Madam Noorjehan's music is eternal: Journey through Gul-e-Daudi
Gul-e-Daudi is a love story.
It was birthed and delivered with full consciousness of the form of the boy-meets-girl love story. It is not an autobiographical story but still a deeply personal one.
At its core is an idea or perhaps a feeling I couldn’t put into words until long after I had finished the final cut of the film.
The initial idea for what has become our film Gul-e-Daudi came from a film technique dating back to the era of silent movies, far before synchronised sound came to the moving pictures. This was to cross-fade two individual shots to convey a sense of passage of time.
Personally, the passage of time had been on my mind at the time. I was 29 years old and found it to be a very strange age indeed. The racket and clamour of my roaring twenties was now decidedly behind me and the crystalline anointment of being 30 and, perhaps, certifiably adult faced me.
How grown up did I actually feel?
It was hard to say then and, admittedly, hard to say now. Meanwhile, close friends were getting married; some, already married, having children; some, married earlier, now divorcing; some losing their parents or loved ones to disease, estrangement or old age.
It appeared, at the aforementioned strange age of 29, that I had lived just long enough for a certain cyclical trend to life and experience to be apparent, felt and, to some extent, lived.
I had now seen my fair share of beginnings, middles and endings.
From birth to death with so many turns in between - some dramatic sharp corners, some flatter curves - was life and the passage of time with a myriad of opportunities, taken or missed…inevitable? I looked back through my twenties, my first complete decade as a fully conscious adult, to see what had been lost and what had been gained.
My frequent muse and inspiration, Mr. Zia Mohyeddin, after seeing the film, put it into words for me: gardish-e-rung-e-chaman. The inevitable passage of all and everything in between.
In order to prevent the conveyance of the above as airy contemplation, Gul-e-Daudi must be a human story first and foremost. Crucial to this are both our performers as well as the nature of their performances.
I began with the central couple, played by Ismat Jawwad and Usman Latif, who are married to each other in real life.