Controversies of yore

By QAM

As the saying goes, you can't win 'em all. In the newspaper business, especially the showbiz section, that adage rings especially true. Somehow, somewhere, at some time, someone is going to get offended by what we write. We, in the interests of journalistic integrity, try our level best to present a true, untainted picture of whatever we report or whoever we interview, yet inaccuracies sometimes tend to creep in as to err is human and, despite popular belief, journalists are human too.

If it isn't a local pop group upset with the fact that you grilled their last performance, it's the family of some notable calling, e-mailing, faxing and

personally visiting our office because of the fact some starlet claimed common bloodlines with that late, great man. For that, we say we are only journalists, not private eyes. And as far as people getting teed off with negative reviews and such, well, if you're in the game, learn to take the 'legitimate' criticism (believe you me there's a lot of the illegitimate kind out there too). Of course, in the past ten years, there has been a lot of hot air blown about because of articles published in these pages. Images has been sent letters by lawyers in some cases. Here is a trip through some of our (bad) memories.

Early on in the magazine's history, Junaid Jamshed struck out at music critics, saying they didn't know their C notes from their D notes and that even though they unceremoniously dumped on local artists, they almost always praised cheesy Indian popsters. Naturally, this prompted a heap of scorn from readers and critics alike.

Another saucy little exchange took place between Tahira Syed and the late Madam Nur Jehan. Apparently, Tahira had given an interview to a Lahore-based Urdu daily in which she had made some not-so-flattering remarks about Malika-e-Taranum. That was enough to stoke the fires of rage in Madam's eyes, and she proceeded to call a press conference at her Lahore home. What followed was a steady barrage of venom directed at Tahira: nothing and no one was spared as Nur Jehan tore apart her singing abilities and her lineage.

Things turned ugly between Syed Noor and Neeli, as the actress was dropped from four of Shah Ji's films, to be replaced by Andaleeb. Neeli wouldn't talk, while Noor brushed the matter aside, saying that it was because of Neeli's unprofessional attitude - not sticking to the production's schedule - that led to his decision. As Neeli refused to tell her side of the tale, there was no other option but to go to those oh-so reliable "sources" for the lowdown. It so happened that Neeli was busy with her sister's wedding in Hyderabad and couldn't meet the production schedule. Oh well, should have left a message on Shah Ji's answering machine.

In 1995, after 20 years on air, the Tariq Aziz Show was finally pulled off air by PTV. "Eleven MDs came and went. None of them ever thought of closing the programme down. Why now?" a visibly disturbed Tariq asked, while a cool, collected statement from PTV said it all: 'The standard of the programme had gone down.' But who knew at that time that the ubiquitous quiz show would make a return - with a vengeance.

A certain Dr F. Mamsa also wrote in to inform the readers of the serious gaffe that occurred in Sahira Kazmi's PTV play, Tum se Kehna Tha. Apparently, one particular scene, where Farhan Ali Agha is taken to hospital after a car accident, was a medical minefield as from a doctor's perspective, it was rife with inaccuracies. This led the good doctor to say, "Thank God Sahira Kazmi and (writer) Mohammad Ahmed are not doctors!"

A little tiff erupted in 1996 when the late Nazia Hasan's stellar track Boom Boom was remixed in India, despite Nazia's reservations. She had been approached by an Indian record label and Nazia-Zoheb collaborator and composer Biddu, and had politely declined, yet the parties involved went behind her back and released a sub-standard version, which shot to the top of the Indian charts through a video mouthed by a model. Nazia received no credit whatsoever.

Then there was the PTV pay dispute with artists. This led to the first-ever strike at the national network, which lasted a month. Some leading names from the actors' guild were blacklisted by the station, including Saba Pervaiz and Rubina Ashraf. Furore was raised over Nusrat Fateh Ali's made-for-India videos, as locally, the singer was censured for the fleshy exposes that some of them contained.

Zeba Bakhtiar's son with Adnan Sami, Azaan was taken away from her, and Zeba's motherly lament was published, in eight columns, across Images' front page. "I do not want to become one of those actresses who, at the end of the day, have nothing of their own except 50 films to look back to. The only worthwhile thing I have done in life is to have Azaan. And now he is not with me," she mourned. She further claimed Adnan "abducted him" and whisked him off to Dubai. Naturally, a firestorm of controversy followed, which left a bad taste in everyone's mouths. Things were complicated further when family court granted custody of the child to Adnan.

