Today we celebrate International Women’s Day; a day to appreciate and acknowledge the women around us and discuss female empowerment. As we do this, it is hard to ignore the contribution of the media, which is perhaps the best tool in our means to depict the society around us. However, having empowering female characters is not a new phenomenon in either the Indian or Pakistani film industry. On the contrary, filmmakers in India and Pakistan have consistently tried to come up with subjects and films which celebrate and empower women. From the inception of the film industry in this region, there have been many women-centric films where the true strength of the gender is portrayed as the strongest pillar of our society. The following are just a few of such films we have seen over the past decades: 1. Mother India (1957) A classic tale of love, sacrifice and discipline, this film is considered the finest classic in Bollywood, and showcases the hardships a woman goes through in her life as a wife and a mother. Nargis outdid herself in making the character of Radha feel authentic and relatable; a character that remains a timeless tribute to mothers in South Asia and developing nations. [caption id="" align="alignnone" width="600"] Photo: India Today[/caption] 2. Saheli (1960) This may be a tale of two friends who fall in love with the same man, but the elements of friendship and love in the film, along with the added dimensions to the female characters, makes it function as a great window to the lives of women. As an added bonus, their impeccable performances in the film led to Shamim Ara and Nayyar Sultana becoming two of the most prominent leading ladies of the 60s, as they continued to bless us with more female greatness. [caption id="" align="alignnone" width="439"] Photo: YouTube[/caption] 3. Bandini (1962) After making classics like Do Bigha Zameen and Devdas, Bimal Roy made Bandini, a film that would inspire many to follow in his vein and tell stories about women. A prisoner serving life imprisonment, Bandini is strong-willed and selfless at the same time, and her distress over her actions makes the audience acknowledge that women do not have to be one-dimensional characters for the audience to like them. [caption id="" align="alignnone" width="600"] Photo: The Hindu[/caption] 4. Zarqa (1969) Riaz Shahid’s Zarqa, featuring Neelo in the titular role, is a story of a woman during the Palestinian liberation movement against Israel. The film truly acknowledges the role women can play in the political sphere, and even today, Raqs Zanjeer Pehan Kar Bhi is a song that triggers nostalgia for millions across the country. [caption id="" align="alignnone" width="441"] Photo: Giphy[/caption] 5. Pakeezah (1972) Yet another classic that tells the tale of a strong woman who has the ability to go through any situation in life on her own. One of Meena Kumari’s most unforgettable characters, the movie depicts women in a strong and positive light not very frequently seen in the film industry. [caption id="" align="alignnone" width="600"] Photo: YouTube[/caption] 6. Society Girl (1976) Sangeeta’s debut film as a director, this film was way ahead of its time, and featured the kind of strong women that Pakistani audiences were not ready for. However, the way it was penned and executed, along with the brilliant performances, have made it a cult classic. [caption id="" align="alignnone" width="430"] Photo: The Hotspot Cafe[/caption] 7. Khushboo (1979) Nazar Shabab’s take on women in Khushboo was interesting to say the least. He depicted women on two opposite ends of the spectrum – on one hand, there is a damsel shackled to her role in society, while on the other is a woman who breaks the mould and fights for what she wants. The film is beautifully written, with applause-worthy dialogues that remain relatable and applicable to our society today. [caption id="" align="alignnone" width="600"] Photo: YouTube[/caption] 8. Umrao Jaan Ada Mirza Hadi Ruswa’s novel Umrao Jaan Ada was so powerful that both Indian and Pakistani filmmakers couldn’t resist making a film of the same name. In the Pakistani version of 1972, Raani played the lead role, justifiably portraying the charisma, charm and beauty of Umrao Jaan. In the Indian version of 1981, Rekha mesmerised audiences as the titular character. Both films were very well made, even though both showcased Umrao Jaan’s character in completely different yet empowering ways, unlike the 2006 version with Aishwariya Rai, which failed to hold its own. [caption id="" align="alignnone" width="421"] Photo: Giphy[/caption] 9. Namkeen (1982) With actresses like Waheeda Rehman, Sharmila Tagore and Shabana Azmi, Namkeen is an amazing film to watch and learn from. The film highlights four different women in different phases of their life, and remains one of the few films where a woman’s perspective is executed with flawlessness. [caption id="" align="alignnone" width="600"] Photo: Mubi[/caption] 10. Bol (2011) Shoaib Mansoor’s Bol is a film which not only elevated the standard of movies made in Pakistan, but also talked about women in a different light; one our industry was unused to. It was encouraging to see important questions pertaining to women finally being asked, such as, why are women looked down upon in our society, or why is this society obsessed with sons while daughters are disregarded? [caption id="" align="alignnone" width="480"] Photo: Giphy[/caption] 11. English Vinglish (2012) One of Sridevi’s most discussed recent films, English Vinglish, is about a simple woman who loves to cook and fails to speak the desired standard of English in our society. Not only does this film showcase the ability of a woman to surprise society at any age, but is subtle yet powerful in the way that Sridevi’s character empowers herself. [caption id="" align="alignnone" width="540"] Photo: Giphy[/caption] 12. Mardaani (2014) This film depicts one woman’s fight against female trafficking and forced prostitution. When the antagonist underestimates Shivani Shivaji Roy (Rani Mukherji) because she is just a “woman”, she becomes his ultimate nightmare. Not just the movie itself, but the Mardaani anthem too is pretty empowering for women. [caption id="" align="alignnone" width="480"] Photo: Giphy[/caption] 13. Dukhtar (2014) Talking about the very serious issue of child marriage in Pakistan, Afia Nathaniel’s Dukhtar is a very well made film that every Pakistani should watch. The story of a mother and daughter who run away to prevent the girl from being married off to a tribal leader, the most poignant aspect of the film is the mother’s desire to protect her daughter from the harshness of the reality of being born female. [caption id="" align="alignnone" width="480"] Photo: Giphy[/caption] 14. Queen (2014) One of the most empowering films to come out in recent times, Queen is the simple tale of a young woman dumped by her fiancée, who then decides to go on her honeymoon by herself. The journey is quite literally empowering, as Rani (Kangana Ranaut) travels the world and realises that she does not need anybody in her life to depend on but herself. This film is definitely one that all women and men should watch once! [caption id="" align="alignnone" width="480"] Photo: Giphy[/caption] 15. Neerja (2016) A true story based on the life of Neerja Bhanott, a flight attendant on Pan Am flight 73, which was hijacked by terrorists. The fearlessness and courage of this one woman led to the passengers’ lives being saved, as she protected the people and performed her duty till her last breath. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] 16. My Pure Land (2017) This is one of those films that can be described as the most feminist, most empowering tales to emerge out of the industry in recent times. A tale of women in rural Pakistan uniting against scheming male family members and mercenaries, and holding them off despite limited resources, My Pure Land highlights the potential our industry has to shed light on women’s issues and their perspective, as well as successfully making a film that can best be described as a feminist western.

