Published on 11 Jan 2015 | over 3 years ago
'Dil Pyar Karnoon Karda' ['Love Has Filled The Heart'] is sung by PLAYBACK SINGER [a professional vocalist who records songs for actors who can't sing well enough to mime to in cinema] AZRA JEHAN in the 2002 Pakistani film 'Kaloo'.
SAIMA and SHAAN were both remodelled Punjabi Cinema Idols who took over from ANJUMAN and SULTAN RAHI, repectively.
SAIMA became 'Queen of the Punjab' from the late 1990s to the late 2000s following on from the previous Punjabi Queen, 'Anjuman' who had dominated the Lahorie Screen since the 1980s. Anjuman gained a lot of weight which was eventually to end her career. SAIMA was a 're-invented' HEER [Punjabi 'Juliet'] who was still tall, sturdy, heavily made up, excellent dancer and handy with a machine gun between songs, but she was just a more 'modern' version. The heavy 80s Anjuman eyebrows and black lip-liner had gone, as had the enormous Anjumanesque Earrings and bedecking Jewellery. SAIMA was still the Punjabi Folklore Princess but it was ligher, smaller more subtle jewellery, make up that looked less mask-like. SAIMA was also a product of PERVEZ MUSHARRAF's new regime which wanted to 'modernise' Pakistan by adopting some of The Turkish Republic's Reforms. Consequently, actresses of that era began to wear short sleeves, expose more flesh and dance more suggestively in line with MUSHARRAF'S new code for the cinema which translates something like: "Anyone can make a film and show it in the Cinema in Pakistan. No group in society shall stop any film from being shown. If you do not want to see a particular film, then don't go to see it"... However, this led Pakistan Cinema to ruin as producers and directors misjudged the mood of the people in the 'Modern Reforms' Pakistan...The perceived 'vulgarity' of new actresses like SAIMA turned the citizens away from the movies rather than attracting audiences through nudity and tantilizing dances. Although good as a dancer and charismatic star, SAIMA, was unwittingly part of the beginning of a drastic decline in Pakistani films.
SHAAN was a re-invention of Punjabi matinee idol SULTAN RAHI. RAHI is noted in the Guinness Book of Records as the actor with most films [700 Urdu and Punjabi]. SULTAN RAHI, a phemonenally popular cult figure planned to enter Pakistani Politics, which his popularity with the masses could have been devastatingly successful. RAHI was assassinated in 1996, his death seemed never properly investigated or concluded.
Some commentators claim that SULTAN RAHI was a manifestation of the 'ugly' ZIA -UL-HAQ government of the 1980s. However, when SHAAN arrived he was the 'beautiful' new face of the MUSHARRAF regime.
SHAAN certainly had youth and charm but was still the Punjabi Folklore 'Ranja' ['Romeo']. The poses, the 'Strong Silent Type', the machine gun and roars of "Oy!" fascinated the remaining audiences of Punjabi Films for a decade. Outer circles of Punjabi Society also respect SAIMA to an extent but SHAAN, definitely, because this seeming rural hero actually was educated at prestigious Aitchison College in Lahore and apparently studied literature. SHAAN speaks English well and has a lot of charm plus 'American Gym Muscles'...The curious thing about SHAAN and SAIMA is that they wear TRADITIONAL CLOTHES in Punjabi films. These clothes, especially the male and female Punjabi skirts 'Lachcha' are very seldom seen in The Punjab these days, mainly because of BHUTTO'S 1970s insistance that Punjabis wear SHALWAR-KAMEEZ [baggy trouser and tunic] that come from PATHAN side of Pakistan. The Punjabi 'Lachcha' was discouraged for the SHALWAR or the WESTERN TROUSER. So, SHAAN and SAIMA both appearing like SULTAN RAHI and ANJUMAN before them in Punjab garb is strange but also promotes traditional culture as a positive.
'KALOO' FILM SONG
'Dil Pyar Karnoon Karda' is a successful song from 2002. The Pakistani Film Industry began to face pressure from VHS and TV in the 1980s but by the 2000s ticket sales were extremely down. The Middle Class loathed the constant rural theme Punjabi films so stigmatised and avoided them. The increasing use of dance deemed as 'vulgar' was not new and can be traced back even to 1970s cinema like 'Banrasi Thug'...However, the nudity and directness of sensual dance was making it impossible for families to sit together and watch Punjabi films. Cinemas became run-down and full of gangs of young working-class men whistling and shouting.
Economising had to be done. Replacing orchestra and musicians with ELECTRONIC KEYBOARD was seen as a solution to saving money on composing, writing out parts and paying musicians. Replacing the orchestral VIOLINS with SYNTHESIZER 'STRINGS' saved money but, like this song with SAIMA, gives a 'cheap' sound that the audience realise, but don't know what is 'wrong' with the music. The film music became slowly debased in musical and aesthetic quality dropping audience numbers more.
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