This year witnessed Pakistani cinema step out of a murky and Bolly obsessed past into a well-choreographed, seductive, witty, and innuendo-filled cinematic future. For a country, now in its 69^th year of independence, that once teemed with 1500 movie houses – it’s about time. The 2015 blockbuster, Jawani Phir Nahi Ani (JPNA), was the perfect culmination to a year of decent Lollywood films. Below are the venerable author’s six astute observations on the three hour Nadeem Baig comedy on the burdened life of three bachelors under the tyranny of their wives. [embed width="620"]http://www.dailymotion.com/video/x2ls6q2[/embed] 1. “What happens in Bangkok stays in Bangkok” [caption id="" align="alignnone" width="600"] Photo: Jawani Phir Nahi Ani Facebook page[/caption] ...is every Pakistani bachelor’s motto because getting a visa to Thailand is way easier, than trying to make it to the actual Sin City (Las Vegas). 2. ‘Bwoooyz’ trip [caption id="" align="alignnone" width="600"] Photo: Photo: Jawani Phir Nahi Ani Facebook page[/caption] JPNA’s male characters are appealingly recognisable – the slick, sweet talker (Humayun Saeed), the slightly overweight class quipster (Ahmed Butt), the self-conscious dork (Vasay Chaudry), and the perennially skirt-chasing Don Juan (Hamza Ali Abbasi). Our band of lotharios head to Bangkok to fulfil their ultimate stereotypical male fantasies; Thai ‘massages’, beers on the beach (Adios amigos to the orange juice ke glasses at Port Grand Karachi), and night-time car rides with the top down. And, of course, no Pakistani ‘bwoyz’ trip is complete without the unabashedly obvious ogling of bikini-laden jiggly décor aka white female tourists. The JPNA male cast pulls off the sleazypan in a classically lascivious manner that only our desi and Arab male counterparts seem to be capable of. (To all those slamming Hamza Ali Abbasi as a hypocrite for his comments post-production, please note, it seems that the bechara had mistaken the bikini-walis to be CIA operatives. It happens to the best of us, okay?) After too many hours of too many hijinks, the movie predictably diffuses into an ‘all is well that ends well’ dream sequence as the misbehaving boys get what they are supposed to, also known as the love of their wives, as well as everything else they want, without even really having to try. In JPNA’s covertly misogynistic world, the lying and cheating husbands’ estranged wives take a journey from Karachi to Lahore to tell them they miss them and ask them to come home. 3. Piece bara tait aey [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Despite the film’s grossly frequent misogynistic overtures (please refer to all scenes from Thailand and the final courtroom scene), the female characters still manage to take charge of JPNA and steal the spotlight. The heady combination of a hormonally charged up, very pregnant (both in reel and real life), gun-toting Pakhtun wife (Sarwat Gilani), the uptight, let-me-ignore-shady husband’s-misgivings wife (Ayesha Khan), the overworked, overbooked mother (Uzma Khan), the selfie obsessed drama queen fiancée (Sohai Ali), and the ballsy, tequila chugging girlfriend (Mehwish Hayat) dominate the screen in a way that is brave and impossible not to care about. Wannabe mullahs everywhere will tell you this is not the real Pakistan and this is not the archetypal Pakistani woman. While that’s not entirely inaccurate it’s also not entirely true. These women do represent at least some types of the average Pakistani woman. And they do it skilfully and beautifully. You don’t have to be comfortable with or even like a drunken-with-daddy-issues Mehwish Hayat, an overworked, too busy for lovemaking Uzma Khan, or the insanely annoying daddy’s girl Sohai Ali who lives for Instagram. But you still have to doff your hat to the way in which some of our industry’s most talented actresses execute these characters. 4. All is ‘Fair and Lovely’ when it comes to product placement [caption id="" align="alignnone" width="565"] Photo: Jawani Phir Nahi Ani Facebook page[/caption] Everything is a product in JPNA, so much so that even the cast has trouble separating out what they think is marketable to the Pakistani masses from what they actually want. Does Hamza Ali Abbasi really want to wear that much Levis? There is such a thing as too much crucifixes, plaid and denim on a grown man. And does Sohai Ali really want to openly reveal her beauty as a result of skin bleaching Fair and Lovely at her own mehndi party? No one really wants to admit ye hai Fair and Lovely ka jalwa. [embed width="620"]http://www.dailymotion.com/video/x338nzq[/embed] These random brand plugs leave the viewers unnecessarily distracted, and no more or less likely to use a Habib Bank credit card machine. But, okay. Films funders are funders. 5. A comedy of (fairly) epic proportions [caption id="" align="alignnone" width="600"] Photo: Jawani Phir Nahi Ani Facebook page[/caption] JPNA made me laugh till my kidney hurt. But that doesn’t change the fact that that the film is essentially a three hour Humayun Saeed self-congratulatory fantasy. For the sake of Allah, please tell me why the man insists on dressing like a dulha (groom) with Shahrukh Khan-esque sultry gazes and highlighted hair rivalling on-screen love interest Mehwish Hayat’s hair? With maybe 30 minutes of a plot that has been unbearably diluted to a feature length film – albeit with a great cast and attractive celebrity cameos (ahem, hey, Fahad Mustafa!) – my fellow moviegoers and I gasped in mild horror and looked at our watches when the intermission sign flashed on the screen because, no lie, at hour one I was satisfied and ready to go home. 6. In Lollywood, past is the past [caption id="" align="alignnone" width="600"] Photo: Jawani Phir Nahi Ani Facebook page[/caption]  JPNA is Lollywood’s conciliatory move telling you the past is prologue. The soundtrack hits the spot by sneakily following the current Bolly inspired formula for acoustic success; Yo Yo Honey Singh wali beat, scantily clad women, film’s leading men mock rapping in a dark room with sunglasses on for non-visual reasons, and approximately thirty random shout outs to five different alcohol brands. Bacardi may or may not have been a film sponsor. Either way, the soundtrack fills the bill and this author guarantees that Fair and Lovely and Nach Ke Dekha will be playing in all shaadi (wedding) halls this winter. [embed width=“620”]http://www.dailymotion.com/video/x378enp[/embed] The wedding sets and choreography rival a Karan Johar flick. The ridiculously over-the-top and maddening fiasco that has become Pakistani wedding preparation is emulated perfectly in a brief sequence with Sohai Ali and Bushra Ansari’s interactions with unknown, run of the mill designer XYZ charging a couple of crores for medicority (“But it’s my first wedding, mummy”). Humayun Saeed’s sherwani game is so on point it’s like looking at a visually similar sketch of Shahrukh Khan (SRK) circa Kabhi Khushi Kabhi Gham, Kal Ho Naa Ho, etc. In fact, throughout the full three hours the man does not let us forget he’s the self-proclaimed SRK of Lollywood. Finally, the entire cast expertly capitalises on the mantra ‘sex sells’. The sexual innuendo is on point. From Javaid Sheikh suggestively gyrating on a motorbike, to Humayun Saeed instructing Mehwish Hayat to get down on her knees (to dodge a bullet, but of course), the comedy is evocative and as subtle as a blow to the head. So leave your morals, religious convictions, and fatwas at home. This is the Naya Pakistan.