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In Pakistan, it is uncommon to watch a well-made film that is not only based on true events, but also dedicated to our real life heroes. For instance, films like Gulab Gang, Bandit Queen and Mary Kom have been made in India to relay the sacrifices made and challenges faced by its women. In Pakistan, however, we can hardly recall a film or two on the same. This is why Sarmad Masud’s venture, titled My Pure Land, which showcases the story of Nazo Dharejo, came as such a surprise to me. The film does not feature big names or superstars, but does star thespians such as Suhaae Abro, Syed Tanveer Hussain and Eeman Malik, who do not disappoint with their realistic performances. https://www.youtube.com/watch?v=rdY8bKCVIC0 My Pure Land revolves around the life of Nazo, a young girl who fights more than 200 men to save her family, her house and her identity. The film also highlights the bond between a father and his daughters, as despite living in a rural area, he doesn’t consider his daughters to be less important than his son. It is a true example of women empowerment on reel, highlighted through the narrative as well as through its cinematography. The film succeeds in engaging the audience with its plot, as well as the talented actors giving life to its storyline. Suhaee Abro plays Nazo, and her talent shines through so effortlessly that you forget she is an actor playing a character onscreen – you genuinely believe she is Nazo. It was imperative for Nazo’s character to emote through her eyes and body language rather than just her words, and Abro delivers it all perfectly. Tanveer Hussain, who plays Nazo’s father, is such a brilliant and effortless actor that the audience wants to see more of him when he is not onscreen. Moreover, Masud’s direction is so good it makes one wish for more directors like him in the Pakistani film industry. The dialogues are relatable and quite representative of the setting of the film, while Olly Stothert’s editing creates a fluid narrative, helping audiences stay engaged throughout. On a realistic note, My Pure Land is better than most recent Pakistani films, as it banks on a good script, earnest performances, engaging storytelling, crisp editing and a fluid narrative; all factors found lacking in most mainstream Pakistani films. [caption id="" align="alignnone" width="480"] Photo: Giphy[/caption] My Pure Land released in the UK in September 2017, but it did not release in Pakistan, which is why I hadn’t heard about it until recently. The move to not release it locally felt strange; such films need to be showcased for those in the audience who are hungry for thought-provoking cinema and who will definitely enjoy the work of talented filmmakers like Masud. With this film piquing my interest, I decided to approach the director myself and ask him a few questions. What made you pick the story of Nazo Dharejo? I think it picked me, because I simply came across the story online by chance. I was immediately amazed and inspired by her strength and her courage, and I felt it was an incredibly important story which needed to be told and shared. Filmmakers usually cast stars and celebrities in their films (a Pakistani practice), but in My Pure Land we don’t see prominent names. Was this a planned move? Well, first off, I will say I think our cast did an amazing job. I always knew at the heart of our film was the relationship between a father and a daughter, and we were incredibly fortunate to cast Suhaee Abro and Syed Tanveer Hussain in those roles, because they are the gravity which holds this film together. The fact they aren’t currently prominent names in Pakistani cinema is something I will never understand. Their performances in this film have been widely acclaimed in every city and country this film has been screened in, and their performances are transcending language barriers; that’s how good they are! I sincerely hope the rest of the Pakistani film industry quickly wakes up and utilises their amazing talents. Was it a planned move to not cast famous names? I guess it was! It just wasn’t that kind of film. I was very conscious of the fact I wanted to make a film which felt honest and true; that rule applied to locations, costumes and cast. Also, in reality, we didn’t have the budget to cast a ‘named’ actor anyway, so I was very honest from the start and told people this was a low budget film. We held open casting sessions, and were prepared to meet anyone and everyone who was up for it. We went to universities, film studios, street casting, whatever it took. How do you see the Pakistani film industry? Do you plan to make commercial films, or would you want to stick to making more real-life based films? I think we are still trying to find our feet and our voice, but the more filmmakers we produce, the more voices we will have telling their stories their way. Technically, we need to educate and train our crews, treat the industry with respect as a viable profession, and learn the craft. There is clearly an appetite amongst audiences in Pakistan to watch home grown films, which certainly bodes well. As for me, I have another film set in Pakistan which I am currently working on, again based on a true story. However, I don’t see why that can’t be a ‘commercial film’. I’m hoping the film will be engaging, exciting and entertaining. What kind of feedback have you received from the people who have watched the film? I have attended a few festivals where the film has been screened, and the feedback has been incredibly positive. There aren’t many films from Pakistan which have screened at festivals all over the world and been shortlisted for awards. I think that is testament to the quality of our film. What, according to you, are the pillars of an engaging and successful film? Great question, and obviously very difficult to answer; if I knew the answer, I would be at the Oscars every year! I think, for me, what’s important is the character and the story – if I find both of them interesting, then I’m engaged. However, I also want to be entertained – this is cinema, the big screen – so let’s tell a story which merits the scope of a cinematic canvas. Are you working on any other films, or planning to make another one anytime soon? I’ve just finished the first draft of a feel good sports film set in the UK. I also have another film set in Pakistan I’m very excited about; I would really like to find some time to sit down and start writing that too. Plus I have a number of TV projects I am developing in the UK. As one can gauge from this small conversation with Masud, My Pure Land is a special film. Only when you watch it do you realise the level of effort and sincerity that went in to create a truthful but engaging product. This is, hands down, one of the finest independent films in Pakistan, which is why one can only hope it is given the chance to release in Pakistan, so our own people too can get the opportunity to immerse themselves in this experience. All photos: Screenshots

