On November 2, 2012, 18 people were burnt alive as a result of a gun attack in Khuzdar, the government was questioning the legitimacy of the Supreme Court’s Balochistan ruling and discussion over Romney and Obama’s possible future was on the rise. A girl I know was busy doing something even more special and psychedelic. She was baking a cake. No it wasn’t her birthday or any other ceremonial occasion in her family but it was the birthday of her 46-year-old yet timeless prince charming, Shahrukh Khan. She has been doing that since the time she knew Shahrukh Khan – she likes him so much. This reminds me of Nasir Sultan, a 15-year-old Pakistani kid, who had allegedly crossed the border to meet his all-time favorite Bollywood star Shahrukh Khan. He could never make it to King Khan and was arrested by Border Security Force (BSF) instead but his passion was undeniable. Similarly a Pakistani Tele film by the name of “Shahrukh Khan Ki Maut” talks about a young boy called Murad, who aspires to become like Shahrukh Khan and when he is accused of stealing money from his boss to have a similar haircut, the boss orders the barber to shave off his head and that is how his fascination turns into hatred. This signifies the power of the silver screen and the effectiveness of cinema, good or bad. No matter how many Ashers or Khirads you create on television, nothing surpasses the big screen. That is probably why the generation in its 20s today never experienced the charisma of a true Pakistani megastar. My elders recall the heyday of Waheed Murad; days when his bell bottoms were replicated in classrooms and his puffed hair posters were plastered all around the barbershops. It was an honour to own a China/Sohrab cycle like the ones he rode in films and college girls had his picture under their pillows. Sadly, that was the last generation to witness a true icon and the last group of people with such precious and original experiences. Here is wishing a belated Happy Birthday to Shahrukh Khan and yet another death anniversary to Pakistani cinema. Read more by Rafay here. 

A leading film-maker once asserted to me that Pakistani cinema had actually thrived through the advent of Ayub Khan’s military rule. This thought is part of the broader belief amongst some quarters that the dictatorship eras have provided a certain amount of socio-economic growth and development for Pakistan. Interestingly, for film, this has never been the case. In fact, Pakistani cinema has always been built through the efforts of dedicated individuals who, despite the lack of structured support and resources, developed methods through which some sort of a film culture could develop. This culture was, in fact, undermined by the first dictator, Ayub Khan, who had viewed films as an important mass-medium, which needed to be exploited by the state. Film-making, on many levels, is inherently progressive because for art to thrive, it has to reject blanket forms of authoritarianism. This period bred the death of Pakistani cinema. Major film-makers, who refused to give up their independence either left willingly or were systematically kicked out, over the long-term, through the advent of the government’s biggest intervention, television. The Ayub era had long-standing structural and cultural impacts. It was met with increased amounts of subversiveness when it tried to influence the industry by placing controls on distribution and promoting state propaganda. The main agenda was to promote the regime’s own point of view. This was a period when around 50 propaganda films, such as the famed Nai Kiran were made, with the theme that politicians were corrupt, democracy had failed and that military rule had saved the country. Nai Kiran, which was the field marshal’s gift to the country, was completed in nearly 10 weeks and producers had the freedom to hire whomever they desired. It is said that Noor Jehan acted in the film against her will after law-enforcement agencies started to harass her after her initial refusal to be a part of it. There were several other quite notorious incidents of harassment and abuse that took place after artists refused to adhere to the dictates of the then government. The incidents of this era would not only have a lasting impact, shaping the societal outlook towards film, but would also mean that the basis of the Pakistani film would be clouded by a new environment — one in which alternative thought and film-making would not be allowed for a long time.

Pakistani cinema has finally arrived where it was supposed to. (It was supposed to arrive a decade or two ago but anyway.) I am not happy when people start comparisons between a multi-billion dollar industry such as Bollywood to a flailing, haphazard, mainly notorious industry such as Lollywood. The comparison is not only unfair, it is silly and, from all rules of economics, a failure to begin with. Pakistani cinema-goers, however, cannot help but compare the two and hence, every time we watch a Bollywood flick, we sigh and go,

“Haye, Pakistan main kyun nahee banti hain aisi movies?” (Gosh, why aren’t films like these made in Pakistan?)

Pakistan might not have the best movie industry in the world but Muslim countries across the world have managed to spread some truly phenomenal messages and cultural insights through their films industries. The Iranian cinema’s popularity in European film festivals and their recent Oscar win, is but one example of Muslim cinema’s increasingly transforming and often very realistic nature. In light of that, here are three thought-provoking films from different Muslim film industries that are sure to leave you pondering upon the many facets of Islamic beliefs and Muslim cultures. They will also highlight the drastic parallelism between foreign Muslim societies and Pakistan. [caption id="" align="alignnone" width="304"] This movie revolves around the strong conservative values of a hakeem and the people around him. Photo: IMDB[/caption] The Clay Bird (Bangladesh) Set in a religious household on the precipice of the 1971 war, The Clay Bird criticises stubborn dogmatism to great extents; a hakim refuses to let his daughter take modern medicine or his son to go to modern schools, mullahs sit around discrediting the possibility of a West Pakistani military operation on the pretext that their ‘Muslim brothers’ would not attack them and a madrassah principal takes psychological illness as supernatural possession to be resolved with disciplinary action. Most of the students are as heartless as the staff, giving a bleak vision of the future’s model morality and also representing what the lack of parental nurturing in hostels creates. Simultaneously, another madrassah professor is displeased with the tyrannical nature of his workplace and the sheer stupidity of some practices of the overtly religious he knows, and Sufi musicians occasionally give viewers a whiff of the Islam that the madrassah refuses to teach, and judging by the nature of the self-claimed religious in the film, probably never will. There’s an interesting secular-religious debate in this film, one that is particularly important for Pakistan and its recent dealings with madrassahs, and its reluctance to admit the local nature of terrorism. [caption id="" align="alignnone" width="600"] A film by Bahman Ghobadi, which depicts the harsh prejudice shown to the Kurdish children in Iran.[/caption] Turtles Can Fly (Iran) The childish title misrepresents this devastating Iranian film on Kurdish refugee children. If The Clay Bird makes one doubt a religious society Turtles Can Fly questions the scholarly Pakistani notion that ‘secularism is the solution to all our problems’. Little children and their infant “siblings” are depicted as the survivors of Saddam Hussein’s racial Kurdish purge where on one hand the less affected are involved in getting American souvenirs and satellites for a refugee camp, while the actual victims are trying to get rid of the burdens they are too young to carry. It’s very cold and unforgiving, shunning the very concept of nationalism, especially that of the ethnic kind. This film stays with you for a long time and makes you think of the Afghan refugees that live in Pakistan as well as the similarities between the ideas of secularism in Pakistan and Saddam Hussein-era Iraq. [embed width="620"]http://vimeo.com/47888059[/embed] Secularism is solely ethnic – the Ba’ath party in Iraq represented Arabs as a superior nation. Likewise, Pakistani self-proclaimed secular parties realistically only replace religion with ethnicity, with each and every one of the parties catering to ethnic communities like the ANP for Pashtuns, MQM for Mohajirs and the PPP for Sindhis. The characters in Turtles Can Fly are the products of this finger-pointing and divisions on languages and race, just the same as any division on religious grounds, even though it unfairly receives less media coverage. [caption id="" align="alignnone" width="600"] Afghanistan's first offering post-Taliban era.[/caption] Osama (Afghanistan) The first film to be shot in Afghanistan after the Taliban were defeated by a US invasion, Osama is the less sweet version of Saudi Arabia’s Wadjda, following an unnamed girl trying to survive the Taliban regime in Kabul. The Taliban have left her mother unemployed even though she is a practicing doctor simply because it is prohibited for a woman to work. She can’t even venture outside her house without a male relative and years of civil war in Afghanistan have left her without one, and probably several other women too. The only option for them to survive is to transform her into a boy: Osama Incredibly pessimistic and gloomy, the story is also very emotional because everyone knows there is no hope for these women. One can feel the suffocation women must have faced in Kabul, and the great injustice these harbingers of Sharia bring along with them. The hypocrisy this regime brings is exposed in a hamaam where outside women are veiled head to toe, yet inside a bathhouse a mullah enjoys the sight of young boys washing in front of him. This film is a must-watch for Taliban apologists who claim all these people want is an Islamic state because obviously making women wearing a burqa and introducing barbaric laws is the only difference between a Muslim state and a ‘non-muslim’ one. These lives must be the same as those of FATA, and just like Osama, no one is coming to rescue them either.

