one recount Saloni’s name a couple of times, one is instantly reminded
of Salome and her seven veils. Not that Saloni didn’t have her own
chance to don tissue and chiffon and do a few twirls of her own.
entered the Pakistani film industry in nondescript and unmemorable Urdu
films, and only became popular in the mid `60s with films like Aadil,
Darinda and Ghaddar. Aadil was one of the many early movies she made
with Mohammad Ali and it proved to be a mega hit. Saloni had her fifteen
minutes (more like six) of dancing fame as she had three songs
picturized on her notably Eid Ka Chand Dakhao.
mid 60s Saloni was offered Punjabi roles and due to the lack of Urdu
films popularity during that time, she accepted many of them, and was
instantly wowed by film audiences all over Pakistan.
these typical Punjabi scenarios, dusky skinned Saloni was paired with
film actor Sudhir, and one of the most memorable songs picturized on her
was Terey Jae Put Jamman.
from swarthy complexion, another characteristic that was taken full
advantage of in the raucous Punjabi cinema of the day, was Saloni’s
squeaky and high-pitched voice. In those films one can still see her
portraying the typical Punjabi heroine, no doubt screeching loudly, in a
swirling black and white harlequin lehnga, with indigenous puffballs
attached to it, the dupatta and blouse, lending her almost rural bovine
look. Ironically enough however, Saloni’s career sustained itself
through the essential requirement of the day: unadulterated sex appeal,
something which she exuded effortlessly, if not somewhat crudely.
early 70s, she married film studio owner Bari Malik of Bari Studios,
Lahore, and retired from films before she was ever asked to play the
supporting role of a mother, something that would evince a stereotypical