Archive Forensics: Eastern Film (October 1971)

Archive Forensics: Part of an Ongoing Series

 

A 1971 Issue of Pakistani Film Magazine in Which Bangladesh Is Already Visible

 

Welcome to Archive Forensics, our ongoing series where we unpack historical magazines from Khajistan’s digitized archive. This week, we are looking at Eastern Film’s October 1971 issue, published from Karachi by Eastern Film Studios Ltd. It appeared after Bangladesh had been declared, but before Pakistan’s surrender in Dhaka and the practical creation of Bangladesh as an independent state.

 

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The October 1971 issue calls Eastern Film "Pakistan's Premier Film Magazine." It appears as Vol. XIII, No. II-III, a double issue in its thirteenth year. The masthead names W. A. Zaidi as Acting Editor, A. K. Choudhry as Advertisement Manager, Akhtar Hussain as Circulation Manager, Saghir Naqvi as Staff Photographer, and Salahuddin Nasik as Lahore correspondent.

The magazine is published from B-16, S.I.T.E., Manghopir Road, Karachi-16, by Eastern Film Studios Ltd. It is published by Khuda Bukhsh Baloch for Eastern Film Studios Ltd. and printed by Yaqoob Ali V. Kasmi for Zain Packaging Industries, S.I.T.E., Karachi.

Later in the issue, the Karachi pages describe the Eastern Studios floor being used to build a Murree street for a color film. The magazine is reporting on the same studio world that produced it.

The issue appeared during the Bangladesh Liberation War. Two months later, after the December 1971 India-Pakistan War, East Pakistan became Bangladesh. The masthead still lists Dacca in the business network. The news pages report East Wing studios as suspended.

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Archival Data from October 1971 Issue

Production Metadata

Magazine	Eastern Film
Issue	October 1971, Vol. XIII, No. II-III (Double issue)
Published from	B-16, S.I.T.E., Manghopir Road, Karachi-16
Telephone	291388 and 291389
Publisher	Khuda Bukhsh Baloch for Eastern Film Studios Ltd.
Printer	Yaqoob Ali V. Kasmi for Zain Packaging Industries, S.I.T.E., Karachi
Acting Editor	W. A. Zaidi
Staff Photographer	Saghir Naqvi
Lahore Correspondent	Salahuddin Nasik

Retail & Circulation

West Pakistan	Rs. 1.50
East Pakistan	Rs. 1.50 (Airmail freight: Rs. 0.25)
Foreign	Rs. 1.60
Business Representatives	Listed in Lahore and Dacca

Film Blockages

Films awaiting release	About 30
Circuit affected	Punjab-Frontier
Announced dates dropped	More than 70 percent of announced films
Reason cited	Non-availability of show houses after the return of the old system following the lifting of capacity tax
Lahore studio condition	Only a few shoots in progress; more than 30 films ready for release, many already censored

East Wing Show Business Migration to West Pakistan

East Wing studios	Reported as suspended
Mirza Shahi	Arrived in Lahore from East Pakistan with family
Jaleel Afghani	Arrived from the East Wing
Reshman	Expected to move permanently to Lahore
Ehtesham	Acquired a separate residence in Gulberg; "no intention to go back"

Censorship

Publicity banners seized	More than 50
Film seized for vulgarity	Bima
Cinemas facing cases	Seven prominent cinemas (Police jurisdiction: Naulakha)
Censor Materials sent to	Central Board of Film Censors
Reader protest	Ban on Riaz Shahid's Aman
Indian film named as propaganda	Bangla Desh

Festival & Export Failure

Official Entry at Moscow	Heer Ranjha
Problem	No English version or subtitles
Deadline Issue	Print should have reached Moscow by the 2nd week of May; government intimation reached producers on May 21
Delegation Included	Ejaz Durrani, Firdous, Masud Pervez, Riaz Gul, and a senior government official

Trade & Celebrity Data

Mohammad Ali	Height: 6 feet; Address: Gulberg, Lahore.
Nadeem	Height: 5 feet 10 inches. Under production: Saemi, Angarey, Mohabbat Aur Mahnga Saal, Mili Key Putley.
Rangeela	Height: 5 feet 4 inches.
Shabnam	Address: 225/I-Q, Block 2, PECHS, Karachi.
Sangeeta	Matriculation, first division; avid reader of books and magazines.
Shamim Ara	Highest-paid actress in Pakistan.
Noor Jehan	Late fifties; over 1,000 songs credited. Standard song fee: Rs. 2,500 (3.25 mins). Long song fee: Rs. 5,000. Forthcoming films: Angarey, Inaam Aur Gadha, Peendu, Majhey Da Sher.
Mehdi Hasan	Over 100 songs credited.
Film Stock	Yangtze River black-and-white 35mm/16mm (Negative, positive, sound recording). Agent: Progressive Traders.
Consumer Goods	Consul socks (Narayanganj), Sohni Cold Epilatory Wax (Karachi), Max Factor Satin Flow, Colwool knitwear.