Junoon ended up in hot water locally after making certain statements along the lines that India and Pakistan would soon be one. Salman went into damage control mode when he stated, "What Ali (Azmat) had said in the interview was that Brian was an American and we two were Pakistanis, so, as an artist, you do not have a nationality. The way the interview was edited, it seemed he was saying 'I do not have a nationality.' The editing has been done to sensationalize the issue." The matter went to the highest echelons of power, with the Pakistani government investigating the matter. Junoon explained themselves through the very pages of this magazine.

Songbird Hadiqa Kiani got the rough end of the stick when her songs for Syed Noor's film Sargam were redone by Asha Bhosle on Adnan Sami's insistence. Hadiqa was fuming, but there was little she could do. What made the issue even more ridiculous was that though in the movie the songs had been sung by Hadiqa, in the soundtrack audio-cassette, it was Asha's voice that wafted through the speakers. "Adnan told us later that he had used Asha after Hadiqa had completed the album because Asha's voice had commercial viability. His logic was trash and neither the film's producer nor the lyricist agreed," bellowed Irfan Kiani, Hadiqa's brother and manager.

Atiqa Odho sang Dil Dil Pakistan, Jan Jan Hindustan on a Zee TV programme, which sent the fur flying at home. "Let's not forget that I was singing this on an Indian show with the entire audience singing along. I feel it is my duty to use whatever I have at my disposition to work on the issues that may reduce tensions with our neighbour," retorted a diplomatic Ms Odho.

A war of words also erupted as writer Omar R. Qureshi censured local FM radio disc jockeys for what he considered their merciless assault on the English language in his article titled 'Mind your language.' However, the DJs would not take the criticism lying down, as Behzad Alam, then associated with FM 101, wrote back a stinging rejoinder, part of which went something like this: "I have not been to the US. I have not been to the UK either. Therefore, I shouldn't be speaking English at all, because the writer believes that you should not speak English with an American accent if you have not been to America."

Then there was the adverse NTM issue. The channel had just gone down, and the controversy shifted to the pages of Images. Asif Noorani, in his column 'Between you and me,' claimed that Faisal Sherjan, erstwhile boss of NTM, had fled to Canada as the channel was in the red to the tune of millions of rupees. Just one producer estimated that her outstanding dues totalled around Rs1.7 million. Fingers were pointed at the powers that be, as silent spectators if not accomplices to the grisly dealings.

This in turn prompted a fiery reply from Sherjan, who proceeded to tear the offending article to shreds. As expected, he denied all wrongdoing and insisted that the process was underway to pay all of NTM's outstanding dues. He further claimed that the producers who were crying foul were in fact in violation of the contracts they had signed, as they had sold the international rights to their productions to an Indian satellite channel, and that he had proceeded to New York, not Canada.

This venomous exchange continued for some time, with both sides levelling accusations after counter-accusations. Thus, valuable column space, which should have been reserved for constructive articles, was instead utilized for verbose mudslinging.

Bad old days of cinema

By Zafar Samdani

Every film industry creates its own culture, a world simultaneously real and make believe, weaving life as it is and fiction in to a fabric of varied designs. For the major part of its history, Pakistani cinema followed this pattern and created by and large an indigenous texture. It is still the same, at least in a manner of speaking, but with a not very pleasing difference: local films have forgotten how to smile. Images and their contents cannot remain static; they must undergo changes over time. Deviation from the pattern became sharp and took

a totally different direction on the local screen about two decades back. There has been a complete transformation of directions, albeit a negative one, during the last decade or so.

The world became an increasingly dangerous place in this period. A wave of violence swept across the globe, destabilizing societies and triggering changes all over, a terrible process that persists unabated. The name of this new and horrendous game is violence. The media, particularly visual expression, reflects it with an almost gruesome focus and violence has become a virtually constant theme of cinema that remains the most powerful and influential medium, despite multiple and continuously forming challenges to its dominant position.

Pakistani cinema has possibly been more of a victim of this trend than other countries because of a paucity of intellectual and creative resources. The local screen has been inundated by blood and gore. However, violence has merely served as a smokescreen for the national film industry's real content, which is dark and forbidding in its grimness.

