The Express Tribune

“Kon tujhe yaad kare ga, yahan koi kisi ko yaad nahi karta” (No one will remember you, because here nobody remembers anyone)

The famous words of Lehri, 0ur ace comedian and brilliant actor, from the famous serial ‘Angaan Terha’. But in contradiction to his words, Lehri is one such legend who can never be forgotten. Safirullah Siddiqui, which was his real name, was not known to many, but he was famously known and recognised by his filmy name ‘Lehri’. His style of comedy was uniquely his own. He did not need to resort to making funny faces or attacking politicians to make people laugh; it was his straight-faced delivery that would elicit peals of laughter from the audience. The tragic departure of this comedic marvel left his family and fans weeping in despair. Lehri passed away on September 13, 2012, at the age of 83, after having suffered through a prolonged illness. Admitted in hospital due to bad chest congestion and water-filled lungs, he was put off the ventilator due to his deteriorating health. His physical condition had been on the decline since 2010 when one of his legs was amputated due to gangrene, but his demeanour never lacked the enthusiasm and his jokes always overshadowed his frail health. [[http://www.youtube.com/watch?v=4u3R-RcMD0s&feature=related]] During the last few years of his life, Lehri went through a lot of pain but his fans and the film industry could not stand back and see him suffer. Various funds were set up to support the actor fight for his life morally and financially. Lehri had been part of the Pakistani film industry for approximately 35 years; his first movie, ‘Anokhi’ having been released in 1956 through his last production ‘Dhanak’ in 1986. He had in Urdu movies and even appeared in many Punjabi productions as well. With approximately 225 movies to his credit, he learnt early on in his career that depicting himself in serious roles did not suit him and were not acceptable to his fans either. His comic roles, on the other hand, received the highest acclamation and won him 12 Nigar Awards from 1063 all the way through to 1982 for several movies. He is easily recognised as one of the best comedians of his time. The 70s era would never have been the same without him. They way he created magic through humour and brought a smile on the faces of many, cannot be done by any other. His death has left a void in the Pakistan film industry which can never ever be filled. He was an institution on his own and he was irreplaceable. He will always be remembered by his fans. We will miss you, Lehri! Read more by Madiha here. Follow her on twitter @mistful83 Join us on Facebook for blog updates and more!

In the past 10 days, my thoughts were floating just like my wafting expressions in the year 1956. It was the year when the world saw the first hint of amusement in my words. No! I was not a madman running on the streets of Karachi but the famous “Lehri”. Those were the golden days of my life and also of the Pakistani industry, but today I lay quiet at my final resting place. There were days when I was the king of comedy ─ a king who was not entertained but was a source of entertainment. I did not have a brigade of ‘darbaris’ who would sing for me the moment I clapped, but it was me who was given a standing ovation for the words I uttered. For thirty years, I enjoyed the fame and fortune from the seed of comedy that I planted in the Pakistani film industry. I served and ploughed the ‘filmi duniya’ with my great sense of humour. The silver screen brought tears of joys and happiness in the eyes of the viewers. Lying on bed for days brings back those memorable moments back to life. The time that is dear to me is now just a fading history. Friends come and go, seeing me in apathy, but that is what I was destined for. Had I not been a part of a disloyal nation, I would have enjoyed more care, love and respect when I needed it the most. I am not being a nitpicker but merely expecting too much from the last days of my life. Year after year had I not received awards, I would have not raised the bar of my expectations. Not only did I make people laugh but also made them hate me for some of my acts, but that was only limited to the cinema. Was my comic talent and constantly bringing a smile on people's faces for thirty years, not enough for them to love me till my last breath? Months passed; I lay on bed in a private hospital helplessly looking at my surroundings. I had been waiting for these days to end ─ an end to the pain that I have been suffering from. I don’t know if it is more of a physical pain or an emotional turmoil that I had been through. On September 13, 2012, I gave my last performance ─ not on screen but on the stage of life. On Thursday, I said my goodbyes to the film industry and the world. There will be no more “Lehri” who will spread smiles, however, his memory will stay forever; the legendary veteran comedian will continue his journey… Follow Tabassum on Twitter @tabassumkhot Join us on Facebook for blog updates and more!

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.”

This statement applies to Tamanna as well; which takes several brave strides. It fulfils what it sets out to do and keeps you hooked and guessing all the while. [embed width="620"]http://www.dailymotion.com/video/x10gwzc_tamanna-trailer-the-pakistani-movie_shortfilms[/embed] Based on a well-known Anthony Shaffer play, Sleuth, the film incorporates elements of dark humour, melodrama, crime, passion and revenge. This is the fourth adaption of the play on screen, the first one starring Lawrence Olivier and Michael Caine in 1972, followed by a remake starring Michael Caine and Jude Law in 2007 and a made-for-TV West Bengali adaptation. The film’s hero is Rizwan Ahmed (Omair Rana), a struggling actor who meets Mian Tariq Ali (Salman Shahid), a relic of the once-thriving film industry. The struggling actor, Rizwan, is there to convince Ali to divorce his wife, played by Mehreen Raheal. A contest of male dominance between the two men ensues; starting quite reasonably, playfully even, but eventually turning angry and violent. Director Steven Moore has made a mature and evenly paced film, detailed with layers. The film keeps you interested, attentive and anxious to learn about what will unfold. While most thrillers only work well if someone gets caught, here, the story sails through even after you have figured it all out. I especially enjoyed the scene with the police character, Faisal Khan; the director made clever use of a load-shedding blackout to conceal the policeman’s identity and build the anticipation. Also, the viewer needs to savour Salman Shahid and Omair Rana’s brilliant performances; one of the strengths of the movie. Another important aspect of the film is the stunning cinematography, complimented by the film’s original background score and songs by local artists. The second half of the film relaxes, where it could be tauter. One grouse would be that the sub-plots in the story are likely to test your patience at some points, as the narrative deviates from the pure treatment, with a lot of twists and turns. However, thankfully, ‘Tamanna’ doesn’t come unhinged. The first rate performances, especially of Salman Shahid, under Moore’s direction, help steer it to shore. What does ‘Tamanna’ mean for new Pakistani cinema? Content is king in movies, where a new age of realism and portrayal of reality onscreen has become a common film-making practice, as opposed to showing a larger than life drama. The set formula used earlier, of a big star cast, exotic locations and song and dance, is at risk of falling flat without a solid script and concept. The internet generation is becoming more aware of world cinema and content quality. In terms of cinema, one must distinguish between ‘popular’ and ‘important’. Popular, or mainstream, cinema means remaining within the expectation of the audience and the dominant ideology of society from which it arises. Whereas ‘important’ refers to cinema with ideas that are not yet fully realised or discussed, or are generally under-represented by the mainstream. In the conventional sense, these films were considered ‘Art Cinema’ or ‘Parallel Cinema’. This means that these films are intelligent and they are meant for a niche audience (read: poor box office). This no longer applies, as we see how Indian commercial cinema (in spite of mainstream Bollywood) has taken a different route of late, entertaining its viewers with the blend of auteur and new age cinematic realism. This is evident from the selection of ‘Barfi’ for an Oscar consideration or the official selection of ‘Gangs of Wasseypur’ at Cannes. With directors, such as Anurag Kashyap, Madhur Bhandrakar, Dibakar Banerjee, Vishal Bhadwaraj, Imtiaz Ali, Nagesh Kuknoor, Santosh Sivan and Srijit Mukherjee amongst others, and their individualistic approaches, it is clear that Indian cinema now takes the art more seriously. With all the talk of the revival of Pakistani cinema, or a new age of film emerging, are we going straight to this situation of having both the commercial and art cinema, not wasting time catching up like the Indian cinema did over 20 or 30 years? Time will tell. But Tamanna, with its postmodern stance towards style, is certainly a step in the right direction.

