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Mushkil
Mushkil
Mushkil
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Mushkil
Directed byJaved Sheikh
Written bySyed Noor
Javed Sheikh
Produced byAbdul Habib
StarringGhulam Mohiuddin
Nadeem
Neeli
Javed Sheikh
Behroze Sabzwari
Talish
Meera
Asif Khan
Music byAmjad Bobby
Distributed byHabib Jalib Films
Release date
  • 31 March 1995 (1995-03-31)
CountryPakistan
LanguageUrdu

Mushkil (Urdu: مشکل, lit. difficult) is a 1995 Pakistani Urdu-language film which was released in 1995 across theaters in Pakistan. The film dealt with the issue of child-camel-jockeys illegally trafficked from the third world countries into numerous Arab countries.

The super-hit film music was composed by Amjad Bobby.[1][2] Hit tracks included Dil Ho Gaya Hai Tera Deewana and Mushkil Hai Bara Mushkil Hai. This film was directed by Javed Sheikh.[1][3]

Cast

[edit]

Soundtrack

[edit]

The lyrics were written by Masroor Anwar and Saleem A. Saleem and music was composed by Amjad Bobby.[4]

  • Dil Ho Gya Hay, Tera Deevana (Female version) sung by Mehnaz Begum[1][4]
  • Dil Ho Gya Hay, Tera Deevana (Male version) sung by Tehseen Javed[1]
  • Tujhko Bhool Kay Zinda Rehna, Mushkil Hai Bara Mushkil sung by Mehnaz Begum, Tehseen Javed[4]

Awards

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mushkil

View on Grokipedia
from Grokipedia
Mushkil (: مُشْكِل, lit. 'difficult') is a term originating from and widely adopted in Persian, , and other languages across the Islamic world, signifying hardship, complication, or something intricate and challenging to resolve. It encapsulates both literal obstacles and metaphorical struggles, appearing in classical , , and colloquial expressions to denote trials that test endurance or require ingenuity. In Islamic scholarship, particularly hadith sciences, mushkil al- designates narrations that are ambiguous or contradictory, demanding rigorous to reconcile apparent discrepancies and extract authentic meanings. Such terms underscore the emphasis on empirical scrutiny and logical resolution in traditional , prioritizing textual fidelity over interpretive convenience. Sufi teachings employ mushkil in didactic tales, such as the of Mushkil Gusha, where a woodcutter's receives aid from a mysterious benefactor, symbolizing divine intervention contingent on and ritual observance like weekly charity. This narrative, preserved in oral and written Sufi lore, illustrates causal mechanisms for transcending adversity through patterned behavior rather than passive . Within Shia devotional practices, mushkil features in invocations seeking alleviation of personal crises, often linked to epithets for Imam as the remover of difficulties, reflecting a of targeted appeals grounded in historical reverence for his role in early Islamic events. These usages highlight mushkil's enduring role in framing human agency amid uncontrollable exigencies, informed by primary doctrinal sources over later institutional narratives.

Synopsis

Plot Summary

Mushkil centers on a middle-class Pakistani family whose young son is abducted from a shopping mall by a ruthless gang specializing in the kidnapping and trafficking of children across Asia to Gulf countries, where they are forced to work as jockeys in hazardous camel races that often result in fatalities. The desperate parents launch an exhaustive search for their child, navigating treacherous deserts and international borders while grappling with systemic indifference and corruption from local authorities who covertly support the traffickers' operations. Their relentless pursuit culminates at the gang's Bay-Gar camp—a holding site for abducted children—where they confront , successfully their son, and facilitate the liberation of other captives, entrusting the children to Sattar Ehdi for eventual reunification with their families.

Key Themes

examines through the lens of economic disparities, showing how in third-world countries drives the abduction and sale of children to Gulf states, where demand for diminutive camel jockeys persists due to the sport's reliance on riders for speed advantages. The narrative centers on the of a young boy from a , his transport across borders, and integration into a system that commodifies minors for . The film emphasizes the severe physical and psychological abuses inflicted on these child laborers, including to maintain low weight, hazardous racing environments leading to falls and deaths, and coercive measures such as tying infants to camels to prevent escape during events. These depictions highlight the denial of basic childhood , , and , portraying the practice as a form of modern enslavement sustained by profit motives in host nations. Implicitly, Mushkil contrasts familial resilience against systemic moral failings in international labor oversight, as parents undertake perilous quests to reclaim their children, underscoring determination and parental bonds as bulwarks against trafficking that evade governmental enforcement. This framing prioritizes personal agency and sacrifice over expectations of collective intervention, critiquing the complicity of demand-side economies in perpetuating exploitation.

