Hitler, Aka Hitlar (1986)
Cast: Sultan Rahi, Mustafa Qureshi, Anjuman, Bahar, Firdous Director: Idrees Khan
Synopsis: A sweeping historical epic. Lollywood’s version of history is gas and a half!
Reviewed by: Omar Khan

The film starts with the intriguing premise that Hitler never died but escaped and started a family somewhere in the Punjabi heartland. He fled to Pakistan with legions of his followers, having perpetrated the worst atrocities on humanity. According to the director Idrees Khan, Hitler was even responsible for the destruction of Hiroshima and Nagasaki, a fact his cohorts brilliantly covered up.

The film shows Hitler Jr.—the son the world never knew about— sending his goons to ravage and terrify the local villagers into submission. He must obtain significant cash to finance his appetite for the finest wigs and fashions. So, Hitlar (note the changed spelling to disguise his identity) sends his henchmen on errands, murdering prominent businessmen and relieving them of their money. One day one of the villagers, an upright and incredibly handsome young Sultan, witnesses the goons attack and murder an industrialist in broad daylight. This experience shatters Sultan’s idyllic complacency, and under the tutelage of his mentor Aman, the town sage, he promises to battle against the forces of injustice and brutality.

One night, Sultan is attacked by a pack of men in bear suits, and he is saved from certain death by the timely intervention of Rustam Khan, a dakoo sardar. The Sardar is his long-lost father, but Sultan does not find that out till much later. Rustam protects Sultan from

Hitlar’s goons and throws down the gauntlet challenging Hitlar to the ultimate showdown. Meanwhile, Sultan vows to seek justice for the murder he witnessed, but that path soon conflicts with the most dreaded force on earth: Hitlar (1986), the son of Hitler.

We learn that Hitlar (Hitler’s son from a Pakistani woman) lives with mummy and yearns for revenge in his father’s name, whom he calls “Master”. During a flashback, we learn that poor Hitlar turned to a life of vice and crime when his family were brutalized and tortured by the local mafia and were helpless to do anything about it. On a dark stormy night of intrigue and murder, a young Hitlar watched helplessly, as the mafia men hacked his uncle to death right before his eyes. He swears then and there that he will dedicate his life to exacting his twisted form of justice in the land, and crowns his mother Queen as she is the rightful heir to Hitler’s lost empire.

The film is so utterly OTT that it’s amusing. Mustafa Qureshi turns in a fantastic performance in the title role. His screen presence and dialogue delivery is brilliant, and his costumes and hairstyles are breathtaking. If ever there was an adversary worthy of doing battle with the great Rahi, it is Mustafa Qureshi. From the days of Maula Jatt, it was evident that the sparks would not stop flying when you put Qureshi and Rahi together.

The chemistry between the two actors is electric, and this trio (including Anjuman), virtually ruled the Punjabi film scene for a decade or so with no competition. There was a time when 80% of films produced had the three ingredients: Rahi, Anjuman, and Qureshi in them with the behind-the-screen ingredient of Madame Noor Jehan—a combination that almost always spelt success. This film succeeds in providing a thoroughly good giggle, firstly at the insanity of the plot that starts with the German A-bombing on Hiroshima and Nagasaki, and secondly at the fantastic antics of Mustafa Qureshi, who steals the show from under Sultan Rahi’s nose. Anjuman has little to do and shows up whenever the director feels a song is required.

Hitler, Aka Hitlar Unfortunately, the songs are not that hot and manage to slow the film down from its otherwise feverish pace.

Bahar is in top form again as the fearless mother of Rahi, and she has shaped her eyebrows quite beautifully on fleek for maximum emotional impact. A seasoned veteran and one of the powerhouse performers of the industry, Bahar turns in yet another memorable performance. She is in a class among the oldies and has been for ages. Sultan Rahi exudes “charm” and raw charisma, if one could call it that, and plays his role with gusto. Firdous, an ex-siren of the ‘60s and early ‘70s, is well-cast as Hitler’s mother and the woman Adolf wed when he fled to Punjab. She delivers a powerful performance, though never matching the intensity of the amazing Bahar Begum.

Mustafa Qureshi walks away with top honours, along with the director Idrees Khan whose narrative has a gritty, kinetic edge to it, and there is a freaked-out kind of trash art style to proceedings. Special praise is due to the people in charge of the wardrobe and the costumes, especially the range of excellent wigs, none of which ever fit.

A giggle and a half and a must for fans of Mustafa Qureshi, and those who enjoy their camp and cult truly loud and garish. Blissfully bizarre and very, very funny.