 

Karachi, Lahore, Dacca

The masthead lists West Pakistan at Rs. 1.50, East Pakistan at Rs. 1.50, and foreign countries at Rs. 1.60. East Pakistan carries an added "Air Mail Freight 0.25." The same page names business representatives in Lahore and Dacca.

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The Missing Issues

The Reader's Forum shows that the magazine itself was difficult to produce. Samar Hyder of Karachi complains that Eastern Film had been absent from bookstalls. He asks the editors to "bring out the paper regularly." He also criticizes the printing, "specially of the colour pages."

The reply blames "the non-availability of the newsprint." The magazine's own condition appears in the letters page: missing issues, weak printing, poor color pages, and readers asking where the magazine had gone.

The same Reader's Forum carries complaints about censorship and national image.

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Monthly News

The "News of the Month" pages move quickly between court cases, playback singing, military commemoration, foreign travel, and festival failure.

Tarana is reported as "now free." The page says the actress had been acquitted. Yasmin Shaukat is introduced as a playback singer. Mansoor Hydari is planning a film on Rashid Minhas, the pilot officer who became a state martyr in 1971. The page also mentions Agfa-Gevaert service at the Olympiad, Mehdi Hasan leaving for Umra, and the death of Indian musician Jaikishan. Film, courts, war memory, music, religion, and foreign cultural news sit on the same page.

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East Wing Studios Stop

In "Lahore Calling," Salahuddin Nasik reports that comedian Mirza Shahi had arrived from East Pakistan with his family. The note says he would stay in Lahore for about four months, but might settle there permanently. The reason is printed in one sentence: "As the working in East Wing studios is suspended, he had no alternative but to move to another film centre."

Other names follow. Character actor Jaleel Afghani had also arrived from the East Wing. Actress Reshman, after a long stay in Karachi, was expected to come permanently to Lahore. Producer-director Ehtesham had acquired a separate residence in Gulberg and had "no intention to go back."

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Shabnam in Karachi and Lahore

The cover story begins with the headline "Shabnam" and the line "A charmingly simple artiste." The opening sentence identifies her origin clearly: "This beauty from East Pakistan is a graceful lady." The next sentence says she was "a flower unknown to many before coming over to the film centres of Karachi and Lahore."

Shabnam comes from East Pakistan. The profile gives recognition to Karachi and Lahore. It places national visibility in the West Pakistani film centers.

The first page builds her image through beauty and industry success. She has "ravishing and gazelled eyes." She is "one of the busiest heroines of the moment." Her "big surge of success" came with the release of Akhri Station. She has "scaled new heights of fame and glory after every successful performance." The writer says that, "like a true artiste," Shabnam is eager to do better and has developed "immense confidence and faith in herself."

The images on the page are part of the profile. Shabnam is photographed in a decorated interior, seated beside a large vase and patterned curtains. Another photograph shows her in a white outfit, looking directly at the camera. The page sells beauty, but the text keeps returning to discipline: success, improvement, confidence, faith, and career.

The second page changes the setting. The headline says: "Charming and at times bewitching." The writer and staff photographer are welcomed into Shabnam's drawing room on a cloudy afternoon. The room is "nicely decorated." Its "miniature decoration pieces" are read as signs of Shabnam and Robin Ghosh's aesthetic sense. Both husband and wife are described as music lovers. Robin's music is named as his profession.

The visit is domestic and staged. Shabnam asks whether the staff can wait half an hour. They agree. She comes in after half an hour. Robin escorts them to the adjoining room for tea. "Formalities over," Shabnam poses for photographs.

The room is uncomfortable. It is a hot day. The writer says they feel "suffocation" in the drawing room. Robin says the room will be air-conditioned "in a day or two." The room is decorated, hot, and still being upgraded.