Asim Raza’s Ho Mann Jahaan has been one of the most anticipated movies of 2016 in Pakistani cinema. This New Year will hopefully boast of a massive-TV-audience influx at cinema halls in Pakistan. Ho Mann Jahaan features great talents like the gorgeous Mahira Khan, the talented Sheheryar Munawar, the brilliant actor from Jackson Heights, Adeel Hussain and Sonya Jehan. The movie was heavily promoted on all social media platforms and a great hype was built around it, but was it really all that? Let’s see what this movie had to offer to its viewers and whether it lives up to its hype. [embed width="620"]http://www.dailymotion.com/video/x2kqqos[/embed] Ho Mann Jahaan is a tale of three friends, Manizeh (Mahira Khan), Nadir (Adeel Hussain) and Arhaan (Sheheryar Munawar) and their respective journey’s in life. Their love and passion for music is intense and can clearly be seen throughout the movie, but unfortunately, this passion of theirs is suppressed by their respective families and society as well. What ensues in the pursuit of finding and achieving their dreams is what Ho Mann Jahaan is all about. [caption id="" align="alignnone" width="600"] Photo: Ho Mann Jahaan official Facebook page[/caption] The performances, despite the star-studded cast, were mediocre and nothing really to write home about. In my opinion, no particular actor stood out; I must add though, Sheheryar Munawar’s talent is noteworthy. While I do feel that at certain points, especially pre-interval, he wasn’t completely comfortable in his role, his post-interval performance was fantastic and very relatable. Adeel Hussain carries his character, Nadir, remarkably well but somehow seems to lack conviction in various parts of the movie. As for Mahira Khan, well... she’s beautiful and the camera loves her, but the role she played was so... Mahira that I could predict what was going to happen next. [caption id="" align="alignnone" width="600"] Photo: Ho Mann Jahaan official Facebook page[/caption] In the music department, Ho Mann Jahaan has brought many great artists together, but still received a rather mixed reaction; while some you will leave the cinema hall humming to yourself, there are others that just fell flat (despite being heavily promoted). [embed width="620"]http://www.dailymotion.com/video/x3et0gp[/embed] [embed width="620"]http://www.dailymotion.com/video/x3bwgqe[/embed] [caption id="" align="alignnone" width="600"] Photo: Ho Mann Jahaan official Facebook page[/caption] The highlight of Ho Mann Jahaan is its cameo-gang. Asim Raza has interestingly and intelligently utilised multiple actors (read stars) as cameos in the script and this has been welcomed as a refreshing change. [caption id="" align="alignnone" width="600"] Photo: Ho Mann Jahaan official Facebook page[/caption] Personally, I felt the biggest let down of Ho Mann Jahaan was in its editing. Towards the end of the film, you feel it beginning to drag on and had the required editing taken place, the film would have been much shorter, crisper and sweeter. Asim Raza has always been a director upon whom you can rely - we knew his debut movie was sure to entertain. Reasonably relatable and all your emotions will definitely be awakened. All in all, Asim Raza’s Ho Mann Jahan will amuse and possibly delight, but it will not knock you dead. But it is definitely worth a watch, especially with your families. I would rate HMJ a three out of five.

With our local film industry upping its game with releases like Jawani Phir Nahi Ani (2015), Ho Mann Jahaan (2016) and Manto (2015), Nasir Khan’s Bachaana is another feather in the cap. The newly released flick stars an ensemble cast of Mohib Mirza, Sanam Saeed and Adeel Hashmi in pivotal roles. The movie starts with the introduction of Waqas aka Vicky (Mohib Mirza) who is a Pakistani working as a cabbie in Mauritius. Parallel to Vicky’s story is the story of a newly-wed Indian Muslim couple; Aalia played by Sanam Saeed and her husband Jehangir aka J played by Adeel Hashmi. https://www.instagram.com/p/BB6mHIdlFGy? Vicky bumps into Aalia and is hired by the newly-wed couple to drop them off to their hotel. Once the couples reaches the hotel and Vicky leaves, strange things begin to happen resulting in Jehangir asking Aalia to return to her country and then he disappears. While on her way to the airport, things take a twist and Aalia bumps into Vicky again. What happens next is what Bachaana is all about. Watch it to explore! https://www.instagram.com/p/_K1lPVlFFx? https://www.instagram.com/p/BAFFNfklFD-? Performance wise, Bachaana stands tall on three pillars, Mohib Mirza, Sanam Saeed and the script. Mohib Mirza is undoubtedly the most dapper, relaxed and impeccable actor. He is perfect ‘movie material’. He knows he has the looks and uses them to his advantage. https://www.instagram.com/p/_Yya1HMCPm? https://www.instagram.com/p/BAZWJbxsCJ7? https://www.instagram.com/p/_gDsxrFFL9? Sanam Saeed, being a very competent actress was the show-stealer here. As a lead heroin, she gave a stellar performance expressing multiple emotions flawlessly. She complements Mohib perfectly and Bachaana wouldn't be the same without her. The third hero in the film is the script; the dialogues are fresh, witty and easy to relate to – keeping India and Pakistan’s humour and lifestyle in mind. Mauritius gave the film the exquisite edge of exotic locations that are breathtaking! On the downside, however, is Adeel Hashmi’s OTT acting. He started off with a smooth performance in the initial scenes but as the movie progressed his acting looked nauseatingly feigned. In his particular case, I think the director should have said,

“Adeel, act LESS!”

Aksbandh, Lollywood’s first-of-a-kind horror movie, which has been inspired by the found-footage format in American supernatural horror movie series Paranormal Activity, hit cinemas on May 20, 2016. The movie, which is also similar to the Final Destination series, was made in partnership with Hum TV, Urdu1 and Express News, and has been directed by Emram Hussain and co-written by Ayaz Samoo. https://www.youtube.com/watch?v=vYzGKZFF7CE The story revolves around a group of amateur college-going film-makers who wish to make a movie of their own. To shoot their project, they decide to go to the Mangrove forests of Larkana (Sindh). The group starts its adventure in a frenzy of excitement. However, as they go further onto their expedition, their fervour begins to waver. [caption id="" align="alignnone" width="600"] Photo: Facebook[/caption] The movie starts with the main characters, Ayaan (Daniyal Afzal Khan), Saadia (Shehzeen Rahat), Alia (Mahrukh Rizvi), Raheel (Bilal Yousufzai), Shehzad (Saud Imtiaz) and Sunny (Ayaz Samoo), introducing themselves on camera. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Ayaan and Saadia are the directors of the project; Alia and Raheel play their roles in scene one. A dog-tired comedy but reasonable wit also weaves its way through the ‘very horror’ (pun intended) film as Alia is asked,

“What kind of boys do you like?”

There is certain redemption in resurgence. A feeling of hope and of renewal, of things starting anew, of setting the old wrongs right. Pakistani cinema has come up by leaps and bounds in the last few years. From a struggling franchise engulfed in out-dated ideas desperately clinging on in order to survive and become a booming industry reminiscent of the golden days and a slight peek into the wondrous possibilities that lie ahead. Pakistani cinema has finally arrived and as a keen devotee of this resurrection it is apparent that the film industry is here to stay. Although the current situation resembles a bed of roses, not long ago it was a reflection of a barren lifeless orchard that had been left to dwindle and wither away. During 2003 and 2013, only a handful of cinematic productions took place. Low quality in terms of production, acting and direction reduced the industry to ruins. The diminishing number of production houses led to low receipts that significantly contributed to this downturn, eventually perpetuating a vicious cycle that threatened to deluge the industry into oblivion. However, in 2014 and the years that have followed, the industry reinvented itself. Crowd pleasers like Jawani Phir Nahi Ani (2015) and Na Maloom Afrad (2014) appealed to the masses accumulating record collections in cinema houses all over the country. https://www.youtube.com/watch?v=rBW7oZYgWRg https://www.youtube.com/watch?v=xnCQHQ_yHms For many detractors though, this upturn in fortune had been achieved at an astounding cost. The industry had sold its soul to the devil and had become a sell-out, but then came Manto (2015) and Moor (2015). The duo introduced new standards of acting and direction that had never been seen before in the industry, so brilliant in their execution that everyone was taken back. The controversially nuance poet was brought to life with his plays, a tearful yet eye opening journey was revealed for all to see – something that had not been divulged before but had been done so beautifully that no one could argue that it was not worth the wait. https://www.youtube.com/watch?v=Tnfx42fxCZU https://www.youtube.com/watch?v=Lla1lNt0wLI However, success thrives on continuity rather than on resting on one’s laurels. It was imperative for the industry to further extend this run that had people flocking to cinema houses once again; a welcome sight for sore eyes and a vision that for most part of the last decade seemed implausible. What followed were stories of friendship and of romance, of estranged love and of war that had people clambering for tickets. More so the success of the industry is a reflection of all those that are a part of it. With Pakistani films doing exceedingly well on local and international platforms, technicians and actors have been in high demand ever since. Numerous singers and actors have made the inauspicious journey across the border. Fawad Khan, with his heart throbbing looks and renowned acting skills has entranced Indian audience, while actresses such as the gorgeous Mahira Khan has left everyone drooling at her natural charisma and beauty – a reflection of the abundance of talent that resides behind these troubled borders. However, as any keen critic would postulate, it is paramount that we look through this veil and analyse as to what is happening at the grass roots. While talking to a keen cinema enthusiast, who has been associated with the industry for most of his life, he said the real emergence lies in schools and universities that are the true building blocks of this revolution. He cited how universities used to be breeding grounds for cinematic brilliance. How writers, directors and actors grew and evolved in an environment that was hospitable to their creative desires. However, ever since the 80s and even today, state restrictions and narrative coupled with increasing religious fanaticism in educational institutions has emasculated this approach and the consequences of which still haunt us as a nation. What resulted was a severe dearth of quality writers, artists and film makers that gave rise to the capitulation of the industry itself. More so among the numerous problems that the industry faced and still does is the lack of funding available to adventure into new avenues. What ensued was the use of obsolete technologies and indigent payoffs to writers, technicians and artists, thus consequentially leading to a crippling of the whole network upon which the film industry functions. Perhaps the most profound effect is the fact that despite the upturn in recent years, our film industry is still light years behind Bollywood or Hollywood. New and evolving methodologies, ingenious scripts (more so in the case of Hollywood) and most importantly professionalism have sent quality and revenues through the roof. Access to worldwide audiences and considerable star appeal significantly contributes to their upturn and is an aspect that our local industry severely lacks. As an inquisitive observer of what has been cooked up by the industry, I sincerely believe that despite the recent upturns, the industry and its constituents have a long way to go. It is vital for the industry to not trade stimulating and challenging scripts and projects for idiotic and vulgar sell-outs that, at best, leave a bitter taste in the viewer’s mouth. Maintaining a sense of uniqueness while being open to outside influence is in my opinion, the cardinal factor that will determine the future for our industry. However, more so it is perhaps how the industry handles this upsurge in fortune that will eventually decide if it will bear fruit. As a nation, we have often been accused of taking a back-step when what was required was to take control and move to the next level. Continuous improvements are essential in terms of quality, writing and acting. The small screen has already mirrored the success that our entertainment industry can accumulate. Learning from their blueprint and improving upon their mistakes, all the while encouraging young talent, can be the foundation upon which the industry can prosper. A welcome change in this regard is the approach adopted by the Lahore University of Management Sciences (LUMS). LUMS as the only established liberal arts institute in Pakistan has been a heretic and a safe haven for creative enthusiasts since its inception. Leading this thought process is the LUMS Media and Arts society or LMA. Evolving and getting bigger every year, the society spearheads numerous projects throughout the year. Ranging from dramatics to film making, the society takes a keen interest in what it assumes to be its responsibility in aiding the development of future artists by providing avenues to showcase their work. Perhaps their most riveting projects include the Filums (LUMS International Film Festival) and the documentary on the majestic hills of northern Pakistan that is to be released soon. Filums – hosted annually by the LUMS Media Arts Society (LMA), is one of the largest student-organised film festivals in South Asia. It serves as an important platform for the youth, upcoming filmmakers and enthusiasts to showcase their talent and come together to celebrate their passion. Filum brings together both amateur and aspiring filmmakers and experts of the field resulting in a nourishing and fulfilling experience for those involved. Although small in comparison to what the society envisions, for it to grow over the coming years, programs such as this, amongst others, mean LUMS has taken the first step towards a long, albeit rewarding journey ahead.

