The Pakistan Resolution was passed on March 23, 1940, at Minto Park (now Iqbal Park) in Lahore, laying the foundation for the country’s creation 85 years ago. But in its 77-year history, the Pakistani film industry has produced only a handful of films that have vividly depicted the Pakistan Movement and the struggles of the Subcontinent’s Partition.
While some films from the 1960s referenced the Partition in their narratives, the most prominent ones that focused on the 1940-47 period were from later and earlier decades — Khaak aur Khoon (1979) in Urdu and Kartar Singh (1959) in Punjabi.
Here is a look back at some six Pakistani films whose storylines at least attempted to reckon, in one way or another, with the momentous events of and the trauma surrounding the birth of the country.
Khaak Aur Khoon
Released on March 23, 1979, the film was based on the novel of the same name by Naseem Hijazi (1950). Veteran director Masud Pervaiz was entrusted with directing a film produced by the National Film Development Corporation (Nafdec).
Masud had a huge directorial portfolio with Koel (1959), Heer Ranjha (1970) and Haider Ali (1978) in his kitty. He had started off as a director with Beli, one of the first films starring Sabiha Khanum and Santosh Kumar (not as a lead), around the same time Hijazi was writing the novel. Ironically, the legendary short story writer Saadat Hasan Manto — Masud Pervaiz’s uncle — had written the story of Beli, exploring the theme of Partition.
Established in 1974, Nafdec took a gamble by introducing Agha Sajjad, (credited as Agha Faraz) and Navin Tajik in lead roles for Khaak Aur Khoon. Seasoned actors such as Mehboob Alam, Abid Ali, Zille Subhan, Sajjad Kishwar, Samina Ahmed, Saleem Nasir, Asim Bukhari and Shujaat Hashmi were in the supporting cast. At the time, Mehboob Alam, Abid Ali, Shujaat Hashmi and Samina Ahmed were yet to make their mark in the PTV classic Waaris.
There have been surprisingly few films made in Pakistan on the Pakistan Movement and the events around the brutal partition of the Subcontinent. Icon takes a look at some of the very few that even dared to broach the subject in their storylines…
Agha Sajjad, though Urdu-speaking, had made his debut in the first-ever Pakistani Gujarati film, Maa Te Maa (1970). He was associated with Radio Pakistan before that and, with an attractive smile and handsome face, decided to try his luck in the visual medium. When he signed on for Khaak Aur Khoon, he changed his name temporarily.
Talking to Icon, Agha Sajjad, now residing in Karachi, remembers, “I was told that as Sajjad was a revered name, I should choose a different one for films. I became Agha Faraz for the project. Seeing Khaak Aur Khoon as a big opportunity, I moved to Lahore, but with Gen Ziaul Haq’s regime crippling the film industry, I couldn’t make my mark in cinema.”
Paired opposite Navin Tajik, the rising star from PTV Lahore centre’s drama Ek Muhabbat Sau Afsanay, Agha’s fate was linked with that of the film. Naveen had just played the sister’s role to Nadeem and Waheed Murad in films such as Prince and Parakh (both released in 1978), and was eyeing the top spot in films as well.
Agha Sajjad, the father of TV actress Saman Agha, occasionally appears in privately produced TV dramas these days, while Navin is living a life away from the media spotlight.
Khaak Aur Khoon’s story revolves around the peaceful city of Gurdaspur, which was expected to become a part of Pakistan. The story follows the protagonist Saleem (Agha), a young Muslim deeply involved in the Independence movement. Propelled into politics by Akhtar (Shujaat Hashmi), he is encouraged to write revolutionary pieces.
Initially, Saleem’s father (Salim Nasir) opposes his interest in politics but eventually relents. Saleem is set to marry Ismat (Navin), the daughter of Dr Shujaat (Asim Bukhari). However, when the Radcliffe Commission controversially awards Gurdaspur to India, chaos erupts.
Spanning different decades, the novel depicts the struggles faced by Muslims in India and the ideological divide between the Congress and the All India Muslim League. However, the film failed to do justice to the novel, which itself promoted a biased and one-sided narrative. The only attempt at Urdu film production by the short-lived Nafdec, the movie became a white elephant for the organisation.