Some days ago, I received a clip on Whatsapp of a scene from a Pakistani movie titled Lahore Se Aagay. The lead character, played by Yasir Hussain, tries to make the dialogue ‘funny’ by mocking the speech related disorder generally known as stuttering or stammering. Upon further inquiry, I discovered Hussain has played the role of a guy who stutters several times in his career. In another movie, Karachi Se Lahore, which is the prequel to Lahore Se Aagay, Hussain tries to seem hilarious by stammering to the character’s advantage. Though he believes his portrayal is empowering for those who stutter, it certainly does not seem like it from the movie itself. Even if unintentionally, it appears the phenomenon of stuttering is simply being used as a device to add comic value to his movies, and to me, this is a really disturbing idea. https://www.youtube.com/watch?v=XDQvgjAzvWs However, using a speech disorder as a ‘funny’ plot device isn’t limited to the Pakistani entertainment industry – Bollywood has been doing the same for quite some time as well. For example, Golmaal, one of the most famous series in India’s comedy genre, has a character with a speech disorder for audiences to laugh at. This is problematic because the character is not particularly doing any comedy or cracking jokes despite his speech disorder for the audience to laugh at. No, in Golmaal, the disability itself is used as the punch line. https://www.youtube.com/watch?v=3MKngFmoUS8 The same way I have never understood why it’s so ‘funny’ to see men in drag (in female clothing); I am unable to fathom why it is socially and morally permissible to portray a naturally occurring disorder as a laughing matter, with no consequences or backlash whatsoever. This is not to say cinema should never portray characters with such disorders, only to request filmmakers and comedians to be more cautious and aware about the way they present sensitive issues. After all, there is a fine line between comedy and mockery. It is possible to portray characters and make films about people with any form of disability without any form of derision; Bollywood films such as Black and Khamoshi are proof of this. A particular example is of the Bollywood movie Kaminey, in which Shahid Kapoor’s character has a speech disorder, but it is not presented as a joke or a device to add humour to the film. Rather, even though others make fun of him for being a “totla” (stutterer), he proudly embraces and accepts his condition and challenges those who only see him as the punch line. https://www.youtube.com/watch?v=CIEXrGzzHXo Similarly, Rani Mukerji’s latest film, Hichki, is centred on a character with a disorder, but the movie doesn’t crack jokes at the expense of her condition. Instead, it depicts the life of a woman living her best life and pursuing her dreams without letting her condition hinder her. https://www.youtube.com/watch?v=nLSaCFlXn-g Unlike all other forms of disabilities, it is the speech disorder that has found itself a frequent outlet for comedy. What makes speech disorders an easy target perhaps is the fact they are seen as less serious than all other disabilities. Maybe because the individual can speak, even though they have limited control over it? This disorder is most common in school going kids, and is often made worse by the bullying they have to face as a result of it. Treating speech disorders can take time. Can you imagine a little kid taking speech therapy sessions for rehabilitation, and yet being the butt of the joke in the classroom, because his or her peers have recently seen a movie where their condition is presented as a joke? Emotional strain can negatively impact the child’s treatment, and can even further aggravate their condition. By joking about such disorders, bullies are given a free pass, and the only people who suffer are the ones already suffering. Even if the stuttering goes away in the future, the child has to bear with taunting comments and derogatory remarks, which can dent their personality forever. Speech disorders can be treated in a relatively easy manner, with no requirement for high-tech medical equipment or rare medical practitioners, and only the need for some good, sustained speech therapy. However, like most conditions, treating this one requires time and patience as well, and encourages the patient to speak more in order to fix the problem. However, it is hard to encourage those who stutter to speak when they are constantly faced with the possibility of people laughing at them for doing so. How are children to speak more, if they constantly face their peers and bullies laughing at them and bashing them for doing so? Will this not negatively impact children and simply force them to grow quieter? Given that speech disorders largely impact kids, this should be taken quite seriously, but the reality is the exact opposite. It’s considered “cool” to mock someone for stammering. Adding insult to injury, the funny faces made by the movie characters while stuttering provides more fuel to typical school bullies, who try the same for some ‘fun’ in the classroom. It is hard to comprehend why people cannot see how unethical this practice is, and continue to take this matter lightly. Why are we not treating this condition as seriously as we do others? How often do you see a movie where the joke is on a character who is blind, or physically disabled? Speech disorders are quite common and treatable, but that does not imply they aren’t serious. If it seems funny to you, please visit rehabilitation centres, and witness how hard parents try to get their children better. If the media wants to absolve itself of responsibility and not try to highlight such issues in a proactive manner or educate people, the least it can do is try to not make things worse by making it seem like such conditions are a laughing matter. For now, the real step forward would be for the censor board to ban such films from releasing in the country. If we can ban Padman and Pari for their content, the least we can do is ensure such negative messages are not spread to our masses in the name of ‘comedy’. Children are very sensitive and need care and confidence in their formative years to prepare for the challenges ahead. In a society already plunged with negativity, we can’t allow kids going through a speech disorder to also go through a world that thinks they are a joke. What we do need is for their elders and peers to support them, and to provide a safe space for them to comfortably rehabilitate at their own pace. None of this is possible until we all realise a speech disorder is not a joke, and it certainly isn’t funny.

