“Subha subha ik khwaab ki dastak par darwaaza khola, dekha Sarhad ke uss paar se kuch mehmaan aaye hain, Aankhon se manoos they saaray, Chehre saaray sune sunaaye,” this is what the Indian poet Gulzar says and in many of his other poetic pieces too, tries to dissolve the barriers between Pakistan and India. Recently, the literati of both the countries have adopted a similar stance in an attempt to produce an insightful work on “Ijazat”, a film which Gulzar wrote and directed in 1987. The Indian subsidiary of Harper Collins publications and Mira Hashmi, a film instructor and critic from Pakistan have collaborated to produce a book titled “Gulzar’s Ijazat: Insights on the Film”, a part of the trilogy providing critical evaluation of Gulzar’s three important films, the other two besides “Ijazat” being “Angoor” and “Aandhi”, in order toacquaint people with his cinematic journey. Mira Hashmi, the contributor from Pakistan was interviewed by Daily Times in a room washed in pale sunlight, which entered after filtration through a large window facing a lawn. Having sofas upholstered in fabrics containing eastern designs, the room also incorporated a book-shelf running the length of its front wall, holding books arranged in an orderly manner. Each rack had a Buddha, signifying peace, and it was in this serene setting that Hashmi, who has been teaching film studies at various universities of Pakistan for twenty years, told that she has a predilection for older films, be they from any part of the world. Talking specifically about Gulzar, she said, “In Gulzar’s case as well, I was more inclined towards his films from the 70s and early 80s, such as “Kinara”, “Khushboo”, “Mere Apne” and “Angoor”, the last being one of the best comedies produced by Bombay. However, after watching “Ijazat” over and over again in order to write on it, I started admiring it more than before.” Hashmi considers it a blessing that ‘Ijazat’ fell into her hands instead of the other two films, for her conversations with the performers who acted in the film in their youth provided rich and authentic material to the book Hashmi considers it a blessing that “Ijazat” fell into her hands instead of the other two films, for her conversations with the performers who acted in the film in their youth provided rich and authentic material to the book. When asked if this book will blur the borderlines, something which Gulzar pines for, the critic said, “There is something special about cross-border exchanges, be they of any kind. In the case of Pakistan and India, the kind of feelings evoked are always different than the feelings that might engender in a project with America, for it is with India that we share a similar language, a similar culture and much more. Even unintentionally, an extra substance is lent to such projects.” She also maintains that an attitude such as that of Gulzar does not necessarily have to be labelled as “anti-partition”. It is the massive violence which ensued that can upset any empathetic person. It is the atrocity more than the division which is lamented by sensitive people like Gulzar. From Gulzar’s work, which enters the realms of poetry, short story and film, Mira Hashmi admires his dialogue-writing the most. “His dialogue-writing is something which is not as much discussed as his poetry. While I interviewed Gulzar, I raised questions that had more to do with dialogues and less to do with the songs, which was something he admired. He says that people hardly ask him about his dialogues.” This does not mean, however, that Gulzar is not to be appreciated as a lyricist, for his position among the top five lyricists cannot be eschewed. According to Hashmi, his poetry is modernist and simple yet profound. When asked about her favourite songs from the concerned film i.e. “Ijazat”, it became difficult for her to decide, and she responded in the following words, “Each song has a different aura attached to it. “MeraKuch Samaan” and “Khaali Hath Shaam Aayi Hai” might sound similar, but the sense of melancholy that pervades the former is entirely different from the melancholic effect exuded from the latter. The former is an expression of a girl, and the latter of a woman. The genius of Gulzar is latent in the two songs which present two characters’ varying moods, perspectives and ages. As far as “Qatra Qatra” is concerned, it has a happy beat to it but at times, an uncertainty erupts in the lyrics, raising questions about the character’s future.” While the book has been launched in India, in the cities of Delhi and Bombay, it will be launched in Pakistan in the city of Lahore at Faiz Ghar, which stands in Model Town. The hour-long ceremony will be moderated by the actor and director, Sarmad Khoosat, and will hopefully entice the fans of Gulzar as well as of Mira Hashmi, whom people remember for her acting in the sitcoms, “Family Front” and “Teen Bata Teen”. The writer is a freelance journalist and can be reached at m.ali_aquarius85@yahoo.com