There has to be something about a movie where a Pakistani audience sits silently in cinemas, where mobile texting and chatting during a movie is the norm otherwise, and watch two lead characters dominate the story in a single location for 83 minutes. Billed as Pakistan’s first ‘Film Noir’, Tamanna is definitely in a league of its own in the context of Pakistani cinema. Prominent film critic Taran Adarsh raised an important point upon release of the film Barfi!,

“You don’t formulate movies (like Barfi!) targeting its box-office potential or its commercial prospects. You create such films for its passion of cinema.”

The term “Na maloon afraad”, in recent times, has become almost ubiquitous and synonymous with those unknown/anonymous miscreants that are up to no good at all vis-à-vis to any law and order situation in our major cities. However, this time around, it has a comedic spin surrounding it; enter Na Maloom Afraad, the Pakistani feature movie! [embed width="620"]http://vimeo.com/99359741[/embed] Suffice to say, the consensus will be unanimously positive and endearing when one will head out to the movie theatres to see this particular motion picture; they will be thoroughly entertained and get their money’s worth. It is a pure masala film through and through, which is not a bad thing, seeing how lately there has been a great dearth of unadulterated, solely “paisa wasool” (worth your money) and quality entertainer movies that have been churned out of Lollywood, and Na Maloom Afraad delivers that aspect in abundance. By having Nabeel Qureshi as the director at the helm under the banner of Filmwala pictures, the film benefits greatly as a direct result. He has been acknowledged as one of the few directors that are playing their due and active role to usher in a new wave of contemporary Pakistani cinema. A cinema that is not merely about the “ghundas”, “Maula Jutts” and “Noori Naats” of our world but rather more about substance, quality, well-rounded scripts and overall aesthetics. [caption id="" align="alignnone" width="536"] Photo: Na Maloom Afraad Facebook page[/caption] Speaking about the premise of the movie, it swivels around the three main protagonists: Shakeel Bhai (Javed Sheikh), Farhan (Fahad Mustafa) and Moon (Mohsin Abbas Haider). For the sake of not spoiling the story of the movie itself, let’s just say that fate intervenes and due to a series of unfortunate events, their paths get aligned and together, they conspire to plan something ‘big’ to earn fast and easy money. And what that ‘big’ thing is, you might ask? Well, you have to go to cinemas to see for yourself. [caption id="" align="alignnone" width="536"] Photo: Na Maloom Afraad Facebook page[/caption] In the acting department, all actors demonstrate their acting prowess sufficiently, especially Fahad and Mohsin. Fahad has transitioned seamlessly from the smaller screen of the drama industry towards the bigger celluloid screen of the cinema format. Javed is, as usual, on point and Urwa Hocane has perhaps given her best performance yet that will strongly cement her position for future movie acting endeavours. Salman Shahid, in his portrayal as Gogi, requires special praise and kudos for the way he has portrayed this character. Perhaps one can’t help but to draw an outright parallel between his on screen persona of Mushtaq Bhai in Dedh Ishqiya and Gogi, but nonetheless his comedic timing remains impeccable as always. [caption id="" align="alignnone" width="536"] Photo: Na Maloom Afraad Facebook Page[/caption] Ultimately, it is the trifecta (Javed, Fahad and Mohsin) that carries the movie competently on their shoulders because their chemistry is just amazing and they click and gel in with each other like three peas in a pod. Other cast members include Paras Masroor, Kubra Khan, Ali Rizvi and Nayyar Ejaz; they all hold their own in the limited on-screen time that they are given. [caption id="" align="alignnone" width="536"] Photo: Na Maloom Afraad Facebook page[/caption] The director has intentionally opted to choose regular local Karachi landmarks and locations for shooting the bulk of the movie, instead of international exotic locales. Same is the case with shooting the songs of the movie. The subject of the story is such that showing outdoor and extravagant foreign location in large proportions will seem out of place and incompatible with the on-going theme of the movie. In particular, it will resonate well with Karachiites and they surely will appreciate the fact that their daily commuting routes, streets, back alleys and roads are shown extensively in the movie. [caption id="" align="alignnone" width="536"] Photo: Na Maloom Afraad Facebook page[/caption] In terms of the musical score of the movie, it will rival any Bollywood flick, as all the songs are catchy and melodious, especially the item song Billi in which Mehwish Hayat exhibits her dancing talent. She is simply scintillating, drop dead gorgeous and spectacular. Finally Pakistanis have an item song they can call their own, without going into the merits or the demerits of the culture of embedding an item song in a movie; it is a reality whether one likes it or not. Instead of playing the usual Munnis, Jalebi Bais and Chikni Chembalis of Bollywood over and over again in our local functions such as weddings and the likes, Billi will be a better if not equal substitute for them for some time to come. [embed width="620"]http://www.dailymotion.com/video/x25e88y_billi-na-maloom-afraad-movie-song-featuring-fahad-mustafa-urwa-hocane-and-javed-shiekh-audio-song_music[/embed] To sum it all up, Na Maloon Afraad doesn’t exactly transcend its genre led clichés but it does however offer quality entertainment in bucket loads. The songs, the comedic timing, the punchy yet idiosyncratic hard-to-forget one liners coupled with an excellent timing that will not drag the film and the subtle social commentary. To the naysayers, it is a request that instead of trying to find flaws in our locally generated movies such as that it’s inspired from the likes of Hera Pheri or any other Bollywood movie, we ought to applaud the fact that after such a long hiatus, some good, wholesome movies are again coming out in Pakistan which are locally made. [caption id="" align="alignnone" width="536"] Photo: Na Maloom Afraad Facebook page[/caption] It would be almost criminal (pun intended) to miss this one out. Na Maloon Afraad is a riot, in every sense of the word that would leave its audience short of laughing fits and aneurysms!

