The film didn't perform well at box office but received appreciable reviews, primarily due to Sultana's performance.[1] In 2018, the film was selected to screen at Lok Virsa Museum. It received 5 awards at 1963 Nigar Awards, including Best film.[2]
Plot
Farzana a.k.a. 'Fari' commonly known as Baaji in her circle of friends is a young widow, lives with some of her servants in a bungalow. Baaji lives a lonely life and has no family members living with her. One day, her cousin Nasir comes to meet her and she discovers that he lives nearby with a friend for his work assignment. Nasir then meets Seemi, daughter of Baaji's servant. They both fall for each other and decide to marry. Nasir returns home to bring his mother to send his proposal of marriage. When Baaji learns of it, he thinks that her mother is coming for her marriage. But when she arrives, she requests her to take Naisr's proposal to Seemi's parents. Baaji is shocked to hear it but controls herself and decides to arrange their marriage. After their marriage is settled, Baaji's health deteriorates and she is admitted to the hospital. In the hospital, one of Baaji's servants Zeenat tells Nasir that he is responsible for Baaji's condition because his friendly and caring behaviour towards her weighs on her. He then decides to call off the marriage and refuses to marry Seemi but agrees later when Baaji insists upon it. In this way, Nasir and Seemi gets married but Baaji dies sitting on the bench in her house's garden.
Aa, Aa, Aa, Kon Kut Bhei Laaj Mohay Aye by Salamat Ali Khan and Nazakat Ali Khan
Reception
Critical reception
While praising the Sultana's performance, The Illustrated Weekly of Pakistan wrote, "Nayyar was, however, at her best in Baaji. Playing the role of a love - starved woman, whose exterior conceals her frustrations and unfulfilled desires, Nayyar lent grace and dignity to the character assigned to her."[5]
In a review by Herald, the reviewer stated her performance as the strongest element of the film. The journal also praised the dialogues, and stated the film as the best of Suleman's career.[6]
The Outlook reviewing the film miscellaneously stating, "Likewise, half of ‘𝘉𝘢𝘢𝘫𝘪’ is devoted to getting it to us that the ‘𝘉𝘢𝘢𝘫𝘪’ in question—Nayyar again—is pathetically inhumane."[7]
Baaji topped the critics' poll of "Top Ten Pakistani Films" conducted by British Film Institute in 2002.[9] The film was also selected among the "Top ten films" of the Pakistani cinema by the critic Aijaz Gul, as published in "Asian Film Journeys: Selection from Cinemaya".[10]
The film's title was chosen by the director S. Suleman to name his film Baaji.[11]