Historical and Social Context

Real-World Child Camel Jockey Trafficking

In the , thousands of children, primarily boys aged 4 to 14, were trafficked from poverty-stricken regions in , , , and other South Asian and African countries to Gulf states including the (UAE), , and to work as jockeys in organized races. This trafficking exploited the demand for lightweight riders in , a traditional sport where young children—often weighing less than 30 kilograms—were preferred to maximize camel speed and performance over distances of several kilometers. Estimates indicate that by the early 2000s, approximately 5,000 such children operated in the UAE alone, with the practice having persisted for over three decades prior, fueled by a steady supply from impoverished families or through kidnappings. Traffickers, often operating through informal networks evading international borders and labor laws, sourced children via , sale by desperate parents, or abduction, with reports documenting at least 30 boys kidnapped monthly from in the late 1990s and early to meet UAE demand. Once in the Gulf, these children faced systemic physical and psychological to maintain minimal body weight and peak , including enforced starvation diets that stunted growth and caused chronic . Handlers administered beatings with whips or sticks for perceived underperformance during training or races, alongside routine physical and to enforce compliance. Racing conditions amplified risks, as children rode without safety equipment at speeds exceeding 60 kilometers per hour, leading to frequent falls and severe injuries such as fractures, spinal damage, and concussions; many suffered lifelong disabilities or were discarded when no longer competitive. The underlying stemmed from intersecting economic pressures—severe in source countries creating a vulnerable supply—and cultural imperatives in host nations, where camel racing's prestige demanded the lightest possible jockeys despite known hazards, often bypassing rudimentary norms under national . This evasion of global conventions, such as those from the , perpetuated the cycle, with children repatriated only after years of exploitation, if at all.

Cultural Practices and Reforms

Camel racing originated as a traditional pastime in nomadic cultures, where children were preferred as jockeys to maximize speed by minimizing the camel's burden during races. This practice, rooted in the need for competitive advantages in informal tribal competitions, persisted into modern organized events in Gulf states despite the availability of mechanical alternatives, as human riders—particularly underweight children trafficked from and —offered perceived precision in guiding camels over long distances. The use of children as young as two years old became widespread by the 1970s, driven by economic incentives for race organizers rather than inherent cultural necessity, with boys deliberately starved to keep weights below 30 kilograms for an edge in races spanning 5 to 10 kilometers. Reforms began in response to external pressures from organizations and media exposés highlighting abuses, rather than endogenous ethical shifts within Gulf societies. In the UAE, initial repatriation efforts targeted over 5,000 jockeys by 2003, culminating in a 2005 federal ban prohibiting riders under 18, enforced through mandatory robot substitutes and penalties for non-compliance. followed with Law No. 22 of 2005, banning the importation, training, and use of children under 18 as jockeys, imposing jail terms of three to ten years on violators, and establishing monitoring committees amid similar international scrutiny. These measures aligned with broader anti-trafficking campaigns, including recognitions of as intangible heritage, but prioritized image rehabilitation for hosting global events over voluntary cultural introspection. The introduction of lightweight robot jockeys around 2004, equipped with remote-controlled whips and GPS, provided a causal alternative that preserved 's economic viability—generating millions in prizes—while eliminating human risks, leading to documented declines in injuries and trafficking inflows. Studies in Al-Ain, UAE, post-ban confirmed near-elimination of -related racing injuries through rigorous and robotic adoption, underscoring law's role over voluntary compliance. However, skeptics note incomplete rescues, with reports of underground use in unregulated races or neighboring states persisting into the , questioning full eradication amid cultural attachments to human elements in heritage sports. Debates persist on balancing preservation of nomadic traditions—where minimal risks once honed —against outright abolition, though empirical outcomes favor mechanization's effectiveness in severing child exploitation without dismantling the practice.