Yes, Emraan Hashmi is back in his ‘serial kisser avatar’ in Kunal Deshmukh’s Raja Natwarlal. This time Emraan is blessed with both: his serial kissing traits and his power packed spontaneous performance. The movie created a lot of buzz pre and post release, as it casts Pakistani ‘drama queen’ and movie star, Humaima Malick, opposite Emraan. [embed width="620"]http://www.dailymotion.com/video/x21ou0p_raja-natwarlal-official-trailer-emraan-hashmi-humaima-malik_people[/embed] Although, Humaima made her début in the Pakistani film industry with ‘Bol’, back in 2011, in Bollywood this is her first release. There were a lot of expectations for the movie to be a success for everyone, including Emraan, Humaima, Kunal and Kay Kay Menon. So, what happened to the movie? Let’s explore that thought. Raja Natwarlal is a typical revenge saga of a con-man, Raja Natwarlal, (Emraan Hashmi) fighting for the cold-blooded murder of his partner cum caretaker, Raghav (Deepak Tijori). Raja stands up against all odds to take vengeance from Vardha Yadav (Kay Kay Menon) with the help of a retired con artist, Yogi (Paresh Rawal). Raja leaves his love toy, Ziya (Humaima Malick) – a bar dancer, back in India and flies to Cape Town (Raghav’s empire) with Yogi to con Raghav. What happens next is a typical Bollywood caricature. [caption id="" align="alignnone" width="640"] Emraan Hashmi. Photo: Publicity[/caption] Kunal and Emraan, together, gave some great hits in the past, including Jannat and Jannat 2, but this time despite being 100% dedicated to the show; they couldn’t save the movie from getting lost somewhere in translation. There was no grip in the plot; blame it on the writing, editing or whatever – Raja Natwarlal sinked at the box office. Performance wise, it is a decent affair. Emraan gives a 100% to both his images; as a revenge seeker he was believable and livid, and as a serial kisser he is back in form. And Humaima Malick does not restrict herself in any scene. In fact, she looks gorgeous throughout the film and shows no signs of shyness. She cannot be called cheap or vulgar under any circumstances for this character. She managed to look naturally sensuous. However, she deserved a much better character than just ‘acting as a support’ sort of part. [caption id="" align="alignnone" width="640"] Humaima Malick. Photo: Publicity[/caption] Deepak Tijori is back on the silver screen, after a hiatus, in a brief role. He performs decently and gives exactly what was expected from him. Kay Kay Menon and Paresh Rawal were the usual: detailed, faultless and a treat to watch in some scenes. All the main characters in Raja Natwarlal are experienced and cannot be questioned on their performance potentials. The only new bird in the flock was Humaima Malick, and even she bagged (unofficially) three movie-deals as a result of this performance. One is with Vidhu Vinod Chopra (starring Sharman Joshi opposite her) and the other with Shaan, titled ‘Mission Allahuakbar’, which is about to hit Pakistani cinema theatres in 2014. [caption id="" align="alignnone" width="640"] Photo: Publicity[/caption] In totality, Raja Natwarlal has nothing novel or interesting to offer; a list of talented actors is wasted. I would rate it two out of five and I am being generous.

Rarely do movies of such calibre come along that transcend generations and provoke our greater thought process, not because of impressive visuals, A-list actors, extravagant set pieces and locales but because of its strong story-driven narrative – narrative that is deeply entrenched into the harsh realities of life, as opposed to a work of fiction. Dukhtar too has a potential to lay claim to all of that and then some, thanks to its excellent subject matter. [embed width="620"]http://vimeo.com/100581493[/embed] Dukhtar means ‘daughter’ in Farsi and Urdu dialects. The movie is predominately a story about the plights, miseries and ultimately the bravery exhibited by the principal protagonist of the movie, Allah Rakhi (Samiya Mumtaz). Under the banner of The Crew Films, Dukhtar is directed by Afia Nathaniel, who is a graduate of Columbia University School of Arts. [caption id="" align="alignnone" width="595"] Photo: Dukhtar Facebook page[/caption] The movie’s premise revolves around a woman’s struggle, resilience and unwavering perseverance in the face of extreme odds. Rakhi undergoes many trials and tribulations to make sure of the fact that her daughter Zainab (Saleha Aref) doesn’t fall into the dreaded shackles of the same fate, of getting married to an old tribal chieftain, that she had encountered when she was 15-years-old. [caption id="" align="alignnone" width="594"] Photo: Dukhtar Facebook page[/caption] The mere thought of her daughter’s marriage to a much older man sends shivers down her spine and she vows to protect her infantile daughter, who is only 10-years-old, from this draconian custom. Subsequently, as events progress during the course of the movie, she decides, as a last resort, to run from her husband’s home with her daughter to escape the ominous fate which would surely befall her daughter and which seemed more than imminent had she stayed there. Thus, her journey to escape the picturesque and serene northern areas of Pakistan and to reach her hometown of Lahore begins. On the run from her husband and the whole tribal clan, her path gets entwined with an ex-mujahid truck driver, Sohail (Mohib Mirza), who helps her in whatever capacity he can. [caption id="" align="alignnone" width="496"] Photo: Dukhtar Facebook page[/caption] Rakhi’s actions and the movie itself will make the audience question the logic behind this antediluvian custom. This archaic tribal ritual of child marriages (child brides) is used as a mean of settling old feuds between rival clans under the guise of “honour”. If bluntly put, this practice is nothing more than satiating one’s vile paedophilic, sadistic and masochistic tendencies coupled with the false bravado associated with it. [caption id="" align="alignnone" width="594"] Photo: Dukhtar Facebook page[/caption] The dialogue delivery of the cast members, especially Mumtaz, is unwavering and strong. Mirza also exhibits a strong portrayal of the character that he plays. The child actor, Saleha, is surprisingly good as well. They are augmented by a strong cast of seasoned actors such as Asif Khan, Ajab Gul, Adnan Shah (Tipu), Abdullah Jan, Samina Ahmed, Zeeshan Shafa and Omair Rana. [caption id="" align="alignnone" width="595"] Photo: Dukhtar Facebook page[/caption] In terms of the visual elements, Dukhtar in a nutshell is breath-taking to look at. Set against the backdrop of gorgeous and surreal locations of Gilgit, Hunza Valley, Skardu and Kallar Valley, it will be, aesthetically speaking, a visual feast for moviegoers. The director does well to differentiate and saturate the visual tones between showing the beautiful, albeit rugged, terrain of northern Pakistan and the monotonous urban concrete jungle that is Lahore. [caption id="" align="alignnone" width="595"] Photo: Dukhtar Facebook page[/caption] In terms of the auditory elements, the music and soundtracks composed for this movie are powerful and complement the storyline very well. Cases in point are, “Jeenay Chaley” by Shafqat Amanat Ali and “Naina” sung by Hina Nasrullah. While the movie depicts a specific backdrop (actors who play Pakhtuns) that can be limited to northern areas, this movie should not be misunderstood as portraying negative stereotypes of a certain ethnicity. It should, instead, be seen as shedding light towards a serious matter in general that is as much prevalent in other parts of our country and has also plagued Sindh, Balochistan and Punjab in equal measure. Additionally, it should also be seen as a catalyst that will hopefully bring attention of relevant authorities towards this menace of child brides, for implementing regulatory frameworks to cease this practice once and for all. The movie has been praised internationally as well. Recently, on September 5, 2014, it was premiered at the prestigious Toronto International Film Festival (TIFF) and received widespread acclaim for its story. [caption id="" align="alignnone" width="597"] Photo: Dukhtar Facebook page[/caption] Dukhtar opened nationwide in all major cinemas across Pakistan on September 18, 2014, and I would highly recommend people to watch it.

Jutt and Bond was where most of us first saw Fawad Afzal Khan. He was a skinny, lanky, clean shaven guy with bangs. Soon after, we were surprised to see him as the lead singer of Entity Paradigm (EP), a Pakistani nu metal band, with his husky, soulful voice and that pained musician look. That was when we, the female population of Pakistan, said to one another,

“Hey, this guy’s not bad looking.”

But little did we know that he would soon be making waves and creating magic on TV and the big screen. By frequently featuring in commercials, a few songs and TV serials here and there, Fawad was slowly climbing the ladder of fame. His first film, Khuda Kay Liye, earned him critical acclaim for his role of a confused young man who falls into the claws of religious fundamentalists. Then one fine day in 2011, Fawad became Asher Hussain. That was when girls in Pakistan, and many older women too, kind of lost it. Then it was all Asher this and Asher that. Fawad not only played this character, in the TV serial Humsafar, he became the character. He was a compassionate, arrogant, loyal and absolutely beautiful man who loved his wife to the core. He befitted the definition of a ‘perfect man’ and we fell head-over-heels at every word he uttered from that gorgeously crooked mouth. Our love for Fawad followed to his next romantic drama, Zindagi Gulzar Hai, where again he played a stubborn, soulful and heart-meltingly adorable guy who is just the right amount of romantic. When the news of this hunk starring in a Bollywood movie reached our ears, our reaction was,

“Woah”

And that word or no words perhaps, will be good enough to describe the exhilaration we feel over Fawad crossing the border and acting in a movie that is surely a blockbuster and is giving him the global fame he surely deserves. Why? Well, of course, because this man is undeniably beautiful! But that’s not all. Here are 10 reasons why I think Fawad is so unquestionably yummy: 1. His eyes That piercing look he gives you – that could just make you cry... with joy. [caption id="" align="alignnone" width="245"]

Photo: Tumblr[/caption] 2. His music The way he plays the guitar and sings like his life depended on it. *melting* [caption id="" align="alignnone" width="500"]

Photo: Tumblr[/caption] 3. His boy-next-door smile The way he looks down shyly, right before he looks up at you and flashes that dreamy smile. [caption id="" align="alignnone" width="245"]

Photo: Tumblr[/caption] 4. The way he blinks I bet you never thought blinking could look so seductive, did you? Well, look for yourself! [caption id="" align="alignnone" width="500"]

Photo: Tumblr[/caption] 5. The ideal son-in-law He is the perfect guy to take home to your parents; with his honest, believable face and that ‘I’d do anything for you’ demeanour, I guarantee he would have your family bewitched. Yup, he’d totally burn his hand with hot chai to keep you safe. [caption id="" align="alignnone" width="245"]

