The structure of the 82-minute documentary Song of Lahore by Sharmeen Obaid-Chinoy and Andy Schocken loosely resembles a traditional four-movement symphony of sonata, adagio, minuet and allegro. It begins with a musician (Nijat Ali) practising, followed by a slow unfolding of personal histories of several instrumentalists, a dance-like wonderment when the musicians travel to New York City to perform, and the thrilling finish that marks the apogee of Western classical music. With just one minor alteration – Song of Lahore (2015) is about classical music from the subcontinent. The documentary follows the renowned Sachal Studios ensemble.
Sachal Studios was born out of an attempt to curtail music. In 1977, Islamist dictator Muhammad Zia-ul-Haq imposed martial law on Pakistan. The once flourishing trade of music in films and concerts was severely restricted since music was considered haram (forbidden) under Sharia laws. This led to the disappearance of a long-standing tradition of knowledge passed from one generation to the next. This inter-generational chink is where the filmmakers find their story. In an early sequence, a violin player (Saleem Khan) is shown teaching his adolescent son to master the bow. The sentimental old man turns teary-eyed reminiscing about his own strict father. The son’s cool indifference to his father’s emotions encapsulates how passionate the talented artists are about their craft while also mirroring the filmmakers’ intent to reflect both sides of the story.
Death, both of an art form as well as of the artists associated with traditional orchestra music, regularly finds its way through the documentary. The rhythm of Sachal Studios’ heartbeat is vocalised in the stories of the tussle with the Taliban, the rise of contemporary Pakistani pop music, and the lack of interest in old forms. The musicians’ act in faith against threats of violence and their collective courage represent a rebellion.
Sachal Studios was set up by jazz enthusiast Izzat Majeed in 2004. Majeed employed languishing musicians and reached for a unique sound when the group reworked Dave Brubeck’s jazz instrumental classic “Take Five” in 2011. The jazz piece was mixed with sitar interludes. The tabla, dholak and flute grooved to the riffs of guitars and violins and landed the band a gig with trumpeter Wynton Marsalis to perform with his jazz brass band at the Lincoln Center in New York City.
The documentary moves between the shabby tenements of the musicians in Lahore to the glitzy streets of New York City, where they walk freely and exclaim how the clerics in Pakistan won’t let them breathe in peace. The rarefied American air fills them with hope for the recognition that they crave back home.
The music sessions initially intimidate the Pakistani performers, who are not used to the discipline with which Western performers jam, but once the percussionists pick their cues, and despite an under-performing sitarist, they learn to put their egos aside to collaborate. With the tension mounting, the last 15 minutes of the film turn into an electrifying climax of virtuoso performance. Above all, the music soars.
