The Aiahore film industry, often referred to as Lollywood, is experiencing a ‘Nazuk Morz’ [delicate periods] Sometimes, like this country itself. The ’50s were a time of struggle, but then his ’60s began, with the birth and flourishing of meaningful cinema. The ’70s and his ’80s saw the rise of ‘Gandasa culture’, and after the death of prolific actor Sultan Rahi, a mini-his revival in the late ’90s attempted to breathe life into a dying brand.
But for Pakistan, it all started with the success of the country’s first Golden Jubilee film, Sassi, released in 1954. Santosh He dominated the box office until the mid-1960s when actors such as Kumar, Darpan and Sudheer replaced him brilliantly with Mohammad Ali. , Nadeem Murad and Waheed Murad, who had hits until General Zia-ul-Haq imposed martial law in the late 70s.
Syed Kamal, the only “survivor” from the 1950s, moved abroad when the film industry stagnated. However, one man has not only played a huge role in the careers of these legendary actors, but has also witnessed the changing tides of Lollywood. Surprisingly, he is still active and currently working on film director Syed Rizvi’s project ‘Checkpost’.
Considered the ultimate guide to Lollywood, 89-year-old Iqbal Rizvi has seen it all as a part-time actor, occasional director, and full-time writer. From Darpan to Waheed Murad, Syed Kamal to Sangeeta and the Sheikh brothers (Javed Sheikh and Saleem Sheikh), Iqbal Rizvi was pivotal in starting their careers. Born in February 1934, he is soon approaching his 90s but still has vivid memories.
89-year-old film industry veteran Iqbal Rizvi is considered the ultimate guide to Lollywood and has seen it all as a part-time actor, occasional director, and full-time writer.
While talking to the icon from Lahore, Rizvi recalls his earlier life. “I was into movies long before I entered my teens. We lived in Aligarh, India, and every Friday I would go to the cinema with my friends to watch movies.” Darpan [real name Ishrat] He is a distant cousin of mine and we struck up a friendship when he briefly enrolled in my school.
“The ‘Santosh’ family migrated to Lahore soon after Partition and we came here in 1954. I got a job as an assistant to editor Al Hamid and started my long journey there. .”
In the mid-50s, Darpan tried to establish himself as a lead actor in films. He sought help from his friends, among whom was Iqbal Rizvi. “I suggested him to set up his own production company and told him to ask for Rs 3,000 from producer-director Nazir, in which Darpan starred.
“Nazir was notorious for not paying money on time, so I made him believe that Darpan had a serious kidney disease and needed money for surgery.” For the first time in his life, he paid the full amount because he was afraid that his inevitable death would interrupt the production of the film Noor-e-Islam.
“From that money, we bought material for filming and signed the up-and-coming Niro for just Rs 501. I was the scriptwriter, Al Hamid was the director and S. Suleman was the director. [Darpan’s younger brother] was hired as his assistant and Saathi (1959) was born.
“It was a romantic comedy and different from the costume dramas and adventure dramas of the time, so it struck a chord. The success of Saati led us to do another film, and the 1961 costume drama Guru Farm was born. Did.
“S. Suleman directed that film and Darpan and Musarat Nazir starred in it. Nisar Murad was influential in the release of both films and I happened to be his son, who made his name as a producer. Impressed by my working style, Waheed Murad invited me to move to Karachi and join his Film Arts Production.
“I wrote the dialogues for the 1961 film Insaan Badalta Hai and the story for the 1963 film Jab Se Deka Hai Tumhe, in which I also played the role of a eunuch. ‘Heera Aur Patar’ was supposed to be a milestone in my career. I not only wrote the story but also shot most of the film until I was replaced by Waheed Murad’s friend Pervez Malik due to an argument. I also wrote the dialogues for Armaan (1966), but my name was forcibly removed from the credits.”
Iqbal Rizvi had successfully directed Azadi Ya Maut, a patriotic film released around the time of the Tashkent Accord in January 1966, a few months before Armaan. Karachi was by then an established film hub and Iqbal Rizvi was an integral part of the films produced in the metropolis.
He bounced back and forth between Waheed Murad and Syed Kamal’s films, and by the 70s had completely moved on to the latter’s work. He wrote dialogues for Kamal’s films ‘Shehnai’ (1968), ‘Honeymoon’ (1970) and ‘Insaan Aur Gada’ (1973), while he and Kamal wrote ‘Hum Dono’ (1966). (1969), Nai Laila Naya Majnu (1969), and Pakistan’s first road movie, Road. To Swat (1970) was not Kamal’s work.
Iqbal, a close friend of Sangeeta’s father Tayyab Rizvi, returned to Lahore soon after Karachi’s film industry collapsed. And then the most productive phase of his career began. He was an integral part of the movie starring Sangeeta and Kavita. He handed over the director’s loudspeaker in the vengeful films Tere Mere Sapne (1975) and Muhabbat Aur Mengai (1976), and directed Sangeeta’s Muti Baar Chawal (1978). Things like pitching Rajinder Singh Bedi’s novel “Aikh Chadar Maili Si” and writing the story and dialogues for “Nadeem.” -Kavita starrer Mian Biwi Raj, he was always there as a mentor to the Rizvi sisters.
Kavita’s rise after 1977 can be credited to Iqbal Rizvi, who wrote a strong character for one of the most beautiful leading actresses of the time. He also directed ‘Girebaan’ starring Faisal Rehman and Babula Sharif. However, the project was delayed due to the death of Aslam Pervaiz. The scenes featuring the villain known as Prince were eventually reshot by veteran TV actor Farid Nawaz Baloch.
By the late ’80s, Iqbal had cut back on his film work, limiting himself to selected projects. Although he penned dialogues in Syed Rizvi’s ‘Sarkata Insaan’ (1994) and ‘Tirismi Jazeera’ (1998), Sangeeta’s last film was ‘Kirona’ (starring Saud Shaan Saima). 1996). He also wrote Javed Sheikh’s The Story of Chief Saab (1966), which helped establish Saleem Sheikh as a leading man.
When I visited Karachi in late 2017, I told him that Josh, starring Sudhir-Wahed Murad-Hanif-Iqbal Yusuf, was a fusion of the Hollywood films The Seven and Seven Brides. I asked if it was. He just smiled and said: “Bye, Isay, Bunty Thienus Zamanai Mine Films [That’s how films were made back then]”
For someone who has seen the ups and downs of Pakistani cinema, is a walking encyclopedia of Lollywood and has changed himself with the times, it is sad that Iqbal Rizvi is yet to receive a national award for his achievements. It is. Perhaps it has something to do with lobbying, or the everlasting “Nazuk Mora”.
Published on Dawn, ICON, September 24, 2023