Photo: Tumblr[/caption] 6. That stubble! OMG! OMG! OMG! That beard of his! How can facial hair look so incredibly stunning? [caption id="" align="alignnone" width="250"]

Photo: Tumblr[/caption] 7. That swagger How he puts the entire screen on fire the minute he enters. Did I mention the suave beard? [caption id="" align="alignnone" width="500"]

Photo: Tumblr[/caption] 8. The throaty chuckle The way he squints his eyes, breaks into a dashing smile and surprises you further with a hearty chuckle. Yup, we’re dying. [caption id="" align="alignnone" width="500"]

Photo: Tumblr[/caption] 9. What he wears Whether he wears a suit, a waistcoat or a sherwani, he always looks dapper as hell, with impeccably styled hair. Though I still prefer him in a sherwani. Yup, anyday. [caption id="" align="alignnone" width="250"]

Photo: Tumblr[/caption] 10. His modesty Though he’s taken over social media, and the hearts of all the girls in both Pakistan and India, Fawad remains humble and blushes every time he is praised. It’s adorable! [caption id="" align="alignnone" width="500"] Keep Calm and Stare at Fawad Khan

Photo: Tumblr[/caption] So, now you know why we’re hopelessly, helplessly and irrevocably smitten by him and his Greek god looks. Girls are dying to just be in the same room as him and boys (0bviously) want to be him. All of us counted the hours, minutes and seconds for his new movie... just to be able to look at him some more. [caption id="" align="alignnone" width="245"]

Photo: Tumblr[/caption] After watching Khoobsurat, first day first show, I reacted to it, just as all the women in the cinema hall reacted to it, with a huge and heartfelt,

“Hayeee”

Although the movie has the stunning Bollywood actress, Sonam Kapoor, as the protagonist, it is Mr Khan that befits the title of the movie in every sense possible. [embed width="620"]http://www.dailymotion.com/video/x21u7tt_sonam-kapoor-fawad-khan-look-smashing-in-khoobsurat-trailer_news[/embed] Is the movie worth watching? Yes, definitely! But is it the best movie ever? No, not even close! The story is clichéd and annoyingly predictable. When you are introduced to all the characters, you can easily guess what each will do in the movie and how they'll end up. The plot revolves around a clumsy Dr Mili Chakravarty (Sonam Kapoor) and her many endeavors, as she takes up a project to treat a Rajasthan royal by the name of Shekhar Rathore (Aamir Raza). The Rathore family live in huge mansion and every thing about their lifestyle and mannerism signifies royalty. There is a lot of discipline in their house, administered by the royal wife Rani Nirmala (Ratna Pathak), and Dr Mili just can't seem to adjust to all the rules. Then she meets the prince, Yuvraj Vikram Rathore (Fawad Khan), and that's when things start to get interesting. [caption id="" align="alignnone" width="595"]

Photo: Khoobsurat Facebook page[/caption] In the beginning, the pace was really fast and, personally, I think both Fawad and Sonam deserved a spicier entry (it is a Bollywood chick flick after all). Also, the scene where both their characters meet for the first time is abrupt. Had it been a stronger and funner meeting, their relationship would've seemed more interesting. [caption id="" align="alignnone" width="595"]

Photo: Khoobsurat Facebook page[/caption] Another fun character was Dr Mili's mother Manju (Kiron Kher). As always, Kher plays a typically loud and overprotective Punjabi mother but she does the role justice and adds humour to the storyline. [caption id="" align="alignnone" width="537"]

Photo: Khoobsurat Facebook page[/caption] Sonam's character was cute and her acting was pretty likeable this time round. While she was full of energy, Fawad's character was intense and sombre, which he played perfectly. [caption id="" align="alignnone" width="476"]

Photo: Khoobsurat Facebook page[/caption] Many reviews say that Fawad overshadowed Sonam. Perhaps this is because Fawad's acting is different than a typical Bollywood actor's. Sonam is not a bad actress but her performance was not as natural and easy as Fawad made it his seem. [caption id="" align="alignnone" width="595"]

Photo: Khoobsurat Facebook page[/caption] If you compare Fawad to Ali Zafar, who has also been trying his luck across the border, Fawad remains real on screen while Ali, although very talented, seems like he is trying to hard to impress the Indian audience and ends up crossing the line to ‘overacting’. This is why Ali Zafar would do well in comical roles whereas Fawad would excel in roles that highlight his raw and strong expressions. Popular Indian film critic Anupama Chopra described the movie,

“Khoobsurat is sweet, benign, and bland.”

The ending of Khoobsurat was typical, mediocre and, for a lack of a better word, lazy. Fawad is the saving grace of the movie and, all in all, money well spent. I’d surely recommend everyone to watch it. Here are five of my favourite moments from the film: 1. Fawad is as royal as a prince can be and, throughout the movie, Sonam shoves him around. It’s incredibly cute because he’s so skinny and often looks shaken when she shoves him. This is during a phase when he really doesn't like her; hence, his expressions are priceless. [caption id="" align="alignnone" width="500"]

Photo: Tumblr[/caption] 2. When Sonam confesses out loud to having dirty thoughts about him and he confesses the same to himself (in his head). They both are drunk, this scene is extremely adorable! [caption id="" align="alignnone" width="500"]

Photo: Tumblr[/caption] 3. When he sees Sonam dancing in her pjs and is shocked by her craziness. Engine ki seeti is one of the best songs of the movie. [caption id="" align="alignnone" width="500"] Keep Calm and Stare at Fawad Khan

Photo: Tumblr[/caption] [embed width="620"]http://www.dailymotion.com/video/x23cpia_engine-ki-seeti-official-video-song-khoobsurat-sonam-kapoor-fawad-khan_music[/embed] 4. How throughout the movie he hates that she wears short clothes and sits ‘inappropriately’. [caption id="" align="alignnone" width="500"]

Photo: Tumblr[/caption] 5. The kisses – I like how they didn't make it gross and kept it adorably decent. As a random aunty sitting behind me in the cinema perfectly explained it,

“He didn't do real kissing because he is Pakistani.”

[caption id="" align="alignnone" width="245"]

Photo: Tumblr[/caption] For me, he is what will sell Khoobsurat to the viewers. I don’t about you guys, but I think Fawad has made this country, and us girls in particular, really proud. So make sure you watch this movie and get smitten by the beautiful phenomenon that is Fawad Khan.

First and foremost, before getting down to the brass tacks of the movie Operation 021, those that have the slightest of doubt or inclination that Operation 021 mimics or is made along the same lines as Waar can put their doubts safely to rest. Operation 021’s principal plot, overall theme, script, character build up and dialogue are poles apart from what was previously seen in Waar. For that reason, Waar and 021, apart from having Shaan Shahid as the main lead, do not have an iota of commonality in between them. [embed width="620"]http://www.dailymotion.com/video/x1ws427_operation-021-official-trailer_shortfilms[/embed] 021 is created under the umbrella of One Motion Pictures and the Azad Film Company; produced by Zeba Bakhtiar and her son Azan Sami Khan. It is directed by Jamshed Mahmood Raza, popularly known as Jami, and co-directed by Summer Nicks. [caption id="" align="alignnone" width="539"] Photo: Operation 021 Facebook page[/caption] After getting that bit of crucial information out of the way, 021 is a pure spy action thriller feature movie from its start till the credits roll down. Spoiler alert: contrary to the popular perception or any insinuation that you may have that its plot is somehow based around Karachi, could not be more wrong; seeing as how 021 is also coincidentally the dialling prefix for the aforementioned metropolis. Fundamentally, the numerals ‘021’ in the movie signifies the number of hours (i.e. 21 to be precise) for implementing a plan that could potentially save the two estranged neighbouring countries of Pakistan and Afghanistan from going into further turmoil, all-out chaos and a state of lawlessness. If the plan that is to be executed fails, its repercussions will reverberate in equal damaging terms in Pakistan and as well as in Afghanistan. [caption id="" align="alignnone" width="536"] Photo: Operation 021 Facebook page[/caption] The underlying premise of the movie gyrates around the principal character, Kashif Siddiqui, aka Kash (Shaan Shahid), a Pakistani Black Ops Field Officer and how he collaborates with his Afghani acquaintance and friend, Abdullah (Ayub Khoso), to safeguard the national security associated interests of their respective countries. Other cast members include Aamina Sheikh, Hameed Sheikh, Tatmainul Qulb, Ayaz Samoo, Gohar Rasheed, Bilal Ashraf, Wendy Haines, Joe Towne, James Hallett, Abdullah Ghaznavi, Shamoon Abbasi and Daniyal Raheal respectively. [caption id="" align="alignnone" width="540"] Photo: Operation 021 Facebook page[/caption] While keeping the spoilers firmly at bay, without going into the nuances of the main plot line of the movie itself, holistically speaking, the plot focuses on the real life revelation that Afghanistan is sitting on a $1 trillion dollar mineral deposits and how the antagonistic elements conspire to steal this natural resources wealth. Apart from that, the narrative of the motion picture is also inspired from the real world bombing of NATO tankers that took place in Afghanistan some years ago. The role of American spy organisation, CIA (Central Intelligence Agency), and how it fits within the context of all of this is also shown expansively and in scrupulous attention to detail. [caption id="" align="alignnone" width="484"] Photo: Operation 021 Facebook page[/caption] 021 at times can get a tad too complex for its own good with relation to its plot structure but it never gets too convoluted or deviates a lot to lose sight of the main story among the short-lived clutter. It does, however, exude a Jason Bourne-esque vibe and feel, which the spy thriller genre enthusiasts will come to appreciate. All in all, it is an intelligently crafted movie with a background that can be plausible and entrenched in real life events. [caption id="" align="alignnone" width="536"] Photo: Operation 021 Facebook page[/caption] Shaan has given another concrete performance, and Ayub Khosa also did justice to his roles, while Aamina Sheikh in her supporting role was on par as well. However, the American actors who are casted in this movie try a bit too hard at times and their performance doesn’t exactly come out as organic or natural as their Pakistani counterparts. But digressing from that point, it is but a small stumbling block in an otherwise excellent movie. [caption id="" align="alignnone" width="437"] Photo: Operation 021 Facebook page[/caption] 021 delivers on the thrills and on the action it promises, yet it gives us some food for thought with regards to what is happening in Af-Pak relations. Politically speaking, the rhetoric upon which it relies on as fodder may be known beforehand and presented in Hollywood but this shows that Pakistan cinema too is capable of producing an intelligently crafted and engaging spy thriller. The journey of the rejuvenation and renewal of the Pakistani cinema that was once initiated with Khuda Ke Liye and supplemented by the likes of Bol, Waar and Na Maloom Afraad will be further traversed efficaciously by Operation 021, another feather in the cap of the new age of contemporary Pakistani cinema. [caption id="" align="alignnone" width="437"] Photo: Operation 021 Facebook page[/caption] With few minor blemishes here and there that are insignificant, Operation 021 is greater than the sum of its parts and should be watched in order to support our local movie industry, if not for anything else, and for encouraging further movies of this calibre seeing the light of day.