Veteran playwright Asghar Nadeem Syed, when contacted by Icon, was spot on in saying, “Whenever a novel is adapted into a film, it is the content that gets compromised. However, when the compromise is made the other way round, ie prioritising the novel’s content over cinematic storytelling, it often leads to disaster. Naseem Hijazi was known for distorting facts to fit his narrative, often adding loud emotions unnecessarily and Khaak Aur Khoon was no different.”
With music by Nisar Bazmi and lyrics by Qateel Shifai and Ahmed Faraz, along with kalaam by Allama Iqbal, the soundtrack was both soulful and evocative. ‘Main teri yaad ko’ by Mehdi Hasan still lingers in listeners’ minds with its haunting melody, while ‘Naya safar hai khoon ka’ by Akhlaq Ahmed and Jamal Akbar ignites a fiery call to revolution.
Shot at Shabab and Sinai studios in Lahore, Khaak Aur Khoon featured exceptional cinematography by veteran Masood-ur-Rehman, ensuring a visually striking and high-quality production. But before the film’s release, another challenge emerged — improving diplomatic relations with India.
Agha Sajjad recalls: “When the film was completed, its release was put on hold. With diplomatic relations improving with India, it was deemed inappropriate to depict them as outright villains. The entire cabinet convened to review the already censor-approved film, resulting in the removal of several scenes that portrayed Hindus in a negative light.”
The film’s ideological tone aligned with the Zia-era narrative of Pakistan Studies, aimed to shape a particular version of history. The audience, however, was not entirely receptive to this brand of historical storytelling.
Another reason Khaak Aur Khoon struggled at the box office was its unfortunate release on the same day as Maula Jatt in Karachi. After capturing the market in Lahore, the Sultan Rahi-Mustafa Qureshi starrer was released in the metropolis a month later.
The two films stood in stark contrast — Khaak Aur Khoon revisited the past, whereas Maula Jatt embodied the present and hinted at the near future. Maula Jatt’s message was clear: if no one steps up to protect the people, some like Maula will rise and take the law into their own hands.
Known as a cult Punjabi action film, Maula Jatt reflects themes of resistance, justice and rebellion that align with the spirit of independence and the Pakistan Movement. Maula Jatt versus Noori Natt is a fight against oppression and tyranny, just like the struggle for Pakistan’s freedom from colonial rule.
Lakhon Mein Aik
Though Sultan Rahi had been around for decades before Maula Jatt, Mustafa Qureshi made his debut with cinematographer-turned-director Raza Mir’s Lakhon Mein Aik (1967). The left-leaning Zia Sarhadi, who had multiple hits to his credit in Bollywood, wrote the story that revolved around a fleeting romance between Hindu Shakuntala and Muslim Mehmood, with Partition as the theme.
The father of veteran TV actor Khayyam Sarhadi, Zia was quite vocal with his thoughts, as the movie questioned the Two Nation theory. Shamim Ara (Shakuntala) and Ejaz (Mehmood) were divided by circumstances, and their love story was overshadowed by religious and political divides.
Mustafa Qureshi’s character, Shakuntala’s husband (Madhu Sudanlal), represented the rigid societal boundaries that prevented their reunion. Despite historical inaccuracies and a one-sided portrayal of events, much like Khaak Aur Khoon, the film was praised for its stunning cinematography, memorable songs and powerful performances — without any element of propaganda or brainwashing.
Veteran actor, novelist, host and travel writer Mustansar Hussain Tarrar considered Lakhon Mein Aik a lot better than Khaak aur Khoon, with which he has not-so-good memories. A sought-after TV actor with over 200 hundred appearances in the ’70s, he came close to starring in the movie.
“I was summoned to Masud Pervaiz’s office at Patiala Ground during the pre-production work of the Nafdec film,” says Tarrar. “I was even offered a role, but I insisted on reading the novel first. When I told him that the novel was not an ideal choice for a film adaptation, I was told that the project would move forward regardless, as Naseem Hijazi had strong connections in influential circles.
“Masud was adamant on casting me and just as I expressed interest in playing a particular Sikh character, he told me that it was ‘reserved’. I knew my limitations and chose to opt out. As TV actors were in demand by Nafdec, Abid Ali, Shujaat Hashmi and many other talented actors moved forward with the offer. I still believe the film could have been much better had it been written with a more balanced perspective.”
Kartar Singh
Director Saifuddin Saif’s Kartar Singh (1959) remains a significant cinematic document of Pakistan’s history, offering a balanced portrayal of one of the Subcontinent’s most painful chapters.
