Zeba & Mohammed Ali

If Pakistani film industry was able to put forward a pair of regal grace, timeless integrity, expressive brilliance and screen glory as well as marital blessings, it is the couple called Ali-Zeb. Different views do continue to exist, but when you see that Mohammad Ali and Zeba made their debut together for Fazli Sahib’s Chiragh Jalta Raha, then you must believe that they were destined to rule the reel and the real life together. Coming down from Radio Hyderabad, Mohammad Ali became what he was, the premier Pakistani film artiste, because of his interest in poetry, theatre, vocal delivery and a most dominating screen presence. It was once said of him that no film star could match him in expression and body language. That’s the reason that he drew out the highest accolades from the critics in films like Aag Ka Darya and Khamosh Raho. Unlike Ali, who played the villain and smaller roles in many films before coming up trumps in Khamosh Raho, Zeba won acclaim immediately after debut, in films like Jab Se Dekha Hai Tumhein, with Darpan and Dil Ne Tujihe Maan Liya, with Kamal. Baji followed the same year, in 1963. So, both the stars were off to good starts to their career.

Mohammad Ali despite a sober, literary background, used to be the most popular personality among friends and colleagues. And females were no exception. He was quite friendly with his co-stars like Bahar, Shamim Ara, Deeba and others. So Zeba though a most jovial person herself, found him quite interesting even on the first day they met. They did many films together before their marriage, like Head Constable, Rivaj, Kaneez, Jaag Utha Insan and Waqt Ki Pukar. But after Kaneez, the Ali-Zeb pair was united forever with marital bonds. And forthwith, S. Suleman launched a film on a jolly, romantic subject, called Aag. When that proved a hit, another such film, Jaise Jante Naheen was followed up and was a success too. Most interestingly, those who point out that the Waheed-Zeb pair was ultra popular, must also take into account that right after Ali and Zeba got married, the cine-goers, despite being stunned by the parting of Waheed and Zeba, gave the newly wedded couple the certificate of acceptance by making Aag a massive success. Both Doraha and Aag were released the same year and were both immensely liked. What does that mean? That the film-goers were essentially moved by good performances and did not condemn one pair or actor for other. Today our cinema has lost that viewership due to bad performances.

Apart from churning out hits together during the ‘60s and ‘70s, like Aag, Jaise Jante Naheen, Baharein Phir Aaeingee, Dil Diya Dard Liya, Najma, Afsana Zindagi Ka, Mohabbat, Aurat Ek Paheli, Naukar, Mohabbat Zinndagi Hai, Jab Jab Phool Khilay, Phool Mere Gulshan Ka, Daman Aur Chingari etc, the Ali-Zeb couple has remained a duo to be admired for social service and cultural contribution to the civic life.

A scene from Khamosh Raho

Khamosh Raho, tells the story of a ‘Madam’ (played superbly by Meena Shorey, the lara lappa girl of Roop K. Shorey’s fame) running a network of bonded prostitution. Mohammed Ali got his major break through this film, and he played a role that was rather difficult to execute. Meena presents Ali her protégé, as a prospective suitor to a rural family of humble means, who would otherwise have no way of finding a husband for their daughter. The madam pretends to be the benevolent and rich mother of a dutiful son. She says she does not need jahez (dowry). Instead, she offers gifts to the girl’s family and relations and so the proposal is happily accepted.

In most rural areas, traditionally a girl is not supposed to see the face of her husband-to-be. So once the marriage is solemnized, Ali’s job is done and he disappears from the scene. The newly-wed bride is forced into prostitution because of mistaken identity. First she is given to understand that the man she spent the night with was her husband. Next she has bear the most horrible kind of humiliation when the uncouth offender proudly proclaims that he paid for her company. Here the film subtly draws one’s attention towards the thin line existing between such arranged marriages and prostitution. In these circumstances helpless girls get trapped forever. Going back to the family becomes almost impossible. Fear of disgracing the family and of not being accepted back into its fold throws them into the clutches of their tormentors. They suffer silently and succumb to the vagaries of the world around them. Journalist turned film maker Riaz Shahid’s story was based on true events reported in the Press.

At the turning point in the film, the madam’s next victim turns out to be Ali’s long lost sister, played by Deeba. The brother and sister were separated during communal riots at the time of independence. The discovery is too painful to bear and Ali revolts against the prostitution mafia with the help of a soldier, diligently played by another perceptive actor, Yousuf Khan. Ali attacks the brothel and releases its helpless victims. Well-written court room scenes, though loud and grossly overacted, became the hallmark of Ali’s histrionics in Pakistani cinema – Mushtaq Gazdar

Cast and Production Credits

Year – 1964, Genre – Crime, Producer – T.H. Rizvi, Director – Jamil Akhter, Music Director – Khalil Ahmed, Language – Urdu, Country – Pakistan, Cast – Meena Shorey, Mohd Ali, Deeba, Yousuf Khan,Gulrukh, Aslam Pervaiz, Tarana, Zeenat