The interview begins with difficulty. The writer says this was his first meeting with her and that the time was short. He could not talk to her for long. Still, Shabnam speaks on different subjects about the film industry.

The profile then turns to Urdu. The writer says Shabnam "had much difficulty with the language" in the beginning, but now speaks "near-perfect Urdu." Her East Pakistani origin is allowed into the profile, but her professional arrival is measured through Karachi, Lahore, and Urdu.

East Pakistan had Bengali as its majority language. Pakistan's official national culture was organized around Urdu, and political conflict over language had been central to Bengali resistance for decades. In this profile, the same hierarchy appears in film-magazine form. Shabnam can enter the Urdu film economy. The entry has conditions.

The article also says she was "handicapped by the stereo-type roles" and is still looking for "a challenging role." The writer says that "this beautiful and talented actress rightly feels that as an artiste she wants newness and not the bored stiff formula repeated again and again." She is being presented as a national star, but she is also naming the poverty of the roles being offered to her.

On page 17, Shabnam gives a fuller answer about audience taste. She says there have been "great improvements" in Pakistani films, but there is still "much room for all round developments." She tells the interviewer: "It is for you to sort things out and assess the taste of the audience from their past reactions." She adds that the audience does not necessarily accept a given pattern and that viewers treat every movie "on its own merits."

Shabnam says the ingredients of a film may all be good, but they must "fit into one another." She is asking for better roles and for films whose parts hold together.

The profile then returns to her popularity. It says Shabnam is one of the most popular artistes, and that she still tries to understand and appreciate her colleagues. She says she would like to sit among cinegoers and see their pleasure when they watch her on the screen. In her opinion, cinegoers are the best judges. They wish all films well and demand "a sincere attempt to give good entertainment."

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The War It Can Remember

The issue knows how to write about the 1965 war. It has a settled vocabulary: soldiers, widows, sacrifice, national songs, enemy, morale, and inheritance.

The Pakistan Film Journalists Guild planned a Defence Day event on September 23 at WAPDA Auditorium in Lahore. General Bakhtiar Rana was invited as chief guest. The report says "about 25 begums of the shaheeds" and more than 50 disabled soldiers of the 1965 war would be honored.

Naseem Begum's death is placed in that memory. She died in Lahore on September 29 after a brief illness. The magazine says Lahore studios closed as a mark of respect. It says she was born in Bombay, came to Pakistan at an early age, and found recognition in Pakistani film singing. It credits her with about 300 film songs, including "Sao Bar Chaman Mehka," "Rooth Gaya Mera Pyar," and "Ae Rahe Haq Ke Shaheedo."

A later tribute to Mehdi Hasan and Noor Jehan recalls September 1965, when the "coward enemy" tried to enter the country with "nefarious designs." It praises national songs for raising morale and says they will be handed down "from father to son and from one generation to another."

Noor Jehan's role in 1965 was already part of Pakistan's public war memory. Her wartime songs were treated as national service. In this issue, the film press repeats that understanding. Singers become voices for the state. Film culture becomes morale work.

The 1971 material appears differently: East Wing studios suspended, workers arriving from East Pakistan, an Indian film called Bangla Desh, and a banned Pakistani film about Kashmir.

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Noor Jehan's Fee

Noor Jehan appears as a patriotic voice and as a working singer with a fixed price. Under the heading "High wages," the magazine reports that she usually received Rs. 2,500 for a song of three-and-a-quarter minutes. For a song that exceeded the usual length, she now demanded Rs. 5,000.

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Moscow Without Subtitles

The Moscow report begins with government failure. The editorial says the recently concluded festival "once more stressed the need for some more concrete and prompt help from the government." Almost 70 countries were represented. The magazine says festivals give participating countries "an enviable opportunity to introduce and publicise their films." For Pakistan, that meant foreign markets, export earnings, and recognition for artists outside Pakistan.

Pakistan's official entry was Heer Ranjha. The delegation included actor-producer Ejaz Durrani, actress Firdous, director Masud Pervez, Riaz Gul, and a senior government official. The film was not screened because the delegation did not bring an English version or subtitles.

The news item says the delegation seemed "quite ignorant of the rules and regulations of the festival." It reports that the print should have reached Moscow by the second week of May. The Film Producers Association first received intimation from the government on May 21. The deadline had already passed.

Ejaz Durrani returned to Lahore and held a press conference. He blamed poor planning and coordination between the government and the film industry. In reply to a question about why Pakistan's official entry could not be shown, he claimed that the Ministries of Information and Foreign Affairs were responsible for the delay in completing formalities.

