Recently newspaper headlines screamed the news that Meera will be seen in a Pashto film. But the actress point-blank denied that she was even considering signing on any such project. Quite understandably, the actress was apprehensive about going public with the decision, fearing negative media hype and that the decision to work in a regional film may spoil her credibility as an international artist. She completed her work on her debut Pashto outing, Orbol, in a hush-hush manner and, according to the circuit report, the Eidul Azha release has done well and Meera’s acting has been widely applauded.

Renowned Pashto film director Arshad Khan has over 70 films to his credit and when he approached her with an offer for the title role in Zargia Khawar Sati, Meera agreed to it. In fact, she even invited me to the shooting in Murree where heavy downpours and bone-chilling cold made it quite difficult to conduct the shoot outdoors. It was decided to shift indoors and the camera, lights and crew got busy (most of us were anxious about her performance due to Meera’s unfamiliarity with Pukhtoon culture and language).

On the sets

The shot went something like this: an attractive, young woman (Meera) is on her way back home when a rogue grabs her hand and attempts to force himself on her. She ultimately succeeds in breaking free and rushes home where she tearfully narrates the incident to her mother.

“Cut! Excellent!” director Arshad Khan shouts and the whole crew begins to applaud. Ultimately, the sun starts to peep from behind the dark clouds and conditions became conducive for outdoor shooting.

The next shot was filmed in a shady grove and Shahid Khan, the popular hero of the Pashto film industry, shares the frame with Meera while carrying a firearm and a fierce expression. As the shot opens, he warns his beloved not to come in his way to which Meera yells back, “Mujhe maro … agar tum main himmat hai to ja kar dikaho” (kill me first … if you have the courage).

Her words instill more rage into the hero who, in Pashto, warns her a second time to stay clear.

“Cut!” and the scene is completed in a single take and the crew and a band of onlookers, mostly young women, again started applauding (the latter were watching the shooting from their hotel window).

A remarkable actress

Meera proves that language is no barrier in the progression of her acting career. Usually, she listens to the dialogue once or twice and then promptly delivers her lines. The director was quite ecstatic about Meera’s professional attitude and performance sans any retakes whatsoever. He gave her a light pat on the shoulder, encouraging her to do even better.

While speaking to Images on Sunday, director Arshad Khan said that the script needed someone who exuded innocence and Meera was a unanimous choice. Zargia Khawar Sati is a romantic film that revolves around a rich boy-meets-poor girl plot.

It was late night when Meera finally got free from shooting. “When I got the offer, I was quite hesitant and the thought that kept going through my mind was that doing a regional film may inhibit/injure my national and international celebrity image.”

“Then what made you accept this offer?” I asked her.

“Well, Pakhtuns are our fellow Pakistanis and it was a burden on my conscience that my refusal might hurt their feelings. Pashto cinema is doing quite well these days as it has filled the vacuum left behind by Punjabi and Urdu films. It’s my duty to support Pollywood (Pashto cinema industry) so that cinema can thrive here somehow,” she said.

All for a good cause

Meera’s future plans include setting up a charity hospital and she has asked director Arshad Khan to support her in fundraising. He conditionally promised her that after the release of the film, Rs1 to Rs5 will be charged additionally on every ticket for her charity hospital.

“It also persuaded me to work in his film,” she said, spilling the beans for the very first time to any publication.

Meera has genuine concerns when it comes to the drawbacks of working in regional films. She quotes the example of Yash Chopra who is widely known not only throughout India but to Urdu-speaking populace the world over. “On the contrary, nobody knows regional Indian or even Pakistani directors like Masood Butt, Pervaiz Rana, etc. I’m even annoyed at Shahzad Rafiq for making Ishq Khuda in Punjabi when there is a dire need to produce Urdu films. I’ve told Shahzad quite bluntly that I would prefer to sit at home instead.

“The exposure you get through regional language films is limited due to the language barrier while national language films broaden your exposure to international markets,” said the determined actress.

Meera will not be seen doing any ‘objectionable’ songs or scenes in Pashto films. “I don’t want to be another Veena Malik who defames Pakistan. Vulgar scenes cannot uplift an artist’s image or her professional career. It only invites the wrath of people. A true artist should always keep this ‘golden rule’ in mind,” Meera says with a mischievous look in her eyes.

Blue-collar crime

The period between 1960 to the ’80s witnessed the rise of Pashto cinema and the production standards were at par with Urdu films. Where Nadeem, Shahid and Waheed Murad called the shots in Urdu movies, Badar Munir, Asif Khan, Mussarat Shaheen and Yasmeen Khan ruled the roost in the Pashto film industry. These giants literally paved the way for all forthcoming films, and even gave their lifeblood to Urdu action movies. Indeed, who can forget their invaluable contributions to films like Dulhan Ek Raat Ki, Qatal Kay Baad, Meri Dushmani, etc, that left an indelible impact on the Punjabi and Urdu action film genre and those that came in the aftermath of their box office success.

However, Pashto films lost ground along with their fans and credibility after the deterioration started to set in, and later due to restrictions imposed by the MMA government from 2000-2003 on their publicity through banners and posters. Now, film stars Arbaz Khan and Shahid Khan are striving hard to reverse the damage and keep the flag flying high.

IoS sat down with director Arshad Khan after seeing his work on Zargia Khawar Sati, to discuss the future of Pashto films.

Q. How many films have you made so far and the ratio of success?

AK: I’ve directed almost 70 with three still on the sets. The success ratio is above 65 per cent. Interestingly, besides Pashto I’ve also directed three others: Mahi Aaway Ga, Dirty Girl and Gujjar da Kharrak.

Q. What difficulty did you face while directing films in another language?

AK: None at all. Film has no language. When a singer can sing in different languages then why can’t a director direct likewise.

Q. While both Punjabi and Urdu commercial cinema have taken a nosedive, their Pashto counterpart is thriving albeit in a critical state. Comment.

AK: The first reason is that both Punjabi and Urdu movies are facing tough challenge from Indian films while in Pashto hamaray samnay khula maidan hai (the field is wide open to us). Secondly, in Pashto, we give honour and money to our artists while the situation in Urdu and Punjabi cinema is quite the opposite. How can one hope to achieve quality or maintain it under such circumstances, I ask you.

Q. What challenges have you had to face as a Pashto film-maker?

AK: The deteriorating law and order situation has threatened almost every institution, and films are no exception. When there are bomb blasts taking place on a daily basis, who will visit cinema houses? The government continues to turn a cold shoulder towards art and culture. Despite all this, Pashto films flourish due to a vast market in Afghanistan and Dubai.

Afghanistan has the second biggest Pashto film circuit after Pakistan. If ever Pashto films stop screening in Afghanistan, it will deal a major death blow to the cinema houses there.

Q. Pashto films are usually associated with vulgarity. How would you counter the allegation?

AK: Pashto films suffered from vulgarity between 1980 to 1990 due to strict censorship enforced by the Ziaul Haq regime. However with the passage of time we have brought about immense changes in music, story and talent by introducing both established and new names such as Meera, Ahmed Butt, Sumbul, etc.

Q. How can there be hope for Lollywood?

AK: There is a lot that needs to be done on a self-sustaining, institutional basis. We have to come out regionalism, filmmaking has to be a team effort and both the media and the government should help us out.