Making it as an independent filmmaker in Pakistan is not easy. Having a film industry that consistently puts dance numbers, good-looking actors and fancy costumes over character, story and plot is bad enough. But the fact that studios here are not ready to invest and original ideas only makes it worse. But that hasn’t stopped aspiring filmmaker and playwright Hamza Bangash from bringing his ideas to life and overcoming a number of barriers that can come in the way of any aspiring filmmaker. In 2014, his short film Badal premiered at the Cannes Film Festival’s Court Metrage, which is an incredible achievement in itself. And now, two years down the line, he’s behind the camera again to make another short film, Rang Raaz: The Secret of Colour. [caption id="" align="alignnone" width="600"] Hamza Bangash
Photo: hamzabangashfilms.com[/caption] The story is relatively simple. It’s about two young kids, who fall in love and decide that love is enough to live on. They plan to run away together in the night and get married. The only problem is she’s Muslim and he’s Hindu. And they live in Pakistan, which complicates things, a lot. Inspired by the works of virtuoso filmmakers like Wong Kar-Wai (Chungking Express, In the Mood for Love) and Asghar Farhadi (A Separation, The Past), the film has been described as Hamza’s vision of Pakistan,

“Dynamic, complex and fundamentally at war with itself.”

The Pakistani film industry was once known for great dialogues, amazing stories, and family-oriented dramas with significant entertainment value – that was between the 70s and 80s mostly. Zindagi Kitni Haseen Hay will be hitting the cinema screens in Pakistan this Eid. The film is packed with nostalgic reminders of all the aforementioned elements. It is the second directorial venture of Anjum Shahzad (his first was Mah-e-Mir (2016)). It marks the film debut of the main leads, which include Sajal Ali, Feroze Khan and Jibrayl Ahmed. https://www.youtube.com/watch?v=o5UhHhwhehc The story revolves around Zain (Feroze Khan) and Mahira (Sajal Ali) who accidently bump into each other. Their love blossoms and soon they get married. Fast forward to seven years later and we see them blessed with their son DoDo (Jibrayl) who is the apple of their eyes. But now the couple doesn’t get along very well. Clashes and egoistic outbursts result in multiple small breakups –ultimately leading to a separation – in which custody of the child is given to one of the parents by the court of law. What happens next is what makes Zindagi Kitni Haseen Hay a worthy watch. [caption id="" align="alignnone" width="600"] Feroze Khan
Photo: IMDb[/caption] Performance wise, Jibraiyl is the highlight of the movie; he is the true star of Zindagi Kitni Haseen Hay. His dialogues are great and he delivers them with immaculate expressions. [caption id="" align="alignnone" width="600"] Feroze Khan and Sajal Ali
Photo: IMDb[/caption] Feroze Khan has a strong screen presence (considering his photogenic face and great physique), but he needs to work on his acting a little more. He is decent as a newcomer – far better than the other neophytes in the last few years in Pakistani cinema. Sajal Ali is good in some scenes, but in most she screams. She looks cute and convincing but she needs to improve as an actress. [caption id="" align="alignnone" width="600"] Feroze Khan and Sajal Ali
Photo: IMDb[/caption] Nayyar Ejaz is hardly bearable and Shafqat Cheema has a few scenes in which he overacts. The music in Zindagi Kitni Haseen Hay is enjoyable as it goes with the flow of the movie and is mostly played in the background. Chulbul is a peppy number and leaves a mark and Sukhwinder Singh’s Kitni Baar is a soothing number. Ali Ali by Farhan Shah is the highlight, both in terms of singing and picturisation. [caption id="" align="alignnone" width="600"] Feroze Khan and Sajal Ali
Photo: IMDb[/caption] Zindagi Kitni Haseen Hay offers a story which is seen multiple times in the past, but it has been executed well. There are some loopholes in character building, as the characters are somewhat confusing and not projected finely, which at times makes the audience feel that whatever is happening onscreen is perhaps a little abrupt. But that’s the characters’ demand. The climax is not close to reality, but it offers enough drama to make it more engaging. The movie does drag a little, but it’s worth a watch as it is one of the better movies of 2016. [caption id="" align="alignnone" width="600"] Feroze Khan and Sajal Ali
Photo: Screenshot[/caption] I would definitely recommend Zindagi Kitni Haseen Hay. Do watch it with your family and loved ones.