Trailers or previews are unarguably the most significant gizmo to lure and persuade filmgoers to anxiously wait for the upcoming movie. Thus, filmmakers put extra effort in releasing flawlessly edited and timely trailers for their films, in order to build the buzz and attract audiences to the theatres upon the film’s release. They concentrate on adding weighty scenes, salient dialogues and amalgamating different vistas in their trailers to heighten the buzz. The blockbuster trailer of the highly anticipated Bollywood film Veere Di Wedding is a textbook example of this. With lots of juicy and garish material, yet still not giving away much of the plot itself, it has offered a lot of joy and entertainment, and eventually turned into a viral sensation since its release. However, when it comes to Pakistani films, trailers always miss the opportunity to become overnight hits because of ill-edited soggy shots and misleading representations of the storyline. One such example is the recently released amateurish trailer for Javed Sheikh’s Wajood, which neglected the addition of crispy ingredients to entice the audience, and instead only spotlighted the compositions of Danish Taimoor’s sundry avatars. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] The cast includes Taimoor (Faizaan) as the main lead opposite Saeeda Imtiaz and Indian actress Aditi Singh. The remaining characters are played by Nadeem Baig, Shahid Hameed, Frieha Altaf, Ali Saleem and Sheikh, who appears in an unnamed, mysterious character. [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] There are a few things one can pick out from Wajood’s trailer; there is a pilot, seductive women, overly used sultry dialogues, and a foreign landscape. These ingredients would immediately remind you Bollywood’s erotic plots in films such as the Hate Story franchise, as well as the Sunny Leone starrers One Night Stand and Jism 2. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] [caption id="" align="alignnone" width="600"] Photo: IMDb[/caption] The unimpressive suspenseful crime story is packed with poorly incorporated romantic scenes and easily forgettable action – all shot in Pakistan and Turkey. It has all the basic elements of a sensual thriller; for instance, love, fear, betrayal and revenge, merged with precipitous twists and turns. The leading ladies also didn’t pay attention to their dialogue delivery; spectators will find it to be a casual reading of the script. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Thus, the Jeeva (1995) and Ye Dil Aap Ka Huwa (2002) famed actor cum director Javed Sheikh failed to extract maximum appreciation, or really any appreciation, for his latest film’s trailer. As a promotional tool, Wajood’s trailer basically fails at its one job, for instead of pulling audiences to the theatre, it ensures they stay far, far away. As filmgoers, we all can hope the overall look of the film will not disappoint us. Nevertheless, one thing is clear: the film will have tough competitors upon its release, for 7 Din Mohabbat In and Azaadi are releasing at the same time, and have infinitely better trailers. Wajood is all set to hit theatres this Eidul Fitr.

