Daily Times

Rafiq Ali, known as Master Rafiq Ali in the film world, a Pakistani music composer composed from 1958 to 1987 a total of 62 songs for 26 films; 32 songs in 15 Urdu films and 30 songs in 10 Punjabi films. 1980s was perhaps the last decade when Pakistani film industry produced melodious music. Back then, the ingredients of the three pillar of composing music; music composer, poet and singers were made best use of to create finest melodies.

Ishtiaq Hussain, a musicologist settled in Sweden summarises this situation as ‘a film song was a product of the collaboration between three principal protagonists: a music director, a singer and a lyricist. Two of these; the singer and the lyricist or poet – have been very much a part of indigenous culture in all its classical, regional and folk variations even before the advent of films. The institution of music director, on the other hand, was borrowed from the West. In our indigenous tradition, a musician (a singer or an instrumentalist) would lead a live performance while others provided the accompaniment. In a film song, however, the music director became the core player. He created a tune to which either an existing piece of poetry was adapted or a lyricist wrote new verses and then a singer, or singers, sang the song. The music director would also decide the arrangement and order of instruments to be used in the recording of a song’.

Rafiq Ali was one among the second generation of music composers in Pakistan. He appeared when Khwaja Khursheed Anwar, Master Inayat Hussain and Rasheed Attre were ruling this domain of art. Music Composers Baba Chishti and Feroze Nizami were on their last leg of beautiful work they were creating. Rafiq Ali was there all set for tough competition in the presence of these giants. I do not how well he succeeded but his sizeable number of films and some popular songs rated him one among the melodious music composers of its time.

1980s was perhaps the last decade when Pakistani film industry produced melodious music. Back then, the ingredients of the three pillar of composing music; music composer, poet and singers were made best use of to create finest melodies

Film ‘Choomanter’:

Rafiq Ali came to limelight through his first film ‘Choomantar’ in 1958 starring Nurjehan who was singing only for the movies she acted in, in those days. Her songs ‘Aini Gal Dus Deyo Nikke Nikke Tareyo’, ‘Akhian Vei Raatien Saun Na Daindiyaan’ and ‘Vei Tun Ki Jaanein Beqadara Qader Mere Pyar Di’ were immensely popular because of typical Punjabi folk-culture treatment imparted by Rafiq Ali to the lyrics. Then Nurjehan was very pretty and was in full bloom.

Actor and singer Zarif and singer Zubeda Khanum rendered the famous song ‘Bure Naseeb Mere Vairi Hoya Pyaar Mera’ both in sole and duet formats in this film. Critics feel that ‘Choomanter’ was good movie but did not match the standard of Nurjehan directed movie ‘Chan Vei’ or ‘Nooran’ (music by Safdar Hussain). Movies ‘Choomanter’ and ‘Patay Khan’ (music by Akhtar Hussain Akhian), despite top quality Nurjehan songs, lacked luster as the scripts were loose.

In ‘Choomater’ there are many superfluous characters and comedy is unwarranted. Both films can be watched for just for Nurjehan’s spontaneous acting and her songs. If you watch just her songs, you shall get the money worth of it. The film ‘Choomanter’ starred Aslam Parvez, Laila, Zarif, Salim Raza, Ghulam Muhammad and Gul Zaman besides Nurjehan. It is stated on google that Nurjehan is the google’s ‘darling doode’. Madam is the Marilyn Monroe of East as dubbed by google! In fact she is far more successful as she lived much longer than Monroe and has an infinite treasure to her artistic achievements!?

Site Upperstall says ‘This 1958 Pakistani film, made in Punjabi and directed by Mushtaq Hafiz, is an extremely tacky and a pretty blatant yet bland copy of the silly though entertaining Indian Hindi film also called Chhoo Mantar (1956), directed by M Sadiq and starring Johnny Walker as the hero-comedian.

This did, however, prove to be extremely popular in Pakistan’. The gist of the story and analysis of Pakistani version is ‘Zarif, an extremely popular comedian of Pakistani films, takes on the Johnny Walker starring role from the Indian original, the great Nurjehan steps into Shyama’s shoes, Aslam Pervez plays Karan Dewan and Laila takes on Anita Guha’s role. So, as in the original, we have Sultan aka Taan (Zarif) thrown out of his village for flirting with and distracting the women there. In his wanderings, he spies and falls in love with a rich Nawab’s daughter, Seema (Laila), who also reciprocates his love. Seema’s father has him beaten up repeatedly and finally gets him thrown into the river in a sack, as he does not approve of the romance. Zarif, however, is saved by a poor fisherwoman, Naaji (Nurjehan), who becomes his ‘sister’ and who herself is in love with the wealthy landlord’s son, Jameel (Aslam Pervez).

However, events lead to Jameel’s marriage getting fixed to Seema. In its making, Chhoomantar is typical of Pakistani filmdom of the time – just about finding its bearings but still struggling in the shadow of its Indian counterpart due to lack of resources, both technical and monetary.