I still remember when I was first introduced to The Mindy Project by a friend while sitting in her apartment in DC back in 2014. We started binge-watching it for a few nights after dinner during my brief stay with her. When I returned to my internship in Vancouver, I heard one of my colleagues (an Indian-Canadian woman) raving about it. Mindy Kaling is undoubtedly a talented lady and the show has been quite popular – on a separate note, there was something about it that made all the brown girls go crazy. They finally got to see a brown woman in a lead role; not just as a mysterious exotic femme fatale but as an independent and intelligent woman trying to make it through her career and love life. https://twitter.com/mindykaling/status/778030613546672131 Critical race theorists have spoken at length about how women of colour are depicted, particularly in the media. Only recently have they been assigned leading roles, providing considerable voices to their cultural ethos, whilst showcasing a heroine that mainstream audiences can also relate to. But this Eid, I was pleasantly surprised by the manner in which Pakistani cinema projected minority voices. I’m using the word ‘minority’ not only to refer to their population size, but to reflect the diverse religious and ethnic communities of Pakistan. It only dawned upon the audience during the second half of Actor in Law that Meenu Screwvala was a Parsi girl, even though it was hinted at earlier on (Mehwish Hayat’s accent and her Parsi mother’s dressing). Not only was she employed in a mainstream private news channel, her character was illustrated as an independent and head strong female. Interestingly, towards the end of the movie, her marriage with the male Muslim lead is glorified by referring to the Quaid (who had also married a Parsi girl). Meanwhile, Meena in Janaan is a fun loving and high spirited Pakhtun girl who has grown up abroad. The fact that her English accent is thicker than her Pakhtun accent is an apt reflection of her immigrant persona. Although the male lead, Asfandyar, fits the reserved yet aggressive young-blooded male Pakhtun model, he speaks impeccable Urdu with only subtle hints of a Pakhtun accent. The obstacles that inter-ethnic unions have to face were portrayed commendably by the film makers through the wedding of the Pakhtun Palwasha to a Punjabi boy. The case of making minorities visible in pop culture faces a twofold problem globally. They can either be under represented or misrepresented. Minelle Mahtani, a Canadian author and journalist, who identifies herself as ‘mixed race’, quotes research that there has not been a single drama series made in Canada that has featured successful interracial couples as leading roles. Statistics on actual couples in the country suggest otherwise. This further complicates the situation and increases feelings of rejection as minority citizens are made to feel less ‘Canadian’ and whiteness becomes the norm. Misrepresentation relies on negative images of minorities, a lot of which can be witnessed in Hollywood. Characters representing minorities are usually used to drive ahead plot lines and so the South Asian character might just be the funny cab driver who has a 10 minute conversation with another character. The black Canadian would be the villain or thief, or worse – the Muslim male could be the terrorist. A similar picture is painted in Pakistan. While growing up in the 90s, I could have never imagined a Parsi girl in the lead role of a mainstream commercial film, and that too not just as a passive subject but as someone actively asserting that identity. Pakhtun are often shown as the illiterate ‘gatemen’ (chowkidaars) with a heavy accent and Sindhis are seen as extremely subjugated tillers (muzara) bowing down to their feudal masters. There is still a long way to go in terms of the TV serials in the country where religious and ethnic minorities are made invisible or are underrepresented. Maybe they can learn something from the coming-of-age that Pakistani cinema is experiencing and not only represent the stereotypical, unaccented Sunni Muslim prototypes and expect audiences to only relate to them.

Dear Soumyadipta Banerjee,   I don’t know if it’s the right thing to be writing you a letter, since you might be endorsing a cut-off of all sorts (of written collaborations between our countries) after so emphatically bashing the cultural ones. It might not even be the best time for you since I see your fellows are caught up in a frenzy of misjudging the Pakistani markings regarding the ammunition used in the Uri attacks. But I write to you because it’s necessary. You might not have singled out Fawad Khan in your letter but I evidently am addressing this to only you, since I do believe that many in your country still retain the basic sense and these are only your blatant misconceptions that I intend to discuss. I don’t know whether it’s a tragedy or a comedy that you are intent on portraying Bollywood as a resort for all unemployed Pakistan artists. Heck, you make it sound like a charity that would have put the late Abdul Sattar Edhi to shame. Accordingly, it’s convenient to pin-point a successful Fawad Khan (or your other options that include Mahira Khan, Rahat Fateh Ali Khan or Adnan Sami – all of whom have been duly hailed by your country), but not a failed Veena Malik or a Meera; who ran out of work in Bollywood as soon as they started since they couldn’t impress your audiences. That is the point exactly, Bollywood takes what sells. It isn’t doing any great service to the artists of my nation by hiring them out of pure sympathy. Just see the comments on the trailer of Ae Dil Hai Mushkil on YouTube, the people of your country are swooning over Fawad Khan so much that at places they even seem to over-shadow the lead of the movie. Producers are hiring Pakistani artists and paying them (something that you seem to mention quite often) because they are making money through them; it’s business, not altruism. You take the credit of making a superstar out of Fawad Khan ever so smoothly. But there’s a hitch: Fawad Khan was a superstar in Pakistan right when Humsafar aired in our country. All his subsequent serials were TRPs smashing. Friends from India tell me that Fawad Khan had won Indian hearts right when Zaroon was aired on Zindagi Channel. His stint in Indian cinema might have propelled his popularity slightly, but that’s what exposure does to you. Deepika Padukone didn’t become a superstar after landing a role opposite Vin Diesel; it was her credentials as a superstar that got her there. And I see no way how you can take the credit of his stardom for something as forgettable as Khoobsurat, a flick that was duly bashed by all your critics (“great films” you say, I reserve my comments). India didn’t make Fawad Khan a superstar, it roped him in because he was one already, and marketed the product where the demand was brewing already. Mahira Khan is another sweetheart of Pakistan. These are the highest paid celebrities in Pakistan, and the latter’s film in India hasn’t even released yet. The last point was just for your notice in case you try to claim Mahira Khan’s stardom in the future too. It’s grossly ignorant on your part to claim that while your country opens its doors ever so warmly to our country, we shut them in your face just as relentlessly. Can you please tell me how many Pakistani films have graced the screens of your country lately? While we have seen almost every Indian film playing in our country, if one of our films is lucky enough to be given the green signal by your country, it lands in trouble. The innocent Bin Roye was banned in Maharashtra, so you can definitely keep your intrinsic welcoming fantasy to yourself. Even if some Indian films are banned in Pakistan, they have baggage attached to them. Expect us to screen a Phantom in our country only if you agree to show a Waar in yours. We also know that all Pakistani channels are banned in India, despite you agreeing that Pakistani serials are way better than Indian ones. Here you might be surprised to learn that every single Pakistani channel buys Indian content and plays it on our channels, despite Indian channels also airing in most parts of the country. All your excruciating daily soaps (and God knows those things are liable to be banned only due to the sheer insanity they portray) are actually bought by Pakistan just as your films are. We are not just welcoming to your content, but also a revenue-generating market for you. So kindly cut us some slack, and do the math! You seem indignant on the view that Indian artists aren’t allowed to work in Pakistan. Well, you may want to take a back-seat and question any among Nandita Das, Naseeruddin Shah and Om Puri among others in this regard, all of whom have portrayed essential roles in Pakistani films. Neha Dhupia has even done an item number here. We have had songs sung by Sonu Nigam, Shreya Ghoshal, Harsdeep Kaur, Rekha Bhardwaj, Ankit Tiwari and Sukhwinder Singh amongst others in our films, despite our music industry being second to none, and many among your population also seem to testify to this fact. We have even had Indian singers on our Coke Studio, which is the rage all over the sub-continent. Kareena Kapoor, Sonam Kapoor, Nargis Fakhri, Sidhart Malhotra, Amrita Arora, Arjun Kapoor and many others have been a part of our advertisement campaigns, and you know better, those things pay quite well. You talk about piracy as if Pakistan has a monopoly on it. Sorry to burst your bubble, but it’s an international issue. You should remember Udta Punjab as we remember Jawani Phir Nahi Aani, both films pirated in the very country they were made by. You play the higher ground by narrating how Pakistani artists have been showered with love in India. You might not have gotten to see that, but every single Indian celebrity who has ever come to Pakistan has gone back waxing lyrical about the sheer amount of adulation and admiration they’ve received in Pakistan. You can either ask me to send you the links of their interviews or ask Mahesh Bhatt or Zeenat Aman yourself; just don’t ask Anupam Kher – but guide him on the process of applying for a visa. We have even been borderline welcoming to your director making propaganda films against our country, while one of your own actresses has been charged with sedition for stating something as innocuous as Pakistan is not hell. This tells us something about our attitudes, doesn’t it? So let’s just do away with playing Mother Teresa! And now, the most important point, you charge Fawad Khan for not denouncing his own country, but getting away with the charming smile of his every-time. Except that that isn’t his job. How would you feel if Hollywood starts seeking an apology from Priyanka Chopra every time an Indian is lynched for eating beef in your country? It’s not the job of artists to do what politicians are supposed to do. As Kamila Shamsie puts it, let’s not shift this burden from the shoulders of those responsible even one inch to those already engaging in exchange of culture and good-will. Fawad Khan doesn’t have to carry the baggage of his nationality this way, just as you don’t hold your celebrities accountable for the actions of your state. In fact, how can you even stoop to the level of charging Fawad Khan with something some non-state actors from Pakistan might have done, when your own celebrities don’t bat an eyelid for the persecutions your state officially does? Isn’t your all-time leading superstar associated with a party that orchestrated the Gujarat riots? Have you ever questioned him? How many of your celebrities have avowed against the draconian Armed Forces (Special Powers) Act in Kashmir, or the blinding of innumerable folks with pellet guns in that burning state? When you’re so intent on pointing out the alleged blood on Fawad Khan’s hands, how can you brush off the blood from the conscience of one of your own in a blink of an eye? The blood that was split by your state with a proper agenda, not even some lunatic groups going astray. You cannot choose to look the other way when it comes to you, while trying to limit our focus to the loopholes erratically emanating from our place. When your celebrities don’t take it upon themselves to apologise for something their state is doing, why should Fawad Khan take the responsibility of something his state isn’t even directly involved in? You try to be a humanist, but all you end up becoming is a hyper-nationalist jingoist. If there’s an equation of the cultural exchange between our countries, the balance shifts overwhelmingly in favour of Pakistan. We watch your films, telecast your shows, and listen to your songs; we know a lot more about your country that you have ever known about us. Your ignorance about us is what leads to you writing apparent love letters full of hatred to the likes of Fawad Khan. You know how many Pakistanis have been killed due to terrorism? More than 50,000. Innocents, largely unnamed, faceless Pakistanis. Our civil society, our community, our media, our children and lately, even our establishment, is trying extremely hard to get rid of the scourge of terrorism. If you cannot help us with that, kindly do not insult us by bickering nonsensically out of the blue. Oh, and people didn’t even know you before you started your rant against Fawad Khan. Now the whole sub-continent is talking about you (not very kindly, but hey, no publicity is bad publicity). So the next time you ignorantly claim that your country made Fawad Khan a super-star, always remember that it was due to this very same Pakistani star that you got your two minutes of fame. Do visit Pakistan someday, please, to let go of the sheer bias you have against us. I, along with most other Pakistanis, will be very happy to show you around. And I promise, we won’t even consistently remind you of how much we’ve spent on you! Love from a Pakistani. PS: Fawad Khan is from Lahore, not Karachi.