Parwaaz Hai Junoon has been making rounds and creating buzz since its first teaser was released to the public. From what is evident through the recently released trailer, the film looks like a fresh breeze of uniqueness for multiple reasons, and seems nothing like what we have been offered so far by the Pakistani film industry. Let’s see what makes this trailer fly high! The preview revolves around the lives of cadets in the Pakistan Air Force, focusing on both their personal lives as well as their strong patriotism towards their country. It banks on friendship, romance, nationalism and sacrifice. There seems to be a love triangle (what we are led to believe by the trailer), some brilliant stunts and action sequences, with an abundance of patriotism on the side. Hamza Ali Abbasi is one of the most influential social media celebrities in Pakistan, with fans fondly remembering all his films. Whether it’s Main Hoon Shahid Afridi, Waar or Jawani Phir Nahi Ani, Abbasi has always done justice to his characters and won the show. In Parwaaz Hai Junoon, he looks fresh and in complete form. He is shown as a lover, a patriot and a trusted friend – there seems to be multiple shades to his character, for a change. Hania Amir looks cute, but at the same time she has been given some power-packed and solid dialogues. Her facial expressions are on point, be it her flirtation with Abbasi during a wedding, or serious interaction with Ahad Raza Mir during their training. Amir’s response to Farhan Ally Agha questioning why she gave up her American citizenship to join the Pakistan Army was also well-penned, and she delivers it with conviction. Transitioning from the small screen and debuting in the film world with this movie, Mir is the upcoming sensation of the entertainment world. He looks dapper and stylish, and delivers the few punch lines given to him with effortless persuasion. It’s a delight to watch his speech at the end of the preview. Shaz Khan is one of the finest actors in Pakistan; from Moor to Dobara Phir Se, he jumps from one character to the next with gusto. Despite having just two lines in the trailer, he manages to excite his fans due to the ease he brings with his onscreen presence. The dialogues are the strength of the trailer, and are placed nicely to give a little taste of what to expect from the film. The beauty of the trailer is that it doesn’t give out the entire plot, only significant pointers; something not often found in the Pakistani film industry, which has not yet learnt the art of making a good movie teaser. Judging by the shots, execution and grading, the trailer seems quite impressive, and one can only hope the film manages to create a good impact at the box office. As veteran actor Asif Raza Mir is also part of the cast, Parwaaz Hai Junoon will also be the first film to feature a father-son duo on the silver screen. It won’t be wrong to say that this Eidul Azha, three different and highly entertaining films – Jawani Phir Nahi Ani 2, Load Wedding and Parwaaz Hai Junoon – will be hitting the cinema screens. All three have different genres and plots, which is a positive sign for the Pakistani film industry. Those who have been waiting for a subject-oriented, emotionally-charged, patriotic Pakistani film which features the young guns of our film industry, should definitely give Parwaaz Hai Junoon a try. All photos: Screenshots 

The trailer for Batti Gul Meter Chalu, scheduled for release on September 21^st, was recently released to acclaim. The film, helmed by the Toilet: Ek Prem Katha director Shree Narayan Singh, stars Shahid Kapoor and Shraddha Kapoor alongside Divyendu Sharma and Yami Gautam. https://www.youtube.com/watch?v=BoLTSoVPzQ0 The film’s theme is truly commendable, for this is perhaps the first Bollywood film dealing with the subject of electricity theft. The film is essentially an issue-based commentary on the subject of power theft and skyrocketing electricity bills in the mofussil areas of India. Shahid is a cheerful and carefree advocate, but his life changes completely when his friend (Sharma) commits suicide under the pressure of paying a hefty amount of Rs1.5 lakh as his electricity bill. From that moment, the sole purpose of his life is to seek justice for his friend. The makers of Toilet: Ek Prem Katha have, it seems, ventured into another social issue faced by common Indians, largely because of the success of their previous film. Shahid is clearly following in the footsteps of Akshay Kumar, who has rightly received both commercial and critical success because of his films dealing with real and serious issues faced by India specifically. However, apart from Shahid’s presence and the grave issue the film is centred upon, another reason the film’s trailer has been in the news is due to some similarity with the 2016 Pakistani film Actor In Law, which was directed and produced by Nabeel Qureshi and Fizza Ali Meerza respectively. https://www.youtube.com/watch?v=6bJIxecaC1s Actor In Law also highlighted the issue of load shedding in Pakistan in a particular courtroom session, with Fahad Mustafa playing a lawyer. As mentioned earlier, Batti Gul Meter Chalu reflects a similar subject, with Kapoor playing a lawyer. Overall, it is obvious how similar difficulties and issues have inundated common people on both sides of the border. Though fans were quick to notice the similarity, it was brought into the national conversation by Mehwish Hayat – who starred in Actor In Law – expressing that the trailer reminded her of her own film. Looking closely at both films, however, I must agree the similarity is quite evident. Both Kapoor and Mustafa play common men who fight against the system as lawyers in the courtroom, particularly regarding the electricity crisis. Hence, Hayat’s opinion has considerable ground when she says that both movies have presented their premise in a similar pattern. https://twitter.com/MehwishHayat/status/1027894805911793665 https://twitter.com/ahmed1206says/status/1027918390697095168 https://twitter.com/Gosleepbabyy/status/1029611438283927554 However, those who are going to the lengths of declaring that Bollywood has copied a Pakistani film should hold back their horses. It is simply not reasonable to come to a conclusive decision by merely watching a three-minute trailer. The film may tread on similar territory in terms of thematic concerns, yet that does not corroborate the idea that the film is copied. Coincidentally and ironically, Actor In Law was screened in India on August 10^th, the same day the trailer of Batti Gul Meter Chalu was released. According to Fizza Ali, this would help cementing their claim that Kapoor’s film has taken inspiration from Actor In Law. Ali was visibly peeved, as she believes credit should have been given by the filmmakers to the original Pakistani film.

“This just proves that people are watching our cinema across the border. Be it discreetly, they’re still watching.” Ali stated. “And if they just want to take inspiration, they should do it ethically by giving due credit at least.”

“Picture abhi baqi hai, mere dost!” (The picture is yet to conclude, my friend!)

