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Shamim Ara
Shamim Ara (شمیم آرا, 22 March 1938 – 5 August 2016) was a Pakistani film actress, director, and producer. She was known as The Tragic Beauty because of the tragic heroine roles she often portrayed in films. She was one of the most popular actresses of her time and was one of the most successful actresses of the 1960s, 1970s, 1980s, and 1990s. She is regarded as one of the most influential actresses of all time in Pakistani cinema.
She was born Putli Bai in Aligarh, British India in 1938 but later adopted the film name Shamim Ara. Her acting career spans from the late 1950s till the early 1970s.
In 1956, Putli Bai's family was visiting some relatives in Lahore, Pakistan, when, after a chance meeting with the well-known film director, Najam Naqvi, she was signed for his next movie. He was searching for a new face for his film Kanwari Bewah (1956) and was impressed by her cute face, sweet voice, approachable personality, and innocent yet inviting smile. It was Najam Naqvi who introduced her under the stage name Shamim Ara, because her previous name was similar to the infamous dacoit Putli Bai. Though the film did not attract many viewers, a noticeable new female star had appeared on the horizon of the Pakistan film industry.
She had her first prominent role in 1958 in Anwar Kamal Pasha's Anarkali as a Surayya alongside Noor Jehan, who played the titular Anarkali. For the next two years, Ara went on to star in a few films, but none of them were a major success at the box office, including Waah Re Zamanay, Raaz, and Alam Ara. However, in 1960, a substantial role in S. M. Yusuf's Saheli as an amnesiac bride proved to be a breakthrough for her career. Ara then appeared in 1962 in Qaidi as a woman yearning for the return of her beloved. The film featured Faiz Ahmed Faiz's ghazal, Mujh Se Pehli Si Mohabbat Mere Mehboob Na Maang, which was picturized on her, with the Noor Jehan lending her voice to the song, marking the first instance where Jehan gave her voice to Ara's character. She had become a household name. Her fame and impeccable acting skills landed her the title character in Naila (1965), the first color film produced in then-West Pakistan. Her portrayal of the tragic Naila won her further critical acclaim. She went on to star in many hit films, including Devdas, Doraha, and Hamraz. However, Qaidi (1962), Chingari (1964), Farangi (1964), Naila (1965), Aag Ka Darya (1966), Lakhon Mein Aik (1967), Saiqa (1968), and Salgira (1968) were landmarks in her career, securing her a position as the top actress of the 1960s in Lollywood.
Her acting career came to a halt when she retired as a leading lady in the early 1970s. But that did not stop her from being a part of the Pakistani film industry, as she pioneered to produce and direct films on her own. However, none of those films reached the level of success Shamim Ara had at the height of her acting career.
Jaidaad (1959) and Tees Maar Khan (1989) were the only two Punjabi movies in which she performed.
In 1968, she produced her first film Saiqa (1968 film) which was based on the novel by Razia Butt. The film attracted a large number of viewers especially females.
In 1976, for the first time, she directed the film Jeo Aur Jeenay Do. Later, she also directed the Diamond Jubilee film Munda Bigra Jaye (1995). Other films she directed include Playboy (1978), Miss Hong Kong (1979), Miss Singapore (1985), Miss Colombo (1984), Lady Smuggler (1987), Lady Commando (1989), Haathi Mere Saathi (1993), Aakhri Mujra (1994), Baita (1994), Munda Bigra Jaye (1995), Hum To Chaley Susral (1996), Miss Istanbul (1996), Love 95 (1996), Hum Kisi Say Kum Nahin (1997), and Pal Do Pal (1999). Her directorial ventures were not as successful as her acting projects, primarily due to not dwelling on the real issues and adapting the formula style of filmmaking.
Shamim Ara
Shamim Ara (شمیم آرا, 22 March 1938 – 5 August 2016) was a Pakistani film actress, director, and producer. She was known as The Tragic Beauty because of the tragic heroine roles she often portrayed in films. She was one of the most popular actresses of her time and was one of the most successful actresses of the 1960s, 1970s, 1980s, and 1990s. She is regarded as one of the most influential actresses of all time in Pakistani cinema.
She was born Putli Bai in Aligarh, British India in 1938 but later adopted the film name Shamim Ara. Her acting career spans from the late 1950s till the early 1970s.
In 1956, Putli Bai's family was visiting some relatives in Lahore, Pakistan, when, after a chance meeting with the well-known film director, Najam Naqvi, she was signed for his next movie. He was searching for a new face for his film Kanwari Bewah (1956) and was impressed by her cute face, sweet voice, approachable personality, and innocent yet inviting smile. It was Najam Naqvi who introduced her under the stage name Shamim Ara, because her previous name was similar to the infamous dacoit Putli Bai. Though the film did not attract many viewers, a noticeable new female star had appeared on the horizon of the Pakistan film industry.
She had her first prominent role in 1958 in Anwar Kamal Pasha's Anarkali as a Surayya alongside Noor Jehan, who played the titular Anarkali. For the next two years, Ara went on to star in a few films, but none of them were a major success at the box office, including Waah Re Zamanay, Raaz, and Alam Ara. However, in 1960, a substantial role in S. M. Yusuf's Saheli as an amnesiac bride proved to be a breakthrough for her career. Ara then appeared in 1962 in Qaidi as a woman yearning for the return of her beloved. The film featured Faiz Ahmed Faiz's ghazal, Mujh Se Pehli Si Mohabbat Mere Mehboob Na Maang, which was picturized on her, with the Noor Jehan lending her voice to the song, marking the first instance where Jehan gave her voice to Ara's character. She had become a household name. Her fame and impeccable acting skills landed her the title character in Naila (1965), the first color film produced in then-West Pakistan. Her portrayal of the tragic Naila won her further critical acclaim. She went on to star in many hit films, including Devdas, Doraha, and Hamraz. However, Qaidi (1962), Chingari (1964), Farangi (1964), Naila (1965), Aag Ka Darya (1966), Lakhon Mein Aik (1967), Saiqa (1968), and Salgira (1968) were landmarks in her career, securing her a position as the top actress of the 1960s in Lollywood.
Her acting career came to a halt when she retired as a leading lady in the early 1970s. But that did not stop her from being a part of the Pakistani film industry, as she pioneered to produce and direct films on her own. However, none of those films reached the level of success Shamim Ara had at the height of her acting career.
Jaidaad (1959) and Tees Maar Khan (1989) were the only two Punjabi movies in which she performed.
In 1968, she produced her first film Saiqa (1968 film) which was based on the novel by Razia Butt. The film attracted a large number of viewers especially females.
In 1976, for the first time, she directed the film Jeo Aur Jeenay Do. Later, she also directed the Diamond Jubilee film Munda Bigra Jaye (1995). Other films she directed include Playboy (1978), Miss Hong Kong (1979), Miss Singapore (1985), Miss Colombo (1984), Lady Smuggler (1987), Lady Commando (1989), Haathi Mere Saathi (1993), Aakhri Mujra (1994), Baita (1994), Munda Bigra Jaye (1995), Hum To Chaley Susral (1996), Miss Istanbul (1996), Love 95 (1996), Hum Kisi Say Kum Nahin (1997), and Pal Do Pal (1999). Her directorial ventures were not as successful as her acting projects, primarily due to not dwelling on the real issues and adapting the formula style of filmmaking.