Well into my interview with Afia Nathaniel, the Dukhtar movie director puts me on the spot. I am meeting her at the May Fair Hotel in London, right before the European premiere of her first film. Until now, I have had the opportunity to get in a couple of good questions, but now she has taken over. She is wearing what appears to be a red-coloured, gold-patterned cotton kurta and black specs. She starts asking me the questions now, which is my professional nightmare come alive. The filmmaker has become the journalist.

“How many films can you count on your fingers that have female leads, independent of the men? Tell me, right now. In Pakistan?”

I give this some serious thought and realise that it’s hard. I realise that I haven’t watched enough Pakistani films in my life. For some strange reason, Shoaib Mansoor’s name is dancing around in my mind. Is it okay to say Bol now? Should I say Bol? Then I remember. Earlier this year, I had seen Josh, a film by Iram Parveen Bilal, with Aamina Sheikh in the lead. So I go for it.

“Two female leads?” counters Afia.

This feels like a rapid-fire round now. But I’m ready to brace the next level, because luckily I have also seen Sabiha Sumar’s latest, Good Morning Karachi. There are several actresses in lead roles in that film. Female characters leading from the front, if you will. But, apparently, I haven’t understood the rules of the ‘Afia Nathaniel Quiz Show’.

“(Good Morning Karachi) has not been released theatrically in Pakistan.”

Now I give up. I guess Dukhtar is a first. It’s the story of Allah Rakhi (Samiya Mumtaz), a woman who flees with her young daughter Zainab (Saleha Aref), in order to avoid the girl having to marry an old tribal leader to settle a clan feud. Allah Rakhi doesn’t want her kid to have the same life as her, as she herself got married off to a man older to her when she was young. A hunt for the duo begins through the testing terrains of Pakistan’s mountainous areas and the film quickly goes from domestic social drama to thriller road movie in a matter of a few scenes. Dukhtar is a wholly watchable film, with some decent performances by the older cast members and a truly marvellous one by the child actor Saleha Aref. Afia, who shows big promise with her debut, has chosen to tell the story in an unconventional way. This isn’t a dour, depressing tale about female oppression, but rather a film about female empowerment. Allah Rakhi and Zainab have to fend for themselves in this patriarchal society and these narrative cogs work tremendously well (granted, they are greatly aided by Mohib Mirza as a Punjabi truck driver). Our own film critic, Rafay Mahmood, wasn’t too taken with the film. While he appreciated that ‘the director may have avoided making a Pukhtoon woman do an item number’, he found that ‘the substitute she offers is not engaging at all’. In fact, an item song, it seems, would have sped up the production of Dukhtar. According to Afia, there simply wasn’t anyone willing to spend money on a script like this.

“In Pakistan, nobody wanted to finance a film with two women in the lead, by a female filmmaker. That was always a challenge. They felt threatened. They don’t understand if the film doesn’t have an item number or a song and dance routine. It was a bit of a departure. I feel that cinema is at a very exciting stage in Pakistan, even though there aren’t many risks being taken in the industry.”

Dukhtar is a risk which has paid off for Nathaniel. It’s this year’s Academy Awards entry for Pakistan, the country’s second entry in many years. After last year’s unsuccessful Oscars bid for Zinda Bhaag, this is an interesting choice by the section committee, given that it has had its world premiere at the Toronto Film Festival and its aesthetics cater to a global festival audience.

“What I think Dukhtar has done really different from other films is that we have broken the mould of where we can go with this film. It’s not just for Pakistan, this film has an international audience, which is why we’re so excited that we’re able to bring the dialogue out of Pakistan as well. And in a good way, you know?”

This is undoubtedly true. Films like these do stimulate debates amongst international audiences. Western viewers will always take an interest in topics like child marriages or the treatment of women in an Islamic republic. And for some strange reason, the depiction of these themes constantly irks viewers in Pakistan. The truth is too bitter a pill for some, it seems. Personally, I feel this is just an outrage for the sake of outrage, being ‘offended’ because one thinks it’s the right thing to do. But Dukhtar isn’t that kind of a film. It isn’t actively propagating a message or viewpoint.

“It’s a story. It’s the nature of the story. It’s a thriller. I mean, you have the good guys, the bad guys in any thriller. And what happens in a thriller? You fear for the good guy or the mission to fail. And that’s what it is. It’s only when you have women on the screen, you are judged by Pakistanis. You’re judged for having a female in the lead, with this issue behind. They immediately judge you as being feminist, which in Pakistan is a gaali. I mean, they don’t think about it in the sense that 50% of the population are women. It’s a right for us to have female protagonists on screen.”

And of course it is Nathaniel’s right as a filmmaker first, not as a woman, to tell the story she wants to tell. And in the way she wants to. Because only then can she achieve her real aim.

“The film is important in what it’s highlighting, not just for Pakistan but for many other countries as well. It’s topical, but I think at the same time it’s about breaking the silence and the status of a lot of things in our society and culture. I believe our film has done that, in a good way. In a society you always have the progressive side and the conservative side. And it’s important to have some kind of dialogue, even though their views may be polar opposite. But I think it’s important for any journey where change has to happen, it needs to have polar opposites on its side.”

Talking of journeys, Dukhtar was never a smooth sailing one. As aforementioned, finance was always an issue. Of course, shooting in the middle of such difficult areas like Gilgit-Baltistan, in temperatures of -13°C, was another factor which spoke against the film. There was a lot of rescheduling and rewriting, the crew had to be very open for anything. Which speaks volumes for Nathaniel’s rigour and the precision with which she commanded this ship.

“People often ask me how difficult is it to be a woman in Pakistan and I say it’s not difficult in the sense of my work. Even though I work with 40 men as the only female crew member, I never had a problem with it. I had complete freedom to work as I chose to. It’s about having the right kind of skillset and the respect and then you go from there. Gender is not so much the issue. Gender becomes the issue when you bring it into the film. There’s a distinction. There’s a difference.”

I see Nathaniel’s point but she is privileged in that sense. There are undeniable problems for women in our society. On the day I met her, Malala Yousafzai won the Nobel Peace Prize. It was a happy coincidence, because the film was having its European premiere on the day. And yet, the film, which has been in the making for so long, is still reflecting actual problems of society that will be present in five, 10, 20 years from now. From the looks of it. But in terms of filmmaking and cinema, Pakistan seems headed in the right direction. After a long, long time, there seems to be a sense of genuine productiveness. But mind you, Nathaniel is quick to remind us that there should be no false hopes. Pakistan is in need of this reality check and she provides it honestly.

“There’s no true revival. I will say that right now and on record. It’s only survival. There is no revival. Revival happens when you have a critical mass of content in the market. Just having one film every one year or two years is not exactly a revival.”

So, we’re still taking baby steps after all. But one can always dream. Dukhtar could well go on to an Oscar nomination and then eventual glory. I certainly wish it all the best, although the film critic inside me hears a nagging voice that other entries are better. It’s up against titles like Two Days, One Night (Belgium), Leviathan (Russia), Mommy (Canada), Winter Sleep (Turkey) or Ida (Poland). And only five make the cut. But films shouldn’t be measured by their Oscar success. Nathaniel is already in pre-production of her ambitious next project.