Good Morning Karachi, for Pakistani cinema, is amongst the few unconventional, path-breaking movies that we’ve come across in recent years. The reason is very simple; Good Morning Karachi is a female-oriented film with a female protagonist. Unfortunately, except for this bit, there is little else that is extraordinary about this film. [embed width="620"]http://www.dailymotion.com/video/x2dm09w_good-morning-karachi-pakistani-movie-by-rafina-official-trailer_fun#from=embediframe[/embed] So far, the movie has received mixed responses based on different factors. Perhaps an exploration of this movie is required. Before we begin, however, let me clarify that this film is not the Pakistani version of Bollywood’s Priyanka Chopra-starrer Fashion (as many may insinuate). The entire movie is based on Rafina (Amna Ilyas), who belongs to a lower-middle class family and wants to become a fashion model. How she accomplishes her ultimate goal is what the movie is all about. [caption id="" align="alignnone" width="600"] Photo: Good Morning Karachi Official Facebook Page[/caption] The movie has its highs and lows. For instance, keeping the fashion world of Pakistan in mind, the dresses and wardrobes selected for the movie are disappointingly below-average. Even the Lux Style Awards showcases celebrities in some truly amazing outfits compared to the wardrobes presented in this particular movie. The relationship depicted between Amna and Yasir Aqueel comes off as kind of forced; it does not provide any justification to the plot. Why would a man be interested in marrying a woman who lives and breathes to become a celebrity, whereas he, himself, can’t bear to stand the idea of it? The characters don’t have the psychological edge that most other Pakistani movies do. [caption id="" align="alignnone" width="299"] Photo: Good Morning Karachi Official Facebook Page[/caption] The only support system in Rafina’s life is Rosie (Beo Raana Zafar) and her character, in my opinion, has just not been developed properly; I think perhaps had she been given a few more scenes, the treatment of her character would seem more logical in the film. Saba Hameed (who plays Ammi), on the contrary, is actually a talent wasted in such a role – any other average female actress could have carried off this role. Performance wise, Amna excels and boasts one of her finest performances, undoubtedly. She acts naturally, without making it complicated. Whether it is her sweet-girl avatar or the rising-model-in-the-industry persona, she carries it off flawlessly. [caption id="" align="alignnone" width="312"] Photo: Good Morning Karachi Official Facebook Page[/caption] There are a few surprise appearances as well, but I won’t disclose names; watch the film to find out. The music of the movie is nothing special. Had Sabiha Sumar spent a little more time building her characters, I believe the movie could have done very well. Many sequences in the movie could have been dealt with better, in terms of direction and execution. If you are looking for a true depiction of the fashion world in Pakistan, don’t watch Good Morning Karachi. As a supporter of the revival of Pakistani cinema, the movie is a good watch.  Yes, it had some great performances but remained unsurprising overall. I do not feel the need to give it more than 2.5/5.

What happens when you create a lot of hype for a certain product, pose it as the best of the best, and when it is aired, the end result is not only disappointing but abhorrently low in terms of quality and value? Jalaibee is the perfect example of such a product. The much talked about and marketed crime caper, Jalaibee, has too many angles to be focused upon. After all, it is about the continual revival of Pakistani cinema and seeing what role Jalaibee plays in it is of key importance. Let’s dissect Jalaibee and focus on what it is all about. [caption id="" align="alignnone" width="589"] Promotion of Jaliabee. Photo: Jalaibee Facebook page[/caption] Jalaibee, in simple words, is a complicated and twisted tale of two childhood friends Billu, played by Danish Taimoor and Bugga, played by Ali Safina, who first met in an orphanage and struck a lifelong friendship ever since. [caption id="" align="alignnone" width="595"] Photo: Jaliabee Facebook page[/caption] As the story continues, these two protagonists find themselves in a tight spot, where they have to pay back a hefty amount of money to the local mafia. The movie focuses on how they cope with this situation and try to wriggle their way out of it. Except for this storyline, which has perhaps been explored for the umpteenth times, there is nothing more that Jalaibee has to offer. Add a revenge saga plot, some political twists, an assassination plan and a 1973 Ford Mustang driving through narrow alleys and you find yourself in the midst of a cinematic disaster. [caption id="" align="alignnone" width="595"] Photo: Jaliabee Facebook page[/caption] Performance and acting wise, only Dara, played by Adnan Jaffar, stands out amongst the star-studded cast. He plays the role of an antagonist and his acting promises a comeback for Pakistani cinema in terms of good performances. Sajid Hasan has also managed to deliver a decent performance. His scenes with Dara and Eman, played by Sabeeka Imam, are very well-executed. [caption id="" align="alignnone" width="596"] Adnan Jaffar. Photo: Jalaibee Facebook page[/caption] [caption id="" align="alignnone" width="594"] Sabeeka Imam. Photo: Jalaibee Facebook page[/caption] As for Danish Taimoor, it seems like he had only one expression glued to his face throughout the film. His acting lacked creativity. Previously, we had Akshay Khanna to mock for his signature (read: monotonous) expressions but Taimoor has come about as a strong contender now. Ali Safina, on the other hand, had his good scenes, where he performed quite ably. However, these scenes were few and far in between. On multiple occasions, Safina seemed like he was standing at the wrong place, at the wrong time, completely out of sync. Zhalay Sarhadi, who played the character of Banno, should have improved her acting skills before signing the movie. The “I Love You” sequence is an eye-opener for those who had the slightest doubt that she can act. She completely misses the sensuality and sharpness that a bar dancer has in her dialect. She clearly did not do her homework. [caption id="" align="alignnone" width="595"] Zhalay Sarhadi. Photo: Jalaibee Facebook page[/caption] Wiqar Ali Khan, who plays the role of Ali, provides on-screen eye candy and little else. He dashing looks do not save his meagre acting. He falls short in his performance and he fails terribly at dealing with emotional scenes. Sabeeka Imam is average, at best. She seemed out-of-place throughout the movie, which was evident through her dialogues. [caption id="" align="alignnone" width="595"] Wiqar Ali Khan. Photo: Jalaibee Facebook page[/caption] Uzair Jaswal plays a small part as a side kick, and fails to add any vibrancy to the movie. [caption id="" align="alignnone" width="594"] Uzair Jaswal. Photo: Jalaibee Facebook page.[/caption] The script lacks power, substance and dialogues which would engage the audience. At times, the characters seem to try too hard to make you laugh but all you experience is uneasiness. The hyped up item number by Zhalay is nothing but a total fail. Calling it an item number is definitely an insult to the genre. Even Lux Style Awards’ stage performances are better than the item number “Jawaani”.

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After successfully objectifying women in the ‘100 glorious years of Indian cinema’, Bollywood now recognises its part in influencing commoners, what till now has been ‘a bad influence’. It took Bollywood God knows how many Jyoti Singhs to realise what a mess their sexist approach in cinema has caused in populous India. I feel sorry for them. I feel sorry that our neighbours are in trouble; our fellow women are not safe. But at the moment, I’m more concerned about how all this affects Pakistan. Our cinema is going through an interesting phase of its revival, but the same sexist approach has come to trouble us too. Recent series of item numbers in almost every newly released and upcoming Lollywood movie are examples of this approach. You don’t have to be a conservative to understand why an item number is offensive and insulting to a woman. It offends me because: 1. We, women, are not ‘items’ or ‘objects’; we are as human as any gender. 2. Women are not Munnis or Sheilas or Billis (their Pakistani counterpart). 3. Women are not “gutka (tobacco) available for chewing”. 4. We do not go around flaunting our “jawan (young) bodies”. [embed width="620"]http://www.dailymotion.com/video/x25fdm0_billi-song-mehwish-hayat-na-maloom-afraad_music[/embed] I am a liberal who defended Humaima Malick’s right to do the song Namak Paare – because it fitted the role of a bar dancer – as much as I defended Fawad Khan’s right to do a shirtless scene in Khoobsurat. I love Sonam Kapoor and Vidya Balan for their choice of women-centric films, like Dirty Picture. But the makers of unnecessary item numbers are those ‘hypocrite liberals’ who never consider us women as equal to them and use women as ‘objects’ to attract audiences. Some recent examples are the item songs in Pakistani movies Karachi se Lahore, Jalaibee and the not too old, Na Maloom Afraad. Karachi se Lahore released its teaser on March 21, 2015. What is sad and sickening is that the 14-second teaser only includes glimpses of Ayesha Omar as an item girl and ends with the title poster of the film. [embed width="620"]http://www.dailymotion.com/video/x2k4b69_ayesha-omar-item-song-in-movie-karachi-se-lahore_shortfilms#from=embediframe[/embed] What a great way to tease the crowd… Right? It seems that the purpose of the teaser was to tell the world that Bulbulay’s Khoobsurat has a bellybutton too. Jalaibee, on the other hand, can be defended by the fact that they showed decent clothing in an item song. Recently, Pakistani heartthrob Hamza Ali Abbasi was quoted as saying:

“I am tremendously proud of Zhalay Sarhadi for not taking her clothes off in her performance in the film. Proud of Yasir Jaswal for not going along with the emerging trend of revealing ‘item numbers’ in Pakistan films.”

