Dharmendra’s films. The reviewer also provides some plot elements from Naukar Wohti Da.
- Who directed Naukar Wohti Da and who wrote the story and dialogue?
- The movie Naukar Wohti Da was directed by Haider Chaudhary. The dialogues were written by Sheikh Abhishek Nyas, and the story was written by Sheikh Iqbal, who also acted in the movie.
- Why is the film Naukar Wohti Da considered significant?
- Naukar Wohti Da is considered significant because of its long run in the Imperial Cinema of Rawalpindi, running for 20 weeks. This is described as an exceptionally long run for any film at that time, even surpassing many hits in Lahore and Karachi. The reviewer suggests it was a massive hit and a benchmark for success in the local film industry.
- What are the key scenes and character comparisons made in the review?
- The review draws comparisons between how Pakistani actor Sharif played a dacoit being confronted by his mother and then apologising and how Indian actor Dharmendra played a similar scene. The reviewer believes that the Indian version lacks the natural emotion of the Pakistani version, calling Dharmendra’s acting unnatural. Other comparison points include Om Prakash’s performance vs. Dharmendra’s in a scene of being dismissed from a house by a grandfather and scenes of a servant interacting with his wife.
- How does the reviewer perceive the Indian film industry’s alleged copying of Naukar Wohti Da?
- The reviewer is critical of the Indian film industry’s alleged copying of Naukar Wohti Da. He views it as a sign of the Indian industry’s lack of originality and claims it proves the quality of the Pakistani film. He also criticizes how Pakistanis might readily acknowledge the quality of an Indian film while devaluing a Pakistani film that does the same.
- What is the reviewer’s take on Dharmendra’s performance in the supposedly copied scene?
- The reviewer believes Dharmendra’s performance lacks the authenticity and naturalness seen in the Pakistani version. He argues that Dharmendra’s acting in the scene appears forced and doesn’t fit his usual persona, implying he might have taken on the role only to make the film rather than because of the character. He states that Dharmendra himself acknowledged the limitations of the role in a later encounter.
- What other movie of Dharmendra is mentioned and how does it relate to the discussion?
- The reviewer mentions Dharmendra’s movie, “Naukar Bibi” where Dharmendra plays the role of Bajri, the role of Asia was played by Anita Raj and Vinod Mehra played Habib. Om Prakash plays Saki in this movie, a role also played by Pran. The reviewer suggests there is a relationship between the characters in this movie and the discussion around Naukar Wohti Da. He mentions Dharmendra doing the “Maula Jat” song, as being part of a similar trend.
- What is the reviewer’s overall message to the audience regarding Pakistani films?
- The reviewer urges viewers to be more appreciative of Pakistani films and not to dismiss them simply because they are from Pakistan. He emphasizes that Naukar Wohti Da‘s success demonstrates the potential of the local film industry and should be recognized. He advocates for a more balanced perspective when comparing Pakistani and Indian films, rather than automatically considering Indian films superior.
Naukar Wohti Da: A Comparative Film Review
This movie review focuses on a comparison between the Pakistani film Naukar Wohti Da and an Indian film, with a particular emphasis on how similar scenes were handled.
Here are the key points of the review:
- The Pakistani film Naukar Wohti Da was directed by Haider Chaudhary, with dialogues not by Sheikh Abhishek Nyas and a story by Sheikh Iqbal.
- The movie Naukar Wohti Da was released on July 26, 1974, and ran for an extended period of 20 weeks at the Imperial Cinema in Rawalpindi.
- The reviewer notes that in the past, a movie running for 10 weeks was considered a superhit, thus highlighting the success of Naukar Wohti Da.
- The review compares a scene from Naukar Wohti Da with a scene from a Bollywood movie, noting similar plot points. The reviewer does not mention the name of the Indian film.
- The reviewer discusses how the actors, in particular Dharmendra in the Indian version and an actor in the Pakistani version, played the scenes.
- In the Pakistani film, the character is a dacoit who initially appears threatening to his mother, but the reviewer notes that he displays a natural performance.
- In the Bollywood film, the reviewer suggests that Dharmendra’s portrayal in the corresponding scene felt forced and was not as natural as the Pakistani actor’s.