The magazine supports his demand that film journalists should accompany future delegations. It says journalists are "better equipped than many others in the film industry" but are not given opportunities to represent the country. Eastern Film is asking for the film press to be treated as part of cultural representation.

The editorial uses the phrase "invisible hand" for the selection of delegations and official entries. The magazine does not name the people behind it. It points to the method: influence, selection, and state-managed access.

Ejaz also speaks about censorship. He says that if Pakistani films are expected to compete abroad, the censorship code must be loosened. The magazine quotes him: "without indulging in vulgarity, there was no harm if kissing was allowed in Pakistani films."

The film had no English version, no subtitles, and no print in Moscow by the required date. The state could select a film and send people. It could not deliver a version that could be screened before an international audience.

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Ceylon and Color

Ceylon was the country's official name in 1971. It became Sri Lanka in 1972.

A three-member delegation returned from Ceylon: Noor Jehan, Shamim Ara, and Waheed Murad. The report says Noor Jehan led the delegation and was warmly received. At a farewell dinner, she sang "Lal Shahbaz Qalandar," and Shamim Ara and Waheed Murad joined in.

The criticism was technical. Pakistani films were appreciated by people and officials, but "the only thing which was not in their favour was that all the movies were not in colour." The report adds that "quality-wise" the films were liked.

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Thirty Films Waiting

"Lahore Calling" reports that about 30 films were awaiting release because show houses were unavailable throughout the Punjab-Frontier circuit.

The magazine links the problem to the lifting of the capacity tax and the return of the old system. Under the capacity tax, repeat runs of old films were almost blocked and exhibitors welcomed new films. After the old system returned, old films came back into the market and new films stopped moving into cinemas.

Producers and distributors became worried. Shoots were affected because money was not circulating. The magazine says that although exhibition dates had been announced for some films, "more than 70 per cent of the films will have to be dropped."

Another item on the same page is titled "Lahore studios present deserted look." It says only a few shoots were in progress in local studios. More than 30 films were ready for release, many already censored. The films existed. The screens were not available.

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Parwana's Thirteen Points

M. A. Parwana's "How To Improve Films?" begins with formula. Pakistani films, he writes, had become trapped in "boy-meets-girl" and "eternal love triangle" stories.

He names the usual parts: a superhuman hero, a charming heroine, a villain or vamp who is "wickedness personified," rich parents opposing a poor heroine, poor parents opposing a rich hero, and marriage after coincidences.

His thirteen-point program calls for a Film Finance Corporation to lend money to producers at reasonable rates; a Film Academy for technicians, actors, and directors; and a Film Development Corporation to build equipped studios in two or three important cities in both wings of the country.

The Film Development Corporation would also construct cinema houses, produce and exhibit quality films, promote exports, import relevant foreign journals, and support access to raw materials and equipment. Parwana also calls for a uniform censor code, reform of the capacity-tax system, limited import of good foreign films, government awards, penalties for plagiarism, foreign exchange for delegations, fewer black-and-white films, more Technicolor Urdu films, inter-wing exchange among stars, directors, and producers, and proper reward for story writers.

He returns to writing: Story, he says, is "the nucleus of success of a film."

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Actors Want Other Roles

Shabnam says she wants challenging roles and is tired of "the bored stiff formula." Razia and Ali Ejaz make a related complaint in Salahuddin Nasik's profile "Something Common But...."

Razia had struggled for ten years before becoming part of Urdu and Punjabi films. She was known as a comic actress, but the article says she "has no attachment with such characters." She wants serious and tragic roles. She calls her early acceptance of comedy a "blunder." The profile says she has more than 40 films in hand and that 95 percent of her shots are completed in the first take.

Ali Ejaz came to film through stage and television. He also wanted serious roles. Producers kept returning him to comedy. The profile says Razia and Ali Ejaz share "a crave for serious and tragic roles," but cannot escape the roles assigned to them.

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Kemal Among Crowds

A two-page color feature presents Kemal under the headline "Loves Crowds of Simple People." The text says Kemal is everywhere in the film world. He began as an actor, then became a hero, producer, writer, and director. It adds that in the near future he may become a journalist too.

The feature builds his public image around access. It says name, riches, and fame have not changed him. He loves "the crowds of people around him." He does not avoid strangers. If he is in the studio, he plans his future program. If he is outside the studio, he stays with relatives and enjoys the company of friends and fans.