Very few sequels receive more appreciation than the original film itself. For instance, Na Maloom Afraad was brilliant when it was released, but Na Maloom Afraad 2 was not as crisp, witty or smart as the original. The same goes for the Hera Pheri series across the border; part one was phenomenal, but it only went downhill after that. Jawani Phir Nahi Ani 2, the follow up to 2015’s Jawani Phir Nahi Ani, had all the winning elements on paper; from an intriguing trailer, stellar cast, and actually funny jokes, the film seemed set to emerge victorious at the box office, despite the many local releases this Eid. After watching the movie, I was pleasantly surprised for a change to see the sequel not only meeting but exceeding all my expectations. https://www.youtube.com/watch?time_continue=1&v=TUM6liPArUE Jawani Phir Nahi Ani 2 starts off three years after the prequel ends. Pepe’s (Ahmed Ali Butt) brother-in-law, Rahat (Fahad Mustafa), invites the former’s and Sheikh’s (Vasay Chaudhry) family to attend his wedding in Turkey. When in Turkey, Pepe and Sheikh discover their friend Sherry (Humayun Saeed) is in mental asylum. They rush to meet him, and to their complete surprise, the management of the asylum grants Sherry’s custody to them. Sherry is shown to be suicidal because of an incident that took place earlier in his life, and strangely enough, what follows in the film involves a mixture of a big fat wedding, the Indo-Pak equation, some duplicity and a whole lot of situational comedy. Every single actor in the film does justice to their characters. Saeed and Mustafa both deliver brilliant performances sure to impress viewers due to their sheer talent. Saeed comes across as the biggest surprise; not only are his emotional scenes moving, his comic timing is brilliant! This is undoubtedly one of the finest performances of Saeed’s career, as he manages to excite the audience with gusto. Mustafa, on the other hand, looks dashing and dapper in every scene, and is purely exceptional in the climax. Butt is amazing as Pepe and contributes effortlessly to the comedy, while Chaudhry too has some wonderful and funny one-liners. Sohail Ahmed is in complete form and gives a performance in complete contrast to his character in Punjab Nahi Jaungi. Kanwaljit Singh is also first-rate and plays his part very well. Out of the female leads, Sarwat Gilani makes the most impressive appearance, as her performance is excellent. Kubra Khan looks cute, while Mawra Hocane is strictly subpar. The dialogues and screenplay turn out to be the backbone of the film, making Jawani Phir Nahi Ani 2 one of the finest comedies to come out of the Pakistani film industry. Hats off to Chaudhry for writing this film, which is an out and out entertainer likely to elicit smiles and laughter from everyone in the audience. It ups the ante of the entire industry, as the film is smartly written, conceived and executed. The film is undoubtedly better than its prequel. The music of the film is perhaps the only disappointing element, as there is nothing special to recount there. Out of all the soundtracks, Tillay Waali Jooti and Behka Re are the only tracks worth listening to. https://www.youtube.com/watch?v=5Byi9n3SYzY https://www.youtube.com/watch?v=GTC3XaR46Qw Jawani Phir Nahi Ani 2 is a 165-minute long roller coaster ride, and yet it never drags. Nadeem Baig smartly handles the lengthy film with his great direction, and keeps on adding interesting twists and turns throughout the film – along with some exciting cameos – to keep viewers engaged; a feat rarely seen in Pakistani films. Baig has definitely hit the bull’s eye! For those who like to be entertained by films that are actually witty, Jawani Phir Nahi Ani 2 is a must watch. Yes, the film’s plot is not likely to attract an award nomination, but there is no doubt about how thoroughly entertaining it is. This Eid, we’ve finally received a genuine treat for Pakistani cinemagoers. Those who enjoyed commercial films like the Housefull or Golmaal series need to get out there and give Jawani Phir Nahi Ani 2 a try. You will not regret it! All photos: Screenshots 

Haseeb Hassan’s Parwaaz Hai Junoon has been in the limelight for quite a while now. Ever since the trailer was released, the obvious patriotism of the film moved even the hardest of souls, but that was not all. The younger star cast, comprising of Hania Aamir, Ahad Raza Mir, Shafaat Ali and Shaz Khan, definitely made it more appealing. Add to that the social media sensation and forever Pyare Afzal in our hearts – Hamza Ali Abbasi – and you have a film the entire country could not wait to watch. https://www.youtube.com/watch?v=FJ2Fm-4CR5k The film, centred on the Pakistan Air Force, comes across as an experimental attempt to rejuvenate love for the country, which is why it revolves on the theme of youth, romance and patriotism. The plot switches between two timelines. The first highlights Saad (Ahad), Sania (Hania) and Zaid (Shafaat), a group of young recruits struggling to become fighter pilots. The second shows how Hamza (Abbasi), an Air Force pilot falls in love with Sania at his friend Nadir’s (Shaz) wedding, and inspires her to join the Air Force as well. How these two timelines intersect is perhaps where Parwaaz Hai Junoon falters. Performance wise, Hania comes out looking natural, enthusiastic and very believable as a woman who aspires to serve her country. Say what you will about Hamza, but he is a first-rate actor. He somehow manages to look younger, and perhaps did not need to work too hard to come across as a patriot willing to die for his country, for he excels in the scenes where his patriotism is out on display and succeeds in making the audience emotional. Shaz, also a great performer, plays his role of an Air Force pilot and Hamza’s friend with utmost conviction. Ahad’s character is a bit confusing, which is perhaps why, despite his best efforts to offer a decent performance, he simply does not resonate with the viewers. Those who have seen Ahad act in dramas can easily tell he can do much better than this. Asif Raza Mir, like his son, unfortunately misses the mark. He was given a good character to work with, but there was something half-cooked in his performance. Shafaat, on the other hand, comes across as the surprise, adding much-needed light and fun moments to the film. He’s clearly a good addition to the Pakistani film industry and should do more films. Like most films, Parwaaz Hai Junoon has its plus points and shortcomings. For instance, it shows some great aerial combat scenes, and keeping in mind this is a Pakistani film, credit should be given to the cinematographers. The dialogues were aptly written by Farhat Ishtiaq, and do justice to both, the patriotic and romantic aspects of the film. The character development too is on point, with proper space given to every character to make the audience relate and connect with them. However, the shortcomings outweigh the plus points. The biggest issue in the film is how weak it is on the technical front. There is poor camera work, and then there is camera work so bad that certain shots are out-of-focus. Funnily enough, those scenes don’t even feel like they belong in the film in the first place, making one wonder why the filmmakers went to the extent of keeping them in, despite how poorly they reflect upon an otherwise good film. Moreover, the overall plot drags as it tries to balance between the two timelines, and certain scenes are kept in despite contributing nothing to the film itself. Leaving these on the cutting room floor could easily have taken 15 minutes out of the film, making it crispier. Moreover, for a film like Parwaaz Hai Junoon, which revolved around patriotism and romance, the music could have played an instrumental role in making the audience love the movie even more and remember it for years to come. Unfortunately, most of the songs in the film feel unnecessary and do not really add anything when it comes to the sentimentality or the memorability of the film. Ultimately, the art of storytelling is the only selling point for Parwaaz Hai Junoon – for a patriotic film, the narrative and the characters connect with the audience and viewers remain engaged in the film. One has to acknowledge this is a decent effort by the filmmakers and brings yet another new facet to the Pakistani film industry. Parwaaz Hai Junoon is thus a good film but a one-time watch, and might have performed better had it been released either on August 14^th (Independence Day) or September 6^th (Defence Day), given the patriotic feel the movie leaves you with. All photos: Screenshots 

