To emphasise this point, Mengal gives the example of Indian director Kabir Khan who made Bajarangi Bhaijan. “He was criticised by a media channel for being an outsider belonging to an ‘unfriendly’ country. An artist does not have boundaries. A good film is seen throughout the world so we should broaden our horizons and thoughts. I have not lost hope and I am still optimistic. In fact, I have become stronger in adversity and will try harder, but what hurts is negativity. My sponsors and producers are still with me. They know the second and third time round the product will be way better.”
Mengal says work on his next film will be done quietly. “It is difficult to overcome hurdles while making a film. India is far ahead than us, they have 16,000 cinema houses whereas we have about 60 throughout Pakistan. It is not easy to make a film here, and we need the help of the media to tackle issues in this fledgling industry.”
Hijrat was shot in Turkey and Quetta and the stories of the refugees were taken from real life. “All the five songs were fantastic, sung by Rahat Fateh Ali Khan, Ali Azmat, Umar Nadeem, Sara Raza and Indian singer Shalmani. The film was shot on 35mm camera which has now become rare as most films are digital,” says Mengal. “It is very expensive but the result is fantastic, and Hijrat is therefore the most expensive film during the rebirth of films in Pakistan. The post-production was done in Turkey and Thailand.”
The set showing a refugee camp was erected on a barren stretch in Quetta with nearly 3,000 people working in it. “The main cast included Rabia Butt, Ayub Khoso, Nadeem, Sana, Durdana Butt, Rubab Ali, Azra Aftab and Jamal Shah.”
Farouq Mengal says a film is a director’s medium whereas TV serials are the writer’s. “I feel that a director should write the script also because he controls the story. I didn’t have money earlier, which is why it took me so long to make a film. A serial is like an adopted child because it has many people involved in it, and though I enjoy doing it my preference will always be films.”
What meager profit is made in films is distributed among exhibitors, media partners, distributors and actors; the film-maker ends up with only 30 per cent, Mengal states. “In India they make 100 films and 10 become hits. We are in the initial stages of making films, so it is unfair to judge us harshly. One learns from mistakes and becomes better with time.”
He feels that the future of Pakistan’s film industry is bright and if the few directors stop fighting between themselves, it will help all of them tremendously. “I give our film industry three years to make a name for itself, before it is able to put up with outside competition. To achieve this, we have to unite and think on the same level.”
Published in Dawn, Sunday Magazine, May 22nd, 2016