“Tere aangan mein hi chamke gi meri ye shookh jawani” (Only in your backyard will my enticing youth shine)

“Gutka main hun chaba le, Baaja main hun baja” (Chew me as I am tobacco and blow me as I am a trumpet)

“The choreography is similar across most (item) songs: one semi-clad women getting leered at by several men, being objectified for the consumption of men and talked of as some kind of dish.”

“It (item song) is an unequal sexuality, where one is the subject and the other, the object. The woman is naked, the man fully dressed. There is no mutuality. The woman sells and the man consumes.”

Pakistani cinema is on the verge of revival as more and more talented directors and film-makers prove their mettle in the field. Asim Raza’s debut project, Ho Mann Jahaan is one such movie we should keep an eye out for. Currently in the making, unlike many other movies in Lollywood, this film does not focus on politics. Based on the relationship dynamics between three friends, it is going to be the perfect epitome of an entertaining yet meaningful Lollywood flick. [fbvideo link="https://www.facebook.com/video.php?v=1589278938018907&set=vb.1504206416526160&type=2&theater"][/fbvideo] I got the chance to meet the cast and crew of this much-awaited movie and tried my best to get as much information as possible. Here is what I found out: 1. 90% of the shooting has been completed, that too in a span of only 50 days. [fbvideo link="https://www.facebook.com/video.php?v=1565261260420675&theater"][/fbvideo] 2. Mahira Khan, Sheheryar Munawar and Adeel Hussain are the lead actors of the movie. While they have done projects together, this will be the first time all three actors work alongside one another in a project.  [caption id="" align="alignnone" width="595"] Photo: Ho Mann Jahaan Facebook page[/caption] 3. Asim Raza is famous for producing some amazing ad campaigns and music videos. [fbvideo link="https://www.facebook.com/video.php?v=1562761780670623&theater"][/fbvideo] 4. This is not a musical but music is the main theme of the story. [caption id="" align="alignnone" width="596"] Photo: Ho Mann Jahaan Facebook page[/caption] 5. Adeel Hussain plays the character of Nadir, a dutiful son of rich parents. [caption id="" align="alignnone" width="595"] Photo: Ho Mann Jahaan Facebook page[/caption] 6. Sheheryar Munawar plays the character of Arhaan who belongs to a lower middle class family and wants to pursue music as his career. Sheheryar is also co-producing the film.  [caption id="" align="alignnone" width="594"] Photo: Ho Mann Jahaan Facebook page[/caption] 7. Mahira Khan plays the role of Manizeh who is brought up in a liberal family. [caption id="" align="alignnone" width="595"] Photo: Ho Mann Jahaan Facebook page[/caption] 8. The movie is shot in Karachi. Some of the scenes are shot at Frere Hall and IBA. 9. There are nine songs in the movie. [caption id="" align="alignnone" width="595"] Photo: Ho Mann Jahaan Facebook page[/caption] 10. The movie also features Bushra Ansari, Sonia Jahan, Nimra Bucha and Arshad Mehmud. [caption id="" align="alignnone" width="594"] Photo: Ho Mann Jahaan Facebook page[/caption] 11. This movie is expected to release on Eidul Azha. [caption id="" align="alignnone" width="595"] Photo: Ho Mann Jahaan Facebook page[/caption] 12. The music was produced by old and new talent of our music industry including some famous names like Atif Aslam, Tina Sani, Abu Mohammad, Asrar, Faakhir, Jimmy Khan, Zeb and Haniya. [caption id="" align="alignnone" width="595"] Photo: Ho Mann Jahaan Facebook page[/caption] 13. Mahira’s costumes were designed by Feeha Jamshed and Umar Sayeed. [caption id="" align="alignnone" width="596"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="595"] Photo: Ho Mann Jahaan Facebook page[/caption] 14. Male costumes were designed by Ismail Fareed. [caption id="" align="alignnone" width="594"] Photo: Ho Mann Jahaan Facebook page[/caption] 15. Bushra Ansari plays most pranks on the sets. [caption id="" align="alignnone" width="595"] Photo: Ho Mann Jahaan Facebook page[/caption] 16. You will see Adeel Hussain dancing in the movie. [caption id="" align="alignnone" width="597"] Photo: Screenshot[/caption] This post originally appeared here. 

The need for promoting children’s content is of utmost importance in any country, since it develops their personality while broadening their mental horizon as well.  Storybooks, cartoons, and animated movies keep children mesmerised with the help of colourful and vibrant animations. Most of the time, the content promotes a social cause or a certain philosophy of life. [embed width="620"]http://www.dailymotion.com/video/x1xezeg_3-bahadur-hd-official-trailer-2014_shortfilms[/embed] Although content for children, both in print and electronic media, is available in Pakistan, there has always been a dire need for animated shows/movies which could bring stories to children in ways that would educate and entertain them. Oscar winning producer, Sharmeen Obaid Chinoy, finally bridged this gap by joining hands with ARY Films to produce Pakistan’s first full-length animated movie, 3 Bahadur. The three protagonists of the movie are Amna, Saadi, and Kami, who unite to fight a dark force plaguing their neighbourhood, the peaceful locality of Roshan Basti. You would need to watch the movie to know who and what this dark nemesis is and how these three friends defeat it. [caption id="" align="alignnone" width="595"] Photo: Screenshot[/caption] The movie also explores the journey these friends take from being normal kids to becoming superheroes, during which they acquire a special power to defeat the forces of evil lurking over their peaceful town. Furthermore, the way they receive their superpowers, because they had the courage to face evil, something which no adult in Roshan Basti was able to undertake, is a treat to watch. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] The voice overs of the characters are done by Muneeba Yaseen (Amna), Hanzala Shahid (Kamil), Zuhab Khan (Saadi), and Behroze Sabzwari (Deenu). The voice overs fit in perfectly with the characters. The story is realistic and aligns with our everyday life; it highlights the importance of bravery, something that every child must learn.  A line in the movie’s trailer reads,

“For the first time in Pakistan, witness the birth of courage.”