Director cum producer, Wajahat Rauf, is back to entice moviegoers with another road film Lahore Se Aagey. The upcoming rom-com is a sequel to his directorial debut Karachi Se Lahore (2015). Although, Rauf’s first film received mixed reviews, his new project has been a much anticipated movie this year with Yasir Hussain and Saba Qamar as the lead pair. The short teaser, and now the trailer, has received an overwhelmingly positive response. The audience is rather pleased as it promises the right balance of humour, romance, music, and dance. As per the trailer, the spinoff chiefly focuses on Karachi Se Lahore’s character Moti, played by Hussain. The forthcoming movie will explore Moti’s life in a lot more depth as well as his leading lady Tara’s, played by Qamar, who is a rock star. The short snippet shows that the story will revolve around the comedy, adventures, and romance of a lively couple who ran into each other by chance. Saba Qamar looks stunning in her role. The on-screen chemistry of Hussain and Qamar also appears to be promising for the spectators. Yasir Hussain’s screenplay showcases two odd characters that face a variety of problems, go through emotional upheavals and thus, grow as individuals. It all progresses over the course of an engaging storyline; but, all in a very comical manner. The amalgamation of hate, friendship, and love makes Lahore Se Aagey a very promising film. The rest of the cast includes Behroze Sabzwari, Atiqa Odho, Agha Farhatullah, Mubashir Malik, and Rubina Ashraf who play small yet crucial characters. The three minute trailer also reveals that there will be many one-liners and witty dialogues to entertain audiences of all ages. Asrad Khan’s cinematography looks absolutely breath-taking in the trailer and it seems that Khan’s camera work will compel a nature lover to fall in love with Pakistan’s beautiful and scenic landscapes in Swat, Kalar Kahar as well as Punjab and Sindh. Out of a total of five, four songs have been composed by Shiraz Uppal. The remaining song, Tere Bina, has been composed by Syed Adeel. Uppal, Aima Baig and Jabar Abbas contributed to the vocals. Along with the catchy songs Zara si Laga Lo, Kalabaaz Dil, Be Fiqriyan and Ehl-e-Dil, there will be some great dances to entertain the viewers. https://www.youtube.com/watch?v=QA_lcBVhQH8 The film is set to be released on November 11, 2016. So, be ready for a fun-ride; if you want to just relax for a couple of hours and share a few laughs!

Pakistani cinema is going through a phase, especially after banning Indian movies in the country. Two things are in dire need; firstly, the release of a movie at least every week, and secondly, every movie released should have an entertainment quotient attached to it. https://www.youtube.com/watch?v=03BtGrdVowI Recently, Hashim Nadeem’s Abdullah: The Final Witness was released in the cinema houses of Pakistan. The movie features Sajid Hassan, Hameed Sheikh, Imran Abbas, and Sadia Khan in pivotal roles. Now let’s see what it has to offer to its viewers. [caption id="" align="alignnone" width="600"] The movie features Sajid Hassan, Hameed Sheikh, Imran Abbas, and Sadia Khan in pivotal roles.
Photo; Screenshot[/caption] The story revolves around Abdullah (Hameed Sheikh), a truck driver whose life turns upside down when he gives Tajik and Russian citizens a ride across Quetta. Things suddenly go haywire and Abdullah is sent to prison. The officer on his case, Inspector Zamaan (Saajid Hasan), investigates the case with undivided attention – the movie is based on what follows after! [caption id="" align="alignnone" width="600"] Hameed Sheikh in Abdullah: The Final Witness (2015)
Photo: Imdb[/caption] Performance wise, Abdullah: The Final Witness rests on the able shoulders of Hameed Sheikh. Sheikh brilliantly expresses pure uneasiness in scenes where his character is deemed helpless. This kind of character could only have been played by a mature performer, and full marks go to Sheikh. Hassan is okay; in some scenes he seems fatigued, and in others he seems to be trying too hard to make the poor dialogue believable. Abbas is a letdown; it would have been great if he had done his research and practiced his enunciation for the role – the same can be said for Khan. [caption id="" align="alignnone" width="600"] Sadia Khan in Abdullah.
Photo: Facebook[/caption] The movie lets the audience witness some of the finest cinematography, however, it fails to impress you in other fields. The music is below average; apart from Maula, no other songs can be registered. It also features a romantic track between Abdullah (Imran Abbas) and Zohra (Sadia Khan). The movie script is also mediocre with a few good one-liners which are delivered nicely; mostly by Hassan and Sheikh.  As for the direction – it is collectively weak, but has its fair share of advantages – which too, is easily overshadowed. https://www.youtube.com/watch?v=7PWJ6ekuYeY Overall, the movie is an average performance featuring weak dialogue. It is nominal in entertainment value.

There are some actors that directors and writers depend on a bit too much, even more than they should. Everyone in Pakistan wants to be the next Anwar Maqsood and Moin Akhtar (late) combination. But it’s not as easy it sounds. I suppose Fasih Bari Khan thought he could build the same association with Hina Dilpazeer. https://www.youtube.com/watch?v=ohAxgZkoxKc The recently released telefilm Jeewan Hathi is hardly 65–70 minutes long and features Hina Dilpazeer, Samiya Mumtaz, Kiran Tabeer, Adnan Jaffar, Saife Hassan, Fawad Khan and Naseeruddin Shah. Let’s see what this elephant has to offer. Jeewan Hathi revolves around the lives of people involved in the television industry; an ageing TV hostess (Hina Dilpazeer) and the owner of a famous TV channel she is married to (Naseeruddin Shah). [caption id="" align="alignnone" width="600"] Hina Dilpazeer plays an ageing TV hostess.[/caption] The movie is about how Dilpazeer feels once she discovers that her husband plans to replace her with a much younger presenter and give her a grander morning show. He also plans to marry the replacement. [caption id="" align="alignnone" width="600"] Naseeruddin Shah as the owner of a famous TV channel.[/caption] Jeewan Hathi also features a married couple that participates in a morning show to win a 60 inch colour LED TV. The movie  goes on to unveil what happens when the media gets involved in their lives. [caption id="" align="alignnone" width="600"] A married couple that participates in a morning show to win a 60 inch colour LED TV.[/caption] Performance wise, Jeewan Hathi is a terrible attempt. Hina Dilpazeer is a huge let down. Considering the level of performance she delivered earlier this year on a small screen, Jeewan Hathi is anything but impressive. She wasted her opportunity by not doing justice to a character that had so much potential; a range of emotions and expressions that were not successfully conveyed. Naseeruddin Shah only emerges in the movie for two scenes and a song; thus, his character is wasted as well, as his capabilities were not utilised efficiently. Considering Naseeruddin Shah’s calibre, Jeewan Hathi is one of his below average characters. Adnan Jaffar is bad, he’s good looking but he seems to enact the same role he played in Jalaibee. Samiya Mumtaz is just passable. Saife Hasan is simply unbearable; he gets on your nerves. The only actors who performed fairly well are Fawad Khan and Kiran Tabeer. Jeewan Hathi’s soundtrack is also hardly noticeable. With respect to directing, Meenu Gaur and Farjad Nabi fail to add any substance – to the extent that I’m not even sure if they took that part seriously, considering it just didn’t add up on screen. Jeewan Hathi is an attempt at comedy, featuring a horrible script under the guise of wit. Most of the jokes surround the sizes of the blouses women from Pakistan and India wear. Secondly, the movie is sleazy and distastefully vulgar, which adds to how disappointing Jeewan Hathi is. Comedies that involve sexual content can be successful, provided that it is derived by a mind that can develop the content maturely. In Jeewan Hathi’s case it’s just plain bad. The writer and actors thought the audience would find humour in jokes involving ‘chaddi’ and ‘baniyan’ sellers or by using the term ‘sissy’. Come on – the audience isn’t interested in watching a clichéd and immature sense of humour comprising of juvenile jokes, repeated accents, and below average entertainment on a silver screen. All photos: screenshots