Admittedly, where the Pakistani film industry got their act together right from the beginning has been their music. Here too, with Nurjehan in command behind the microphone, Rafiq Ali’s music is by far the best thing in the film.

Other films:

In 1959, Rafiq Ali’s film ‘Bacha Jamura’ was noticed for including Alam Lohaar’s ‘Jugni’ but with new lyrics by Hazeen Qadri. The crooners accompanying Nurjehan were Inayat Hussain Bhatti and Naseem Begum. Munir Hussain’s ‘Dil Cheer Kei Bana Leya’ went unnoticed. In 1965, Rafiq Ali’s film was ‘Raqasa’ with Munir Hussain’s song ‘Chorr Dei Haath Mera’, a duet with Tahira Naseer. Film ‘Dara’ in 1968 had a duet ‘Yei Mausam Yei Raat’ sung by Munir Hussain and Irene Parveen.

Director Aslam Dar booked Rafiq Ali for his film ‘Aakhri Chattan’ in 1970. Cast was Muzaffar Adeeb, Nasullah Butt, Sultan Rahi, Rani, and Tarana. Film was produced by Mian Mushtaq and Musheer Kazmi wrote Mala’s song ‘Hum Hain Deewane Tere, Ashiq Parwane Tere’ in chorus format. The song has been filmed on Rani’s dancing for perhaps bandits with Tarana sitting on a dais. The audience participates by singing and clapping. Mushir Kazmi penned the lyrics. Those were the golden days of Pak film industry, when we had the most handsome actors and actresses, most creative directors and talented musicians dedicated to this industry expect that we lacked technical input; machinery, developing, editing, sets etc. Still the struggling industry made best of whatever was available as it had brains; directors, writers, lyricists, singers and music composers.

‘Mujrim Kaun’:

Famous international personality Zia Muhauddin was selected as hero of the film ‘Mujrim Kaun’ in 1970. Rozina, Nasarullah Butt, Adeeb and Kamal Irani were co-actors. Produced by Qamar Butt and directed by Aslam Dar, the film had music by Rafiq Ali. The film was released on January 30, 1970. Nurjehan’s song ‘Mere Mehboob Mere Pyaar Kei Qabil Tu Hei’ and Ahmad Rushdi’s song ‘Honton Pei Tabasum Nazar Hei Sehmi Sehmi Si’ with Mala were discerned from this film. After spending time and getting fame in international films, Zia Muhauddin’s dance and running on rocks in mountains after Rozina in Waheed Murad’s style indicated his adaptability of Pakistani Cinema. However, it seemed that whatever he did was not his ballgame.

The film flopped. Zia was a Lyallpuri guy. He was born in 1933. He went to England at a young age where he polished his accent and acting abilities in Royal Academy of Dramatic Arts from 1953 to 1956 in London. Following important stage roles in “Long Day’s Journey into Night” and “Julius Caesar” in 1b957, he made his West End debut in ‘A Passage to India’ in 1960. He made his film debut in ‘Lawrence of Arabia’ in 1963, playing the role of Tafas (the Arab guide who is shot by Omar Sharif for drinking water from the wrong well.). He then made numerous TV and film appearances, and starred as Dr. Aziz in the 1965 BBC television version of ‘A Passage to India’. Other classic films followed with supporting roles in Behold a Pale Horse (1964) and Khartoum (1966). According to available information, Zia returned to Pakistan on the request of the Bhutto regime in the late 1960s and set up the PIA Arts and Dance Academy, which received critical merit for it’s classical as well as folk dances and music. Highly critical of the political regime, he returned to England after a decade’s stay and resumed his career there, appearing in the highly touted miniseries “The Jewel in the Crown” (1984), among others. He has since traveled the world promoting his Urdu poetry and prose recitations to international acclaim. Around this time he married the famous Kathak dancer Naheed Siddiqui in 1973 (she is presently back in UK after getting divorce from Zia and works as a classical dancer in UK). It was during this time that he presented ‘the Zia Mohyeddin Show’ at Pakistani Television. Hence, Zia became the voice of Pakistan’s first talk-show host. It is said that Zia Mohyeddin Shows were a cue for the beginning of the stage shows on television in Pakistan and gave birth to many hosts and comperes. Despite his subsequent absence from the country, his famous “Theka” and “Shakira Ki Maan Yei Boli, Apni Larki Kei Liye Bur Chaheye” in his singing voice, is still fresh in the minds of millions of Pakistanis.

Subsequent films:

Rafiq Ali’s recorded seven songs for 1970 Punjabi film ‘Laralappa’. Masood Rana sang ‘Dhalda Parchaanwaan’ (poet Hazeen Qadri) and ‘Ajj Geet Khushi Dei Gaanwaan’ (poet Tufail Hushiarpuri). Actors were Nasira, Mazhar Shah and Munawar Zarif. Songs ‘Sanu Ishq Di Pattari Wich Pa Belia’ was rendered by Naseem Begum and ‘Laralappa, Way Laralappa Lawin Na’, ‘Ghum, Mahi Dei Vichore Waala Sehna Paya’, ‘Asaan Chori Chori Akhaan Vich Hasana’ and ‘Kar Muaaf Meri Taqseer’ by Mala. Singers of the song ‘Shawa Run Nakhatu Di, Ni Wah Wah Run Nakhatu Di’ were Irene Parveen and Nazir Begum.