London held a host of activities highlighting Pakistan and the cultural vibrancy it has to offer to the world. This weekend saw the launch of Suzali, a platform showcasing Pakistan’s most well-renowned designers which included Mehreen Noorani, Nida Azwer, Naureen Arbab, Lalarukh, Shirin Hassan, and Sarah Anees.  Although these designers are well-established in Pakistan and Dubai, they are not so accessible to Pakistanis living in London. Suzali aims to provide a bridge between renowned Pakistani designers and potential customers in England who have limited access to high-quality Pakistani clothes. Sana Habib, the brainchild of Suzali, was inspired to create the name using the abbreviated letters of the children in her family and truly provided a very familial environment within the exhibition. Sana’s family were exceptionally welcoming, warm and helpful throughout the whole experience. Additionally, the event was held at “The Arch” hotel in central London, an area which is often populated with wealthy Arabs smoking their hookahs and regaling tales of happier times. The hotel had a very chic and minimalistic ambience, which melded in beautifully with the intricate handiwork of the clothes. There were a mixture of formal, semi-formal, casual, and fusion of Pakistani and western wear on offer, so one was completely spoiled for choice and the prices were reasonable. Suzali will be holding four exhibitions every year, but customers can also request private viewings from Sana. All contact details are available at the bottom of the page. Following on from Suzali, I visited London’s prestigious Southbank Centre to visit the 'Dil Phaink' exhibition organised by Peace Niche which was an ode to Pakistani culture and art. This was a part of a wider festival called Alchemy, which was a celebration of works of art from India, Bangladesh, and Sri Lanka. Upon entrance to the Queen Elizabeth Hall, one was met with a commemorative plaque to Sabeen Mahmud, who was tragically gunned down in Karachi. The artwork was reminiscent of a typical street seen in Karachi with a tailor shop. There was also a truck art installation and film posters of the golden years of Pakistani cinema. Additionally, the British Council and students from Szabist had collaborated to show short films based on the lives of four very different lives in the vibrant city of Karachi, including the caretaker of the Jewish graveyard. This truly was a wonderful experience and showed Pakistan in a positive light even after being shrouded in so much negativity. Huge thumbs up to the efforts of the students at Szabist. To top it all off, there was live poetry reading by Dr Khalid Jawaid Jan who recited his revolutionary poem “Main Baghi Hoon” (I am a rebel) to an eager audience which was met by rapturous applause. This was followed by Kishwer Naheed reading two controversial poems which were in line with her feminist stance. The impetus behind the poetry workshop was to translate well-known Pakistani poetry into English, and thus make it more available for people in England. Indeed, after each poet recited their poem in Urdu, a translator would then read out the English translation. This project was organised by Highlight Arts, who organise such literary festivals as a way of opening up dialogue between two nations that would otherwise not have any bridge between them. In November 2014, two Scottish poets went to Lahore to participate in a similar event. It was very refreshing to see remnants of a bright and colourful Pakistan amongst the drab grey skies of London. The only temptation that remained was to book a flight to Pakistan and experience the sounds and sights in person. Pakistan Zindabad! All photos are by Faiza Iqbal.

Bin Roye’s premiere was held at Nueplex Cinema yesterday and the entire setup was done up beautifully with motiyas (jasmine) used as a pretty backdrop. It was a star studded night, boasting of celebrities from the star cast of Bin Roye – Mahira Khan, Humayun Saeed and Armeena Khan along with Behroz Sabzwari, Shehroz Sabzwari and Syra Shehroz who were there to support Javed Shaikh. Bushra Ansari, Imran Abbas, and Angelina Malik also dropped by to show support for the cast and the movie. [embed width="620"]http://www.dailymotion.com/video/x2m7gyq[/embed] Mahira plays the lead role as Saba, while Humayun plays the role of her cousin Irtiza. Javed Shaikh and Zeba Bakhtiar are casted as Mahira’s parents while Armeena is playing Saman, Mahira’s sister. Here are five reasons why I think you should watch Bin Roye: 1. Mahira Khan [caption id="" align="alignnone" width="600"] Photo: Facebook page[/caption] If you have missed Mahira post-Humsafar, then you’ll surely love this movie. A huge chunk of the movie is focused on Mahira who is projected as an extremely happy and love struck individual. 2. Breath-taking locations and scenic views  [caption id="" align="alignnone" width="600"] Photo: Facebook page[/caption] [caption id="" align="alignnone" width="600"] Photo: Facebook page[/caption] From what I have heard, a major part of the movie was shot in Karachi while some of the scenes were also shot in San Francisco. So if you are romantic soul in search of wanderlust, you’d love the movie for the locations and the mesmerising views. 3. Balle Balle is the new London Thumukda [embed width="620"]http://www.dailymotion.com/video/x2twdft[/embed] Okay, I know this may come off as a bit exaggerated, but the songs were pretty good. Balle balle stole the show for me, While Maula Maula came in second, because Abida Parveen. Enough said! 4. Support #PakistaniCinema  Let’s be honest, we all want our entertainment industry to grow and flourish. Since the past two years, Pakistan has witnessed a changing trend in the movie industry. Due to the inception of Khuda Ke Liye, we have been gifted with a new era which will definitely bring the doomed film industry back on its feet. So if you’re not a fan of either of the stars casted, I’d still urge you to go and watch the movie because we should support Pakistani cinema. 5. Upcoming drama series Some of you may already know that Bin Roye is the movie adaptation of Farhat Ishtiaq’s novel, Bin Roye Aansoo. So if you’re an avid reader and prefer books over movies and also end up watching movie adaptations of your favourite books, then you should get yourself a ticket. Also, did I mention that HUM TV is soon going to produce a drama series on the same novel? Yes. You read that right. Apart from the locations, what I loved most about the movie, were the clothes. The designers in charge for the clothes are Sania Maskatiya, Feeha Jamshed, Elan, Deepak Perwani, Jazib Qamar, Labels and Bonanza. There are a few things which you’ll notice while watching the movie. Bin Roye, like any other movie, comes with loopholes and imperfections. So here are five reasons not to watch the Lollywood flick: 1. The storyline was abrupt We all know how difficult it is to do justice to the books, but here we are facing a totally different story. There was a lack of synchronisation in the scenes and everything was abrupt. I like my mango shake and my movies quite blended. 2. The first half of the movie is extremely confusing [caption id="" align="alignnone" width="600"] Photo: Facebook page[/caption] Everyone will be confused in the first half of the movie. Fifty minutes into the movie and you’d still be watching Mahira going gaga over her cousin, Irtiza, who she’s in love with. 3. No clarity [caption id="" align="alignnone" width="600"] Photo: Facebook page[/caption] Humayun is no doubt a brilliant actor and I believe he should have been given more screen presence throughout the movie. Also, Humayun goes abroad for two years and it’s still not clear why he actually went there. ‘It’s good for his career’, is all he said in the movie. No other explanation was given as to why he went abroad. Was it a job offer, did you have to go for studies? What exactly did you go there for? 4. Lack of character development A little more detail and focus on the characters would have helped in a proper character development. Supporting casts were also given very few dialogues. Oh and who was the guy who accompanied Irtiza to and back from the airport? Still unknown. 5. First half was slow [caption id="" align="alignnone" width="600"] Photo: Facebook page[/caption] The first half of the movie was a little slow. However, the second half of the movie managed to pull up the pace and while some scenes were shot brilliantly, some were hazy. If I had to rate Bin Roye in each department, it would be, Music: Four out of five Eye candy: Four out of five Direction: Three out of five Overall: Three out of five If you are looking to take your family out on Eid, this movie could be one of the options. If you have watched the movie or planning to watch it, do share your feedback. This post originally appeared here.