- The reviewer points out that Dharmendra himself admitted that he did not do the character as well as he should have.
- The review also touches on how some people tend to criticize Pakistani films even without seeing them, while praising similar content from the Indian film industry.
- The review suggests that the success of Naukar Wohti Da proves how good the film was despite some people making fun of it.
- The reviewer presents a side-by-side comparison of the scenes, analyzing camera angles, dialogue, and character placement.
- The reviewer implies that the way Dharmendra played the scene did not match his level of skill, and he just made the film because he could make it.
- The reviewer believes the Pakistani film’s acting was more polished and nuanced.
The reviewer emphasizes that the comparison is meant to highlight the quality of the Pakistani film and challenges the notion that Indian films are automatically superior.
Naukar Wohti Da: A Comparative Film Analysis
The film comparison focuses on the Pakistani film Naukar Wohti Da and an unnamed Indian film, drawing attention to the differences in how similar scenes were portrayed. The reviewer uses a scene-by-scene comparison of the two films to illustrate the strengths of the Pakistani film, Naukar Wohti Da.
Key aspects of the film comparison include:
- Scene Analysis: The reviewer highlights a specific scene where a character, disguised as a dacoit, interacts with his mother. In the Pakistani film, the reviewer suggests that the character’s portrayal was natural and convincing. In contrast, Dharmendra’s performance in the Indian film felt forced, lacking the naturalism seen in the Pakistani version.
- Acting Styles: The review emphasizes the difference in acting styles between the two films. The Pakistani actor’s performance was considered more polished and nuanced. Dharmendra, who played a similar role in the Indian version, admitted that his portrayal was not up to par. The reviewer believes that Dharmendra’s performance did not suit his standard and that he only made the film because he was able to.
- Camera Angles and Dialogue: The reviewer mentions the use of camera angles, dialogue, and character placement as part of the analysis, suggesting a detailed comparison.
- Nationalistic undertones: The review emphasizes that despite the success of Naukar Wohti Da, some people dismiss Pakistani films without viewing them, while celebrating similar content from the Indian film industry. The reviewer implies that this comparison is meant to highlight the quality of the Pakistani film and challenge the notion that Indian films are always superior.
- Historical Context: The review notes that Naukar Wohti Da was a major success in its time, running for 20 weeks at the Imperial Cinema in Rawalpindi, which was a very long run at the time. This context underscores the film’s popularity and quality, despite the negative views of some critics.
- The reviewer also compares the performances of Om Prakash and another actor in the same scene, stating that Om Prakash’s acting was better and more polished.
- The comparison also notes that the Pakistani film was made earlier, but the Indian film took the same scene and did not execute it as well.
Ultimately, the film comparison aims to showcase the quality of Naukar Wohti Da by comparing it with a similar film from the Indian film industry, highlighting the nuances in acting, directing and character development.
Bollywood’s Inferior Copy of Naukar Wohti Da
The review discusses how a Bollywood film copied a scene from the Pakistani film Naukar Wohti Da, and then did not execute it as well as the original.
Here’s a breakdown of the “Bollywood copy” aspect:
- Scene Replication: The reviewer explicitly states that the Indian film copied a scene from Naukar Wohti Da. This scene involves a character, disguised as a dacoit, interacting with his mother. The review presents a side-by-side comparison of the two scenes.
- Inferior Execution: The reviewer argues that the Bollywood version of the scene was inferior to the original Pakistani version. Specifically, the acting in the Bollywood copy, particularly by Dharmendra, was considered less natural and more forced compared to the Pakistani performance.
- Dharmendra’s Admission: The review mentions that Dharmendra himself acknowledged that he did not perform the character as well as he could have. This admission supports the reviewer’s assessment of the Indian film’s execution of the scene.
- Acting Style: The reviewer emphasizes that the acting style in the Pakistani film was more polished and nuanced, whereas the Bollywood version seemed less refined.
- Camera Angles and Dialogue: The reviewer uses the analysis of camera angles, dialogue and character placement to further support the argument that the Bollywood version of the scene was poorly executed.
