BEING the only source of entertainment in the 1950s and the ’60s, films sharpened the aesthetical sensibilities of noted playwright Asghar Nadeem Syed. Pakistani films of the time were closer to life, and left an indelible mark on the writing career Asghar.
But, for sure, the influence of American and European — both eastern and western — movies was as strong on him as was that of subcontinental movies. Guns of Navarone, Ben-Hur, Fall of the Roman Empire, Bridge on the River Kwai, The Trap are some of the titles Asghar recalls immediately. “These movies had powerful human subjects; their miseries, their romanticism and their behaviour and conflicts. Artistic techniques only added to their splendour. A refreshing mix of both, subject and technique, made them big ventures for all times to come,” he says.
About the current cinema, Asghar laments that a crude form of artificiality has replaced the early innocence of post-WWII cinema. Cinema was innocent then, but no more, he regrets. India and Western cinemas, he says, are basically dealing with poor subjects, but have the technical strength to still produce some good films. Another reason of their survival is the high number of movies they churn out. The volume is so huge that every now and then a watchable movie does come out of the ranks, he explains.
Pakistani cinema, regrettably, has lost out on both counts. It neither has skilled technicians, nor writers. “The artificiality that has gripped Pakistani movies is crude to the extent of being distasteful, and cheap comedy makes it a downright disaster,” says Asghar, who has little hope of a Lollywood revival.
When it comes to music, Asghar is impressed by its ability to creates it own ambiance, and to transport oneself into a world of dreams. Shankar Jai Krishan, Naushad, S.D. Burman and Bhopan Hazrika were his favourites until Haymant Kumar emerged on the subcontinental music scene and become Asghar’s “all-time favourite”.
He realised it much later that it was basically Bengali music that had the most telling and lasting impact on his soul. The early period of Khan Attaur Rehman and Robin Ghosh had also moved him. As far as Asghar is concerned, had it not been for the fall of Dhaka, Pakistani music still could have some life in it. “The departure of Bengali music played havoc with Pakistani music, and correspondingly helped the Indian music industry,” he says.
About the current state of the Pakistani music scene, he thinks it has become “pathetic and does not deserve a serious comment”. There are a few talented people still trying to keep the torch burning, but “but it is not a field for individuals; it needs team work involving poets, musicians, vocalists, instrumentalists and others.” The only area where Asghar is hopeful of a bright future is in the realm of books. “All writers who are readable are being read. In the post-internet world, book would not be replaced because of its intellectual depth and long-term values. Rather, it would force writers to compete and improve their skills. This is one area where situation is not as bad as in other areas of discussions,” he says.
Tracing his own love for books, Asghar recalls a long list of vernacular and foreign writers forming his team of favourites. Manto, Ghulam Abbas, Bedi, Ashfaq Ahmad, Intizar Hussain, Abdullah Hussain and Quratul Ain Haider were his early attractions. Later, he moved on to Kafka and Sartre. Then came Noon Meem Rashid, Nasir Kazmi, Munir Niazi, Majeed Amjad and Faiz.
Once he developed a taste for Progressive literature, he read African, Palestinian, Chinese, Japanese and Russian poetry between 1975 and ’85. “All these put together taught me that man was born free and his soul and mind cannot be enslaved, come what may.” All his writings thereon are manifestations of the same: undemocratic attitudes only worsen human miseries and increase societal conflict.
BEING the only source of entertainment in the 1950s and the ’60s, films sharpened the aesthetical sensibilities of noted playwright Asghar Nadeem Syed. Pakistani films of the time were closer to life, and left an indelible mark on the writing career Asghar.
