Published on 04 Mar 2016 | 11 months ago
'STRONG NOBLEMAN' is the THEME SONG from the 2000 PUNJABI SUPERHIT FILM: 'BALLI JATTI' starring 'QUEEN OF THE PUNJAB': SAIMA with EX-CRICKETER turned FILM HERO: MOHAMMAD RANA. The SINGER is AZRA JEHAN, the VOCALIST who was TIPPED under a lot of PRESSURE to SUCCEED her DIVA 'VOICE OF PAKISTAN' AUNT: MALIKA TARNUM, or QUEEN OF MELODY: NOOR JEHAN [1926-2000]. AZRA JEHAN did a REASONABLE JOB of some of the 1990s PUNJABI CINEMA SONGS as NOOR JEHAN slipped into OLD AGE and POOR HEALTH. However, it was NASEEBO LAL, the VILLAGE WEDDING SINGER of GYPSY INDIAN RAJASTHAN origin before PARTITION who was the 'LIGHTENING STRIKING TWICE' almost IDENTICAL POWERFUL PUNJABI SOUL VOICE that MATCHED NOOR JEHAN'S PROWESS, LOUDNESS and RAUCOUS EXPRESSION who TOOK UP the MANTLE of the DIFFICULT role of PUNJAB CINEMA'S VOCAL DIVA for ACTRESSES to MIME to during BHANGRA DANCE FILM SONGS. AZRA JEHAN'S VOICE, although quite LOVELY, is rather TOO DELICATE for the POST-1980s BOOMING 'DHOOM TARAK' PUNJABI CINEMA NUMBERS establised by MADAM NOOR JEHAN, picturised on actresses ANJUMAN and MUMTAZ. Some COMMENTATORS SPECULATE whether AZRA JEHAN may have had TOO MANY SINGING LESSONS under a lot of EXPECTATION which may have SPOILED her SINGING STYLE. Although AZRA JEHAN'S VOICE was used for the SMASH HIT CLASSICAL PAKISTANI FILM: 'MAJAJAN' ['MOODY GIRL'] for SAIMA playing a CLASSICALLY TRAINED PUNJABI SINGER, it is NASEEBO LAL, in her SIMPLE, HUMBLE, ILLITERATE EXPLOSION OF COLOUR OF THE RURAL PUNJAB that has STOLEN the PASSION of PUNJABIS in PAKISTAN and ABROAD.
Another problem of AZRA JEHAN is that her VOICE is that of a 'LARGER LADY' which, strangely, seems to make ACTRESSES MIMING seem 'HEAVIER/OLDER' [???] than the BIRD-LIKE NASEEBO LAL who makes MIMING ACTRESSES seem 'LIGHTER/YOUNGER' [???]
RANA played films because of his LOOKS in his RETIREMENT from PAKISTANI CRICKET. He isn't MUCH of an ACTOR, but has a CERTAIN 'NAUGHTY BOY' SWEETNESS that AUDIENCES LIKED and FORGAVE his WOODEN ACTING, although some of his 'OY! OY!' BANDIT SCENES and 18 BULLET DEATHS were quite IMPRESSIVE!
SAIMA was a PHENOMENON usually playing with SHAAN. CULTURALLY and SOCIALLY, SAIMA and SHAAN were a PECULIAR 'MODERNISATION' of the RURAL and PLUMP ANJUMAN and SULTAN RAHI of ZIA-ul-HAQ'S 1980s NATIONALISTIC CONSERVATIVE CINEMA. The SHAAN, SAIMA were a NEW INVENTION of the HEER-RANJHA [ROMEO-JULIET] of BEFORE, and as TRADITIONAL as before but somehow SLIMMER, MORE MODERN STYLING and MAKE UP, MORE 'HIP' but without any sense of being 'WESTERNISED'. Really something very ODD and TYPICALLY PAKISTANI as they HOLD ON TO CULTURE TENACIOUSLY yet are VERY MODERN too???
SAIMA was 'THE BARBRA STREISAND' of LAHORE...The WHITE SKIN, HUGE TALL STATURE [PUNJABI ACTRESSES are USUALLY TALLER than the ACTORS??] and the MIDDLE EASTERN SPECTACULAR NOSE like STREISAND. SAIMA was a PHENOMENON and even the SNOBBY MIDDLE CLASSES who ABHORRED the RURAL COUNTRYSIDE CLOTHES and STYLING of PUNJABI FILMS, had SECRET ADMIRATION for the 'QUEEN OF THE PUNJAB' SAIMA and 'KING of the PUNJAB': SHAAN.
SHAAN is the SON of CHRISTIAN CLASSIC PAKISTANI ACTRESS: NEELO. He is MUSCULAR, HANDSOME, and in his STICK-ON MOUSTACHE, is very RURAL...ALL PUNJABI STARS WEAR TRADITIONAL PUNJABI SKIRTS [LACHCHA] and TUNICS [KURTA], even though, since BHUTTO of the 1970s, PUNJABIS have been ENCOURAGED to DRESS WESTERN, or PATHAN STYLE of SHALVAR-KAMEEZ [baggy trouser and tunic]. So PUNJAB CINEMA HEROS are MORE TRADITIONAL than the STREET??
SHAAN on screen is a VILLAGE BANDIT, a HANDY GUN MAN [SAIMA is GOOD with a MACHINE GUN TOO and often STARTS SINGING AFTER!] with many 18 BULLET DEATHS and lots of FAKE BLOOD in a THEATRICAL MANNER of PUNJAB FILMS...even COMING BACK TO LIFE AT TIMES. However, away from the SCREEN, we find a SHAAN who went to AITCHISON COLLEGE [top private grammar school in Lahore] who SPEAKS ENGLISH and LATIN plus STUDIED ENGLISH LITERATURE...Far away from his MOVIE HERO APPEARANCE!
SAIMA, like ANJUMAN before her, is MAGNETICALLY PHOTOGENIC in MOVEMENT and STILL POSES plus can DANCE BHANGRA EXPERTLY. SAIMA is a liitle more PROVOCATIVE and SEXUAL in her DANCE than ANJUMAN could be under the HAQ ISLAMIC REGIME. But SAIMA was the MODERNISING MUSHARRAF ERA so had a more FREE REIGN on SENSUALITY. But it was that very SEXY and sometimes 'VULGAR' dancing that eventually DROVE PAKISTANI AUDIENCES from the CINEMAS forever. This caused FINANCIAL CRISIS to the FILM INDUSTRY in LAHORE which was USED to MAKING a lot of MONEY. The MUSIC was the FIRST TO SUFFER as EMI STUDIOS CLOSED DOWN due to COPYING of CASSETTES and FALLING TICKET SALES. The ORCHESTRA became REPLACED with ARTFUL, but FAKE 'VIOLINS' and KEYBOARD REPLICATING the ENSEMBLE which is sort of 'A STYLE OF ITS OWN' but also a CHEAP SOUND that the AUDIENCES KNEW was HAPPENING but didn't know what was WRONG with the MUSIC which caused more DOWNWARD SPIRAL in PAKISTANI FILM AUDIENCES.