Success of film Dillagi:

1974 film ‘Dillagi’ was a success story for Master Rafiq Ali. The film and the songs were hit. Mujeeb Alam’s song ‘Mujhe Jaan Sei Bhi Pyara Mehboob Mil Gaya Hei’ with Nurjehan is even hummed today after more than four decades. Poet was Bashir Khokhar. This movie starred Shabnam-Nadeem. Nurjehan’s songs ‘Dillagi Main Aisi Dil Ko Lagi Keh Dil Kho Gaya’ became hit penned by Riaz ur Rehman Saghar. Nurjehan rendered another song ‘Saiyyan Anari Mere Dil Ko Jaleye Re’ which was filmed on dancer Nimmo.

It was Khawaja Parvez-penned song. One must not forget the popular duet ‘Saath Hamara Choote Na, Yaad Rahe Yei Baat’ rendered by Nurjehan and Mehdi Hassan filmed on Nadim and Shabnam. Mehdi Hassan’s solo ‘Hum Challe Iss Jehan Sei, Dil Uth Gaya Yehan Sei’ is a heartbreaking song and a popular one too. Another heartbreaking song is ‘Murjhae Hue Phoolon Ki Qasam, Iss Dais Main Phir Na Aaun Ga’ rendered by Masood Rana. He also sang Musheer Kazmi-penned song ‘Aa Laga Kar Chupne Waale, Sun Mera Afsana’ filmed on Nadeem. The support cast comprised Nayyar Sultana, Lehri, Aqeel, Talish, Rehan and guest artist Sultan Rahi; a respectable cast. It was Aslam Dar’s directed movie. Writer was Aziz Meerthi and songs were penned by Mushir Kazmi, Khwaja Parvez, Riaz ur Rehman Saghar and Basheer Khokhar. Cameraman was Saeed Dar. It was a platinum jubilee film in Karachi Circuit.

Saiyyan Anari:

The year 1976 brought good luck to Master Rafiq Ali when he bagged another Aslam Dar directed movie ‘Saiyyan Anari’. It was a Shabnam-Nadim starrer movie which ran for silver jubilee (26 weeks) in Karachi.

Master Rafiq Ali’s Urdu film was ‘Maut Meri Zindigi’ in 1979 when he used Mahnaaz’s voice for the song ‘Juda Kare Na Koi Tere Ashiyane Sei’ with Masood Rana. The leading pair was Neelo and Asif Khan. Aqeel Ruby wrote ‘Yaar Nei Khat Bhaija Hei’ for singer Mahnaaz in this film. Chori Chori Saiyyan Tu Nei Likha Tu Nei Likha Mera Naam Re’ was duet by Mahnaaz and A. Nayyar. Afshan rendered ‘Raat Kei Haath Main Jaam Hei’ with Mala. Song ‘Pabb Main Ghungroo Baandh Kei Naache’ was Mahnaaz’s forte.

Another Urdu film ‘Dil’ in 1981 appeared with Akhlaq Ahmad and Ghulam Abbas with the song ‘Gar Humsafar Ho Yaar Tau Gulzar Hei’. The latter’s solos were ‘Tujh Sei Shikwa Kiya Nahi’ and ‘Yei Aap Ki Mehfil Hei’.

Punjabi Films:

Rafiq Ali’s 1975 Punjabi movie was ‘Ustad’. Khwaja Parvez and Warris Ludheyanvi were the lyricists. Mehdi Hassan’s songs ‘Kahnu Chori Chori Saday Kolun Nasday O’, ‘Saday Leikhan Nay Waar Chalaya’ and ‘Main Tethaun Door Reh Kei’ were noticed. Singers Parvez Mehdi and Afshan rendered a duet ‘Tera Takna, Mera Rukna, Aiho Pyar Aei’. It was Khwaja Parvez’s penned song. Tasawur Khanum sang ‘Sohna Takeya Haseya Muhabbat Ho Gai’. Afshan rendered ‘Teinu Karni Aa Pyar Way Meray Hania’. Nahid Akhtar and Afshan rendered Warris Ludheyanvi’s song ‘Jadun Di Jawani Aayi, Rehni Aan Heeran Ni’ in duet format. In 1983 Rafiq Ali gave music for the movie ‘Mirza, Majnu Ranjha’. Songs were rendered by Nurjehan, Shaukat Ali, Masood Rana and Nahid Akhtar.

Music wise Master Rafiq Ali was both failure and success story. He was tuneful and melodious as can be seen from the songs referred to above. Unfortunately if the film failed so did the music die with it however good it may have been?

It is a pity that not much information is available on music composers of the caliber of Master Rafiq Ali about their demise and remembrance by any music organizations in the country.

Published in Daily Times, April 29^th 2018.