“It’s a science fiction thriller. I love sci-fi. My all-time favourite is 2001: A Space Odyssey. Kubrick, he’s my favourite filmmaker of all time.”

I smile when I hear this. A Pakistani science-fiction thriller sounds intriguing and with Nathaniel in charge, it might just work. The Pakistani film industry needs her desperately, if not for a revival, then certainly for a re-invention. I hope she finds the necessary funds for her next project, which can’t possibly be a low priced affair. And if no-one is willing to finance it, Nathaniel can always include an incidental item song in space.

Rewind 10 or 15 years from today to look at the shape and size of the Pakistani film industry, rather hilariously named as Lollywood, and you will not be able to help but wonder – how on earth did they come such a long way? From the days of dancing actresses trying to seduce their lovers in green fields to ground breaking movies like Bol, Waar, Na Maloom Afraad, Dukhtar, Zinda Bhaag and the likes – the progress and escalation of Lollywood in the right direction is very apparent. There’s a clear improvement in the scripts, the screenplay, direction and every aspect of the movie you would once laugh at if it were a Lollywood movie. That is now changing. There’s no doubt that they still have a long way to go but there’s also no doubt that they have finally embarked upon the right journey. Progress has been phenomenal and evidencing this is the latest addition to the list of achievements of the Pakistani film industry – Sharmeen Obaid Chinoy’s 3 Bahadur. 3 Bahadur is going to be Pakistan’s first ever feature length animated film. The film has been produced by Waadi Animations in association with ARY Films and is yet another reason to be proud of our budding film industry. [embed width="620"]http://www.dailymotion.com/video/x2d93sm_3-bahadur-trailer-pakistani-first-full-animated-movie-pakistani-full-animated-movie-2014_shortfilms[/embed] The project, one which seemed overly ambitious and unrealistic when it was initially announced, is all set for release this summer. [caption id="" align="alignnone" width="541"] Photo: Screenshot[/caption] 3 Bahadur is a 3D animated film, following the adventures of three friends who set out on an epic journey to save their town from the evils that plague it. Equipped with courage and super powers, Amna, Saadi and Kamil (the main characters of the film), battle against the odds to restore peace and harmony to their neighbourhoods. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Having attended the launch event of the movie and I was lucky enough to hear Chinoy share her thoughts on the project. A very gleeful Chinoy, the proud CEO of Waadi Animations, said:

“Almost three years ago, I had an intense desire to create an animated feature in Pakistan which would appeal to both children and adults alike. I have to admit, venturing into the realm of animation was unchartered territory for me and my team, but everyone quickly warmed up to the idea and we began learning the ropes and assembling a team of some of the best animators in the country to work with us. We are proud to announce and share the fruit of our hard work and efforts; Pakistan’s first animated feature film!”

[caption id="" align="alignnone" width="600"]

Photo: Screenshot[/caption] To say the very least, it is heart-warming and exciting to see the Pakistani film industry growing leaps and bounds. Film makers now have greater visions about what they want to create and the best part is that sponsors and partners are willing to invest in their ideas. It is this combination that escalated Bollywood to the heights it is at today. Here’s to hoping for success for 3 Bahadur and for the Pakistani film industry to continue growing and achieving new heights in 2015.

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.”

But let me put this in plain words for all those people out there whose primary focus remains women’s clothing. An appropriate choice of clothing does not cover for a woman made to flaunt her ‘jawani’. The problem here is not the clothes but the portrayal of a woman of Pakistani society, who is seen dancing, while being ogled by men, to lyrics such as:

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

[embed width="620"]http://www.dailymotion.com/video/x2j8ayv_jawani-hd-video-song-jalaibee-2015-zhalay-sarhadi-new-item-song-2015_music[/embed] Have they ever tried to tease the audience by releasing a teaser where a man is seen ‘revealing’ his body while being ogled by women? Can’t even imagine that, can you? That’s probably because it is women who are born to entertain men, be it in a marriage or a bar – not the other way around. To clarify my stance, I’m not against our movies covering taboo issues; I appreciate how themes like sexual abuse and racism, which are rather neglected in the much open-minded neighbouring India, are successfully addressed in our society via movies and dramas. But while our drama industry is praised across the border for showing the strength of womanhood, our film industry is keen on copying Bollywood’s sexist approach to women, for reasons unknown. Despite my disagreement with Abbasi’s stance on Sarhadi’s song, I am proud of the Pyare Afzal star simply because he admitted to romancing ‘with women in bikinis in an upcoming comedy film’ and pledged to ‘never to do it again’ for it is against our culture and values. Music and art are a reflection of a society’s traditions and values, and currently, our songs portray a woman’s image as:

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

Somebody please explain to me, when and how did such item numbers become a necessity for our society, our cinema? Are we not done copying Bollywood yet? Aren’t Bollywood item songs linked to increasing ‘rape culture’ in India? Namrata Joshi, a senior associate editor at Outlook India, talks about the choreography of item songs in these words,

“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.”

Feminist and gender activist, Kamla Bhasin, says,

“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.”

Is this what we are choosing for our society too? For the love of God, spare us! I am a Pakistani woman and I am not a gutka available for chewing. After Bol and Waar, we all have high hopes from Lollywood. A woman does not always have to be ‘the glamour’ and the hero’s love interest in a movie. There is much more to a woman than that and there is a lot more that women can do. India has realised this and item songs, that are great career boosters for actresses, are now being frowned upon. First it was Ayesha Takia, then Kareena Kapoor and now it’s Kangana Ranaut among the B-town beauties who have reportedly rejected offers of item numbers. I agree with the idea that a movie does not always have to be a dark and depressing like Bol, but since when does colourful and fun mean an exposed woman? I really thought our Pakistani industry had that elegance and class that would provide women a well-deserved place in our industry. If you still don’t understand why the recent trend of item numbers in Pakistani cinema should offend you as a woman, watch this video.

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.”

Getting original ideas financed in Pakistan is not easy, which is why he has launched a Kickstarter campaign to help crowd-fund his film, a platform that has helped launch the career of a dynamic independent filmmaker like Jeremy Saulnier. Filmmakers like Hamza prove that there is still hope when it comes to making original and authentic pieces of art that possess some genuine artistic integrity and are trying to actually say something about our society. And I think the more we support our independent filmmakers, the better chance they have of succeeding and making Pakistani cinema better.

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.

The Macmillan Dictionary defines a romantic-comedy as,

“A funny movie, play or television program about a love story that ends happily.”

Janaan is just that, but it’s not funny in the ordinary sense of the word. The film, directed by Azfar Jafri and co-produced by Reham Khan, is a latter-day ode to Pakhtun identity and heritage. It is a story about Meena, played by Armeena Khan, who returns from Canada to attend her cousin’s wedding in Swat, but falls in love with her adopted cousin. https://www.youtube.com/watch?v=DMaiYSGWwmQ On paper, it sounds appreciable to the Pakistani viewer, and for the most part, the outcome on the screen is adequately gratifying. The stunning introductory shots of the beautiful Swat Valley juxtaposed by the protagonist’s contemporary lifestyle in Vancouver, effectively illustrates the modern Pakistani expatriate. We follow her journey as she lands in Islamabad and mistakes the male lead – played by Bilal Ashraf – for airport staff (apparently, he used to be fat and social media doesn’t exist in Canada). What follows next is a tedious set of dialogue about Meena’s homecoming by her extended family, distinguished by traditional sweets, small talk, and familial updates. Regardless of these characters’ relatability, a casual lack of depth and sustained emotion are the cause of their diminishing memorability – we like watching them, but we know we won’t be recalling them any time soon. [caption id="" align="alignnone" width="600"]

Armeena Rana Khan
Photo: Facebook[/caption] The target audience for this movie are middle-class, educated and enlightened viewers who enjoy jokes about power outages and security issues in Pakistan – along with light-hearted love triangles between cousins. The producers take the aforementioned for granted, as proved by respective deficiency of Urdu subtitles and an addition of English translations for Pashto conversations. This is quite potent since the jam-packed theatre where I watched the movie, was indeed a reflection of this creative decision. In fact, recurring humour with Meena’s Canadian roommates about terror in Pakistan, albeit an obvious cliché, was well-received by the crowd with whom I shared my viewing experience. [caption id="" align="alignnone" width="600"]

Bilal Ashraf, Armeena Rana Khan and Ali Rehman Khan
Photo: Facebook[/caption] For better or worse, Janaan is a step in the right direction for the Pakistani film industry, but two steps back in terms of the sheer profundity of filmmaking. We still seem to be glued to the plot-writing and camera techniques associated with serialised TV shows. The screenplay, penned by Osman Khalid Butt, drags on for the most part, especially in the second half which arbitrarily relies on flashbacks as filler for soundtrack. The writing fails the lead cast, who are sketched out as superficial, funny – but not too funny personalities. Even the stand-out performance of the supportive lead by Ali Rehman Khan is hindered by the lack of gravitas in penmanship, yet his performance arguably remained the most memorable facet of this film. The cinematography is grandiose and striking in the first half, yet reverts to the close-up, non-flattering camera visuals commonly fettered with an Urdu drama post-intermission. [caption id="" align="alignnone" width="600"]

Bilal Ashraf and Armeena Rana Khan
Photo: Facebook[/caption] Shallow writing and undignified camera-work aside, perhaps the greatest fault in Janaan lies in the handling of the cardinal issues it raises for the sake of plot progression and comic relief. The insouciant use of pederasty in Pakhtun culture as a device to create movement in plot is ignorant and hollow. Such salient matters must either be succinctly covered when mentioned, or else become the cause of triviality. [caption id="" align="alignnone" width="600"]

Bilal Ashraf, Armeena Rana Khan and Ali Rehman Khan
Photo: Facebook[/caption] Despite my critique, however, as an Eid release, Janaan is a profitable venture worth watching with family. I believe it is a successful demonstration to put Pakhtun culture and moreover, Pakistani films on the map for the long haul.

