Zooni—An Unfinished Bollywood Film

On the outskirts of Srinagar, artist Gulfam Barjee stands next to a mud-brick dwelling, a construction that traces back to 1988 when acclaimed Bollywood director Muzaffer Ali constructed it. This mud house served as a set for Ali’s unfinished cinematic creation Zooni, an ode to the legendary Kashmiri poet Habba Khatoon.

Despite the passage of time, this dwelling stands undiminished, a relic of cinematic artistry. The local residents affectionately refer to it as the ‘Zooni House’, a name that has stayed through the years. Though unoccupied, its doors only open when Ali visits Kashmir and prefers to have meals here.

Barjee’s face lits up when he talks about Zooni. At the tender age of 13 in 1988, he was given a modest role in the film. 

“During those days, I was consumed by excitement. I willingly took a two-month break from school and dedicated my days closely observing the cast and crew’s activities,” he says. 

The experience turned out to be more than just a fleeting moment. In the years that followed, Barjee transformed into an artist and found his place in the world of Kashmiri drama serials produced by Doordarshan Kendra Srinagar.

Former Chief Minister of Jammu and Kashmir, Dr. Farooq Abdullah, displayed a profound interest in Ali’s ambitious filmmaking endeavour. Over a span of approximately two years, Ali dedicated himself to an exhaustive exploration of diverse locales, meticulously delving into the history of Khatoon. This 16th-century poet, ascetic, and the last queen of independent Kashmir before its annexation by Mughal emperor Akbar, holds a lasting place in every Kashmiris heart and mind. Khatoon’s poetic legacy remains an integral part of Kashmiri culture, passed down through generations. Her verses resonate deeply, capturing her affection for the last Chak dynasty ruler, Yousuf Shah Chak, and her poignant tale of being separated from him due to Akbar’s exile to Bihar has been used by generation of singers, bards and others in Kashmir to talk about love, misery and longing. 

In 1988, Ali wanted to take Khatoon beyond the confines of Kashmir to share her narrative with the rest of India. During this period, Ali visited Chandhur, a picturesque village nestled in the heart of Pampore town within the Pulwama district, merely 20 kms away from Srinagar. The legend is that this village serves as the ancestral abode of Khatoon. It is also known for saffron cultivation.

Even after 35 years, Barjee remembers every detail of the film. With a simple unlock of his mobile phone, he proudly displays a photograph of a smiling Dimple Kapadia on the sets, surrounded by scores of children.

“She played Khatoon,” Barjee says. He continues to talk about the other cast—Vinod Khanna portrayed the character of Chak, while the role of Aziz, the first husband of Khatoon, known for subjecting her to atrocities, was portrayed by Dalip Tahil. Shami Kapoor played the role of Khatoon’s father, and the “dreaded” Pran played the role of the Kashmiri ascetic. There were a number of extras in the films, including the Kashmiri Pandits living in the locality.

“In the scene, I was among a group of boys perched on rocks on the outskirts of the village. Aziz appears, riding on a horse from a nearby gully. His status in the village was tainted, as his wife had married a king. As Aziz approaches us, I deliver my line: ‘Aap mafi talfai k lay aay ho na, magar sach batty yeh hai ki zooni nay ham sab k naak katwa di. (You've come to ask for forgiveness, haven't you? But the truth is, Zooni has made a fool out of all of us’,” he says laughing.

While Barjee is narrating this, a man in his 50s emerges from a nearby concrete three-storey house. Barjee introduces him as Manzoor Ahmad Bhat, the proprietor of the land on which Ali’s mud house had been erected. It was a replica of a 16th-century house that would resemble the houses in old Kashmir in Chandhur, some 600 years ago. Barjee says Bhat’s father, Ghulam Mohammad Bhat, now dead, had played a pivotal role as the “film coordinator” within Kashmir. He described Bhat as Kashmir’s first line producer.

The film was shot across varied landscapes, from the enchanting locales of Dachigam, the village setting of Chandhur, the Zooni House, and the idyllic beauty of Gulmarg. The film was shot up to a point where a clash between the army of Mughal emperor Akbar and the valiant Chak was to be shown. To capture this dramatic scene, the production was to take place at the highlands of Pampore, a region renowned for its saffron cultivation.

However, the tide turned in 1990 when insurgency swept through the Valley, derailing the film’s progress and leaving it unfinished. It was to be completed by 1990, with a slated release in 1991.

Bhat says foreigners were also involved in the filming process as they were to dub the film in English. He was young when his father was associated with the film providing logistics and other things for the cast and crew. He says renowned Kashmiri singer Jehan Ara Janbaz sang songs in the film. 

“Even though the film was about Khatoon, it was also about Sufism and the deep sufi roots of Kashmir,” he adds. Bhat says whenever Ali visits Kashmir, he spends some time at the Zooni House and takes meals here. He says during the militancy, the house suffered damages as during the long crackdowns, the security forces used to stay at the house. He says in subsequent years, protesters would also pelt stones at the house. “The protesters would throw stones at it presuming it was a house of Delhi. It was madness all around,” Bhat says.

Bhat who meets Ali regularly when the filmmaker visits Kashmir, says Ali has a deep interest in Kashmir and is keen to open an art and film institute in the Valley. Barjee believes the film could be still completed if Ali wishes so. “I wish Muzaffer Ali gives serious thought to completing the film. It will be a fitting tribute to Khatoon,” he adds.