It may seem hard to believe, but the trailer is actually one of the most important parts of a film. After all, it is through the trailer that the audience gauges the film and makes up its mind about whether or not to spend money watching it in the theatre. Thus, the power of a good trailer cannot be denied. Meanwhile, Junoon-e-Ishq is yet another Pakistani film that kept the audience away just through its trailer. Pakistani audiences had serious doubts over the quality of content, the performances as well as every single aspect of the filmmaking, and the entire credit for these doubts goes to the trailer of the film. https://www.youtube.com/watch?v=1TIB2fUtwjk Naseem Haider Shah’s Junoon-e-Ishq has become one of those (Pakistani) films that could not even survive two days at the cinemas after its release, when ironically it was expected to do better due to a lack of international content. It will soon become apparent why it was a disastrous venture. The film features Adnan Khan, Mahi Khan, Amir Qureshi, Rashid Mehmood and the legendary Shahid in pivotal roles. However, the film was neither publicised nor promoted the way other Pakistani films have been of late. There can be many reasons behind why this was the case, including limited budget, unknown stars, as well as a lack of support by the media. Its plot might have seemed like a good idea on paper, with the story involving Gulbaz (Qureshi), a man obsessed with Sahiba (Mahi), a haughty rich girl who in turn is in love with Raja (Adnan), a modest villager trying to make ends meet. Unfortunately, right from the script to its execution, and from the performances to its music, Junoon-e-Ishq completely fails to deliver anything of quality on every front. There are some legitimate twists and turns in the film, but everything else is so bad that they too fail to leave a lasting impression. Some incredibly poor storytelling, zero application of logic, an unrealistic approach towards filmmaking and a suffocating narrative are some factors that result in Junoon-e-Ishq falling flat on its face. To the film’s credit, it tries to imitate some tried and tested practices in the Pakistani film industry, such as: 1. Sizzling item songs that don’t do much expect objectify women. 2. A typical ‘baarish ka gaana’ (rain song) with the drenched woman dancing in a white dress. 3. Insensitive characters added only for comic relief. 4. A social class divide highlighted by the romance between a rich woman and a poor man. Safe to say, none of these work in Junoon-e-Ishq’s favour. It was also sad to see a reputed name like Shahid – who used to be a leading man in the 70s and could guarantee box office hits – agree to do films like Junoon-e-Ishq (and Chain Aye Na before this). Mehmood’s acting, on the other hand, is nothing less than torture to watch, for one does not expect a seasoned actor like him to mess up a character as simple as the one he plays. After Shor Sharaba, Adnan yet again delivers the same kind of exhausting performance where he neither looks the part nor plays it believably. Qureshi on the other hand could have done wonders with his character, but instead amateurishly plays the psychotic lover. The only thing Mahi makes you wonder is how she got cast as the leading lady in the first place. The most surprising bit is that Junoon-e-Ishq falls under the category of films that are made for single screen audiences – multiplex audiences rarely turn out to watch such films – but even single screen audiences refused to embrace it. This was the case despite the masala that the filmmakers supposedly added deliberately for such audiences. If this reveals anything, it is that Pakistani audiences at large are now exposed to better quality of work, and will no longer appreciate such below par content. Most shows were thus cancelled because of little to zero traffic on the first day, and within two days Junoon-e-Ishq was taken down from cinemas entirely. This should be alarming for Pakistani filmmakers, who need to realise that in this day and age our audiences expect (and deserve) better content than what we are currently producing. The audience has matured and moved on from the terrible single-screen films that graced our theatres for years, and people now want to watch quality cinema, as experienced through international films. If films like Junoon-e-Ishq keep coming out of Pakistani cinema, there is a high probability that audiences will once again stop visiting theatres to support Pakistani films. After all, their hard-earned money deserves better return than the feeling you get when watching films like Junoon-e-Ishq. If Shor Sharaba, Gumm and Project Ghazi (besides being an ambitious attempt) had been conceived and executed properly, these movies would not have left our industry worse for the wear. Now, with a ban on content from across the border and an apparent inability to pay off international distributors, Pakistani cinema desperately needs to produce better films – and better than Junoon-e-Ishq is not a big ask – so that audiences don’t fear visiting theatres to watch films made in their own country. This movie did not warrant any rating. All photos: Screenshots 

