n the current circumstances, watching quality television shows and movies has become a refuge for many people. One is always on the lookout for good shows but there are times when revisiting old shows proves to be an even better idea – like right now.

The launch of PTVFLIX, a streaming application that allows users to access an online repository of PTV dramas, has been discussed in these pages. The remarkable app serves as the perfect catalyst to look back.

The digitalisation of PTV archives was long overdue. More importantly, the free platform allows the golden era of the PTV to be introduced to an entirely new generation.

Binge-watching old content can be a precious experience. It can also be a valuable source of education, information and entertainment.

Believe it or not, there was a time when the state-owned broadcaster, now widely perceived as nothing more than a ministerial echo chamber, catered to every age group and played a crucial role in elevating the collective intellect of the society.

On one hand, the PTV produced hit drama serials like Waris, which captivated the audiences and on the other, luminaries such as Shoaib Hashmi nurtured a generation of future superstars like Arshad Mahmood, Nayyar Noor and Samina Ahmed through shows like Akkar Bakkar and Such Gup (1973-75).

These programmes later became the inspiration for Fifty Fifty (1978), arguably the most popular comedy show in PTV’s history. Diverging from its predecessor, this show relied more on mimicry and parody, humorously targeting bureaucracy, politics, films, commercials and sports failures. Written by Anwar Maqsood, Fifty Fifty often managed to go around the censorship. Interestingly, it caught the attention of top officials, prompting discussions with Anwar Maqsood himself.

Around the time when Fifty Fifty was coming to an end, Anwar Maqsood introduced his next project, Angan Terha (1984), which went on to become one of the most popular and iconic comedy dramas in the history of Pakistani television.

Directed by Qaiser Farooq, the show boasted a star-studded cast, featuring a mix of established actors alongside some talented newcomers.

Angan Terha revolved around the lives of Mehboob Ahmed played by Shakeel Yousaf and Jahan Ara Begum essayed by Bushra Ansari, along with their servant Akbar played by Salim Nasir, as they struggled to make ends meet after Mehboob’s retirement.

Unlike his corrupt peers, Mehboob an honest civil servant, had retired without substantial wealth or a large bank account. This aspect was often highlighted by Akbar and Jahan Ara Begum, subtly criticising the growing corruption in the bureaucracy. Keen observers would notice similar commentary on various aspects of contemporary life.

The duo who lived in the same neighbourhood; Chaudhri Sahab, essayed by Arshad Mehmood and Sultana Begum, played by Durdana Butt, regularly joined Mehboob, Jahan Ara Begum and Akbar.

Angan Terha also featured notable guest appearances by legendary actors like Moin Akhtar, Lehri, Mehmood Ali, Alamgir, Anwar Maqsood, Qazi Wajid, Azra Sherwani, Muhammad Yousuf, Sultana Zafar, Latif Kapadia and Asif Raza Mir, portraying different guest characters in various episodes.

“…Angan Terha skilfully incorporated subtle references to the sacred cows in the country. The satire still hits home; even as one is watching the show some four decades after its original release. It does not feel outdated.” 

The interactions between these characters, accompanied by the supporting cast, skillfully provided a humorous commentary on diverse social and political facets of Pakistani society. It cleverly tackled prevalent issues like bureaucracy, corruption, social hierarchy and societal norms, adeptly shedding light on the absurdities and ironies embedded in everyday life.

What set this series apart was its departure from relying on a large budget, jingoism, melodrama or glamour. In essence, it stood in stark contrast to such elements. The show‘s tremendous popularity can be attributed to Anwar Maqsood’s remarkable talent for crafting clever and witty dialogue and the outstanding cast.

Angan Terha subtly criticised politics and governance while shedding light on various social issues, such as the challenges faced by artists. Anwar Maqsood later revealed that Salim Nasir’s character, Akbar, was inspired by one of his friends. During Gen Zia’s regime, numerous dance academies were forcibly closed, leaving many dancers unemployed, including this friend of Anwar Maqsood’s.

When asked about his plans, the friend confessed that he could only cook food and had no other skills. This personal experience provided the inspiration for the play, where Nasir’s character went on to become the most famous in the series.

Like Anwar Maqsood’s other works, Angan Terha skilfully incorporated subtle references to the sacred cows in the country. Whether it was shedding light on the challenges faced by poets through a character played by Moin Akhtar, depicting corruption through Uncle Traffic, portrayed by Mahmood Ali, who demanded that Alamgir, a pop musician, sing for him to avoid a traffic ticket, exploring Chaudhry’s selfish political ambitions or portraying a retired colonel’s venture into opening a school, the show touched on the issues in a way that still resonates with the viewers. The satire still hits home; even as one is watching the show some four decades after its original release. It does not feel outdated.

In one of the last scenes of the series, a thief, played by Asif Raza Mir, visits the house to make some quick money, only to be offered redemption by the couple if he enters the house through ‘the right entrance’ after performing his Fajr prayer. This scene highlights the nuanced and thought-provoking nature of the drama.

Despite its immense popularity and the countless memories it created, Angan Terha did not extend beyond a regulation quarter. In the last episode, Anwar Maqsood appeared to metaphorically take the case away in his car, adding another symbolic element to the series with his exit.

It is often said that they don’t make such content these days but considering the sad state of our current comedy and satire scene, revisiting Angan Terha is a great idea. Not only will it be a refreshing experience but also one that will be every bit worth your time.

The writer is a digital communication expert and consultant currently working in the public sector. He is the mastermind behind the digital platforms, Sukhan, Mani’s Cricket Myths and Over The Line