Karachi Se Lahore is another comedy flick from the back to back line-up in Pakistani cinema. It is directed and produced by Wajahat Rauf and the screenplay was written by Yasir Hussain. [embed width="620"]http://www.dailymotion.com/video/x2zq517_karachi-se-lahore-movie-trailer-new-pakistani-movie-2015_shortfilms[/embed] The story kicks off with the introduction of Zaheem (Shahzad Sheikh) and Maryam (Ayesha Omar) who are neighbours constantly arguing and fighting on senseless issues. Zaheem is seen living alone in an apartment (no mention of his family) and is a banker at Habib Bank Limited (HBL) (too much branding, as expected) who is clearly not happy with his current situation. Being the lead in the film, his acting on the big screen did not impress at all as he definitely missed the right notes. On the other hand, Maryam is Tiwana’s (Javed Sheikh) daughter. She also has a younger brother named Zeezo (Aashir Wajahat), who is too cool to be a younger brother (I would definitely love to adopt him). No other details regarding Maryam’s character have been revealed, apart from the fact that she is single and always cranky. She is shown as a laidback, lazy, stubborn, tom-boyish girl who swears and watches cricket, as if girls on an average don’t do that. Also, if she really is a tom-boy, then what’s with the pink shalwar kameez? In my opinion, her role appropriately falls under the supporting cast category, rather than the female lead. [caption id="" align="alignnone" width="450"] Photo: Karachi se Lahore facebook page[/caption] Eshita Syed plays the role of Aisha, Zaheem’s nagging and bad-tempered girlfriend, whose parents are nowhere to be seen in the movie, not even at her own wedding. Hussain also plays the role of Moti, Zaheem’s stuttering friend who usually gives brilliant ideas, despite not being taken seriously most of the time. Also starring in the movie is Ahmed Ali, who plays the role of Zaheem’s friend, Sam, who is constantly trying to impress ladies with his not-so-charming personality. The story begins when Aisha is sick and tired of waiting for Zaheem to make something out of his life and decides to take matters into her own hands. Hence she goes off to Lahore to marry her Canada-returned cousin, who by the way does a horrible job with the accent. With the help of Maryam, Zeezo and his two friends, Zaheem decides to go to Lahore to stop her from marrying her cousin and convince her to give him a second chance. The rest of the story revolves around their road trip from Karachi to Lahore and the hurdles faced on the way. [caption id="" align="alignnone" width="600"] Photo: Karachi se Lahore facebook page[/caption] Yasir’s acting has been brilliant throughout the movie. None of his dialogues or punch-lines seemed unnecessary. There wasn’t a dull moment in his presence as he kept the viewers entertained and laughing. The entire cinema was applauding his jokes and one-liners throughout the movie. For me, he was the star of the show. If the movie manages to win an award that will solely be because of Yasir’s acting and dialogues as Moti. The rest of the characters were pretty weak and failed to make an impression. You will know what I mean once you watch the movie. I would surely watch it five times again, only for Yasir’s acting. The locations chosen for the movie were outstanding. However, I would have preferred some more of scenic views keeping in mind the movie is about a road trip from Karachi to Lahore. You can’t help noticing the Cornetto and HBL branding, which can test one’s patience and make the person want to throw something at the screen. The brands must have spent a huge chunk of their marketing budget for sponsoring the movie, so stock up on some patience when going to watch it. Ayesha’s item number, Tutti frutti, is a hit and has a catchy tune. It is our very own version of Baby Doll.  Aaja Re is another melodious track which was very much liked by the audience. [embed width="620"]http://www.dailymotion.com/video/x2zjk9l_tutti-frutti-official-video-song-promo-ft-ayesha-umar-karachi-se-lahore-youthmaza-com_music[/embed] “Rabbi Ralli”, another item number featuring Mantahaa Maqsood, who plays the role of Mr Tiwana’s courtesan, is not to be missed if you love listening to up-beat desi numbers. Also try listening to Lahoriya a few times, and then tell me if you are not hooked to the beat. Noori, Shiraz Uppal and Sur Darvesh have done a brilliant job with the music. I have already added a few songs to my playlist. It’s always a feast to finally listen to some nice music, especially when it’s a production of your very own industry. [caption id="" align="alignnone" width="564"] Photo: Karachi se Lahore facebook page[/caption] Overall, the movie was a fun ride. Despite being a low budget production and an almost three-hour long movie, the movie did create some magic. After Na Maloom Afraad, this movie stood out the most for me, as compared to all the recent releases. Have to give that much credit to Wajahat and Yasir. Two thumbs up to Yasir for his contribution towards a brilliant script and such fine acting, something I have seen after a long time. If you’re looking for a heavy dose of laughter, Karachi Se Lahore should do the trick. It’s a total paisa wasool (worth your money). I would rate the movie: Music: Four out of five Eye candy: Three out of five Direction: Four out of five Overall: 4.5 out of five This post originally appeared here.

Pakistani cinema is emerging at a very unique point in our cultural history. Hollywood is knocking at our neighbour’s door to the east as Bollywood sets its eye on the 500 crore club. On our Western front, Iran has become a globally recognised force in neo realist filmmaking, yet people get jailed there for dancing to a particular song. [embed width="620"]http://www.dailymotion.com/video/x137fwc_moor-2014-trailer-1-the-pakistani-movie_shortfilms[/embed] Afghanistan remains to be the centre of attention with a complicated set of woes and a new administration in place, and China is slowly becoming one of the biggest film markets in the world. In the middle of this hue and cry lies Pakistan and its cinema industry’s struggle to evolve into something better than Lollywood. That’s where Moor comes in. Here are six reasons to embrace Moor and why it sets the bar high for future Pakistani productions: 1. A genuine Pakistani film [caption id="" align="alignnone" width="595"] Photo: Moor official Facebook page[/caption] Though there is nothing wrong with carrying on the song-dance-romance formula of Lollywood and with that more people will be attracted towards cinemas, but then your identity will not be anything more than an extension of Bollywood, a prime example of this is Na Maloom Afraad. On the opposite side of Na Maloom Afraad and Nabeel Qureshi are Jami Mahmood and his outstanding film, Moor. Without relying on any conventions or ‘formula’, he offers a story that is truly a product of our times and geography, without compromising on cinematic experience. 2. Possibly the last film on Balochistan [caption id="" align="alignnone" width="595"] Photo: Moor official Facebook page[/caption] I don’t actually know whether Balochistan has previously been featured on the big screen or not, but one thing’s for sure, it will not happen again. Moor is possibly your only window into the highlands of Balochistan and the only major portrayal of its people’s loyalty towards their soil and principles. Celebrated Pakistani photographer Kohi Marri once said,

“Such is the beauty of the landscape of Balochistan that we can shoot an entire Lord of the Rings here.”