Rightly considered one of the most anticipated Pakistani movies of 2019, Baaji’s trailer was unveiled yesterday to largely positive reviews. Saqib Malik’s directorial debut, the first few seconds of the trailer show the film to be a cross between genres as we see drama, action, comedy, revenge and even murder. The cast includes the ever-glamorous Meera, who shares the screen with model-turned-actor Amna Ilyas. Other primary actors include Osman Khalid Butt, Mohsin Abbas Haider, Ali Kazmi, Nayyar Ejaz, and Nisho Begum. Baaji is about an aging former movie star trying her best to keep pace with younger, emerging talent that is also undoubtedly more charismatic. The first 10 seconds of the trailer establish why Meera’s character enjoys legendary status in the movie industry, while Ilyas is presented as a newcomer who aspires to make it big in the world of showbiz and own a huge mansion. Butt plays the role of a director who is looking for a fresh face for his next project, Haider seems to be interested in Amna, while Kazmi appears to be Meera’s boyfriend. The trailer ends with Meera’s character saying,

“Love me or hate me, but you can never replace me!”

What happens when you announce a film with the leading lady of the Pakistani film industry, who has also recently been honoured with a Tamgha-e-Imtiaz? Expectations are bound to skyrocket. With a comparatively newer cast alongside box office superstar Mehwish Hayat, Wajahat Rauf’s latest film Chhalawa released yesterday. https://www.youtube.com/watch?v=Ssk5EUH5pjY Azfar Rehman will be seen playing a leading role for the first time here; he was last seen on the silver screen alongside Hayat in Punjab Nahi Jaungi in an extended cameo. Will Rehman be able to make it big with Chhalawa? Can Hayat carry an entire movie on her shoulders? Let’s find out. The plot is largely made up of some basic and half-cooked ingredients hurriedly added in the film, which is largely made up of four aspects. There is of course a hurried romance followed by some forced puns, after which we have some yawn-inducing emotional drama that feels entirely unnecessarily, all capped off with some unrealistic events added to make this yet another ‘brainless entertainer’. Unfortunately, Chhalawa seems to tell a story which is formed around its dialogues, if that makes any sense. With zero character development and forced humour, it follows Zara (Hayat), a small-town girl who falls in love with Sameer (Rehman), a rich boy from the city. However, Zara is locked in her house by her father (Mehmood Aslam) as he wants to marry her to his brother’s son Jalal (Mohsin Ejaz). Trying to win her family over, Sameer’s friend (Asad Siddiqui) pretends to be a pir to get them both access to Zara’s house. How is a Chaudhry fooled by a fake pir into allowing both him and his friend to stay inside his house? We will never know. The script is boring and terribly tries to stretch every scene, and yet entirely fails all the nine Cs of communication. It tries to bank on its dialogues, but they are weak and clichéd. If the attempt was to make people laugh, the film achieves the polar opposite of that objective. Written by Yasir Hussain, this is by far one of his weakest attempts and makes one question his skills. The music is the least terrible part of the film, but seems to be forcefully added because its placement makes no sense. Songs just appear and people start dancing. Why? Keep guessing! Performance wise, Chhalawa offers nothing the audience will discuss once they leave the cinema. Hayat is wasted in Zara’s character, which had a lot of room for development. Watching an actress with a Tamgha-e-Imtiaz, whose impeccable performances in Punjab Nahi Jaungi and Load Wedding made her deserve the honour, try too hard here with a fake accent and a shallow character is a sheer disappointment. Rehman is easily forgettable and tries hard to ‘act’ but fails to leave an impression. On the other hand, Siddiqui excels in a few scenes, and so does Zara Noor Abbas. The problem with all the performances in Chhalawa is that the entire cast goes overboard (read: loud). Every single character seems to overact in this so-called family entertainer, but it doesn’t achieve the desired effect. It is thus quite a task to remember the plus-points of this film. In the name of rom-com and family entertainer, Rauf delivers a film which is neither exciting nor creative or thoughtful. Seeing this film feels like watching a movie you have seen way too many times before, and that too done better. The film seems to not know what direction to take. A few scenes that had the potential to affect the audience were amateurishly directed. The makers clearly thought adding lengthy dialogues, unnecessary puns and stereotypical performances will save the project, but this is what ends up destroying it. Those in the audience who held hope that the climax would redeem the movie are further proved wrong when what they get is something that is more nonsensical than it is entertaining. The ending somehow plays games with sensible minds in the audience. The entire time you just sit there as things happen and wonder why they are happening and how someone could possibly come up with this script and also get someone to fund it. My rating for Chhalawa is generous, given everything I’ve said about the movie. Adults will be bored throughout. Kids might like it, but mature and sensible audiences can easily save their Eidi this year by not wasting it on Chhalawa. All photos: Screenshots 

 When I reviewed Mahira Khan's last film, Verna, which according to me, had some next level blunders in terms of both content and performance, I was told, 

“Whether you accept it or not, Mahira is a superstar of the Pakistani film industry; it doesn’t matter if her films don’t do very well at the box office, she’s a crowd-puller.”