With all the hype surrounding the making of Zeba Bakhtiar’s directorial debut, Babu, it is not surprising that expectations were running high at its release.  The fact that this talented young woman had also produced, acted in and been responsible for the storyline of the film as well as its screenplay had, if anything, served to heighten one’s anticipations. Unfortunately however, the film has failed to create the expected ripples and is on the whole, disappointing.

            Surprisingly, it is not the male protagonist, Saud, playing a double role, who is responsible for the film’s downfall.  On the contrary, he is the saving grace of the movie and has actually acted well.  Zeba looks stunning as usual, and one can see the effort she has put into undertaking a movie that requires her to dance in practically every other sequence, an art that does not come naturally to her.

            One feels that Babu ’s greatest failing lies in its execution of the concept.  Supposed to revolve around the drudgery of the life of Babu (Saud), an illegitimate child brought up in a kotha, the film focuses instead on Ghazal (Zeba Bakhtiar).  The daughter of a late fankara, she has been living in a hostel since her mother’s death, until her erstwhile paramour, secretary and guardian (Pir Muazzam Shah) takes her under his wing, ostensibly to receive ‘training’ in a brothel before aiming for stardom.  However, we later learn that his intentions are far from noble and that he is actually a pimp who supplies women to Saudi princes.  He is also Babu’s father, a realisation that dawns on Babu when he sees how much he resembles the older man’s legitimate son, Rohail (also played by Saud).

            We learn that Ghazal has made this radical transition in her life because she wants to become rich enough to establish a hospital.  Noble aspirations certainly, but somehow, they ring false.  Although Babu falls in love with Ghazal, she looks upon him as only a close friend, and has an affair with Rohail, who she thinks will help her become a movie star.  To discover what ensues, one must watch the film.

            While admittedly the theme is a unique one in that it deals with the life of a boy born in a brothel – where the birth of a girl is a more welcome event – it loses focus and begins to dwell instead on the life of a prostitute and society’s hypocrisy, neither of which make for  unusual stories on our silver screen.  Also, weak characterisation – none of the characters other than Babu are defined very convincingly – detracts from the film, leaving one largely confused about most of the key players. Technically too, the film leaves much to be desired; several scenes are marred by poor camerawork, sound recording and dubbing.  The sequencing of scenes is also disappointing, and the audience is left quite baffled by the jerky transition from one scene to another.

            This is not to say however, that there are no redeeming features in the film.  The songs, with music by M. Arshad, offer pleasant listening and have been filmed well, banking more on colourful costumes than on elaborate sets and choruses to provide the glamour.  Also, unlike the usual Pakistani movies, Babu  has steered clear of over-the-top histrionics that have actors hollering and posturing with abandon.  In fact, everyone maintains a low pitch throughout, which is a welcome relief.

One can hazard a guess that having learnt from her maiden venture, Zeba’s future productions will be able to overcome the technical weaknesses witnessed in this film.  One can detect her potential as a director in a number of scenes – it just remains for her to tap her talent effectively.