Pakistan is a land of talented and gifted people. We have people who have made something out of nothing. With barely any resources available, various Pakistanis have outdone themselves in recent times and have brought pride and prosperity to their motherland through their hard work and sheer determination. Shah is a movie which is based on one such individual, who rose from the cluttered streets of Lyari in Karachi. [embed width="620"]http://www.dailymotion.com/video/x2w9lyj[/embed] He rose from nothing and became the pride of Pakistan, but eventually, he was reduced to a mere memory in the minds of Pakistanis. Shah is a story based on true events about the journey of Pakistan’s famous national hero, Syed Hussain Shah. He became the only Pakistani to win a bronze medal during the Olympics in Seoul in 1988. The movie was released this Independence Day to pay tribute to Pakistan’s forgotten national pride. It is a sports biopic and the ideology and concept behind the film is brilliant and worth applauding. The movie starts with a journalist named Noor (Kiran Chaudhry) who inquires about Hussain Shah, the famous Olympian Pakistani boxer who won numerous gold and bronze medals for his country by participating in international boxing matches. She finally manages to find Shah who narrates his life story and the hurdles he faced on his journey to dominating Asian boxing for nearly a decade. [caption id="" align="alignnone" width="595"] Photo: Shah official Facebook page[/caption] Performance wise, I feel the movie solely rests on one man’s shoulders, Adnan Sarwar, who is not only the director and writer but also the music composer. His accent and dialect throughout the film are quite impressive. Some scenes are worthy of applause; for instance, when he wins his first fight in Calcutta and the Indians tease him saying, “Jootay do Shah ko.” (Give him shoes) That particular scene with Pakistan’s national anthem playing in the background gives the audience goose bumps. Similarly, another superb scene is when Shah wins his fight in London. [caption id="" align="alignnone" width="428"] Photo: Shah official Facebook page[/caption] Other than Sarwar, the other actor who manages to leave a mark on the audience is veteran Gulab Chandio. He portrays his character with complete gusto and is an absolute delight to watch. Most of the actors in the movie are locals from Lyari, which I feel may have been somewhat of a challenge for Sarwar, but it all seemed to work out perfectly. Apart from Sarwar and Chandio, the rest of the actors have limited screen presence. [caption id="" align="alignnone" width="595"] Photo: Shah official Facebook page[/caption] [caption id="" align="alignnone" width="595"] Photo: Shah official Facebook page[/caption] Shah sends the right message of pride, patriotism and aptly pays tribute to the great Shah. Unfortunately, the film does have its flaws and lacks quality and aesthetics in other departments. For instance, the editing by Tahir Ali seems to be the weakest part of the movie. Similarly, cinematography by Omar Daraz and Hassan Zaidi is nothing to write home about. This could be due to the fact that the team had an extremely limited budget to work with as compared to the other recent Pakistani productions. Other than that, Urdu dialogues should have been supported with English subtitles as some of the dialogues were a bit difficult to comprehend. However, it’s great to see that Pakistani directors have taken the initiative to delve into the lives of famous yet forgotten heroes. If you want to educate yourself about the famous Olympian and support the revival of Pakistani cinema, then I suggest everyone to go watch Shah.  [caption id="" align="alignnone" width="595"] Photo: Shah official Facebook page[/caption] Overall, even though the message of the movie was very strong, it lacked the finishing touches required to make a film go all the way. I would rate Shah a 2.5 out of five.

Dekh Magar Pyaar Say, directed by Asadul Haq and starring debutant Sikander Rizvi and his leading lady, Humaima Malick, will keep the audience spellbound because of the directors’ cinematic prowess. The movie also showcases great shoot locations, such as Lahore and London. [embed width="620"]http://www.dailymotion.com/video/x2xxti2[/embed] However, along with adding scenic beauty in order to add production value to the movie, a movie must also have a strong plot and a story to keep it moving forward. Unfortunately, Dekh Magar Pyaar Say could not score full marks when it comes to the plot, but it is good enough to be called an average and watchable movie, though it definitely lacks that particular punch which leaves viewers with strong memories of the movie. [caption id="" align="alignnone" width="595"] Photo: Dekh Magar Pyaar Say official Facebook page[/caption] [caption id="" align="alignnone" width="600"] Photo: Dekh Magar Pyaar Say official Facebook page[/caption] Although the story was decent enough and was a good attempt and adds another feather in the crown of the recently revived Pakistani cinema, the plot isn’t top notch, but it does keep the characters and the situation glued together until the end. If you are interested in sights and sounds of cities, then Dekh Magar Pyaar Say is a must watch movie and I personally feel the production can stand tall on an international level. Therefore, it is a thriving attempt and the entire crew must be applauded for their efforts. Choosing Lahore as one of the locations to shoot the movie adds a romantic appeal to it, for Lahore boasts of love and has a rich cultural history. Moreover, the energy of Lahore creates a mystic effect that captivates the viewers into its charm. [caption id="" align="alignnone" width="545"] Photo: Dekh Magar Pyaar Say official Facebook page[/caption] While there may be a number of factors which make a movie an interesting watch, the wardrobe worn by the leading actors also increases the viewer’s interest. In Dekh Magar Pyaar Say, one of the leading fashion icons of Pakistan, Hassan Sheheryar Yasin, creates magic with his selection of wardrobe for the cast. The movie is a complete one from all aspects. It has a nice story, is shot at simple locations but with historical values, the actors present their acting skills in the best way possible, the soundtrack adds value to the movie, and the movie does take the Pakistani cinema to a new level. [caption id="" align="alignnone" width="596"] Photo: Dekh Magar Pyaar Say official Facebook page[/caption] However, I personally believe that the story lacks, at most parts, the enthusiasm to keep the viewer’s glued to the screen. Even though both Humaima and Sikander came together to become a charismatic on-screen couple, Humaima did over-act in some scenes. Apart from a handful of such scenes, her acting was uncluttered, focused, and well-balanced with debutant Sikander’s onscreen persona. Even though Sikander made his acting debut, he seemed comfortable while sharing the screen with Humaima and his acting skills are more refined than one could have expected. Moreover, there was mediocrity in the plot and some parts didn’t make sense because it felt they were added by force and not by will. With Pakistani cinema’s revival, we must appreciate the efforts of the movie’s director, producer, and scriptwriter Asad, Ali Murtaza, and Saba Imtiaz, respectively. The sights and sounds shown in the movie are colourful and present a life that is closer to reality. The soundtrack also has a desi touch to it, which emphasises the romantic and emotional side of the movie. Songs including Tasveer, I am Sweetie and Kabhi Kabhi are written and composed beautifully while Kaala Dooriyan is a groovy song that will make you tap your feet with the tune. The movie was said to be a romantic comedy, however, you must watch it to know if it really was one or was there a twist in the story when you least expect it. [embed width="620"]http://www.dailymotion.com/video/x308xik[/embed] [embed width="620"]http://www.dailymotion.com/video/x2ydrn1[/embed] With Asad’s insights on directing, and Nic Knowland’s cinematography, the scenes executed will be a source of inspiration for other Pakistani directors. While some parts of the movie did come off across as clichéd and others had a déjà vu feeling, the movie does stir emotions within the audience and will keep the audience wondering how it will end. Such hiccups in the plot may have washed away the crew’s efforts. However, the songs, Sikander and Humaima’s chemistry, and the locations saved the movie and eventually brought a smile to the viewer’s face. In terms of script writing, it was written pretty well, despite the movies shortcomings. However, even with a clichéd romantic story, Dekh Magar Pyaar Say is a breath of fresh air and brings a new face in the form of Sikander Rizvi and a new director, Asad.