- Nationalistic undertones: The review uses this example of a Bollywood copy to highlight a tendency to unfairly criticize Pakistani films while praising similar content in Indian films. The reviewer also notes that there is a tendency to take Indian films more seriously even when the content is copied from Pakistani films.
In summary, the review suggests that the Bollywood film not only copied a scene from Naukar Wohti Da but also failed to match the quality of the original in terms of acting, direction, and overall execution.
Pakistani Cinema: A Comparative Review
The provided source material focuses on a review of the Pakistani film Naukar Wohti Da, using it as a basis to discuss several aspects of Pakistani cinema, particularly in comparison to Bollywood.
Here’s a breakdown of the key points about Pakistani cinema that can be gleaned from the review:
- Quality of Filmmaking: The review suggests that Pakistani cinema is capable of producing high-quality films, using Naukar Wohti Da as a prime example. The reviewer highlights the film’s success, noting it ran for 20 weeks in Rawalpindi, a feat that was considered exceptional at the time. The reviewer also praises the acting in Naukar Wohti Da as more natural, nuanced, and polished than the acting in the Bollywood copy.
- Originality: The review implies that Pakistani cinema can produce original content, as the scene in Naukar Wohti Da was copied by an unnamed Bollywood film. This suggests that Pakistani filmmakers had innovative ideas that were later adopted by the Indian film industry.
- Underrated: The review suggests that Pakistani cinema is often unfairly criticized and dismissed, even when it produces quality content. The reviewer points out a tendency to praise similar work in Indian films, while disparaging Pakistani films without even watching them.
- National Identity: The reviewer uses this comparison as a way of promoting Pakistani cinema and its contributions, and as a way of challenging the assumption that Indian cinema is always superior.
- Audience Reception: The review notes that Naukar Wohti Da was very well received by the audience, which indicates that Pakistani films can be successful and popular within their own country. The success of Naukar Wohti Da is presented as proof of its quality, despite some people making fun of it.
In summary, the review of Naukar Wohti Da provides insight into Pakistani cinema, highlighting its potential for quality, originality, and success, while also noting the challenges it faces in terms of unfair criticism. The comparison with a Bollywood copy underscores the reviewer’s argument that Pakistani cinema is worthy of recognition and respect.
Dharmendra’s Performance in Bollywood’s “Naukar Biwi Ka” Copy
The review of Naukar Wohti Da includes a critique of Dharmendra’s acting in a Bollywood film that copied a scene from the Pakistani movie. Here’s a breakdown of the reviewer’s comments on Dharmendra’s performance:
- Forced and Unnatural: The reviewer suggests that Dharmendra’s portrayal of a dacoit in the copied scene felt forced and was not as natural as the Pakistani actor’s performance in Naukar Wohti Da.
- Lack of Nuance: The reviewer notes that Dharmendra’s acting lacked the nuance and polish that was present in the Pakistani film’s acting.
- Self-Admitted Shortcoming: Dharmendra himself admitted that he did not perform the character as well as he could have, which supports the reviewer’s assessment of his performance.
- Mismatched Standard: The reviewer believes that Dharmendra’s performance did not suit his standard and that he only made the film because he was able to. The reviewer implies that Dharmendra should have realized that the role was not a good fit, given his acting abilities.
- Comparison with Pakistani Actor: The reviewer makes a direct comparison between Dharmendra’s acting in the Bollywood film and the performance of the actor in the Pakistani film Naukar Wohti Da, highlighting the difference in quality and naturalism. The reviewer repeatedly emphasizes that the Pakistani actor gave a more nuanced and natural performance.
- Scene Analysis: The reviewer contrasts Dharmendra’s acting with the acting in the Pakistani version through a scene analysis, citing specific actions and expressions. The reviewer also notes that the way Dharmendra performed the scene did not match his level of skill.
In summary, the review portrays Dharmendra’s acting in the Bollywood copy as a failure compared to the original performance in Naukar Wohti Da, noting that his performance was forced, unnatural, and lacked the nuance of the Pakistani actor.
By Amjad Izhar
Contact: amjad.izhar@gmail.com
https://amjadizhar.blog
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