Late Pak giant Faiz’s Lahore-based daughter, Salima Hashmi, laments father’s film dropped from city’s top fest as organisers quickly buckle under pressure
Mohar Basu (MID-DAY; October 18, 2016)

Jago Hua Savera (The Day Shall Dawn), a 1958 Urdu-Bengali semi documentary, was to be shown as part of the ‘restored classics’ section of the annual film festival. Directed by A J Kardar and written by revolutionary Urdu poet Faiz Ahmed Faiz, the film was screened at the Cannes Film Festival earlier this year.

Reacting to the organisers’ decision to cancel the screening at the last minute, Faiz’s Lahore-based daughter, writer-artist Salima Hashmi remarked rather sarcastically, “The news just made me smile. This film was released in 1958. My father never attended the film’s premiere, because he was in jail at the time.” Due to his opposition to the government and military dictatorship, Faiz had spent several years in prison and was forced into exile at different points in his career.

Hashmi, 74, added, “Most of Jago Hua Savera’s cast was Pakistani, except the leading lady, Tripti Mitra, who was from Kolkata. This film was revolutionary, since it brought together people from three countries of the sub-continent. That, in itself, bears testimony to what the film stands for. Banning Faiz’s film now doesn’t make much of a difference anymore. It is a story of present-day Bangladesh and the region has changed a lot since; new countries have flourished. We forget that art is forever and there can be no boundaries to it. I am not disheartened. The film has lived its fate, but I feel sorry Mumbai will be deprived of it.”

Anjum Taseer, son of the film’s producer Nauman Taseer, had incidentally worked hard to get the film restored. During an interview at the Cannes screening last May, Anjum had said, “It was Pakistan’s first neo-realist film and one of its kind. I found its original prints in London and Paris, and it could only be restored in 2010, 14 years after my father passed away. This film is about hope and that’s all we humans have.”

The film was set against the backdrop of a small fishing village in East Pakistan (now Bangladesh) where everyone dreams of just one thing — owning a boat.

Despite repeated attempts, MAMI chairperson Kiran Rao remained unavailable for comment.

Javed Akhtar on the unofficial ban on Pakistani artistes in Bollywood
Subhash K Jha (DNA; October 5, 2016)


He says, “The situation is indeed serious and requires drastic measures. Look around you, what one constantly gets to see are terror attacks. Be it in Pathankot, Mumbai or Uri… we always find Pakistan’s name being linked to terror in our nation.”

He sees the necessity for cultural exchanges between the two countries, but adds, “India has always been most gracious and welcoming of Pakistani artistes. Whether it is singers, writers or poets, we’ve always shown them the utmost warmth.” He recalls Pakistan’s pre-eminent poet Faiz Ahmed Faiz’s visit to India. “He was treated by Prime Minister Atal Bihari Vajpayee like a head of the state. But this sort of hospitality and privilege has not been given to an Indian artiste in Pakistan, not even to Lata Mangeshkar!”

Javed wonders why Lata has never been able to visit the neighbouring country. “They adore her in Pakistan. Why has she never been able to visit Pakistan for even one concert? It’s because it is very difficult for the establishment in Pakistan to accept that an Indian singer could be so popular in Pakistan.”

He feels the cultural relations between the two countries have always been lopsided. “And now, at this time when the relations between the two countries have hit a new ebb, the lopsided cultural exchange between the two countries makes us Indians uncomfortable. More and more Indians are questioning our open-arm policy to Pakistani visitors when all we get are terror attacks in exchange.”

But, he also adds, “We must draw a distinction between the Pakistani establishment and the public. The Pakistani public loves Indian entertainers, be it actors or singers. If there are no public performances by Indian artistes in Pakistan, is it the public that is responsible? Or is it the establishment? Not at all! Given half a chance, the Pakistani public would warmly invite Indian artistes. But the establishment would not allow it. Poets like Ali Sardar Jafri, Kaifi Azmi and writer K A Abbas were warmly welcomed in Pakistan by the public. But their government-sponsored radio and television channels did not feature even a brief interview with them.”

However, the poet exonerates artistes on both sides. “Artistes in Pakistan and India are equally innocent. Their presence in either country should not be politicised. If Pakistani artistes are stopped from coming to India, the fundamentalists there and the Pakistani army would be very happy. This is exactly what they want.”

Regarding the silence of the Pakistani artistes over the terror attacks, Javed argues, “I would understand Indian sentiments getting hurt if Pakistani artistes had tried to defend the attack on Uri or any other terror attack. But their silence doesn’t mean approval. It’s just caution about the safety and well-being of their families back home.”

Javed and his wife Shabana Azmi have paid many visits to Pakistan in the past. Says the poet, “I don’t think the Pakistani awaam is against India and Indians. Hopefully, tension between the two nations will be defused soon. Look at Europe. They were so splintered at one time. Until April 1945, they were bombing one another. Now they use one currency almost everywhere in Europe.”

When told how singer Asha Bhosle was abused by some Pakistanis when she tweeted, ‘Jai Hind’ Javed retorts, “I will tweet my ‘Jai Hind’. It’s my birthright to praise my country.”