Subtle comedy has never been Pakistani cinema’s forte; there are only a handful of writers who have successfully managed to pull off the art of subtle slapstick. Last year’s release of Karachi Se Lahore received mixed response from the audience. Some couldn’t stop laughing and loved it, while some thought it was needlessly dragged with dry humour. Whatever the response, most thought it was one of a kind; a Pakistani rom-com featuring a road trip through Pakistan – definitely not something the local audience has ever seen before. Director Wajahat Rauf was content with the response he got and hence decided to make a sequel, the recently released Lahore Se Aagey. With such a talented cast, such as Yasir Hussain, Saba Qamar, Behroz Sabzwari, Rubina Ashraf, Abdullah Farhatullah and Umar Sultan, did Lahore Se Aagey manage to deliver? https://www.youtube.com/watch?v=SzbFxX2pTs4 The film sees Yasir Hussain reprise his role as Moti and is seen being chased down by two goons (Abdullah Farhatullah and Umar Sultan) who are hell bent on killing him. While trying to find a safe place to hide in the narrow streets of Lahore, Moti bumps into Tara (Saba Qamar), an aspiring singer, performing at a concert. Maddened by her John Abraham look-alike (Mubashir Malik) boyfriend’s disapprobation of her performance, Tara storms out of the venue and drives away, until she runs into Moti again. After a series of arguments and negotiations, Tara agrees to let Moti hitch a ride with her all the way to Swat as Moti needs to go see his ailing uncle (Behroz Sabzwari). The rest of the film follows the odd couple on their humorous and emotional road trip from Lahore to Swat, and how their relationship grows during the journey. [caption id="" align="alignnone" width="595"] The film follows the odd couple on their humorous and emotional road trip from Lahore to Swat.[/caption] Any comedy movie rests on two vital factors, the script and the performance. Lahore Se Aagey, in my opinion, executed both flawlessly. Yasir Hussain was just as amazing as he was in the prequel. He was funny, he was goofy and he owned the script. He seemed to be very comfortable in his role as if it came naturally to him and didn’t disappoint in even a single scene. Saba Qamar’s  performance was just as impactful. She is attractive, smart, vibrant and every bit believable in her role. [caption id="" align="alignnone" width="596"] Saba Qamar’s performance was just as impactful. She is attractive, smart, vibrant and every bit believable in her role.[/caption] Abdullah Farhatullah as the villain, along with his Pashto-English accent, is praiseworthy. Umar Sultan as Farhatullah’s sidekick adds an authentic wit in his Amitabh Bachchan accent. Even though, he isn’t given much screen time, he is spot-on with his spontaneous appearance and dialogue delivery. Behroz Sabzwari, as always, was remarkable in his emotional and comic scenes. Rubina Ashraf, on the other hand, comes across average in comparison. Viewers are caught by surprise from time to time with various cameo appearances which are smartly timed, keeping the audience interested and engaged. [caption id="" align="alignnone" width="595"] Viewers are caught by surprise from time to time with various cameo appearances which are smartly timed.[/caption] Other than the performance and the story, the music is also commendable. Kalabaaz, Befikrian and Zara Si Lagalo are pretty catchy in my opinion. https://www.youtube.com/watch?v=3BkUmc1yQzg https://www.youtube.com/watch?v=yAggPHHfabU Direction wise, Wajahat Rauf could be the David Dhawan of Pakistani cinema, as he keeps his audience entertained with a flair of ease. [caption id="" align="alignnone" width="597"] Wajahat Rauf could be the David Dhawan of Pakistani cinema, as he keeps his audience entertained with a flair of ease.[/caption] Lahore Se Aagey is definitely worth a watch. But be warned, if you’re looking for a deep philosophical movie with a bewildering script, skip it. Otherwise, if you want to keep laughing for two and a half hours, do not miss this hilarious voyage. All photos: Lahore Se Aagey Facebook Page

All those who were praying for Pakistani cinema to revive, it’s finally time for you to cheer up. Mehreen Jabbar is a well-known figure in the Pakistani entertainment industry and for good reason, because she’s all geared up for her new movie Dobara Phir Se. The movie provides a platform to some well-known actors and actresses including Adeel Hussain, Sanam Saeed, Hareem Farooq, Ali Kazmi, Tooba Siddiqui and Atiqa Odho. [caption id="" align="alignnone" width="600"] Hareem Farooq, Adeel Husain, Ali Kazmi and Sanam Saeed on the set of Dobara Phir Se.
PHOTO: Dobara Phir Se Facebook Page[/caption] Dobara Phir Se has been marketed really well considering it has been promoted excessively on social media. But will the movie live up to the hype? Will the audience enjoy it, bearing in mind that the last few Pakistani movies have failed to impress? Let’s find out. https://www.youtube.com/watch?v=Jrveb4sgL48 The movie revolves around the character Hammad (Adeel Hussain). His friends, Vassay (Ali Kazmi) and his girlfriend Samar (Sanam Saeed), invite Hammad over for a house warming party at their new apartment in New York. Samar tries to set Hammad up with her friend: an attractive desi girl, Natasha (Tooba Siddiqui). And things seem to be going well for them, that is, until Hammad bumps into Zainab (Hareem Farooq), another friend of Samar’s; someone he had seen on a ferry earlier that day. Hammad approaches her, but before he has to chance to make an impression, the conversation is interrupted and he leaves the party feeling dejected. But it does not end here. Their paths cross again, and this time Zainab is a mother of one, who has recently filed for divorce from her husband (Shaz Khan). Hammad and Zainab soon become good friends and things begin to blossom. In the midst of Vassay and Samar’s wedding, Hammad proposes to Zainab but she rejects him. That’s when the real drama unfolds. [caption id="" align="alignnone" width="625"] Destiny has a different plan for you when you least expect it.
PHOTO: screenshot[/caption] Performance wise, Dobara Phir Se is phenomenal; from the main actors to the supporting cast – each and every one of the actors have given it their all. Adeel Hussain’s performance, in particular, is effortless, he’s kept it simple yet brilliant – only a mature actor could have done justice to this role and Adeel has nailed it. Hareem Farooq is a remarkable artist, she is absolutely beautiful and I feel that she holds the potential to rise above all other female actresses in the industry. [caption id="" align="alignnone" width="600"] She’s a phenomenal performer; you can’t keep your eyes off her.
Photo: Dobara Phir Se Facebook Page[/caption] Sanam Saeed impresses us just as much as she too delivers an incredibly natural performance. Ali Kazmi also does justice to his role. Kazmi is one of those actors who perform well when given a well-penned role – and Dobara Phir Se is his finest performance by far. Tooba Siddiqui is just spectacular. Shaz Khan is a revelation; he owns his role and delivers it in style, that too, with complete ease. Khan’s performance is awe-worthy and will fixate you with his high-voltage-drama scenes. A shout out to the kid; he is so cute and has performed extremely well. On a separate note, the cinematography of Dobara Phir Se is beyond comparison. [caption id="" align="alignnone" width="577"] The cinematography of Dobara Phir Se is brilliant.
Photo: Dobara Phir Se Facebook page[/caption] The songs are just as good. Although they all are catchy, my favourites are Lar Gaiyaan and Wo Kaisi Ho Gee. https://www.youtube.com/watch?v=Ob78dih7Ykg https://www.youtube.com/watch?v=JqrXjoR_wu4 That being said, the beauty of Dobara Phir Se lies, quite simply, in its dialogues. The script is amazingly written – the writers have given it a natural ease by including the everyday language that Pakistanis use. The movie has been directed to perfection, bearing in mind that everything just seems to fall together effortlessly. This is a must watch. It’s a true example of how Pakistani cinema is finally reviving itself.