With the cancellation of the recent talks between India and Pakistan on account of trivial preconditions of the diplomatic interaction, it is no surprise that relations between the two countries have further deteriorated, with an accentuating atmosphere of mistrust, suspicion, and disbelief. During such political volatility, we as people rely upon the strength of confidence building measures between the two nations as an attempt to alleviate tension and these measures are chiefly catalysed by those we call ‘artists’ or ‘media personalities’ who highlight the inherent linkages between the two countries as an attempt to pacify the animosity between these two nations. However, dear Saif Ali Khan, despite having a huge fan base in both India and Pakistan, you have annihilated the very principle of confidence building, and instead whined like a self-victimised child, consistently complaining about the outcomes resulting from your own actions. Khan, your statements referring to Pakistan and its people were not only bitterly distasteful but also symbolic of the corrosive nature of public hate speech. You went on to declare that you “do not have faith in Pakistan” on account of the censorship imposed upon two of your films – Agent Vinod and Phantom – by the censorship authorities in Pakistan. You further claimed that you were unable to understand “the thought process” of Pakistani people. It takes me by surprise and it also frustrates me, that a man of your calibre is passing such statements from across the border. In order to give you a better understanding of our “thought process”, one of our artists also had something to say about yours. It’s a different thing altogether that the same artist has managed to wow everyone, in a good way, with his reaction to your accusations. [caption id="" align="alignnone" width="481"] Photo: Hamza Ali Abbasi official Facebook page[/caption] [caption id="" align="alignnone" width="490"] Photo: Hamza Ali Abbasi official Facebook page[/caption] Putting Mr Abbasi’s perspective aside, I want to share my own perspective with you. Sorry to pop your euphoric bubble but your so-called ‘faith’  has not done much for peace between the two countries – and that too, when your ‘faith’ can only be restored by  minting money off your films in the Pakistani market. As an actor, it is understandable that one of the prime intents of your work in filmmaking is making money which is reliant upon high box office numbers, and there is nothing wrong with that. Nevertheless, what I dislike is your weak sensibility. What saddens me is your perpetual state of denial when it comes to decoding the political tension between the two countries. Elements that, for you, are intended to make Pakistanis ‘a bit uncomfortable’, may in reality be highly sensitive contours of the sentiments of Pakistani people. What might be ‘a certain element of truth’ for you, may elsewhere be a half-told biased story embellished with nationalistic prejudice. I hope that you, Mr Khan, are informed that several Pakistani movies have also been banned on your side of the border in the past. Waar was banned all across the country and Bin Roye was banned in Maharashtra. Why do you zip your vocal opinions when your censor board bans Pakistani cinema? Hypocrisy and double standards much? You blame Pakistanis of downloading pirated versions of your films illegally. Well, I hope that you are aware of the fact that your commercial hub, Mumbai, is the piracy capital of the world. As the saying goes charity begins at home, so why not start welfare from home? How about restoring the so-called “faith” at home first? And I just adore how you envy Bajrangi Bhaijaan’s success in Pakistan. Was it because it portrayed our country and its people in a positive and humble manner? I am sure watching the movie might have given you the needed guidance for your acting skills which are sensitive to the portrayal of people on both sides of the border.

You walk into the cinema to learn about the crests and troughs of the life of a legendary and notoriously controversial writer and you come out somehow transformed, armed with the knowledge of what it means to be human, what it feels like to be helpless when you’re at odds, at war with the world. Manto looks unsparingly at a fragile and insecure man who dared to pen his inner most secrets and desires, passions and emotions, and his need to find an outlet to unleash his inner conflagration, the outrageous fire, to confront and to go at war with the world. Manto could have been filmed just as another stereotypical biopic. In fact, Saadat Hasan Manto’s life had all the sumptuous ingredients of a dark and troubled life that most writers and artists have, and which are often the subjects of traditional biopics. However, it is the grandness of its ambition and scope, its boldness of vision, and its bravery in defying the traditional ideals of movie-making that make Manto an exceptional precedent for future films to come. Inventive in its portrayal of the supremely popular writer’s life, it even manages to free itself from the customary bounds of reality that most biopics adhere to. This is evident in how the movie incorporated Manto’s vivid stories into the depiction of the events of his life. The parallel stories and his real life experiences give us a kaleidoscopic view into the true life of the writer. Through these fantasy riddled stories that deal with subjects as provocative and wide-ranging as rape, prostitution, and sexual desires, and Sarmad Khoosat’s moving and exemplary performance as Manto, one really gets a vivid sense of who Manto was as a man. In Manto’s own talented hands and in his exotic prose, his stories become larger than life, and though, in this movie, they are not depicted as profoundly, each of them manages, quite successfully if not triumphantly, to gather small details and somehow humanise the gory story of Manto. However, it just isn’t the compelling story that makes this movie so extraordinary. It is Sarmad’s performance, fuelled by the almost perfect supporting cast that pulls you into this film with a powerful gravitational force. Sarmad, the protagonist as well as the director of the film, manages to take the story of a writer and spin it into a tale of loss, grief and failure, the story of how much one wants to do in their life and it materialises and limns the regrets that we will each have someday of not being able to do much, much more. The supporting cast packs an eclectic mix of masters and new comers. It mingles the virtuoso of veterans (Sania Saeed, Arjumand Rahim, Sawera Nadeem, Mishi Khan, Faisal Qureshi) with the dazzling verve of the younger generation (Saba Qamar, Mahira Khan, Azfar Rehman, Danyal Adam Khan) and uses the multifaceted talents of each of these brilliant actors in their own fortes to create a cast without whom the movie would have lacked it’s depth and emotional range. Sarmad might have also deliberately, and ironically, chosen Mohammad Hanif, the best known contemporary Pakistani novelist, to make a brief yet notable guest appearance. What makes Manto an amazing biopic is that it shows, alongside Manto’s bravura as a writer, his vulnerability as a human, particularly his obsession with alcohol and his helplessness in regard to his delusions. And, despite its accentuated, chilling, and unforgiving portrayal of violence and pain, which sometimes seems too determined to shock the viewers, the movie, as a whole, never comes off as overly maudlin and schmaltzy. By the film’s end we are compelled to feel and experience Manto’s exhaustion and paroxysm of depression as he gradually slips away into oblivion. The movie deftly brings forth an array of raw emotions like anger, jealousy, desperation and alienation. As Manto chronicles the rise of a writer at the height of his powers, contrastingly, it also shows us the perilous demise of his social life and mental stability. Also notable is the photography, particularly in the scenes that depict Manto’s stories, in which it becomes almost breath-taking. Even the subjects of these carefully chosen stories are intriguing, and the lessons and revelations are subtle. The overall effect is sublime. Manto’s life was that of a legend but Sarmad’s performance shows you the very human and flawed world behind all of that. Exceptional is his vivid portrayal of Manto’s sufferings, fears and sadness, his haunting dreams and palpable fears. Yet still, instead of just a movie about a writer atrociously struggling to find his voice, this is a story about the inner turmoil and struggle of an ordinary man, a dreamer, to reach his place of victory and that is what makes the story more relatable and meaningful. It’s a biopic that immerses you into Manto’s life and makes it hard for us to distance ourselves from him and his marvellous characters, and for its ability to do just that I will give this movie a nine out of ten. The movie, Manto, has transcended all bounds of expectations and has already earmarked a unique niche in the history of Pakistani cinema.

Jawani Phir Nahi Ani (JPNA), without a doubt, has been one of the most anticipated movies of the year. The reasons include its well-known star studded cast which includes Hamza Ali Abbasi, known for his controversial statements regarding the movie, Mehwish Hayat, who’s seen in a completely different light since the release of her item song, and Vasay Chaudhry, who is known for his inspirational tales. The movie also highlights heavy brand endorsements. [embed width="620"]http://www.dailymotion.com/video/x2lacxk[/embed] The movie revolves around three childhood friends, Saif (Hamza Ali Abbasi), Sheikh (Vasay Chaudhry) and Pervez (Ahmed Ali Butt), who are married and settled in their lives but are afraid of their wives. Their friend Sherry (Humayun Saeed), a divorce lawyer, returns to Pakistan from the US to meet them, only to discover that their lives are literally miserable because of their wives. Hence, he decides to take his friends to a boys’ trip to Bangkok to add some spice and excitement into their lives. [caption id="" align="alignnone" width="600"] Photo: Jawani Phir Nahi Ani Facebook page[/caption] While in Bangkok, however, things get out of hands when Marina (Mehwish Hayat), daughter of Bichchhi Don (Ismail Tara) falls in love with Sherry and insists on marrying him. Sherry, on the other hand, has no such intentions and wants to leave Bangkok immediately with his friends. Furthermore, on the 11th hour, their secret is out when the trio of wives show up in Bangkok and raid the hotel they’re staying at. Sherry puts the blame on his friends by telling their wives that the trip was their idea and not his. This results in their wives asking them for a divorce as they had lost all trust in their husbands.