Pakistani directors and producers often misunderstand the movement to revive Pakistani cinema. This year has seen numerous below average movies, thus questioning the merit and authenticity of the command in filmmaking; movies like Thora Jee Le, Whistle and Raasta. Let’s see if Umer Adil’s latest venture, Chalay Thay Saath will be able to break this dry spell. The film doesn’t seem to have any star power, thus it makes one question – can a movie with no crowd-pullers make it big in the box office? https://www.youtube.com/watch?v=V0Hm1OQokXM Zain (Osama Tahir) and Tania (Mansha Pasha), who are on the verge of separation, plan a farewell road trip for Resham (Syra Shahroz). They plan on going from Karachi to Resham’s hometown, Hunza. Along for the ride is their childhood friend, Faraz (Faris Khalid) and a Chinese tourist, Adam (Kent S Leung). He doesn’t speak Urdu, and his English isn’t that great either. But despite the language barrier, we see love blossoming between Resham and him. As the movie progresses, as does their love, Resham asks her father (Behroz Subzwari) to meet Adam to decide their fate. Let’s just say the first impression does not sit well, and Resham’s father tells Adam to stay in a camp outside his house until he earns his trust. Unfortunately, Adam must return home to look after his ailing mother. [caption id="" align="alignnone" width="600"] Photo: Facebook[/caption] [caption id="" align="alignnone" width="600"] Photo: Facebook[/caption] Filmmakers need to understand just how essential location can be to a movie, as visually scenic scenes are usually the highlight of any movie. Chalay Thay Saath is beautifully shot, and a great documentary on Hunza, Giglit, and the northern areas of Pakistan, but when it comes to viewing it as an actual movie, it lacks a lot. The dialogue is average, albeit fresh. However, they are easily forgettable. [caption id="" align="alignnone" width="338"] Photo: Facebook[/caption] In terms of music, Chalay Thay Saath has a brilliant score as it’s fresh for Pakistani film. Conversely, music cannot make a movie great as it requires more than just appealing sounds. As for the direction, it is evidently decent; Adil has enacted the aesthetic beauty of the north remarkably. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Performance wise, Chalay Thay Saath doesn’t showcase any impeccable and bravura performances. Shahroz gives a good performance and looks gorgeous on-screen, but she wasn’t given any opportunities to prove her mettle as a performer. Kent is fresh and innocent; he effortlessly pulls off his character. Khalid has a very strong screen presence and is good “hero-material”. Pasha performs affably well, but she seems to go overboard in a few of her scenes. Tahir played his part decently also. Subzwari is just average, maybe a little more persuasiveness on his part could have gone a long way. Chalay Thay Saath is the kind of film that makes you feel good because of its theme and how visually appealing it is. However, it does drag on quite a bit and it isn’t exactly believable at some points. For a 28-year-old girl who is apparently a doctor, some of Sharoz’s scenes are hard to digest. Thus, it offers little, if any repeat value. At the box office, it will definitely have to face a rough sail.

In 1998, Syed Noor was on a high; his film Choorian had just released and went on to be one of the longest running Pakistani films showcased at a single screen cinema. He went on to become one of the few acclaimed directors in the Pakistani film industry. It makes you wonder then, how the same director, who delivered cinema greats like Larki Punjaban and Majajan, could stoop to releasing a film like Chain Aye Na. https://youtu.be/r5GSFXj95kA I don’t understand how the movie went so wrong, even though it had big names like Nadeem Baig and Atiqa Odho in the cast. Mustafa Qureshi or even the relations of Behroze Sabzwari, Waheed Murad and Sabiha Khanum couldn’t save Chain Aye Na from the unfortunate fate it was headed towards. From the get-go of the trailer leak to the official trailer release and the cringe-worthy remakes of songs from Noor’s earlier film ventures, the film was doomed to be a flop. Unfortunately, it was inevitable due to the ever-so-hard storyline encompassed within this poor directional comeback. The main reasons behind the ill fate of Chain Aye Na range from lack of originality, trying too hard to prove something, and definitely not keeping up with the times.

Whilst Noor was hoping to cast Saima Noor and Shaan Shahid in his upcoming venture, he failed to realise the fact that the Pakistani film industry had evolved immensely between the years of his last mainstream release Shareeka and his recent release.

The ‘evolution’ was not only absent in areas of casting and music but also in more detailed places like the appeal, set design and more importantly, the storyline.

Noor also failed to realise that the Pakistani audience is accustomed to watching films with originality and quality, which his film obviously lacked. The audience of today is not limited to the rickshaw driver finishing his night shift or the dhaba workers of mall road; it is the new working class elite, a social media active audience and a quality expecting awaam.

Not only did Noor cast industry heavy weights who trusted in the ‘Syed Noor’ brand, but he also launched the film careers of Shehroz Sabzwari and Sarish Khan, instead of the intended Shaan/Saima duo.

When we realised that Noor used remakes of songs from his earlier films, it was obvious that this film lacked originality. Over the past few years, Pakistani films have had epic scores such as Bin Roye and Jawani Phir Nahi Ani. However, Chain Aye Na transports us back to 1999 when we see Shehroz singing Youn Nazar from Billi. https://www.youtube.com/watch?v=99xEpgipVO4 https://www.youtube.com/watch?v=ftBuLcX3g5Y Noor tried too hard to make a film which, according to him, was part of the ‘new Pakistani cinema’ as opposed to maintaining originality and sticking to his typical style. He wanted to cast new actors, add a dance number and construct a storyline which appeals to the masses, similar to what all the new Pakistani films were doing. But clearly Noor went a little too overboard with it. You can’t ask the Pakistani audience to deal with a scenario involving physical abuse whilst Shehroz is serenading you with a saxophone. It just doesn’t work.

Let’s look at the contrast between Sara Lahore Nachda to Shakar Wandan Re. https://www.youtube.com/watch?v=b6Hmo_WaAlY https://www.youtube.com/watch?v=8UuYGBdSfKE There, you see the difference. It is not just the music or the choreography that is objectionable but the physical alignment of the dancers, the music based on the dance steps and the actors’ wardrobes.

And did anyone notice the fake blood? I thought we got over that phenomenon ages ago. Despite our wish to never have to witness it again, Chain Aye Na takes us back to a time where Adil Murad is seen with thick fake blood smeared all over his face. The worst part is – it looks extremely unreal and just takes away any appeal the film might have possessed. After having seen it for years on Gujjars, Badmaashs and Vehshis, we really didn’t need it to make a comeback in 2017.

Furthermore, the film sets look more like something one would witness on the infamous mujra CDs as opposed to cinema. The early 90s bedroom decor is also a big no no. Noor, who was once the biggest shark in the sea, is now right at the bottom of the food chain. I would like to advise him to stick to what he knows. He needs to learn to progress because hard-hitting social taboos set in the backdrop of a love triangle with Saxo wielding Romeos just won't cut it. Our audience has been groomed by our drama industry and that’s 28 episodes, this is three hours.