Shehzad Rafique is a well-known name in the Lollywood industry. From Ghunghat to Rukhsati to Nikaah, the masses till date remember his movies. After a short hiatus, Rafique is back with a biopic on Aitzaz Hassan – a 14-year-old martyr, who stopped a suicide bomber from entering his school in 2014, saving the lives of thousands of students – titled Salute. The movie is amongst the first biopics that Pakistan has produced on martyrs. https://www.youtube.com/watch?v=ozJ8TKK4XLc Saima Noor was highly appreciated for her drama Rung Laaga with Faisal Qureshi – and now she graces us with her presence on the big screen. As an accomplished actress, a lot of expectations were pinned to Saima’s able shoulders. Ajab Gul, last seen in Janaan, also plays a pivotal part in this production. So let’s get on and see what Salute has to offer its viewers. [caption id="" align="alignnone" width="600"] The movie illustrates Gul and Noor as Hassan’s (Ali Mohtesham) loving and protective parents.
Photo: Facebook.[/caption] Ajab and Saima are cast as Hassan’s (played by Ali Mohtesham) loving and protective parents. Nayyar Ejaz, Sheraz, and Rashid Mehmood play the villains of the movie. When it comes to performance, Saima hits the mark. She is the epitome of a protective mother, expressing her emotions with effortless conviction. Ali generates an eternally flowing gush of empathy and adoration for Hassan and his sacrifice, making him resonate within the hearts of the audience. He is the reason why the viewers will find themselves laughing or crying throughout the film. [caption id="" align="alignnone" width="600"] She is the epitome of a protective mother.
Photo: Facebook.[/caption] Ajab is an incredible actor, and Nayyar is just as remarkable, especially as the antagonist. His notorious expressions are executed brilliantly, and you could say that he is the life of the movie. The rest of the actors could have put in more effort, but the main cast is brilliant in their acting, so much so that the audience is left awe-struck when it ends. When it comes to direction, Salute is definitely top-notch. Rafique’s framework, cinematography and direction are all displayed exceptionally – he takes charge behind the camera, and his efforts do not go unappreciated. [caption id="" align="alignnone" width="600"] Mohtesham plays Hassan’s role adorably.
Photo: Screenshot.[/caption] The late Robin Ghosh’s music is melodious. Lab Pe Aati Hai Dua and Tu Hai Mera are shot with finesse and work effectively in evoking a strong range of emotions within the audience. The only flaw I came across was in terms of scene synchronisation, especially in the first half. Apart from that, Salute is a well-executed biopic. Those who want to support Pakistani cinema, are patriotic towards their motherland and proud of martyrs like Aitzaz Hassan, should definitely go and watch this movie. It’ll definitely bring tears to your eyes and generate a whirlwind of emotions, if towards nothing else, surely because of a selfless sacrifice of 14-year-old who had his whole life ahead of him.

It was just yesterday that I was thinking it was time for Pakistan’s film industry to use new faces – we’ve been seeing the same old actors in dramas, as well as on the silver screen and honestly, it’s time for a change. Thora Jee Le marks the debut of six fresh actors in pivotal roles. Rafay Rashidi handpicked the new faces, the music director, and the singers for his debut film. https://www.youtube.com/watch?v=jmZjj6RuAOU Thora Jee Le revolves around six friends who reunite in tragedy – when a common friend, Kaizad,  suffers from an overdose of drugs. They plan a road trip to Kaizad’s (Rizwan Ali Jaffri) ancestral home and slowly, moments from their past begin to prop up. The film explores the dark parts of friendship, and how it evolves from bitterness. [caption id="" align="alignnone" width="600"] Thora Jee Le revolves around six friends who reunite in tragedy.
Photo: Screenshot[/caption] When I saw the new faces, I was pleasantly surprised, but then the acting started and oh boy... here is what I thought; Jaffri tries too hard in the entire film, from his vocals, dialogue delivery, to his facial expressions – everything is a total miss. He doesn’t do the role any justice at all and if he wants to pursue a career in acting, he would need to work really hard on his diction. TC (Kasim Khan) joins Jaffri on the overacting bandwagon. I’m not sure what Khan was thinking because the way he was going, his character was not believable in the least. Andy (Salman Faisal) also tortures the viewers with every scene he appears in. He is, by far, the most pitiful find and makes the audience uneasy with his poor acting. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Azaad (Ahsan Mohsin Ikram) is obsessed with being seen as an ‘intense actor’ and that’s partly the reason why his character looks so miserable in even the lightest of scenes – everything is over-dramatised, and sad – even when it doesn’t have to be. Bahaar (Fatima Shah Jillani) is another version of Sohai Ali Abro – Jillani basically just copies Abro’s bubbliness from Jawani Phir Nahi Ani. Meesha (Ramsha Khan) is the only one who delivers a fairly decent performance. Party Khan (Bilal Abbas) fails to rise as well, and his character has the most meat in terms of expression, screen-time, and depth. [caption id="" align="alignnone" width="600"] The film explores the way life comes between friendships, and how the youth in Pakistan must learn to overcome life’s hurdles.
Photo: Screenshot[/caption] When it comes to direction, and the script, Thora Jee Le is below average. There are barely any redeeming qualities. The film explores the way life comes between friendships, and how the youth in Pakistan must learn to overcome life’s hurdles – it is a theme that could have been readily accepted by the masses but this just doesn’t hit the mark. The comical elements in the movie are pathetic. The apparently funny fart sounds, the parts where Andy is searching for a bathroom spot, and the strange lizard jokes are the only jocular components that make the audience giggle. The emotional scene between Azaad and Meesha after Bahaar’s engagement could be the backbone of the movie but is badly (read: confusingly) written and poorly enacted. The music is not even worthy enough to be mentioned. Films like Thora Jee Le should be banned in Pakistan; they are the reason why Pakistani cinema is facing such a downfall. I would highly discourage viewers from watching it. Tasteless torture is what it is.

The upcoming romantic comedy, Balu Mahi, has created a lot of hype over social media and for all the right reasons. We don’t know much about the movie aside from the fact that Osman Khalid Butt takes the lead as Balu, alongside Ainy Jaffri as Mahi. Sadaf Kanwal makes her debut in acting as well. In anticipation for its release, fans have already begun enjoying Balu Mahi’s title song, performed by Asim Azhar and Aima Baig. https://www.youtube.com/watch?v=NJjRyUV_okM Recently, the Balu Mahi team started a Balu Mahi dance contest over social media. Featured in the video were Butt, Hareem Farooq, Zainab Ahmed, Imran Kazmi and Usman Mukhtar. During the video, Mukhtar is seen dancing while also urging viewers to post a Dubsmash of the song on the movie’s official page. This did create a ripple across the internet and sparked curiosity among viewers about the movie and its cast. [fbvideo link=“https://www.facebook.com/balumahi.official/videos/1692199744404871/”][/fbvideo] Since Butt has established himself as an emerging actor who can add emotion and comic relief in his dialogue delivery along with apt facial expressions, people are anticipating a great movie. Ainy Jaffri, our other protagonist, has performed well in the television drama Aseerzadi, and in her debut movie, Main Hoon Shahid Afridi. A few things we can expect from the movie are the usual elements of fun, comedy, along with some dance and action scenes. However, here’s hoping that Balu Mahi chose an original way to conduct these elements onto the big screen. Most of the scenes are shot in Pakistan’s captivating northern areas, which will be worth watching. Balu Mahi is directed by Haissam Hussain, who directed the dramas Durr-e-Shahwar, and Dastaan. He also directed Aun Zara, which starred Osman Khalid Butt alongside Maya Ali. Will Hussain and Osman’s history add production value to the movie? That is yet to be seen. The movie offers a fresh cast with comparatively young leads and a production team that knows its work – as anticipated by watching the movie’s trailer. Some questions that I can’t wait to have answered are – what are Balu and Mahi’s real names? How are these two characters connected to each other? And what journey do they embark on? I personally predict that Balu Mahi will define a new direction for Pakistani cinema led by young innovators. Let us keep our fingers crossed.

