Writing
A young woman (Yasmin) brings her husband to an elderly doctor to restore her husband's disfigured face following a horrific accident. The doctor tells her he has given up plastic surgery long back and tells her a tale to prove that true love should overlook physical looks.
Set in the aftermath of the 1947 Partition, it follows a young woman whose life is disrupted as she migrates to a new country, while longing for her lover Saeed and struggling with separation and emotional distress.
Punjabi capital's first major bid for the national market used the seminal Urdu historical play of 1922, with the author himself playing the 16th-century Mughal emperor Akbar. It recounts the love story between Prince Salim (Singh), Akbar's son, and the slave girl Anarkali (Seeta). Following on from the Osten-Rai Orientalist dramas, and produced by the Indian partners responsible for Prem Sanyas, it also features Seeta Devi as the heroine and is the directorial debut of Prem Sanyas' art director and the lead actor of Sbiraz, Charu Roy. The big-budget picture was beaten to the screen that same year by the rival and more successful Imperial version starring Sulochana and directed by R.S. Choudhury (Anarkali, 1928), who remade it in 1935. Jaswantlal made it again in 1953 but the most famous version remains K. Asifs Mughal-e-Azam (1960)
An inheritance melodrama about Kunwar (Mahmood), the son of zamindar Himmat Singh (Sethi). Kunmar marries Shobha (Suraiya) and is disinherited, forcing him to join the army during WW2. When he is reported missing and presumed dead, a repentant Rana invites Shobha to stay with him. However, it is Kanta (Nadira), a young woman betrayed by Rana's villainous secretary Kailash (Yakub), who arrives at the house and his mistaken for Shobha. Masquerading as Shobha, who lives nearby in absolute poverty, Kanta moves in, causing a moral dilemma and generating suspense since she could be caught at any moment.