Cinema here originally followed the tradition of entertainment as practised in films of the subcontinent. The concept of entertainment comprised, besides romance, music, dance and of course a smattering of villainy, a measure of intrigue, an element of suspense and occasionally action to settle the conflict between good and evil. Humour was one of its integral components. These elements were not only retained, they were further developed and chiselled in the early period after independence when film-makers established a concrete base for films that was both populist and creative.

But things started going awry in the mid '80s and by the early '90s, Pakistani cinema was wallowing in its self-created mire. It had lost the capacity for joy and simply forgot to smile. Humour has been the biggest and most regrettable casualty of local films in the preceding decade.

National cinema started changing course during the martial law years of General Zia-ul-Haq, when the government introduced policies to control the film industry. The decision that had far-reaching negative repercussions for the industry was the law for registration of producers, particularly its implementation. One has nothing against the law itself, because a measure for placing a sector on an organized footing is essentially a positive initiative. But it took the authorities more than a year and a half to start registering film-makers, halting all production work in the industry and turning studios into wastelands, leaving theatres to show only reruns.

The first to feel the pinch were investors who suffered colossal losses as more than 50 films were in the pipeline; their resources were blocked. A majority of the people who financed film projects called it a day. As it is, cinema is not a reliable field for investment because recoveries are time-consuming and profits unpredictable. But professional producers knew their way around and could afford to wait for success at the window. That came to a halt under the registration dispensation.

With the exit of experienced investors who had established communication channels and understanding with directors and writers, many senior and qualified professional directors and writers also started exploring other options. They felt ill at ease with the new investors who were generally uneducated or semi-educated, and their resources were largely of a black hue. They had no idea of the finer aspects of cinema, let alone ability and willingness to appreciate them.

The second and third string members of the industry were happy to get a chance beyond their expectations and made whatever compromise was demanded by the new set of investors. In the past, writers and directors had the final say in professional matters; in the post registration period, financiers gradually assumed total command and called the shots, for which they were not qualified. All this led to a steep decline in the quality of local movies and made Pakistani cinema a crude and senseless scene marked by tastelessness.

The change was instrumental in the selection of subjects for films also. Many financiers had shady backgrounds and used cinema to glorify themselves and their associates. Meaningful social themes were chucked out and replaced with stories justifying hoodlums and their activities. Among other things, this kind of cinema had little use for the light-hearted approach. Its humour was confined to the stupid antics of sidekicks. Earlier, films of Pakistan almost invariably cast a humorist and usually accorded him reasonable footage and exposure. The first notable comedian was Nazar who started with the late actor-director Nazir and soon enough became a star for every third or fourth feature. He was joined by a host of competitors like Charli, Asif Jah and Diljeet Mirza. Then Zareef appeared on the screen and immediately established himself as a distinguished and highly talented humorist. In the mid '60s arrived Rangeela, his very entry in the frame causing full throttled laughter in theatres. Lehri was another popular humour tool of that period. These comedians had the capacity to communicate with the film-going public at different cultural and aesthetic levels.

Most of these artists continued to entertain the public till the late '80s. Their tribe suffered the exit of Zareef, but he was replaced with son Munnawar Zareef who proved an exceptionally resourceful artist. He took the level of humour in local cinema to an artistic level.

Comedy flourished in the '80s with Munnawar Zareef, Nanha and Ali Ijaz cast in main roles in a number of full-length humour features. Some of their films as lead players were quite popular at the box office and were even plagiarized by film-makers from across the border. But they began to face a stiff challenge from vendetta, villainy and violence-oriented movies like Wehshi Jat and Maula Jat. As the trend set by these films caught on, humour was assigned to the backseat; it was gradually forced out of the frame or replaced by uncultured and crude gesticulation and double meaning dialogue.

Humour in cinema was not the preserve solely of comedians but other major artists were also equally at ease rendering light roles. M. Ismail, Alauddin and Talish had a vast range of facility of expression. These artists, as also a number of their lesser-known colleagues, had no problem moving from serious situations in to light ones. Their presence enhanced the quality of cinema for the film-going crowd from all segments of the populace.

Popular lead players like Waheed Murad, Shahid and later Nadeem were cast as multi-dimensional characters that required them to roam around as romantics, move people with emotionally charged performances and make them laugh as well. Actresses also had to do their bit. Rani, Shabnam and Babra Sharif demonstrated versatility in many movies. That tradition and range has come to grief over the years, virtually buried under the senseless antics that are being churned out.

