Atiqa Odho Biography Pakistani actor
Atiqa Odho was born in Karachi, Pakistan. He is one of the most popular actors from Pakistan and is famous for his dramatic roles in both live-action films and television serials. Atiqa Odho Biography tells about the life of this prominent Pakistani actor.
This article covers his early life, which spanned parts of three decades. Atiqa was educated at a boarding school before getting a role in a movie. He was one of the few actors to be selected for the small part in Dawn’s successfulAshura movie.
He was next seen in an action-packed shoot-out movie released by Mirza Ghalib in 1976. Atiqa did not perform well in either movie. After that, he was hardly seen in any movies. After some time, Atiqa decided to try his hand at acting professionally.
He appeared in some popular television serials, including Kaal Baad. Then Atiqa had more success in the movies Ham Nabsu, Humko Ghazab Kahani, and Saleh khan. Pakistani actors also made these films.
After working for some time in the Bollywood industry, Atiqa decided to try his hand at producing a film of his own. He produced some successful films, and it was during this time when he began to receive critical acclaim. He appeared in Kismet Konnection, Taiba Jirgas, Haan Maal, No Ordinary Family, Mankatha, Ashtamudi, and Nazraa.
All these films helped him gain further recognition and helped him to rise above many other Pakistani actors. The Atiqa Odbezi biographer takes a slightly different view of Atiqa’s career. While concentrating on Atiqa’s films, it seems to be intending to create a profile of the actor who did not receive the critical acclaim that he so desperately craved.
This criticism could apply to any modern-day Pakistani actor. However, Atiqa has been overlooked by the industry and given little attention by the press or mainstream cinema. It is clear from the biographer’s account that Atiqa had a natural talent for acting, which was inherited from his father.
But what is problematic is how Atiqa was able to channel this talent into a career. Atiqa’s biographer does not offer a detailed explanation as to why he failed to succeed in Bollywood. Perhaps his failures were because he was not given the opportunities that other stars of his time were given. But Atiqa’s biographer suggests that Atiqa was unable to break through in the major film industries in India.
Perhaps if Atiqa had been given more opportunities, his career would have been much more extensive than it was. Aoi vacations are often cited as a contributing factor to Atiqa’s failure in the film industry. The biographer seems to imply that Atiqa lacked confidence in himself and therefore was unable to breakthrough in Bollywood.
While Atiqa may have had some reservations about making a film in India, it is not clear why he should have worried. The biographer ends his Atiqqa odho with a polemic that is critical of both western and Indian society. The author presents Atiqa as an example of the perils of the Asian success story.
In the end, it is difficult to disagree with the assessment that Atiqa should have gone bust as a flop rather than a success story. This is all the more remarkable when you consider that Atiqa was the product of an ingenious mind which, according to this book, was nurtured by British imperialists during their rule of India.
The author seems to suggest that Atiqa’s lack of originality, as judged by the failure of his film ventures, is something of an aberration from the norm. Whatever Atiqa’s originality and achievements may have been, they certainly pale in comparison to the brilliance of JG Williams. He came up with the formula for mass entertainment that we know today.
Williams’s formula is at the heart of Atiqa, and whatever flaws Atiqa may have had, these cannot be said to outweigh the enormous successes that JG Williams has achieved. Atiqa, at least in the opinion of this biographer, did not live up to its tremendous potential.
Atiqa failed to attract film directors and producers who might have made it a roaring success. Even today, after almost 50 years since its release, Atiqa is still a source of embarrassment to many of those who should have been its benefactors. Atiqa was not a “smooth” film, and despite being one of the cheapest Bollywood releases ever made, it remains a farcical comedy-thriller.
Atiqa remains a comedo-thriller with absolutely no scenes of profound emotion. The only emotions depicted on screen are the ones that the hero struggles to suppress or escape from. If Atiqa had been more serious, a film would have shown the bitter, tragic consequences of jealousy building up inside the character of Atiqa until the final death scene of Atiqa, where his son Chhotelal kills him.
Instead, we get a quick, pointless murder spree that drags us down the memory lane of Atiqa’s career and popularity, but at the end of the day, it is just a comedy-thriller that fails to leave us with any lasting feelings.