Internationally acclaimed actor Naseeruddin Shah once remarked that one of the most common mistakes actors make while portraying blindness is the excessive movement of hands, something that real-life visually impaired individuals rarely do.“They rely on their hearing to compensate for the absence of sight and will often tilt their ear forward to sense their surroundings. You don't act blindness, you act sightlessness,” he explained.

That insight carries weight, especially since Shabana Azmi has described Naseer's performance as a blind man in Sparsh as a benchmark in Hindi cinema. So convincing was he that even off set, Shabana would instinctively offer him her hand while walking down the stairs. Interestingly, Sparsh is also the film that Al Pacino reportedly referred to while preparing for his role in Scent of a Woman.

Over the years, several actors have taken on this complex challenge and delivered performances that linger long after the credits roll. In Bollywood, Rani Mukerji's sensitive portrayal in Black remains one of the finest, while Shah himself set benchmarks with Sparsh, a performance rooted in restraint and empathy. Hollywood too has produced unforgettable portrayals, from Audrey Hepburn's vulnerable yet fierce turn in Wait Until Dark to Al Pacino's Oscar-winning performance in Scent of a Woman.

Now, Mahira Khan joins that league with her upcoming film Neelofar opposite Fawad Khan, where she steps into the world of a blind woman, a role that demands both depth and delicacy. It is a part that tests not just an actor's craft, but their ability to inhabit silence, darkness, and intuition; to make the unseen felt.

Acting is no easy craft, but portraying someone without one of the five senses is an even greater challenge. Mahira admits,“It was no easy feat. As part of my preparation, I spent some time observing a visually impaired girl in Karachi. I was also recommended a few films to watch, and the last one I watched was Sparsh. That film opened my mind. It made me realize that blindness isn't just a condition, it's a state of being.”

She continues,“Imagine, while shooting, you can see everything in front of you, yet you have to convince yourself and eventually the audience that you can't. It's not something external; you have to feel it from within, just like any other character you play. Watching Sparsh assured me that I didn't need to rely on theatrics or exaggerated mannerisms. And honestly, there were moments during the shoot when I truly felt I couldn't see, when I would go purely by Fawad's voice or by instinct. So yes, Al Pacino and Naseeruddin Shah were great references for me, examples of how to embody such a character with truth without turning it into a caricature. Neelofar, the character, is pure and remains so because, despite being visually impaired, she isn't bitter. She chooses to see the good in people, in life, and in love.”

But the question remains about compatibility. Can you continue to be in love without seeing the other person? Do such tales have happy endings and love that lasts forever? Fawad Khan, who is also the producer of this film and known as the monarch of romance, believes that it does.“When you are missing one sense, your other senses are sharpened, and you are able to see the depth more than someone who is only seeing. For me, visuals play a big part in choosing a life partner but it is also about commitment, and that must be honoured. I am no one to judge anyone who decides to move on, chooses someone else, or grows tired. But I feel, if you are with someone, then the comfort of being close to them is far more important than being able to see them.”

Eras in South Asian cinema are often defined by iconic it-couples, Reema-Shan and Mohammad Ali-Zeba in Pakistan, Raj Kapoor-Nargis and Shah Rukh Khan-Kajol in Bollywood and so on. These pairings were adored by audiences and fully embraced by the stars themselves. Fawad Khan and Mahira Khan generate the same buzz, with flashbulbs going off whenever they are seen together. Yet, despite this being only their second film together in 13 years, they do not seem obsessed with the commercial angle of their pairing. Somehow, they keep the magic alive without chasing the business of it all.

“Too much of anything is bad, no?” Fawad laughs.

Mahira adds,“It is scary when people have so many expectations of us together. There is always a little 'Oh my God!' moment on set. Sometimes I even tell Fawad, on a good day, 'Show me anyone looks better than me with you?' But publicly we do not go there. We both become awkward. The load is heavy, and we are very grateful, so we do not want to mess it up.”

Fawad explains,“I work sparingly. When the script of Neelofar came to me, I knew Mahira was perfect for the role. Us together is a bonus, but I like to keep it in proper measure. I do not want to ruin what we have done before just to be seen more together. When you have something that can truly top it, then you do it; otherwise, what is the point if you cannot raise the benchmark?”

Going by the promotions, which feature Mahira and Fawad in playful back and forth (bait-bazi), some viewers might assume the film is more artsy or introspective. Fawad, wearing the hat of the producer, clarifies,“It is a very simple film. We are not getting philosophical at all. Just because I play a writer and she is visually impaired, I do not think one should assume the film will be indulgent or artsy. Any old school romance has had elements like this. We have relied on Urdu poetry, but that is only because of the nature of the character. Simplicity is the flavour of the film, which I believe is rare in cinema nowadays. It is romance building up in a city like Lahore, without frills.”

For artistes at the top of their game, how do they ensure they do not carry their characters back home, especially when playing intense or serious roles? And does being in that state help them as performers? Fawad says,“Like every profession, acting has its own occupational hazards. One of them is that when you are constantly playing a troubled character, it can rub off on you. Plus, being in this industry, the sadness quotient tends to rise. That is why variety is important; it gives an artist a break from such states.”

Mahira adds,“I do not want to stay in a state of melancholy, but sometimes I have. As artists, we often tap into our own experiences, almost unknowingly, to bring truth to a role. I believe I played a part in Humsafar so well because I already had a baby. Life experiences, both good and bad, are huge assets for an artist.”

Both these artists enjoy a level of fame that most people only dream of, but that does not mean they have been spared the cruelty of social media and constant judgments. Have they come to accept this as part of their profession? Fawad admits,“I do not think I have a thick skin, but I try to ignore as much as I can. Every person has a right to their opinion. I may not agree with it, but I am not someone who would retaliate. I try to stay away from such things as much as possible. Yes, it can have an effect, and I do not think I am immune to it.”

Mahira agrees,“I too have not developed the thickest skin, and I am a very sensitive person. But I am happiest when I am on set. I feel most alive when I am doing my job, which I live for and love doing. That is when I forget the noise and become like a child. What is important is to realize that when God has given you so much, you should be grateful and move forward with humility. Not every stone thrown in your way should stop you. I just feel sorry for them.”

In a project, especially when you are also the producer, it is bound to create an intellectual conflict, where the actor and the producer in you may not always agree. For instance, how does Fawad detect false praise on set? He explains,“If you are very self-critical, as I am, it is hard to accept praise. The simplest answer is to accept it and move on and not let it go to your head. Mostly, I am not satisfied with my first take, so I ask them to do another shot with a slight difference. But over time, on set, you have to develop trust and believe that everyone means well for the project. They will praise only when they genuinely mean it, and that understanding keeps the work flowing.”

Neelofar releases on November 28, 2025, in UAE cinemas.

Sadiq Saleem is a UAE-based writer and can be contacted on his Instagram handle @sadiqidas.

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