Production

Development and Intent

Mushkil originated as the directorial debut of in 1995, at a time when Pakistani cinema predominantly featured action and romantic narratives, prompting Sheikh to pursue a project with a compelling social message focused on child exploitation. The , penned by , dramatized the trafficking of children from and neighboring South Asian countries to Gulf states for use as underage jockeys, a practice involving organized gangs that kidnapped and smuggled boys as young as four or five to meet demand in industries. Produced by Abdul Habib Memon under the banner of Films with a modest budget reflective of the era's declining output, the film aimed to illuminate the human cost of these networks without aligning to partisan agendas, emphasizing the economic desperation driving parental sales or abductions alongside the brutality of handlers who underfed children to reduce weight for races. Sheikh's intent centered on fostering public awareness of this form of bonded labor, which persisted despite emerging international scrutiny, by prioritizing factual portrayals of trafficking routes from rural through porous borders to UAE and other emirates over melodramatic flourishes common in commercial films.

Casting and Filming

Principal photography for Mushkil occurred in , , where the production was based. Gulf state environments, including venues central to the plot, were simulated using local Pakistani locations and practical effects such as staged races with real animals, as advanced was unavailable in mid-1990s Pakistani . Casting emphasized ethical practices for performers portraying jockeys, with selections like newcomer Arshad introduced to depict the vulnerable protagonists without subjecting minors to exploitative conditions mirroring the narrative. Budget limitations, common in 's during the period, resulted in sparse, utilitarian sets relying on natural landscapes and basic props rather than elaborate constructions. Shooting wrapped in late 1994 to early 1995 ahead of the film's March 31, 1995 release, after which prioritized tight editing to build suspense in abduction and sequences.

Personnel

Cast

Javed Sheikh starred as the father, a determined parent navigating systemic and international barriers to recover his trafficked son, marking his directorial debut in a lead acting capacity. Neeli played the mother, whose role centers on the profound familial grief and resilience amid the crisis of . Shehroz Sabzwari portrayed the young kidnapped boy, embodying the physical and psychological vulnerability of children exploited in circuits. Antagonistic figures, including traffickers and handlers orchestrating the cross-border operations, were enacted by Ghulam Mohiuddin, Nadeem Baig, and Asif Khan, leveraging established Pakistani actors to depict the perpetrators' ruthless pragmatism. Additional supporting roles by , Talish, , Meera, and Khalid Butt contributed to the portrayal of community and institutional responses to the trafficking network.

Crew

Javed Sheikh directed Mushkil, marking his feature film directorial debut in 1995, while also contributing to the screenplay alongside writer . Sheikh's approach integrated dramatic family narrative with advocacy against the from to Gulf states for forced labor as camel jockeys, drawing on real-world exploitation to underscore abuses without overt didacticism. His prior experience as a leading actor in over 100 Pakistani films lent credibility to the production's focus on , though the film prioritized emotional resonance over documentary-style exposition. Producers Abdul Habib Memon and Muzammul Saleem financed the project through Habib Jalib Films, enabling an independent Pakistani production that bypassed major studio constraints to tackle a subject involving cross-border crime syndicates. This self-contained effort reflected the era's limited resources, with funding directed toward authentic location shooting to depict the harsh transition from to exploitative camps. Specific cinematographic and editorial credits for Mushkil remain sparsely documented in production records, but the film's visual style employed straightforward realism to convey the stark environments of trafficking routes and labor sites, avoiding stylized effects in favor of grounded depictions that amplified the narrative's urgency.

Music and Soundtrack

Composition

The for Mushkil consists of original compositions created by Pakistani musician Amjad Bobby, who served as the film's primary . Released in alongside the film, the score integrates melodic performed by playback singers, with Bobby contributing vocals to at least one track. Key songs include "Dil Ho Gaya Hai Tera Deewana," sung by Tehsin Javed to lyrics by Masroor Anwar, and "Mushkil Hai Bara Mushkil Hai," a featuring Mehnaz and Amjad Bobby. These tracks were tailored to the film's narrative of and trafficking, with the title song "Mushkil Hai Bara Mushkil Hai" directly echoing the theme of hardship faced by the protagonists. Bobby's work draws on conventions of Urdu-language cinema music, incorporating vocal-driven arrangements to heighten emotional sequences such as family separations and rescue efforts, without overpowering the dramatic realism of the storyline. The compositions utilize standard orchestral and vocal elements prevalent in mid-1990s Pakistani scores, emphasizing lyrical expression over elaborate production to maintain focus on the human cost of camel jockey exploitation.

