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During his twenty-eight year monumental movie career Pervez Malik’s twelve out
of twenty six movies won the prestigious Nigar Award. His award winning movies are listed below.
1. The film Heera Aur Pathar, 1964, Waheed Murad won the best actor award. M. Aqeel Khan won the best screenplay award.
2. The film Armaan, 1966, won six Nigar Awards. The best film award goes to Armaan. Pervez Malik won the best director award.
Zeba won the best actress award. Sohail Rana won the best music composer award. Nirala won the best comedian award. Ahmed
Rushdi won the best singer award.
3. The film Meray Humsafar, 1972, Sohail Hashmi won the best cameraman award. Hasnain won the best screenplay award.
4. The film Anmol, 1973, Shabnam won the best actress award, Munawwar Saeed won the best supporting actor award.
5. The film Pehchaan, 1975, Masroor Anwar won the best songwriter award, Naheed Akhtar won the best singer award.
6. The film Mehmaan, 1977, Salma Kanwal won the best storywriter award. The film was based on her novel ‘Chupkay say
bahar Aa jaye.’ A. Saeed won the best screenplay award. Sohail Najmi won the best songwriter award.
7. The film Hum Dono, 1980, Shabnam won the best actress award.
8. The film Qurbani, 1981, received ten Nigar Awards. The best film award went to the film Qurbani. Pervez Malik won the best
director award. Nadeem won the best actor award. Shabnam won the best actress award. M. Ashraf won the best music composer
award. Masroor Anwar won the best songwriter award. Ghulam Abbas won the best singer award. Mehnaz won the best singer award.
Amjad Islam Amjad won the best scriptwriter award. Riaz Bukhari won the best cameraman award.
9. The film Meherbani, 1982, Ali Sufyan Aafaqi won the best scriptwriter award. Akhlaq Ahmed won the best singer award.
10. The film Gumnaam, 1983, Talat Husain won the best supporting actor award.
11. The film Kamiabi, 1984, Ali Sufyan Aafaqi won the best scriptwriter award.
12. The film Ghariboan ka badshah, 1988, Pervez Malik won the best scriptwriter award, Javed Sheikh won the best actor award.
Fayyaz Hashmi won the best songwriter award; A. Nayyar won the best singer award.
Pervez Malik: live in the moment
By Anis Shakur
Effort is the law of life. To cease to strife is to cease to live
The above aphorism holds too true to the renowned Pakistani movie director-producer-writer,
Pervez Malik.
Essentially, Pervez Malik, who was born in 1937, was a happy goes lucky person with a beautiful smile. Upon successful completion
of movie making course in U.S.A. Pervez returned to Pakistan sometime in 1963.
Soon young, enthusiastic Pervez developed enduring friendship with music composer Sohail Rana, songwriter Masroor Anwar, and
film star Waheed Murad. Perhaps, the four friends must have learned early in their lives that ‘there can be no friendship
without confidence and no confidence without integrity.’
Hence, the four budding luminaries struck up a very close friendship that lasted four decades. In fact, from that moment Pervez’s
life was gripped with purpose.
Let us turn back history’s clock a wee bit and get a glimpse of those earlier days. Pervez’s directional debut
was the 1964 super hit film Heera Aur Pathar. What made Heera Aur Pathar so great was Pervez’s openness to new experiences,
his honesty and most of all, his truth. Also, the beauty and effectiveness of the songs composed by maestro Sohail Rana are
reflected in the mellifluousness of those melodies.
Most importantly, Pervez had the strength, gumption and independence to come up with new innovative notions to direct movies.
Searching for gems in the never-ending flood of everyday life, Pervez came across something, which he eventually transformed,
into greatest directional accomplishment.
In 1966, Armaan not only became the greatest Pakistani movie ever made in Pakistani soil, but also went in the history as
the first Pakistani movie to successfully complete the Platinum jubilee. Pervez, whose talent shines here on its highest beams.
A film as awesome as its images, Armaan stirs the soul of those who still treasure the power of movies.
Ahmed Rushdi’s honeyed vocals made him the darling of the youth. There’s great fluidity to the melodies in Armaan.
It was the shimmering arrangements and thoughtful vocals as well that did the trick.
Most importantly, there is hallowed tone of intimacy in the instrumentation of music genius, Sohail Rana.
Pervez had really gone to the depths to attain name and fame. While his countrymen acclaimed him one of the greatest movie
directors of the twentieth century. Pervez prided himself on superfluous direction and rightly so.
Pervez strived to attain a first-class level of direction in the 1967 movie Ehsaan. His is an achievement that is still a
worthy yardstick and it still retains an atmosphere of long ago. Most of all, the public believe in the gorgeous melodies
of Sohail Rana. How fabulous to hear Sohail Rana’s music coming back so profoundly after such a long time.
Pervez believed he could be anything he wanted to be. Additionally, Pervez’s independence of mind and ability to focus
on his work also served him well.
The film Doraha happened to be the co-production of Pervez Malik-Sohail Rana. It was his coolness and composure, which gave
Pervez a command of every situation. What could be better instance of Pervez’s directional abilities then Doraha.
To think of Doraha today is to remind the listeners that there is more enjoyment in those melodies, which lift them to high
and create a feeling of serene exaltation among them.
Chief among Pervez’s successes was a success to understand the human relationship. A good example is his direction in
the film Jahan tum wahan hum. As one listens to the lilting music of Robin Ghosh in Jahan tum wahan hum, one comprehends the
powerful and positive effects music can have in our lives.
Apparently, Pervez was one of those superb individuals who had gotten where he was because of his talent and his belief in
the possibility of upward mobility.
The films like Esay deikha esay chaha, Anmol, and Dushman, made Pervez a legend whose legacy is imprinted in the Pakistani
cinema. Pervez directed movies in the spirit of those days gone by. Moreover, in the annals of creating memorable roles, Pervez
stands out. Three examples are the films Pehchaan, Talaash, Suchhai.
Doing well is easy when doing well is automatic. A case in point is Pervez’s direction in the film Intikhab. Pervez
was a canny observer of daily life, as is evident in the movies he directed on walks through countless cities. Three examples
are the films Mehmaan, Hum dono and Rishta.
Pervez’s gentle, soft-spoken presence created an aura of intimacy that you wanted to share. It was easy to see why actors
were drawn into his collaborative embrace. Movies like Qurbani-Meherbani-kamiabi elevated Pervez’s credibility to the
public.
What is more, Pervez had managed to promote the mass media as family friendly and morally uplifting. Pervez, widely acclaimed
for his direction in Pakeeza, he came out brilliant in the films Halchal and Zanjeer. Likewise, Pervez’s magnificent
direction in the film Saughat proved to be a genuine ‘tohfa,’ or gift to the cine-goers.
Presumably, in Saughat, as always, Sohail Rana wanted the music to bring the same joy and peace to the listeners as it has
to him. Pervez’s extraordinary range of understanding was so rich in quality and human profundity that makes all quality
possible. The films like Gumnaam, Ghariboan ka badshah and Shehzada lifted the spirits of the viewers.
Pervez had not been in the limelight for quite sometime. The man who shared so much with the public, crossed over peacefully
of cardiac arrest on Tuesday November 18, 2008 in Islamabad, Pakistan.He was seventy-one years of age. His passing drew a
great deal of attention because he had been in the eye of the Pakistani people for over forty years. Millions of moviegoers
lamented the sad demise of Pervez.
Perhaps, one of his ardent admirers said it best: ‘But with
the news of his death, it’s that haunting first film that springs to mind, for it understands so well the acute pain
of mourning.’
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