Ultimatum (1976)
Cast: Sultan Rahi, Aasia, Ghazala, Kaifi, Inayat Bhatti, Iqbal Hasan, Afzal, Bahar
Director: Kaifi
Synopsis: Mid ‘70s pot-boiler is the usual vengeance-based, social injustice yarn.
Reviewed by: Omar Khan

Despite its shortcomings, with the rather catchy title, this film was yet another utterly formulaic effort from the swinging ‘70s that managed a fair run at the Box Office.

We had been initially drawn to the film, having misread its title in Urdu as “Ultee Madam” (the Upside-Down Madam), which would have been quite a mouth-watering prospect. Unfortunately (for depraved sleaze hounds like us), this movie ranks relatively low on the sleaze scale. Its emphasis is on providing juicy, rousing, crowd-pleasing dialogues that are so much the trademark of writing-directing brothers Bhattti—Inayat Husain and Kaifayat Husain—Lollywood equivalent of the Coen Brothers?

The movie follows the exploits of various loosely connected characters with vengeance on their schedule—two of them have raped sisters who committed suicide to avenge.

Jabroo (Sultan Rahi) and Inayat Bhatti are the two with raped siblings to avenge, languishing in jail, waiting for their opportunity to strike. On the other hand, the earnest bus driver and sidekick Nanna, are in trouble with the local evil Chaudhary (Afzal Ahmed), whose Ghunda Tax they have successfully sabotaged thus far. In contrast, others have various backstabbings to settle.

Everyone’s paths intertwine as they somehow do in all Lollywood films, and there are humongous complications and coincidences along the way—another desi movie trademark. Saucy village beauty (Shehzadi) Ghazala is the apple of the Chaudhary’s eye. Still, she only has eyes for drab goodie two shoes bus driver Sultan, providing the Chaudhary with another reason to despise the driver. Thrown into the mix somewhere along are westernized blonde bombshell Aasia and her weasely accomplice, who looks mysteriously like Sultan, the driver in psychedelic gear.

The emphasis here is on meaty crowd-pleasing dialogues written by the brothers Bhatti, interspersed with spicy dances by the seasoned Ghazala and Aasia.

Iqbal Hasan plays the sole straight cop with his customary aplomb, and Sultan Rahi shows that spark that was to transform him into a cinematic sensation for the next couple of decades.

The charismatic Afzal Ahmed is his polished self as the scheming Chaudhary, but his arrogant blimpish sidekick, goon Bashira, is the real scene-stealer with his “badmash” antics. The Brothers Bhatti reserve the best lines for themselves, which makes up for their distinct lack of screen charisma. Ghazala sparkles as the feisty, chatty village belle, while Aasia has less scope despite the charming array of blonde wigs and Euro-schoolgirl fashion accessories.

From a pretty routine, formula sort of fare—perhaps, the lasting memory is of various cast members energetically announcing “Aae Sadda Ulteematum Hae!” repeated at least a dozen times during events.

The most brilliantly inane dialogue is saved for Bahar, who snorts, “mera puttar kadi ghalt kaam nain kar sakda, ais laeen, ke oh mera puttar hae!” (“My son can never do any wrong because he is my son!”

Ultimatum Now there’s true logic for you. Ultimately this pot-boiler is a rather disappointingly average film.