There are some reasons for the changed course. We are passing through volatile times with very few pleasing events and developments. One presumes that writers of cinema and film-makers have submitted to the new deal like many citizens. But the fact remains that Pakistan's films have become sullen. Even worse, the desire and intention among people manning the industry to reverse the trend seems to have fizzled out altogether. It is not that cinema has wholly abandoned the light mood and altogether given up joy. For the first time in Pakistani cinema there, however, is no artist specializing in humour.

Some film-makers have tried to fill that vacuum with Afzal Khan, better known as Rambo. But his exact position has not been determined and he keeps shuffling between sidekick openings, cardboard villains and fake toughies. His is a floating presence carrying considerable promise that, unfortunately, is unlikely to be fulfilled.

Strictly speaking, characters like these could be rip-roaringly humorous but the film-makers have reduced them to pathetic pawns. They do not represent any zest for joy and bring no happiness to people who watch local films. The sum total is forbidding grimness.


  • Larki Punjaban
    One of the most expensive movies ever produced in Pakistan, with a budget reaching up to Rs. 7 crore, Larki Punjaban (an Urdu/Punjabi film) finally hit the silver screen on 25th December after seemingly endless delays and controversies. The film has created history ? it is the first Pakistani film to be released in the international circuit. Directed by Syed Noor, co?directed by Indian director Shashilal Nair, and produced by Afzal M. Khan of UK based Paragon Pictures International, the film did quite well in the UK before release in Pakistan. A release in India is also planned, which will he quite an achievement for Syed Noor.

    Larki Punjaban is the story of a Sikh girl, Preetam (Saima) living in Chandrigarh. Her grandmother’s friend to Lahore for the religious pilgrimage to `Nankana Sahib’ invites her family. During their stay as the guests of the Muslim family, Preetam falls in love with the son of the host family Shamyl (Shamyl Khan). When the Sikh family discovers that a relationship has blossomed, all hell breaks loose. They quickly decide to return to Chandrigarh. After their return, Shamyl still manages to keep in touch but Preetam's family, realizing the potential problems, send her off to Malaysia to marry her fiancée Ranjeet Singh (Babar Ali). Shamyl is heart broken at suddenly losing contact with

    Preetam. He manages make his way to Malaysia to try and convince her to forget everything for love. But Pteetam tells him to forget about her as he is wishing for the impossible.

    What should they do? Run away together and face the wrath of their families? Or accept the decision of their elders and sacrifice their love for each other? Can their love survive the pressures of culture, tradition, inbred hatred and the religion of their elders? AS in fables, will love conquer all or will the harsh realities of life force the young lovers into submission? Watch it to find out...!

    Overall Larki Punjaban is a good movie with a storyline right on track ? something rare in a Lollywood flick. The music by Gain is original and pleasant. The songs have been doing the rounds in film?based shows on television for some time now and have become quite the hits, and after watching them on screen one can't help but hum along with them. However one of the most beautiful songs ? Agar teri ankho mein kajal na hota ? has lost its charm somewhat because of the shrill voice of the female vocalist. The downside of LP was that it was a bit difficult for the non Punjabi members of the audience to understand the senior characters in the film.

    The whole cast, including Rashid Mahmood, Rasheed Naz, Tariq Shah, Azhar Rangeela, Bahar Begum, Naghma Begum and especially Habib performed very well. Babar Ali as Preetam's fiancée was a bit of a fake as far as the Punjabi accent was concerned, but in many scenes he came across as very genuine and produced some laughs. The main protagonists, debutante Shamyl Khan and Saima ji performed quite well.

    It has to he said that Shamyl is definitely hero material ? his expressions were not utterly wooden, as is the case with most of the models?turned?actors in filmdom. The most important cast member was of course Saima, who despite not looking like a larki (sorry Saima ji) performed very well. The film was hers all the way, despite the lack of the usual vulgar dances, which seem to be compulsory fare in Lollywood flicks these days.

    Just one point marred the overall enjoyment of the film. One unnecessary scene, which seemed added only for effect, with a Hindu character was not in good taste. The character is shown mouthing dialogues that are clearly derogatory towards Hindus and Hindustan. With all due respect to Shahji, if this was a way of lighting the patriotism flame then it fails miserably, and this particular scene will not go down well with Indian audiences. Given the recent thaw in Indo?Pak relations, the film should have stuck to the original message of `live and let live'.