Noor claimed that his film didn’t have a message and it’s for entertainment purposes only, well, we definitely cannot disagree with him on the first half. So dear, Syed Noor, please go back to what you were doing before and be original! Be Majajan, be Shareeka, but don’t be Kankar, a 90s love story with 2017 stars, as the result will only be Chain Aye Na. All photos: Screenshots

It is next to impossible to produce an experimental film in Pakistan, mainly because the distributors do not support the venture unless it comprises of a star-studded cast. Director Farhan Alam and Kalakar Films deserve appreciation for breaking barriers with their new film, Saawan. The film is written by Mashood Qadri and features Syed Karam Hussain, Imran Aslam, Najiba Faiz and Saleem Mairaj in pivotal roles. The film revolves around Saawan (Syed Karam Hussain), a physically challenged young boy who suffers from polio and lives in a valley in Balochistan. His father is frustrated, depressed and hopeless because of his son’s disability and does not treat him well. Thus, Saawan’s parents abandon him and move to the city because of a certain life-threatening situation. Despite his disability and abandonment, Saawan heads out to search for his family and uncovers various hidden truths about his life. We can easily divide the film between its hits and misses. Hits: 1.Overall, I would say the performances were a hit. Syed Karam Hussain, who plays the lead protagonist Saawan, was most definitely a hit. His expressions are brilliant and the audience is left extremely impressed by his skills, more so because of his young age. The role he was given was not an easy one, but he pulled through. Najiba Faiz plays Saawan’s mother and she’s another great actress to watch on screen. She effortlessly wins the show due to her power-packed performance. Not only does she make her character believable, she also brings a level of sincerity to it that makes it convincing. The only downside was Saleem Mariaj, who, unfortunately, is on another level of boring. His acting was way too over the top. 2.The message was extremely powerful. The fact that Saawan is unfazed by his disability and heads out to help his family sends out a strong message to society. 3.The cinematography was a winner. The picturesque locations helped a great deal in taking the film forward. 4.The film has won numerous international awards such as the Social World Film Award and the Madrid International Film Award. Misses: 1.Although Saawan has a good ideation and an unusual story to offer, the film unfortunately fails to stand out. There were several loopholes in the film but the one that stood out the most for me was its execution. The unnecessary lengthy scenes dragged on for no apparent reason and failed to keep the audience engaged. 2.The dialogue throughout the film was just not up to the mark. I believe a film, especially one with such a compassionate storyline, requires impactful dialogues. However, due to a lack of strong dialogues, the film loses its grip. 3.The film was not edited well at all. From an average person’s perspective, I could point out some major editing flaws while watching the film. 4.The character-building in Saawan is a bit scrawny to be honest. Saawan’s character needed more depth. However, the writers just used his disability to gain pity and there was no effort or thought put into it. His character could have been infused with so many layers, yet the writers just went for a cookie-cutter, 2-D boy. The film raises more questions than providing answers. Some questions that lingered on in my mind after the movie are as followed: 1.What happened to the grandfather who was narrating the story? 2.If Saawan could stitch a shoe after losing his family, why couldn’t he do the same earlier? 3.Why would a goon act so childish? 4,Why did everyone prefer to run in the desert instead of using their cars? 5.What is with the 200-year-old soul and the story? I suppose we will never find out. Saawan is expected to fail terribly at the box office, owing to its weak content and severe competition. It will be no surprise if people do not buy tickets for a film that has almost no entertainment and a not-so-praiseworthy script. Farhan Alam’s attempt deserves appreciation but at the end of the day, this industry is about entertainment, execution and presentation. And let’s be honest, Saawan lacks all of the above. Overall, I would say Saawan was a big fat miss. Photo: Screenshots

The trailer for the upcoming Pakistani film Rangreza was released recently to largely positive reviews. Apart from a trite love story, it showcases a truly uninhibited Gohar Rasheed. Yo-yoing between entertaining and the edge of madness, he is reason enough to watch the film. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] A part of me, however, was also disappointed. From the onset, the team behind Ragreza pushed it as a musical. The actors called it a musical, their Facebook page labels it so, even Wikipedia affirms that it is in fact a musical. And yes, there are songs in the film, but isn’t that the case for most Pakistani releases? What about this film is different, then? So different that the marketing and production team has pushed the music as their main attraction? [caption id="" align="alignnone" width="495"] Photo: Giphy[/caption] A lot of Pakistani films claim to be ‘firsts’. Since the revival of Pakistani cinema, we have had Pakistan’s first road-trip movie, first superhero movie, first ‘realistic horror movie’ (whatever that means), and the list seemingly goes on. It is a comfortable marketing ploy – claim to be the pioneer and the quality of the project ceases to matter. To be fair, team Rangreza never claimed that their film was Pakistan’s first musical, but it is a badge that they are nonetheless wearing with some honour. [caption id="" align="alignnone" width="495"] Photo: Giphy[/caption] I am not at all saying that the film looks disappointing. On the contrary, while I have had my issues with Pakistani film trailers in the past, this one is incredibly effective and hands down one of my favourites. That being said, the ‘musical’ tag raises some questions, and I want to assess it through the history of film. The term ‘musical’ is synonymous with Hollywood. It emerged as a film genre in the 1920s, when talking pictures (talkies) emerged as sound technology permeated film. In the quintessential Hollywood musical, singing and dancing is part of the narrative. They take inspiration from western traditions of stage musicals, often rehashing the same script for film. Since their birth coincided with that of the talkies, it isn’t surprising that they became profitable mainstays. But eventually, Hollywood turned towards realistic cinema and the bawdy musicals that had once made waves were all but washed out. Musicals since then have experienced periodic deaths and revivals. The most recent revival of the musical genre in Hollywood is courtesy of Academy Award nominated La La Land. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] South Asia’s experience with musical cinema was extremely different. Sound came to then British India via Ardeshir Irani’s Alam Ara, which was brimming with big budget songs and dance numbers. In his book, Kush Varia credits the film’s success to its spectacular musical sequences. British India was a multi-cultural, multi-lingual society, but through music, Alam Ara was able to transcend linguistic barriers. Despite being an Urdu language film, it was successful in all the regions, including Southern territories where Urdu was rare. Hence, song and dance-based musicals were never seen as a separate genre in Indian or Pakistani cinema. Taking its cue from Indian cinema, this trend has seeped into Pakistan’s new wave. In Hollywood, musical cinema is an anomaly, but in Pakistan, we have the exact opposite situation. Yes, we have films that don’t have musical performances woven into the narrative (a staple amongst our vibrant indie scene), but they are the exception, not the other way round. I know you’re thinking, ‘why are you measuring local films using a foreign benchmark?’ But that’s my point exactly – it isn’t fair to do that. In their book, Sangita Gopal and Sujata Moorti argue that while Hollywood musicals and mainstream Bollywood films contain song and dance, Hollywood musicals are almost always melodramas. La La Land was a stunning film but it too was a melodrama – high on emotion and grandiosity. And while it does dabble in melodrama, Gopal and Moorti argue, Bollywood’s musical cinema doesn’t stop there. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] I suggest the same claim applies to Pakistan. As we never really saw ‘musical’ as a genre in itself, we never questioned the presence of songs permeating almost every other genre. Enter Pakistani political dramas, horror films and romantic comedies, all fusing songs into their narratives. Punjab Nahi Jaungi was, by the Hollywood definition, a musical. Verna, from what we’ve seen in the trailers, could also be called a musical. And the ease with which songs became part of our status quo should spell out one basic fact – our audiences are different from that of the western world. [caption id="" align="alignnone" width="493"] Photo: Giphy[/caption] Remember how I mentioned that Hollywood musicals eventually died out? Well that was driven by audience demand – or lack thereof. In contrast, Pakistani audiences never stopped responding to song, dance and performances, which is why we continue to see them in our films. To reiterate, I am not criticising Rangreza. It looks visually stunning, and who doesn’t love multi-dimensionality in their antagonist? But as our industry grows, it also allows us a greater audience to rediscover our own film history. While we didn’t have a film industry for several decades, we have always had a film heritage. According to that heritage, is Rangreza a musical? Not really. Rangreza releases on December 21, 2017, so I guess we'll have to head to the theatre to find out!

In the last decade or so, we have seen Pakistani cinema seemingly thriving, with TV actors shifting to the larger screen, and directors and producers experimenting with new and innovative ideas as well. Moviegoers are buzzing about at the moment as Aabis Raza’s upcoming Maan Jao Na, which, based on its recently released trailer at least, looks dynamic and diverse in terms of its talent, cinematography and music. What caught my attention was that a lot of new faces were seen in the movie, with some of the cast being known for their comic roles in our TV dramas. The most talked about factor, however, is the glamorous German-born Pakistani model Naaz Norouzi, who plays Rania, and her chemistry with Adeel Chaudhry, who plays Faris. Rania seems like a carefree girl who doesn’t believe in marriage as an institution that can last. Faris, on the other hand, is a very optimistic and friendly guy who values traditional relationships. Not unexpectedly, the twist of the story comes when Faris falls in love with Rania, one of his best friends; however, Rania only considers Faris as her good friend and nothing more. Faris is reluctant to reveal the truth in fear of losing his friendship with Rania, and this fear is what motivates the rest of the story. Moreover, also in their group of friends are Hajra Yamin and Ayaz Samoo, and the group looks like any quintessential close-knitted group of college friends who have a lot of fun together. The plot of the film is quite relatable from the youth’s perspective, as it focuses on the fun campus life, friendships, insecurities, emotional attachments, and all the little moments of joy that go along with it. Norouzi is a valued addition, not just in this movie but to the Pakistani film industry, as she is said to be a multi-lingual and multi-talented person. Not only can she speak German, Farsi, Urdu, English and French, she has learnt dancing and plays football as a hobby as well. It seems like she was born to be a star, with doing films and living a life of glamour being her childhood dream, and with Maan Jao Na, it is all finally coming true for her. Another interesting fact regarding the cast is that the stunts are real and performed by Adeel Chaudhry himself. Renowned as a musician and an actor, the actor accepted the challenge to perform all the stunts himself, from riding a Harley Davidson to swimming in the deep sea. Whoa! Written by Asma Nabeel and Ahsan Raza Firdousi, the movie is shot in my very own beloved city of lights, Karachi, with some parts being shot in Skardu as well. The performances seem stellar while the dance moves are electrifying, especially after the remix of Bijli Bhari Hay Meray Ang Ang Mai. Not only is the song a treat for the eyes, but the melody is so catchy that you will keep listening to it on repeat and just might become the new mehndi song! The rom-com looks like a roller coaster ride of joy, sorrow and drama, and has all the ingredients to pull crowds to the theatres in February. Overall, Maan Jao Na seems like a complete entertainment package that will surely double the joys of Valentine’s Day and ensure that love is in the air! The film is scheduled to release on February 2, 2018. All photos: Screenshots