The article also says Kemal is not shy of publicity. He enjoys mixing with pressmen and remembers them at film openings, premiere shows, and birthdays. The photographs show him with family, with a child, holding a camera, and sitting for a portrait. Saghir Naqvi is credited for the color transparencies.

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Yasmeen Khan's Ambitions

The Yasmeen Khan feature is titled "Strange combination of new ambitions and old ones." It begins with dance. Dancing was her first love. She took lessons from choreographer Hameed Chaudhry. The article says dancing had become "a way of life" for her, but she had to give it up when she started working in films.

The feature says Yasmeen Khan hoped to become a great artiste and wanted "a wonderful role" that would show her talent as an actress. It names Yusuf Khan-Sher Bano as her first Pashto movie and says the film "clicked with the public." At the time of the issue, she had 8 to 10 movies to her credit.

She was playing leading roles in Ibrahim Nafees's Dil Waley and in Nazeer Husain's color film Jahan Barf Girti Hai. The article says she attributes a large part of her success to producer-director Nazeer Hussain, who cast her in a leading role. The last sentence gives the profile its title: "new ambitions have taken place of old ones."

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Karachi Productions

Even with releases blocked, production continued. The Karachi pages give a list of films, studios, sets, and personnel.

Jahan Barf Girti Hai

At Eastern Studios, director-cameraman Nazeer Husain took over the largest floor for Jahan Barf Girti Hai, a color film under the Vision Pictures banner. The report says a Murree street was built inside the studio, including a motel, an old cloth shop, a hairdresser's, and other street details. Snow was needed for the scene. The magazine notes that perhaps the maximum number of lights was provided for the shoot. The cast included Badar Muneer and Yasmeen Khan, with Hanif, Shabaz, Sikandar, Fareeda Anjum, Hasan Pasha, Shahnaz Durrani, Nirala, Chakori, Fazal Mahmood, Afzal Sethi, Gringo, Lado, and Nighat Sultana. Music was by Lal Mohd. Iqbal. Lyrics were by Kaif Rizvani, Masroor Anwar, and Shabi Farooqi.

Tum Sa Nahin Dekha

Directed by Yusuf Nasr for Shahid Productions, Tum Sa Nahin Dekha paired Nazim with Sangeeta. The cast included Kamal Irani, Moin Akhtar, and newcomer Nazia. Songs were by Younus Humdam and Amir Ahmad. Saeed Rizvi was the cinematographer.

Boy Friend

Produced by Robert Malik and directed by Jameel Mirza for Golden Movies, Boy Friend starred Kemal with Rozina. Its cast included Mahmood Ali, Zahoor, Azad, Santosh Russell, and Charlie. Danish Dervi wrote the story, Zafar-Victor composed the music, and Kaif Rizvani wrote the lyrics.

Shahar Aur Saaey

Zia Sarhady directed Shahar Aur Saaey, a color production by Galosyl Motion Pictures. It starred Ghazala Rafiq and newcomer Aftab Manghi. The music was by Deboo. The unit planned location shooting in Iran.

Chalti Ka Naam Gadi

Directed by Iqbal Mufti, Chalti Ka Naam Gadi was a full-length comedy with Tarrannum, Iqbal Yusuf, Nirala, Faizi, Sikandar, Fomi Minwala, Aneela Nafees, Fareeda Anjum, and Saqi. Himayat Ali Shair wrote the lyrics. Deboo composed the music. G. M. Surti handled photography.

Mithra Shaal Millan and Badal

The Sindhi production slate included A. H. Siddiqi's Mithra Shaal Millan, described as his first Sindhi movie, and G. H. Siddiqi's Badal. Mithra Shaal Millan included Mushtaq Changezi and Ishrat, with Qurban Jeelani, Kiran, Malik, Anokha, Kamran Bhatti, Chakori, and dancers Guddo, Nishi, and Shaheen.

Dil Waley, Ham Ney Jeena Seekh Liya, Dil Bhi Tera Ham Bhi Terey

Ibrahim Nafees completed a week of shooting for Dil Waley, his first directorial assignment, with Badar Muneer and Yasmeen Khan in the lead. Agha Nazeer Kavish directed Ham Ney Jeena Seekh Liya, including a fight scene between Badar Muneer and Rashid. Dil Bhi Tera Ham Bhi Terey, directed by Tahir Bhakir, starred Aaliya, Shakir, Tarana, Sultan Rahi, and Moin Akhtar. Music was by Nazaar Shelley, and Runa Laila recorded a song at Modern Studios.