Set in a tranquil village around the end of World War II, the story unfolds through the turbulent years leading up to Partition. On the one hand, the movie depicts the horrific communal violence that engulfed both Muslims and Sikhs, portraying them as mutual sufferers and, on the other, it captures the anguish of families torn apart, forced to abandon their ancestral homes, and the deep emotional scars of migration.
The title character, played by Alauddin, embodied a hotheaded extremist, while Sudhir’s portrayal of Umer Din highlighted the suffering of the innocent. Musarrat Nazir, Bahar and Laila were also part of the cast, but the character that served as a sane voice was that of Zarif, who played a Hindu doctor [CHECK].
Filmmaker Mushtaq Gazdar, in his book Pakistan Cinema, describes the role of the Hindu doctor as a “wise, jovial and talkative man, who attends to the physical, social and psychological ailments of the community with quiet sagacity.”
Though Zarif passed away in 1960, his younger brother, Munawwar, ably carried forward his legacy as a comedian. Yet, Zarif’s performance was so deeply moving that his character remains etched in memory.
The film’s music, composed by the duo Salim-Iqbal, featured timeless melodies. Saifuddin Saif (who was himself a poet of note) and Waris Ludhianvi penned the lyrics. ‘Pairi berriyaan pajeban [CHECK PRONUNCIATIONS]’ sung by Zubaida Khanum and Naseem Begum was beautifully picturised on Musarrat Nazir and Bahar. Likewise, Waris Shah’s kalaam was soulfully rendered by Inayat Hussain Bhatti. However, ‘Desaan da raja mere babul da pyara’ by Naseem Begum truly stands the test of time, still resonating at weddings across Pakistan.
Khamosh Raho, Chingari, Behen Bhai
Later, films such as Khamosh Raho (1964), Chingari (1964) and Behen Bhai (1968) highlighted the emotional and social struggles post-Partition.
Directed by Jamil Akhtar and written by the maverick filmmaker Riaz Shahid, Khamosh Raho (1964) catapulted Muhammad Ali to stardom overnight. His character, Jamal, is seen separated from his family during Partition but later reunites with his mother under heartbreaking circumstances. Portraying a pimp who lures young girls into a brothel under the guise of marriage, Ali delivered a powerful and gripping performance despite the presence of seniors such as Yusuf Khan and Meena Shorey in the cast.
Khwaja Khurshid Anwar’s Chingari boasted a stellar cast, including Shamim Ara, Ejaz Durrani, Santosh Kumar, Talish and Deeba Begum. The film masterfully portrays the stark contrast in how influence shapes the destinies of families. Santosh Kumar, a singer who loses his eyesight during the riots of 1947, struggles to cope with the challenges that follow. Talish finds himself divided between his two wives — one embodying traditional Eastern values and the other influenced by the West.
With timeless melodies such as ‘Aaja pyaar mere’, ‘Kali kali mandlaaye’, ‘Ik dil ne kahi, ik dil ne suni’, and ‘Ae roshniyon ke shehr bata’, Khurshid Anwar showcased his exceptional talent in the realm of music as well.
Chingari was a lesson for those growing up, highlighting the consequences of societal influences, the clash of traditions and the impact of personal choices on family dynamics.
Similarly, Behen Bhai (1968), a multi-starrer featuring Kamal, Nadeem, Deeba, Rani, Ejaz and Aslam Pervaiz, also opens with a scene of migration. Directed by Hasan Tariq, the film follows the classic lost-and-found formula, with Ejaz’s character, initially a pimp, ultimately redeeming himself by taking a stand against the very brothel he once served. Aslam Pervaiz impresses as a lawyer, and Nadeem is convincing as a pickpocket. But no one comes close to Kamal’s portrayal of a simple village man called Abdul.
Despite limited films made on the Pakistan Movement, Khaak Aur Khoon, Lakhon Mein Aik, and Kartar Singh offer distinct perspectives. Khaak Aur Khoon followed a state-driven narrative but failed to find an audience, Lakhon Mein Aik questioned the Two-Nation Theory and Kartar Singh provided a balanced, humanistic take on Partition.
This lack of mainstream exploration reflects the industry’s reluctance to tackle complex history. With Netflix and other streaming platforms available, younger directors have an opportunity to explore the hopes and struggles of the Pakistan Movement.
Audiences today appreciate deeper, more nuanced stories — and what better topic than one that shaped the nation’s history?
Published in Dawn, ICON, March 23rd, 2025
