BADAR MUNIR
He Changed The Industry Forever!
IF YOU WATCH the famous black-&-white song of Ahmed Rushdi from Hasan Tariq’s classic, Behen Bhai, which is titled Kash koi mujh ko samjhata/ Meri samajh main kuch naheen aata, you’ll notice a handsome young man sitting in the left side of the bus, watching Nadeem mouthing the number. That is Badar Munir. In those days, Badar did many extra roles in films, while he was a helper on the camera for the crew of Waheed Murad’s films, aside from also driving his car for some days. But, then, a time came when Badar Munir turned a corner, and became a legend. Incredible determination and hard work put Badar on top of the pedestal, and not just for Pushto films, but also for Urdu movies.
From Zero to Hero!
If you remember, Sultan Rahi also used to play extra roles in films. In the Fifties, in a film on Romans and Muslims, titled Baghawat, I remember, Talish summoning his commanders to the court - one of them was Sultan Rahi, and the other was Akmal, both in two to three roles. And then, later, you see them as the legends of Punjabi cinema, Akmal rising to the fore from the hit movie, Jabroo, and Rahi making it to the top with Aslam Dar’s successful movie, Bashira. Makes you think, doesn’t it? You have three men in the industry, Rahi, Akmal, and Badar, becoming legends after playing bit roles in films. It tells you that no matter how you try to put a talent down, he or she will rise, if there is sincerity of purpose.
Early Efforts Pay Off
Badar Munir aimed high from the very first time he entered the industry. He made his debut as hero in the first ever Pushto film made in Pakistan, based on romantic Pushto folklore, titled Yusuf Khan Sherbano, in 1970, which was a super duper hit. The very next year, another hit Pushto movie followed for him, titled Adam Khan Durkhanai, again based on Pushto folk. Meanwhile, Asif Khan had also appeared on the Pushto scene, and was making his own mark. But, Badar’s muscular personality gave him an Urdu film very early on, in 1972, titled Janwar, which had Chakori with him, who had made her debut in Sindhi films earlier. Similarly, he also worked in Syed Kamal’s film the same year, Aakhri Hamla.
First Dream Project!
Badar noticed that many young artistes and technicians were trying their hands at making Urdu films, like Qavi, Rangila, Jan Mohammad, Sangeeta and others. During the Seventies, he and his friends, including actors and technicians, got together, and planned a film, produced by Nazir Hussain, titled Jahan Barf Girti Hai, perhaps in 1972. Being the denizens of the beautiful hilly areas of Mingora, Swat, and Bonir, these talented and determined Pathans decided that cowboy sort of movies were more suited to their lifestyle and working ethics. In those days, Pakistani films were becoming innocuous as far as action sequences were concerned. Bad fight noises, dis-coordinated actions, false punches and other aspects had made the films a sham. Due to this aspect, many fans of the industry had turned away from action films. Badar and his friends decided that if they had to make this film, it should look realistic and genuine. With superb coordination and courage, and brilliant camerawork from the brave Tehseen Khan, they filmed such sensational fights in JBGH that it was a delight to watch. With cowboy-like apparel, and some of the most astounding camerawork, Badar and his friends introduced some stunning action, men falling off from the cliffs without any bogus action, taking chances with climbing on the hills at a gallop, swinging to high altitude without stuntmen, and throwing some real punches. Urdu films never had such real action in the past.
Flowering Pushto Career
After the moderate success of Jahan Barf Girti Hai, Badar knew he had to get together with a good producer to survive this film-making. His struggle continued, both in Pushto films as well as in Urdu movies. Meanwhile, his pair with Yasmeen Khan, another extra who became a superstar, became famous in Pushto films. Badar’s Pushto films like Da Pakhtun Turah (1973 produced by Badar), Aurbal (1973), Dehqan (1974), Topak Zama Qanoon (1974), which literally means ‘Rifle is My Law’, Khana Badosh (1974), Deedan (1975), Baz Aao Shehbaz (1975), Baghi (1975), Kochwan (1975), Navay da Yao Shappey (1975 – Pushto version of Dulhan Ik Raat Kee), Da Inteqam Lambay (1976 – Pushto version of Inteqam ke Sholay), Da Meene Aur (1976), Kafiristan (1976), etc. were enjoyed by the Pakhtoons, and most of these were big hits. Meanwhile, Badar continued to work in Urdu films too.
A Trend-Setter Urdu Movie!
Fortunately for him, Badar got together with an equally charged individual, producer Mumtaz Ali Khan Chhata. They had already worked together in Pushto films like Aurbal, Khana Badosh, Deedan, etc. They discussed another powerful cowboy concept amongst themselves. Very soon, this film, Dulhan Ik Raat Kee was on the cinema screens. From camerawork, editing, acting, direction, etc. to Badar’s Urdu dubbing, it was something really incredible in a period, where due to lack of resources, Pakistani cinema was unable to match the Indian upsurge of movies through cross-border access. Producer-director Mumtaz Khan and Badar Munir made it a possibility with a Hollywood-like production of a cowboy movie, where many action sequences and quite a few dialogues amazed the Pakistani audiences with their genuine class. With gunfights, car chases, motorboat races, cabaret dances and other items, the film did great business. With the presence of Badar Munir, Nimmi, Yasmeen Khan, Mussarrat Shaheen, Asif Khan, Liaquat Major and others, the Pushto cast made it such a big hit that Urdu film directors began to cast these artistes in their movies for ensuring the success of their films. These Urdu and Punjabi films like Aansoo Aur Sholay, Zindagi ya Maut, Smuggler, Maut ke Saudagar, Intiqam ke Sholay, Mohabbat Aur Dosti, Yeh Dushmani, Shaheen, Qatl ke Ba’ad, Dosti te Dushmani, Dushman kee Talaash, Laal Aandhir, Do Chor, Aatish, Gehray Zakhm, etc. were big hits with the inclusion of the Pushto artistes. In short, with the making of Dulhan IRK, Badar and Mumtaz Khan changed the face of Urdu movies.
Ruling King!
Badar Munir ruled Pushto cinema from the Seventies till the Nineties, with big hits during the Eighties, too, when the industry was in shambles. Unfortunately, all cinema, not just Pushto films had nosedived into sleaze and vulgarity during the Eighties. Yet, if Badar Munir and Asif Khan had not continued to survive in this degenerative period, Pushto cinema would not have improved after 2000. Today, it is due to the sacrifices for cinema by men and women like Badar Munir, Asif Khan, Umar Daraz, Nemat Sarhadi, Bedar Bakht, Liaquat Major, Khayal Muhammad, Musarrat Shaheen, and Yasmeen Khan that Pushto cinema stands at the highest tier of the industry, and is the most successful department of our industry, although the other pillars seem to be crashing down due to lack of orientation.
Badar Lives!
No doubt, some selfish and ill-wishing producers ignored Badar Munir in the climax of his career, which hurt him deep inside, this made his health deteriorate. In my opinion, selfish behaviour from old associates is a bigger harm to an artiste than anything else. The same happened to Badar’s first doyen, Waheed Murad, and that is also the reason for the quick demise of Badar Munir. But, no death can come to a legend, as we can see that even after the passage of ten to twelve thousand years in this world, the names of legends like Hercules, Raam, Rustam and others have survived the test of times. And so, Badar Munir’s death won’t kill him. His name will continue to be the lifeblood of the fast-progressing Pushto cinema in this country.