It has been a great couple of years for the Pakistani film industry. We’ve finally gained some solid footing and have managed to get audiences excited about Pakistani films. Dukhtar, Moor and Saawan have received critical acclaim for being sensitive, powerful films, whereas commercially successful ventures like Na Maloom Afraad, Actor in Law, Punjab Nahi Jaungi and Jawaani Phir Nahin Aani have attracted large audiences to the cinemas, which has been, especially for Pakistani movies, a rare occurrence in the past. Not only is there a gradual progression in quality, script and cinematography, there is a definite increase in the volume of films being produced. All in all, things are looking up for the Pakistani film industry. The industry itself has changed for the better as well. Thanks to social media and multifarious channels, our actors, directors and other crew members are now exposed to raw public opinion, and lots of it. They are bombarded with opinions in a much faster way than they were ever before, and it often becomes a test of their courage and patience that they now have to survive in an all-changing, volatile, fast-paced communication medium. Not only do they have to survive, they have to remain relevant. Older film actors and actresses have a tougher time utilising and navigating through social media. Where in the olden days these celebrities would be able to get away with saying anything to anyone, social media, a great equaliser, is a much harsher judge. And as the adage goes, “The internet never forgets”. Because hello, screenshots. Shaan Shahid, Pakistani film star and controversy’s oft-favourite child, has a film in the theatres these days, titled Arth 2. Inspired by Mahesh Bhatt’s film of the same name, the film is written, directed and produced by Shahid himself, and I find it lovely and refreshing that he’s actually doing soulful, romantic movies instead of war films where he was often, as I like to call him, Commander Killjoy. I have been a long-time fan of Shahid, despite his various comments and controversies. I remember my breath catching in my throat when I saw his beautiful face sprawled across the billboards in Karachi for a mobile company ad. Shahid’s star power is as irrefutable as it is massive. But at the end of the day, what Shahid, or his managers, as he insists, have been doing with his social media platforms is nothing less than appalling. As a film star who has thousands of followers on Twitter, Instagram and Facebook, Shahid often takes to these platforms to ‘connect’ with his fans. And of late, in lieu of connecting, he usually ends up spewing extremely politically incorrect balderdash. The internet, however, like the North, remembers. First, Shahid’s films Yalghaar and 021 did not fare well critically. Then, a couple of years ago, Shahid bashed Mawra Hocane for supporting the Bollywood film Phantom, and called for the #BanMawra campaign. He also lambasted many actors for going to India to act in Bollywood films. Yet here he is, basing his own production on a Bollywood film. Of late, he has been bashing ‘reviewers’ and bloggers for giving his film bad reviews. Ironically, Shahid is himself found retweeting and sharing problematic opinions on his social media pages. https://twitter.com/fahim_parekh/status/945211915189587968 https://twitter.com/BanoBee/status/945229736552337408 If this wasn’t outrageous and unprofessional already, he then proceeded to blame his manager for tweeting things from his account, and yet offered a strange explanation about why he wouldn’t fire his manager for posting something so terrible: https://twitter.com/mshaanshahid/status/945224332728561664 https://twitter.com/mshaanshahid/status/945306862811000834 It is perplexing to see why Shahid is behaving the way he is, and has in the past. Is it because he is afraid of his film crashing? Does he think he can bully people into saying nice things, or does he honestly not understand that everyone on social media may not necessarily subscribe to his opinions? The film, and media industry in general, is a brutal, volatile business. It makes and breaks people within minutes. The process has especially accelerated and is more open to the public since the advent of social media and communication technology. The idea of a celebrity culture has taken a different shape and meaning, and stars are now often made by the kind of connection and engagement they have with fans and other stars on social media. https://twitter.com/Shumyl/status/945227304699080704 This is why managers are expected to know how to handle these situations and not tick off people who disagree with them. However, Shahid has not gotten the memo, and instead insists on riding this social media wave in the most old school way possible. So dearest Shahid – your fans love you and believe me, we want to continue loving you. But you can’t treat people like this, you absolutely cannot. The 90s are over. The days of the angry Jutt are long gone, and while your bullets will definitely not kill any villains like they did in your movies, your social media posts will surely kill the hero in our hearts that we have loved for so long.

The Pakistani industry is in full flourish, evidence of which can be gathered by the hype created after the trailer release of our newest animated feature, Allahyar and the Legend of Markhor. From the quality of animation and the quirky characters offered in this preview, this Urdu language animated film has all the ingredients to match the standards set by Disney and Pixar. The story revolves around a young boy, Allahyar, who lives in the northern areas of Pakistan. The spirited Allahyar’s life suddenly takes a turn and becomes adventurous as he tries to save his dearest ones from imminent danger. With the help of his animal friends, including a markhor (screw horn goat), Allahyar challenges an evil hunter and tries to protect his friends. The two or so minutes spent watching the trailer are enough to enthral the audience and make them curious to find out more about Allahyar’s adventures. Director Uzair Zaheer Khan’s latest venture presents a heart-warming story with an eye-catching structural design that is sure to enrapture millions of hearts. The comic scenes seem well-timed, the actions sequences seem thrilling, and the visuals of a northern Pakistan are captivating enough to invoke a sense of national pride. Produced by 3rd World Studios, the film’s cast includes musician Ali Noor (yes, from Noori) as Mani, the hunter and the antagonist, while the talented newcomer, Anum Zaidi, stars as Allahyar. Azfar Jafri, Natasha Humera Ejaz and Hareem Farooq are also part of the voiceover cast. What has undoubtedly added to the hype is the release of the song Muskarai Ja, with soft folk music and vocals by the melodious Natasha Humera Ejaz. The song is a remake of pop singer Zohaib Hassan’s song of the same name from 1982, and has definitely added some nostalgia to this exciting mix. The music video for the song is also really cute as it shows birds dancing while Allahyar’s furry friends try to cheer him up. https://www.youtube.com/watch?v=TMnKr4KePWk Every animated feature needs a profound message packaged under an exciting story, and this film seems to be following a similar path. What is more interesting is that any hidden social commentary in the film will inevitably be more appealing and relatable for Pakistani children, who don’t usually get to see themselves reflected on the animated screen. Having all of it spoken in Urdu is an added bonus, as it ensures that the film is not restricted to the elite and can be enjoyed by masses all over the country. Depicting Pakistan’s beautiful mountainous regions and wildlife, especially the markhor, which is not only our national animal but also an endangered species, adds to the patriotic feel one can expect from the film. All in all, the concept is unique and expectations are justifiably high that this feature will mesmerise cinemagoers. One can only hope that the story will be as engrossing as the graphics are, and will leave everyone feeling proud of how far the Pakistani film industry has come in a few years. Allahyar and the Legend of Markhor will release in theatres on February 2, 2018, and if you belong to the cult that loved animated movies such as Inside Out, Finding Nemo and Frozen, then this film is most definitely a must-watch for you! All photos: Screenshots

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A day from the life of Lehri

Tamanna: A step in the right direction for Pakistani cinema

Raja Natwarlal: Humaima, ‘Pakistan’s Rani’, fails to rule the Indian Box Office

Dukhtar: A mother’s plight against child marriage

Why Fawad Khan is so ‘Khoobsurat’!

Operation 021, taking Pakistan cinema further

The Pakistani film industry in its ‘survival’ phase

3 Bahadur – Another Lollywood milestone

We do not need ‘billis’ to flaunt our ‘jawani’ in Lollywood

Will Rang Raaz: The Secret of Colour be a step forward in Pakistani cinema?

Zindagi Kitni Haseen Hai: One of the better Pakistani movies of 2016

For better or worse, Janaan is a step in the right direction

With no star power, Chalay Thay Saath is one bumpy ride

Nothing and no one could have saved ‘Chain Aye Na’ from its unfortunate fate

Great performances and a powerful message, yet ‘Saawan’ will fail terribly at the box office

Rangreza is being labelled a ‘musical’ – but aren’t all Pakistani films technically musicals?

With its fresh talent and catchy music, Maan Jao Naa seems like a complete entertainment package

Does Shaan Shahid think he can bully people into saying nice things about Arth 2?

Allahyar and the Legend of Markhor proves Pakistan’s animated films can be as good as Disney’s or Pixar’s