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Lahore Productions

The Lahore pages list prestige dramas, historical romances, Punjabi color films, and large star ensembles.

Tehzeeb

Directed and co-produced by Hasan Tariq for producer Safdar Masood, Tehzeeb was written by Ibrahim Jalees, with dialogue by Agha Hassan Imtisal. The magazine describes it as a satire on modern ill-suited Western etiquette. The cast included Rani, Aaliya, Zahid Khan, Aslam Pervez, Nasira, Tamanna, Shahid, Rangeela, Lehry, and Sabiha.

Saemi

Adapted from Hameeda Jabeen's novel of the same name, Saemi was directed by Fareed Ahmad. Shamim Ara starred opposite Nadeem, whose moustache is specifically noted. Songs and dialogue were by Masroor Anwar and Naqi Mustafa. Nashad composed the music.

Tansen

Presented by Ejaz and Masood, Tansen was directed by Masud Pervez and starred Ejaz with Shabnam. One song was rendered by Mehdi Hasan. Khursheed Anwar composed the music, and Qateel Shafai wrote the lyrics.

Parchain

Directed by Luqman and produced by Luqman and Jawed, Parchain had completed a major courtroom scene. The cast included Zeba, Mohammad Ali, Kamal Irani, Munawwar Saeed, Nazir Zingham, Mustafa Qureshi, Irshad Ali, Roshan, Zeenat, Naggo, Najma Niaz, and Nadia. Dr. Anwer Sajjad wrote the script.

Aan Jawanan Di and Angaray

Aan Jawanan Di, a Punjabi color film, opened with Santosh Kumar performing the ceremony. Darpan directed the film. The cast included Mohammad Ali, Waheed Murad, Firdous, Aaliya, Rangeela, Talish, Qavi, Nayyar Sultana, Meena Chowdhry, and Darpan himself. Angaray, produced by Aslam Chowdhry and directed by Fareed Ahmad, was near completion. Nagi Mustafa wrote the dialogue. A. Hamid composed the music. Nadeem appeared with Shamim Ara.

Punnu Di Sassi, Puttar Panj Daryawan Da, Khoon Da Badla Khoon

Punjab Pictures launched Punnu Di Sassi, pairing Ejaz and Sangeeta under Masud Pervez's direction, with music by A. Hamid. In Akbar Rizvi's Puttar Panj Daryawan Da, Sudhir fainted from exhaustion while trying to complete his schedule before leaving for Bangkok. In M. J. Rana's Khoon Da Badla Khoon, a fight sequence used two real dogs belonging to actors Iqbal Hasan and Yusuf Khan.

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Production Photographs

Pages 32 and 33 show cameras, opening ceremonies, directors instructing actors, and sets being worked.

Kemal appears "with new ideas" while producing Tasveer Aur Gadha. The caption says perhaps "gadha" is missing, but Rozina and Nisho can be seen in the picture. Veteran director Pervez Malik is shown giving instructions to Shabnam during location shooting for Aap Dekha Ley Chaho. Ibrahim Nafees "throws light on some point" for Tanveer and Arsheleh in Dil Waley.

Another photograph shows the opening ceremony of the color movie Rikshawala, with Attaullah Shah Hashmi as chief guest. The caption names Agha Akhtar, producer M. A. Yazdani, director Akbar Banglori, Nazim, and singer Rajab Ali. Iqbal Mirza is shown launching Pukar, with poet Ahsan Danish, Nadeem Qasmi, and Jamal visible. Director S. A. Bukhari is shown looking through the camera during outdoor shooting of Akbar Hussain Rizvi's Puttar Panj Daryawan Da. Another caption identifies the set of Angarey, naming Majeed Karim of Agfa, Pervez Malik, standing producer Aslam Chowdhry, Javed, and director Fareed Ahmad.

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Information Desk, October 1971

The "Information Desk" gives readers height, address, real names, education, hobbies, song counts, film lists, trade agreements, and release territories.

Iran and Turkey: The magazine says Pakistani films are not released in Iran and Turkey because there is no trade agreement. It adds that Jane Bond 008 Operation Karachi had recently been released in Pakistan as a Pakistan-Iran co-production.