Recently, Pakistan’s movie industry has been going through the process of transforming and restructuring itself. Primarily related to this change is an alteration in movie production. The era of the “gandasa” (a wooden pole) and “horse-riding dhoti-wearing heroes” is over or at least diluted to some extent. This is the time to fill the big screen with colours, fun, and relationships backed by practical stories that resonate with our society. https://www.youtube.com/watch?v=cW7xb-FgXqs Balu Mahi offers an assortment of feel-good moments, comic relief, and songs along with heart-warming moments between Bilal (Osman Khalid Butt) and Mahi (Ainy Jaffri). It started off slowly, and I wondered if it would turn into the movie promised in the trailer, and more so, if it would live up to the hype the actors created on social media. I think this moment of hesitation, at least on my part, was necessary as it heightens the viewer’s curiosity and makes the next part of the movie all the more interesting. Bilal and Mahi become a part of a chase that completely shifts the gears of the movie and what follows is a ride you do not want to miss. Definitely buy your popcorn before the movie, because you will not want to leave your seat. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] While writing the preview of Balu Mahi a few days ago, I wondered how the chemistry between Director Haissam Hussain would work with Butt; they had worked previously together in Aunn Zara. It seems like both understand each other well as far as the technicalities of direction are concerned since Butt’s emotions – both funny and serious – hit the mark. Jaffri’s emotions and on-screen presence are also significant and she does justice to her role – in fact, after watching her play the role of Mahi, I would go so far as to consider her a method actor. The protagonist’s emotions make or break a movie and in my opinion, Butt’s performance – accompanied with Jaffri’s facial gestures – go far in providing an element of realism. Balu Mahi also establishes Butt and Jaffri as movie stars who can deliver a vigorous, spirited and lively performance while gripping the audience’s attention. I definitely want to see the two as an on-screen couple again. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Honestly, I got more than I expected in terms of cinematography, story, and characterisation. The movie is a complete package with no drawbacks or loopholes. There was a slow and steady introduction to the story and its characters, a decent progression of the plot and seemingly flawless characterisation. A mix of serious moments and humour kept the story balanced. Balu Mahi was a satisfying watch, and as a viewer, it’s safe to say that I was immensely pleased with it. Firstly, the trio of Butt, Jaffri, and Sadaf Kanwal kept the flow of the story going. Secondly, as a couple, Butt and Jaffri worked in unison with their emotions and actions and illustrated a blend of fine storytelling. Thirdly, the director and writer used numerous casual yet relatable moments to capture the viewers’ attention and curiosity. Fourthly, the dialogue delivery (from all the actors) was natural, and felt realistic. And lastly, the soundtrack of the movie reveals a modern take while still keeping cultural appeal. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] The only concern I had after watching the movie is how long it took to end. The running time was nearly two hours, and that seemed a bit much. However, so much was happening in the movie that time passed by without taking a toll on the viewers. Some movies bring out the hero in its viewers and others bring out emotions. Balu Mahi brought the Pakistani out in me; I could totally see myself as a part of the narrative. This aspect of the movie will help in defining filmmaking and storytelling in Pakistan. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Thus, Balu Mahi brings a fresh perspective with its story, just as I had predicted in my preview. Moreover, this movie has provided a new platform for direction in Pakistani cinema – one that is led by young visionaries. My advice: Grab a bag of popcorn, a few friends, and let Bahu Mahi take you on an enthralling, very Pakistani, ride.

In the age of gritty, big budget reboots it was only a matter of time before Hollywood cashed in on the nostalgia factor and finally brought one of the most beloved children’s live-action series from the 90’s Mighty Morphin Power Rangers to the big screen.  Now, the series was known for its campy nature, so it’ll be interesting to see how the South African director Dean Israelite and the producers bring it to the big screen in a manner that is able to maintain that feel of a modern day blockbuster, without being too self serious. And judging by the trailer, it definitely looks like something that might be able to do that. The film features a new team of Rangers that need to come together in order to prevent the villainous Rita Repulsa from capturing the Zeo Crystal. As well as a cast of talented up and comers like: Darce Montgomery, Naomi Scott, Ludi Lin, RJ Cyler and Becky G with comedian Bill Hader playing the lovable android, Alpha-5, Elizabeth Banks as the evil witch, Rita Repulsa, and none other than Breaking Bad’s Bryan Cranston as Zordon, the mentor and leader of the Rangers. Cranston has even likened the film to Christopher Nolan’s The Dark Knight, saying,

“This is different. This is as different as reimagining as the [1960s] Batman television series as it became the [Dark Knight] movie series. You can’t compare those two, and nor can you compare this movie version of the Power Rangers to that television series. It’s unrecognisable for the most part. There are tenets of the folklore that you hold onto for sure, but the inspiration is different, and the sensibility of it and the approach to the film making is completely different.”

Asim Raza, the maker of feature film Ho Mann Jahan, is not happy with the nominations for the 2017 Lux Style Awards. His displeasure is both understandable and inexplicable. It is understandable because his film, nominated in five out of eight categories for film, seems to have been selected without much deliberation, thought and, if you will, intelligence. The film featured outstanding performances by two young actors, Sheheryar Munawar Siddiqui and Adeel Hussain, but neither one of the two has been nominated in the ‘Best Film Actor’ category. Siddiqui, who was wonderful in the film, has been relegated to the ‘Best Supporting Film Actor’ category whereas Hussain, who performed fabulously in Ho Mann Jahan, has been excluded from the nominations entirely. Ahmed Ali, who turned in a wonderful cameo, has not been nominated in the ‘Best Supporting Film Actor’ category either. Most importantly, the score of Ho Mann Jahan, arguably the best of any Pakistani film, in decades, has received but one nomination. Raza’s ire, albeit understandable, is inexplicable. He may be an architect by education but after more than two decades in show business, he is a veteran of the industry. It is curious that he is surprised that the specious nominations – unfair, illogical and unjustifiable – were downright dishonest. He has been around far too long not to know better. That the Lux Style Awards are symptomatic of the many ills – nepotism, elitism, prejudice, dishonesty and sloth – that plague Pakistani society is sad. What’s even sadder is the fact that the folks behind Pakistan’s largest award ceremony, marketed using a venerable international brand name, owned by a conglomerate whose products are used by more than 2.5 billion people around the world, do not even try to do the right thing by making the awards what they truly need to be. That is, a celebration of art, talent and competence, carried out with class, responsibility, competence, integrity, dignity, and transparency. The bizarre nominations may well just be the result of spectacular sloppiness alone but, God knows, the truth seems to be worse. Much worse. The process of nominating and awarding people in the field of cinema, television, music and fashion is clandestine for the Lux Style Awards, to make an understatement. The mechanics of the process are largely unknown. Awards are given out in a total of 28 categories, divided into cinema, television, film and music. Five nominations are made for each category. The jurors for the nominations are generally not known. Twelve of the categories are designated for Viewer’s Choice awards. Any and everyone is allowed to vote for these categories online. The process for the elimination of bogus and duplicate online votes, if one exists, is a secret. And the method used for final selection is not audited. The shroud of secrecy allows for a lot of latitude. Mostly, it lets a lot of people make a lot of money. It leaves the door wide open for people to oblige, patronise, bribe, favour, and promote people. It lets advertisers dictate a whole lot including camera angles and guest seating. It draws a clear line between the haves and the have-nots in the world of show business. It promotes elitism. And it allows for a lot of people to settle a lot of scores. Controversy has always surrounded the Lux Style Awards. In 2015, the nominations created a stir by ignoring the tremendously successful television serial Bashar Momin and its star, Faysal Qureshi, whose performance in the serial was one of the best in the history of Pakistani television. The omission did not go down well with fans of the serial who complained vigorously on social media platforms. After a lot of hue and cry, and much unpleasantness, the nominations were revised to include Qureshi in the ‘Best TV Actor’ category but the serial was not nominated in any other category. https://twitter.com/faysalquraishi/status/621726299787296768 In an act of dignity, fortitude and self-respect, not associated with the world of awards in Pakistan, Qureshi rejected the nomination, making his disdain for the Lux Style Awards public in his inimitable candid style.

“I had not complained because I had not been nominated for Bashar Momin,” said Qureshi. “I was angry because every member of the team of the serial had been ignored. The play had excellent cinematography, direction and script, which deserved recognition but no one was nominated”.