Release and Reception

The soundtrack of Mushkil was released in on cassette tapes in , concurrent with the film's theatrical distribution, as was standard for productions during the era when physical cassettes dominated music dissemination. Tracks garnered modest radio airplay on Pakistani stations, reflecting typical exposure for film songs amid competition from established playback singers. One standout, "Dil Ho Gaya Hai Tera Deewana" sung by Tehseen Javed, achieved commercial success by appearing on the Lollywood Top Ten music chart in 1995 and 1996. Initial audience reception praised the compositions for their melodic appeal and integration with the film's narrative, with contemporary accounts describing the songs as "nice and very popular" among viewers. No specific sales figures for the cassette are documented, though chart performance of the lead track aligned with mid-tier successes in 1990s Pakistani music, where hits often boosted overall album circulation through radio and bazaar vendors rather than widespread digital metrics.

Release and Distribution

Premiere

Mushkil premiered theatrically in Pakistani cinemas on 31 1995, marking its initial public rollout as a social drama produced by Films. The release occurred on a , aligning with standard weekend viewing patterns for Urdu-language films in the country at the time. No formal red-carpet events or specific venue details, such as a cinema in or , are documented in contemporary records, reflecting the modest distribution typical of mid-1990s Pakistani cinema. The film's marketing emphasized its thematic focus on the exploitation of jockeys in Gulf states, with promotional materials highlighting the narrative's call for reform rather than commercial sensationalism. Distribution remained confined to domestic theaters, with no verified international screenings at launch, though its dialogue limited appeal beyond and Urdu-speaking communities. Content depicting harsh Gulf labor practices prompted no reported delays or bans from Pakistan's Central Board of Film Censors, allowing an unhindered nationwide debut.

Box Office Performance

Mushkil experienced limited commercial success upon its release on , 1995, in Pakistani theaters, failing to achieve significant earnings in the . Director , in a later , acknowledged the film's failure, attributing it to factors that hindered widespread audience engagement. The movie's focus on the grave social issue of child kidnapping and trafficking for exploitation, including as jockeys, marked it as Pakistan's first produced by commercial artists, restricting its appeal to mainstream viewers accustomed to escapist cinema fare. This niche positioning led to underperformance relative to contemporaneous commercial films that dominated 1995's reports with super-hit verdicts. While precise gross figures remain undocumented in available records, the film's non-commercial orientation precluded blockbuster returns, though its thematic advocacy found resonance beyond theaters in subsequent discussions on .

Reception and Legacy

Critical Response

Mushkil garnered a mixed critical and audience response upon its 1995 release, with praise centered on its unflinching depiction of child trafficking for , an underreported form of exploitation documented in international accounts from the era. Reviewers and viewers highlighted the film's emotional resonance in portraying a Pakistani family's desperate search for their kidnapped son, commending director Javed Sheikh's debut effort for shedding light on real-world abuses where children from were smuggled to states, subjected to physical harm, , and hazardous labor. This alignment with factual reports of thousands of boys enduring beatings and permanent injuries lent the narrative a sense of urgency, positioning the film as a bold in Pakistani cinema. However, detractors pointed to melodramatic excesses typical of the , arguing that the plot's reliance on heightened and simplified villainy risked emotional manipulation over nuanced analysis of trafficking networks involving , , and demand in host countries. Some skeptical viewer feedback implied oversimplification of cultural dynamics, potentially reinforcing of Arab employers as monolithic exploiters without addressing enabling factors like lax enforcement in origin countries. The user average of 5.8/10 from 65 ratings underscores this divide, with the modest sample likely skewed toward engaged audiences rather than broad critical consensus. Retrospectively, as global scrutiny intensified—culminating in the UAE's ban on underage camel jockeys amid repatriation of over 1,000 children—the film has been viewed as prescient in exposing systemic failures, though its dramatic framing drew occasional for prioritizing over investigative depth. Limited contemporary print reviews reflect the era's sparse media coverage of output, amplifying reliance on audience sentiment that balanced appreciation for advocacy with reservations about artistic execution.

Awards and Recognition

Javed Sheikh, who directed and starred in Mushkil, received the for in 1995 for his lead performance. The , established in 1957, recognize achievements in Pakistani cinema, with Sheikh securing multiple wins across his career, including this honor for portraying the protagonist combating . No further awards or nominations for the film, such as for Best Film or social drama categories, have been documented in major Pakistani ceremonies.

