1971 was not a very good year for Pakistan. Fighting their third war with India, the Generals, who had grabbed power more than a decade earlier, managed to lose half of the country’s territory and nearly half its population in a matter of a few weeks.
1971, on the other hand, was a very good year for the fledging country that emerged out of the debacle, Bangladesh.
Away from the battlefields and political humiliation that saw the military pushed back to the barracks and the capture of tens of thousands of prisoners of war, the Pakistani cinema industry had been enjoying a pretty neat run.
Indian films had been banned several years earlier which, regardless of your views on such policies, had enlivened the local, Lahore and Karachi based industry. A Golden Age had dawned. Between 1968 and 1971 the country was releasing over a hundred films a year, many of them of a comparable quality to those produced in Mumbai.
Fans had a whole galaxy of stars to admire. Directors were innovating and pushing the envelope with ventures into science fiction and horror. A more liberal, capitalist oriented economy allowed the music studios access to new instruments and better equipment than their socialism-constrained peers in India.
But then the war came along.
Many of the top creative minds (directors, critics, actors, singers, music composers) were Bengali and in a dramatic repeat of 1947, they were forced to choose sides: stay on in Lahore or help build a new industry in Dhaka.
The blow was huge. But the story of Lollywood is as much one of resilience as it is of art. Losing half the market was a challenge but not fatal. Much of Bengali talent continued on, though moving now between the two countries.
The Golden Age of Pakistani films continued for half a decade or more and was eventually ended by a combine of economic and political factors that included the re-emergence of the military into affairs of State.
Today the skies over Lollywood are brighter. Fine films are again being produced and the audience is slowly coming back to the cinemas. This is reason for excitement!
The album we share today was released in 1971, that Fateful Year. It captures Pakistan’s greatest, most beloved popular artist in her full glory singing hits from films the Golden Age.
Noor Jehan, of whom much has been written, was not Pakistan’s pride and joy alone. In a career that had all the characteristics of a rocket shooting toward the highest heavens, Noor Jehan was on track to be one of the biggest actor/singers in Indian cinema. But with the Partition, she opted to return home to Punjab. Without doubt, her decision to do so provided the devastated Lahore film industry with just the artistic gravitas it required to recover. As an actor, director, singer and icon her presence and commitment to film making inspired others to keep going and allowed the Golden Age to emerge.
This is a wonderful collection of hits from films released between the mid-1960s and 1970. Noor Jehan was by this stage only a singer. Her acting career had been ended by dictat of her second husband. And it really is for her voice that Madam is most loved and revered.
There are so many nuggets of joy in here. Kutch Log Rooth Kar, Abhi Dhoondh hi Rahi and Mujhe Chand se Dar are my favorites. The lively musical arrangements of Mujhe Chand are simply delightful. Madam’s voice is at its peak. The record company proclaims 12 moods. That may be so, but each performance is commanding and assured.
Enjoy this slice of Golden light.
01 Kutch Log Rooth Kar [Andaleeb]
02 Bay Iman Rasiya [Jalwa]
03 Khath Par ke Ab Dil [Insaan aur Aadmi]
04 Aey Kash Mere Lab Pe [Head Constable]
05 Bain Kare Mera Pyar [Lakhon Mein Ek]
06 Abhi Dhoondh hi Rahi [Bewafa]
07 Mujhe Chand se Dar [Qatal ke Bad]
08 Kahan Ratiyan [Aurat]
09 Main ne Ek Aashiyan [Rim Jhim]
10 Man Mandir ke Devta [Lakhon Mein Ek]
11 Gunghunati Huvee [Naya Savera]
12 Lat Uljhee Suljha [Sawal]