Reshma: The magazine says it has no information about her education and permanent address. It tells the reader to write to her care of Broadcasting House, Radio Pakistan, Karachi.

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Robbery, Accident, Rescue

Razia survived a home robbery. The magazine says intruders tied her with rope, gagged her with a handkerchief, sat on dining chairs, drank coffee, ate roast chicken, took her jewelry, and escaped in her car. Her chauffeur and another servant were also taken. The suspects were later arrested in Azad Kashmir.

Another item reports that Mohammad Ali, Zeba, and writer-director Riaz Shahid helped victims of a bus accident near Tret, between Murree and Rawalpindi. A bus had fallen into a ravine after slipping from the road. The three helped police remove injured passengers. Mohammad Ali criticized the crowd for watching instead of transporting the injured. His quoted line is severe: "I saw human bodies bathed in blood and we cannot sleep tonight."

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Bima, Aman, and Bangla Desh

A report titled "Objectionable banners seized" says Naulakha police confiscated more than 50 "obscene and semi-nude banners" displayed in cinemas and public places. The banners advertised the film Bima. Cases were filed against seven prominent cinemas, and the materials were sent to the Central Board of Film Censors.

The Reader's Forum carries a different censor complaint. Waqar Ahmad Khan of Multan protests the ban on Riaz Shahid's Aman, a film about the Kashmiri struggle. He argues that Shahid's earlier films, including Zerqa and Gharnata, had raised Pakistan's pride and that his patriotism should not be crushed.

His letter then turns to India. He says India had made a film called Bangla Desh, which he describes as an insult to Pakistan. His argument is built as a reply: India makes Bangla Desh; Pakistan should release Aman. The state, meanwhile, is cutting, banning, and seizing.

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Film Stock, Socks, Wax

Page 2 carries a full-page trade advertisement for Yangtze River Chinese Cinematographic Films. It offers black-and-white 35mm and 16mm cine-films, including negative, positive, and sound recording film. The sole agent is Progressive Traders in Karachi.

Max Factor advertises Satin Flow cleansing lotion under "The Today Look." The copy warns that wearing makeup too long enlarges pores and that rubbing it off "develops wrinkles."

Consul advertises 100 percent nylon men's socks with the line "Come Consul With Me..." The agency address is Missionpara, Narayanganj, East Pakistan.

Sohni Cold Epilatory Wax, manufactured by Beauticia in Karachi, opens with the question, "Is superfluous hair your problem?" The copy links unwanted hair to glands, puberty, inherited tendencies, sun exposure, and modern fashions that expose more skin than "our grandmother's day." It warns against pills and hormone treatments, then promotes cold wax as clean, safe, economical, and local.

Colwool closes the issue with a bright yellow back-cover advertisement for "4-Ply Pure New Wool" and related knitwear under the line "Everywhere It's Knitwear."

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Rozina Centerfold

The issue reports police action against "obscene and semi-nude banners." It also prints a full-color centerfold of Rozina.

The caption says Rozina is "looking ahead for a real break." It then adds: "She has all the curves and verve for the sex starve audience."

The issue reports police seizures of semi-nude banners, then prints its own centerfold for a "sex starve audience."

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Forensic Summary: October 1971

East Wing studios had stopped working. Mirza Shahi had arrived in Lahore with his family. Jaleel Afghani had also arrived from the East Wing. Reshman was expected to come permanently to Lahore. Ehtesham had taken a residence in Gulberg and had "no intention to go back."

Shabnam's profile gives East Pakistan, Karachi, Lahore, Urdu, marriage, drawing-room respectability, formula roles, and audience judgment. Heer Ranjha reached Moscow without the form needed for screening. Ceylon received Pakistani stars warmly but criticized the lack of color. About 30 films were waiting for release. More than 70 percent of films with announced dates might be dropped.

The issue gives Noor Jehan's long-song fee, Shabnam's PECHS address, Sangeeta's matriculation result, Reshma's missing education data, the Narayanganj sock agency, and the air-conditioning being installed in Shabnam and Robin Ghosh's drawing room.

Karachi sets were still being built. Lahore films were still being launched. Censors were seizing banners. Readers were asking about actors' heights, salaries, addresses, and education. East Wing studios were reported as suspended.

The complete digital archive of Eastern Film is held by Khajistan, with physical collections housed at the University of Pennsylvania's Kislak Center and Lady Margaret Hall, University of Oxford.