Rehan in Zinda Laash (1967)

In a day and age where even the mere mention of Lollywood elicits shudders of contempt, it is a relief to watch a resurrected classic Zinda Laash. Horror film buff and filmmaker Omar Khan decided to bring this desi gothic classic to life to show what Pakistani cinema was once capable of – and this effort culminated in the film being screened recently at the Lahore University of Management Sciences.

Boasting an impressive cast of the stars of yesteryears such as Nasreen, Deeba, Habib and our own answer to Christopher Lee – the exceedingly handsome Rehan – it also has the infamous Rangeela doing a cameo. Unfortunately these names may not strike a bell to the new generation, but they are icons of an industry that was once creative, successful and vibrant and garnered widespread respect and popularity. Zinda Laash belongs to an age where films and going to the cinema were very much the norm and diverse subjects from romance to humour to even horror were explored. Zinda Laash is a testimony to such creative expression and was an experiment of boldly delving into an unchartered genre of gothic cinema.

The term Desi Gothic implies blood, gore, women in burqas spinning spears out of control (akin to Omar’s debut Zibahkhana), yet despite being a horror classic, the 1967 Zinda Laash lacks all of the above. A remake of Bram Stoker’s renowned Dracula, this Pakistani version is an understated film that creates horror through actions and facial expression, since cinema in the 1960s was still in black and white. It may not appeal or compete with the technical effects that contemporary films of the same genre have but it certainly, to quote Omar Khan, ‘would have caused a few sleepless nights in its day’. It is also the first Dracula tale to have been modernized, where the vampire is seen to drive a car and offer a baby as fodder (a highly contentious issue) to his fellow vampire friend.

It must have been quite the challenge to create terror without gore, but Khwaja M Sarfaraz’s direction and the actors’ meticulously delivered expressions, lend this film that aura of mystery, murder and horror.

And it was clearly quite effective since Omar recalls a memorable moment of the film’s release back in the 60s – “a woman died of fright of watching Zinda Laash at a cinema in Gujranwala!” The film relies entirely upon the quiet menace that Rehan creates with an unparalleled finesse through his superbly nuanced acting skills and the dignified manner in which he walks in that long black stylishly donned overcoat. He certainly makes a most impressive Dracula. The film also boasts elaborate stylized sets that showcase the swinging 1960s and 1970s, grand bungalows and mansions, sprawling lawns, immaculate suits, boisterous singing, drinking and dancing. These were all characteristics of a fabulously fashionable and indulgently decadent era long gone.

However, Zinda Laash does have a few amusing features, like scenes of women luring men, that are a necessary evil of all films produced in the subcontinent. But these can be discounted for the seamless flow of the story, melodious score and the coherence in the direction. The finesse with which this film has been made leads one to automatically assume that it must have been pictured in Germany or Prague than in Murree or Lahore and a critical mind can detect very clear and tangible elements of German expressionism.

Zinda Laash also has the distinction of being the first ever horror film to be screened at two major film festivals abroad; the Sitges Fantastic Film Festival in Spain and the Neuchatel International Festival of Fantastic Films in Switzerland.

The film has been available abroad since 2003 and was mentioned in the ten best DVDs of the year in three American publications. The DVD is a definite collector’s item, which features newly filmed interviews with the cast and crew of the film, as well as a documentary on South Asian horror films.

Part of our lost filmi heritage, Zinda Laash is needed now more than ever to provide us with a sense of pride. It is a definite must watch, particularly for those studying film or gothic literature, or those without “irrational or persistent fears of ghosts and demons!” – Hani Taha Salim (Rating – 4 OUT OF 5)

Cast and Production Credits

Year – 1967, Genre – Horror, Country – Pakistan, Language – Urdu, Producer – Abdul Baqi Director – Sarfaraz, Music Director – Tassaduq Hussain, Cast – Rehan, Habib, Deeba, Nasreen, Yasmin, Asad Bokhari, Chham Chham, Allaudin

Allaudin in Baaghi (1956)

Allaudin, one of the most versatile character-actors of Pakistani Film industry, began his career in undivided India. He belonged to the Kashmiri community of Rawalpindi, and his full name was Allaudin Butt. Handsomely built and blessed with a fine voice, Allaudin had reached Bombay with the sole wish of becoming a top-grade singer. But, luck had marked him out for acting rather than singing. He was noticed by famous Director, A.R. Kardar, and was cast in his film Sanjog, in a minor role. Slightly later, he got a better role in Kardar Production’s another vehicle, Namaste, which was a hit. Then, in Laila Majnoon, he was the tribal head of the gypsies and the narrator of the romantic legend. But, he was actually noticed by the cine-goers when he played a prominent role in Vadya Movietone’s film, Mela which was to propel him into a distinguished career. He played the old character of Nargis’ father in the film, which tested him to the full at such a young age. During an emotional scene, when Allaudin was to embrace Nargis with all the parental love tears, streaming down his cheeks, Nargis asked Allaudin to re-do the scene with the intense affection of father. That scene, when you see it the screen proves that Allaudin was naturally gifted.

After Partition, Allaudin came to Pakistan, and his first film here was Nazeers’ Pherey, where he played the villain. It was silver-jubilee hit. Later, he did Shehri Babu, as a villain too. After that, he portrayed the villain in films like Mehbooba, Mehfil, Anokhi, Wa’da, Patey Khan, Peengan, Baghi, Mirza, Saheban etc. Later, in Anwar Kamal Pasha’s Inteqam, he projected the role of an old, warn out madari. Similary, in M.A Rasheed’s Aas Paas, he was the pauper, Raja, with his princely friend, Aslam Pervez. In Hameeda, his performance as a greedy and crafty opium-eater was much appreciated. Saifuddin Saif’s Kartar Singh was another milestone in his career, where the villain turned into a hero in the climatic scene. How many roles and films can one name? Faizoo in Salma, Barrister Mehmood Ali, the arch villain, in Raaz, the crutches-carrying anti-hero in Neend. All roles put the stamp of class on the credibility of this brilliant artiste.

Known lovingly as Papaji in the industry, Allaudin had the best stint when he teamed up with the committed group of people including Riaz Shahid, Khalil Qaiser, Talish and Habib Jalib. With them he performed at his optimum, when master pieces like Shaheed, Yeh Aman, Zarqa, Susral, Farangi Nizam Lohar, Dulla Bhatti and others were made. Later in life, he was greatly staggered and was never the same man again, when his young son died in accident. Nevertheless, his roles in Bandish, Umrao Jan Ada, Ajnabi and others were liked by the audiences. He got Nigar Awards for four years consecutively, for character roles in Aas Paas (1957), Aadmi (1958), Raaz (1959), and Salma (1960). He got a Special Nigar for a most memorable role in Badnam, in 1966. He also got Nigar Awards for Dil Diya Dard Liya (1968) and later, for Bandish in 1980. His younger brother, Riaz Ahmed Raju, was a well-known director of the industry, who made films like Tere Shehr Mein, Mitti Diyan Moortan, Jumma Jang Naal and Jaedad.

Allaudin died on 13th May, 1983.