WHY DO PEOPLE FALL IN LOVE WHEN THEY KNOW THAT IT HURTS SO MUCH? Cover by KHAARTOUM
KHAARTOUM SINGS 'KYON LOG MOHABBAT KARTE HAIN?' A MUJRA GHAZAL of SUFI BRILLIANCE EXAMINING the PAIN of ATTACHMENT to the MATERIAL WORLD. The SONG is from the 1978 PAKISTANI URDU LANGUAGE FILM: 'MILAN' ['MEETING']. The ORIGINAL is by MADAM NOOR JEHAN. KHAARTOUM picks out the SUFI THEME of ATTACHMENTS to the WORLD that BRING PAIN. The NARRATOR is like a VOICE OF GOD. The SETTING is UNRELIABLE ROMANTIC LOVE. The FILM SETTING is the MECHANICAL DESPERATE ADDICTIVE WORLD of the MUJRA DANCER PROSTITUTE. The ATTACHMENT has lost its way from GOD to ROMANCE then to empty SENSUAL EXPERIENCE. The MALES WATCHING are NOT ATTRACTED to the DANCER, but MOVED MECHANICALLY by HUNGER for ATTACHMENT. The DANCER is NOT ATTRACTED to the CUSTOMERS. She is MECHANICAL. She is MOVED by MONEY. The DANCER has HER OWN PAIN. Her DANCE and EXPRESSIONS are MECHANICAL. The RELATION between the CUSTOMERS and DANCERS is FINANCIAL and MECHANICAL. There is RELIEF, for a SHORT TIME, but the ADDICTION to ATTACH [to GOD or THE UNIVERSE] is NOT SATIATED by SENSUAL PLEASURES and RETURNS with A VENGEANCE. The SPINNING and SPINNING in the DANCE is EXPRESSION of SUFI DANCE to BECOME DIZZY and LOSE ONESELF and BECOME ENERGY with GOD. The MUSICAL ARRANGEMENT has been CHANGED to FOCUS on the MECHANICAL. A MONOTONOUS DISCO DRUM MACHINE that is SOUL-LESS. CELLOS on LONG NOTES in HOLLOW PARALLEL FIFTHS which EXPRESS the EXHAUSTION of SPIRIT of the DANCER and WATCHERS, plus CRYING in the BACKGROUND of EMOTION of the CHARACTERS. The RECORDING of the VOICE is PLAYED IDENTICALLY TWICE to DEMONSTRATE a MECHANICAL PERFORMANCE. INTERESTINGLY, ACTRESS/DANCER: IMROZIA is also a MECHANICAL ARTIST with the SAME FAKE SMILE and ROBOTIC MOVEMENTS in HUNDREDS of PAKISTANI FILMS of the 70s. The ACTRESS SAID in INTERVIEW: "I have never been lucky in love...." Like the song she mimes... ; ) K
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