Social Impact and Debates

The film Mushkil highlighted the trafficking of children from and other South Asian countries to Gulf states for use as jockeys, drawing attention to the physical dangers and exploitation involved, including injuries from falls and to reduce weight. Released in , it contributed to early public discourse in on outbound child trafficking, a issue affecting thousands of boys smuggled across borders for this purpose. However, its influence on policy was limited, as subsequent bans on child jockeys—such as the ' 2005 law prohibiting riders under 18 and imposing penalties for violations—stemmed primarily from pressure by international NGOs like and reports documenting an estimated 5,000 enslaved children in the UAE alone. Debates surrounding Mushkil and similar depictions center on the tension between eradicating exploitation and preserving cultural traditions in , a heritage sport integral to Gulf identities. Proponents of argued that the film's underscored causal harms—children as young as four tied to saddles, risking from high-speed races—necessitating outright bans, which later incorporated robot jockeys starting around 2004 in and spreading regionally to comply with ILO conventions on labor. Critics, including some Gulf officials, contended that regulated participation could mitigate abuses without dismantling the practice, viewing international campaigns as culturally insensitive impositions that overlooked local efforts to phase out children voluntarily. Effectiveness remains contested: while exposés correlated with repatriations (e.g., over 1,000 boys returned from UAE by ), enforcement lapsed in some tracks, with underweight South Asian boys still observed racing as late as , suggesting films like Mushkil amplified awareness but did little to alter entrenched economic incentives for traffickers. Post-reform obscurity underscores the film's archival role in exposing epistemic gaps in global scrutiny, where non-Western abuses like Gulf child trafficking received less sustained attention than comparable issues elsewhere until NGO interventions. Qatar's full ban in and widespread robot adoption reduced visible cases, but reports persist of hidden exploitation, questioning whether media-driven pressure yields enduring causal change or temporary virtue-signaling. Alternative perspectives emphasize tradition-bound labor as potentially adaptive if regulated, contrasting with absolutist anti-child-work stances that ignore poverty-driven family decisions in source countries like , where trafficking networks prey on economic desperation.

References

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  3. https://mishkat.islamic-rf.ir/article_104747.html?lang=en
  4. https://idriesshahfoundation.org/books/the-story-of-mushkil-gusha/
  5. https://www.harinam.com/the-story-of-mushkil-gusha/
  6. https://mushkilasaan.weebly.com/islamic-tradition.html
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  9. https://2001-2009.state.gov/g/tip/rls/fs/2005/50940.htm
  10. https://www.nytimes.com/2005/04/03/world/middleeast/limits-set-for-boy-jockeys-in-emirates-camel-races.html
  11. https://documentation.lastradainternational.org/lsidocs/351%2520Camel-jockeys_of_rahimyar_khan.pdf
  12. https://www.theguardian.com/world/2001/jun/03/peterbeaumont.theobserver
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  15. https://www.researchgate.net/publication/7600003_Child_Camel_Jockeys_A_Present-Day_Tragedy_Involving_Children_and_Sport
  16. https://www.almeezan.qa/LawView.aspx?opt&LawID=3969&language=en
  17. https://ich.unesco.org/en/RL/camel-racing-a-social-practice-and-a-festive-heritage-associated-with-camels-01576
  18. https://www.bbc.co.uk/programmes/p0dqnw5v
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  20. https://www.antislavery.org/latest/ten-year-olds-forced-risk-lives-racing-camels-uae/
  21. https://www.humanium.org/en/when-technology-helps-end-child-labour/
  22. https://www.dawn.com/news/1756032
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  25. https://jawedsheikh.com/
  26. https://mediamagick.com/javed-sheikh-visionary-artist/
  27. https://www.facebook.com/PakistaniMobileMovies/posts/mushkil-1995-urdu-is-now-available-on-pakistani-mobile-movies-in-section-after-1/329483653787299/
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  36. http://wasiq1.blogspot.com/2013/04/mushkil-1995.html
  37. https://www.youtube.com/watch?v=pivNQk6mOvA
  38. https://www.pakmag.net/film/db/history.php?gid=1995%2520reg=1995
  39. https://www.voanews.com/a/a-13-thousands-of-boys-trapped-as-camel-jockeys-in-the-middle-east-67529097/285072.html
  40. https://www.imdb.com/title/tt0237478/ratings/
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  42. http://www.pakmdb.com/javeds.htm
  43. https://www.wikiwand.com/en/articles/Nigar_Award_for_Best_Actor
  44. https://news.bbc.co.uk/2/hi/middle_east/8548295.stm
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  46. https://dohanews.co/short-film-sheds-light-on-how-qatars-child-camel/
  47. https://pmc.ncbi.nlm.nih.gov/articles/PMC6198592/
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