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Another such neglected music composer is Ishrat Sultana aka Bibbo (first female film composer of the sub-continent). One notices that many female producers and directors appeared in the Sub-continent’s film industries like Nurjehen, Shamim Ara, Zeenat and Sangeeta but somehow there have been no noticeable music composers. The story of Pakistan’s women directors and producers is one that needs to be further explored and told. It is rumoured that Tafo brothers that dominated the instrumental scene of Lollywood would refuse to cooperate if they found any music composer threatening their dominance. She believed in creating her own original music and did not accept the cheap demands of certain producers that approached her. Despite her competence, Shamim Nazli was not encouraged and not given more assignments to prove her credentials. Unfortunately, Shamim was born in the male dominated musicians’ society of Lollywood with big music composers working twenty four hours a day. From the songs I heard, I found the tracks original, tuneful having rich instrumental support and treatment. Shamim Nazli composed the music of two Urdu films ‘Baharen Phir Bhi Aaein Gi’ (1969) directed by S Suleman and Masroor Anwarand ‘Bin Badal Barsaat’ (1975). She believed in creating her own original music and did not accept the cheap demands of certain producers that approached her Lyricist was none else than Qateel Shifai.ĭespite her competence, Shamim Nazli was not encouraged and was not given more assignments to prove her credentials. This song is even popular today after it had become a mega hit at the time of its creation in 1963. The music was composed by Master Inayat Hussain and the song was picturised on Yasmin. In 1963, Mala rendered her voice to a heart-rending Urdu composition, ‘Dil Daita Hai Ro Ro Duhai, Kisi Sei Koi Pyaar Na Karey’ for the film ‘Ishq Par Zor Nahin’ (1963). The music was composed by Master Abdullah and the film became a memorable hit. Her first major break in films came in 1962 when she changed her name to Mala and sang a simple Urdu composition, ‘Aaya Re Daikho’ for the film ‘Sooraj Mukhi’ (1962). Despite the fact that her elder sister got her a break in films, it was Anwar Kamal Pasha who persuaded Nasim to try her luck by singing for Pakistani films. On Shamim Nazli’s request, music composer, Baba Ghulam Ahmed Chishti recorded two songs in Nasim’s voice for 2the Punjabi film ‘Aabroo’ (1961). Fortunately, her elder sister happened to be her first music teacher. Thus, Shamim and Nasim inherited the culture of broadcasting from their uncle.Īccording to Wikipedia, Mala was interested in singing from a very young age. Nizam Din worked with Noor Din for many years in their evening programme ‘Jamhoor Di Awaz’ (voice of democracy) at Radio Pakistan, Lahore. Shamim Nazli was the niece of Mirza Sultan Beg, alias Nizam Din, who was born in village Modde, District Jallundher (now in Indian Punjab). Both hailed from Faisalabad and were nicknamed as Shammo and Kalo because of their respective fair and dark complexions. Mala, or Nasim Nazli was the famous playback singer and Shamim Nazli was the only female music composer in Pakistani film Industry. Pakistani film industry has been blessed with a powerful sister duo.