Free Download Ptv Drama Sunehray Din Drama
Delia Orlowsky
ISPR has produced dramas that reflect on the lives of individuals associated with the Pakistan Army, especially for civilian awareness. The 1991 series Sunehray Din and its 1998 sequel Alpha Bravo Charlie were centred on the lives of cadets of the Pakistan Army, the latter also tackling with the involvement of Pakistan in the Bosnian War and Siachen conflict.
Sinf-e-Aahan will be the first ISPR drama series to be based exclusively on women empowerment, however it is not the first project to cast a woman in the leading role. The 2016 biographical film Ek Thi Marium, also written by Umera Ahmad, was based on the life of Marium Mukhitar, a Pakistani fighter pilot. Sanam Baloch was cast in the titular role.
What sets him apart from other directors or producers? How does he keep the creative spirit alive, when others at PTV seem stuck in a rut? In this tete-a-tete with the Herald, Mansoor talks about the making of Alpha Bravo Charlie, his unique style of working and the difficulties of getting army jawans to deliver their lines without staring straight into the camera.
Shoaib Mansoor. It is just coincidence. When Sunehrey Din was aired in 1990, the response from viewers was tremendous. As a result, the people at the Inter-Services Public Relations (ISPR) asked me to do another serial about the army.
Mansoor. It is actually a sequel to Sunehrey Din. The Pakistan Military Academy (PMA) cadets who featured in the 1990 drama are now lieutenants and captains. They have completed their training and are commissioned by the Pakistan Army.
I initially based the new serial on the life of officers in a single unit but when I started writing, I felt the play would be more interesting if it was not limited to a particular unit. And since Pakistani troops are frequently sent overseas, I decided to place some characters in a foreign setting. So, one of the captains in Alpha Bravo Charlie is sent to Bosnia.
Initially, we had decided to shoot in Somalia but Pakistani troops had already returned from that country, so Bosnia became the only option. The earlier part of the serial was actually filmed in Bosnia. I had not even completed the script at the time, all I had was the portion based in Bosnia.
I wrote the rest of the script on our return to Pakistan and then shot the remainder of the play.Many facts about the Bosnian war, which very few people are aware of, have been portrayed in this serial. The real reason behind the war is also discussed, but all this information is knitted into the plot.
Mansoor. I started work on the serial in 1995 and completed it in 1997, spending the first eight or nine months doing research. I lived in army units for several weeks and spent a lot of time with officers and jawans in Lahore and other cities to see how they live and what they do.
Mansoor. I have enjoyed a good rapport with the ISPR ever since we did Sunehrey Din together. I feel army men are comparatively better people to work with as they are more disciplined. Perhaps if someone new was doing this serial, he would have encountered a few problems. But since I had worked with the ISPR before, I did not face any difficulties. I am satisfied with my work.
Mansoor. I like to work with fresh talent. Saleem was a newcomer in Sunehrey Din, but over the years he has evolved into a popular film and TV star. So I decided not to cast him in Alpha Bravo Charlie. There is no other reason why he was not selected. In fact, I am on very good terms with him.
Mansoor.Actually, one of the three boys playing the lead roles is not an army officer. The reason that I used these young men is that, as I mentioned earlier, Alpha Bravo Charlie is a sequel to Sunehrey Din so I felt I had to use the same actors. At the same time, I had worked with them before and knew that they had the potential to carry a serial.
Meanwhile, if I had chosen a professional actor he would have had to be thoroughly coached first. I felt that army officers would play the roles more authentically. As far as the supporting cast is concerned, when I am choosing newcomers for the lead roles, it simply does not make sense to make the play seem stale by adding a known face.
Mansoor. It was both easy and difficult. Easy because the officers were not really acting, but merely doing what they do in their professional lives. What one needs in this kind of work is self-confidence, and that is a quality army officers possess in abundance. They faced the camera confidently, which is a great help, so it was easy to work with them.
There were some problems, though, with the jawans because many of them had never seen acamera before. The first few days of shooting were wasted because the jawans would look straight into the camera while saying their lines. They did not understand that an actor must not look into the camera. I had to re-shoot a number of scenes, especially the ones in Siachen, because of this problem.
Moreover, since the jawans are not educated they could not read the script. So I had to make them memorise the lines by reading them out. At times, when a jawan had to speak more than one sentence, I had to shoot each sentence separately, and that too after several retakes. You might not have noticed this while watching the serial because of the editing. But when I am working with newcomers, I am prepared to face these kinds of problems.
Mansoor. I get my feedback through the print media because I lead a secluded life. In fact, I stay at home most of the time and my social life is practically nonexistent. Sometimes, I spend weeks at a time in the house without going out. So I did not get a direct public response, just what I heard from the press shows I attended for the serial.
Do not mistake this for arrogance but, frankly, I do not wait for any sort of reaction to my plays. The director should have a basic sense of what he is doing, which audience he is targeting, what appeal it has for them and how to handle the theme. I knew the audience for whom I made this serial.
Alpha Bravo Charlie is not for the uneducated classes. In fact, they might not even be able to understand a major portion of the play, the scenes shot in Bosnia, since it is in English. But I could hardly force the Bosnians to speak Urdu, and dubbing their voices would have spoiled the entire effect. This section has Urdu subtitles, but to read them you have to be educated as well.
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