    After a year of mediocre films coming out of Lollywood, Larki Punjaban has proven its worth ? this one is definitely a hit.

  • PAPPU LAHORIYA - Guns, More Guns Naseebo Lal!
    Whenever Nasir Adeeb and Masood Butt got together, an explosive film has come into being, Whether it is a striking resemblance to political reality like Madam Rani or a picture of horrific dominance of the landed elite like Jungal Ka Qanoon, they highlighted the ills of the Hukumat of the high and mighty, and the jihad of the righteous against them. May be crude, but their films definitely hit the right targets and the people just loved it. They liked those films because while idle romanticism in our films did not talk of their problems, these basically violent movies told of the ordeal they were facing in the streets day and night. But, those were democratic times of Nawaz Sharif and Benazir Bhutto, which allowed such films to be screened, while today, the sort of films that should be screened are nowhere to be seen. The mighty pen of Nasir Adeeb, whose red blood ink has created so many brilliant dialogues in the past, has rarely come up with such hard hitting lines in this era. And similarly, Masood Butt has also had to make some compromises. This entire means that surely there is some unseen pressure on them.

    Pappu Lahoriya is a routine sort of Punjabi movie, this Eid, which doesn't actually have the revolutionary power and vocal throw of Nasir Adeeb. Yet, his own message somehow seeps through the rancor of the violent movie. It is a film, which is basically for the Punjab circuit, and does not e many points in the other circuits. One reason for that is that both d Noor's Commando and Sangeeta's Qayamat are based on pertinent issues like the situation in the Islamic world today, while Pappu leads on in same family feud episode that has inflicted immense torture on the pie's tastes during the 1980s and 1 990s. That, sadly, doesn't sell any more. But, yes, if these two stalwarts of Lollywood could come up with relevant films like Madam Rani and Jungal Ka Qanoon, or Nasir Adeeb could write films like Kaley Chore and Yeh Adam again, may be their work will in be saleable amongst the masses!

    So, there are guns, more guns and then the star attraction ...no, not ma or Shaan! It's Naseebo Lal Even with her ungainly demeanor and separated front teeth; Naseebo is hailed highly throughout the film, dancing with Saima once too, as Shaan watches both, as to who is more relevant to him! Actually, it is a film which is the producer's own projection, who is Mian Ilyas Pappu, and nothing can be done about that, because he is boss! The cast is also predictable, except Naseebo Lal, who surprisingly, looks glamorous! Tafu gives music, camera is in the hands of Masood Butt, the editor is Qaiser Zameer, the lyricist, Altaf Bajwa, the sleaze master, and the choreographers are Ashraf Shirazi and Pappu Samrath.

    (By ZULQARNAIN SHAHID)


  • QAYAMAT - A Love Triangle In Afghanistan
    Winning hands down, not unlike her rambunctious heroes in films, Sangeeta is still carrying Lollywood on her female muscle, for the last couple of years. Despite not giving a major hit this year, apart from an above average Punjabi one, called Fauja Amratsarya (Terrorist from border paar?), she is standing hefty and tall, with lesser losses than anybody else. She easily gets back through the countryside cinemas. Thus, she never loses big time. Now, her film Qayamat is set to storm the box office at Eid, and its pulsating feel is already making the public wait with bated breath.

    Enacting an Afghani dosheeza in Qayamat, Saima has had some variety after a long while. Covered head to toe, let us see how the Multani beauty struts her stuff. Known for her sensual maneuvers in Punjabi movies and her grace and glamour in Urdu films, Saima could be on a different track altogether here. And it will be fun watching how Sangeeta, who is a master at steamy sequences and dances on under dressed girls, has managed to create the glow in this kind of burqaposh character. With both, Hamid Karzai and the Loya Jirga buzurgs watching from Qandhar, Saima will have to win the nod of both the factions in this vital role this year. One hears she has consulted various boutiques and fashion designers to bring credibility and caliber to her role.

    The story begins when Afghanistan was attacked by Russia in 1979, and the Afghanis came to Pakistan in large numbers. One such caravan brings Saima to this land of political unrest. Deeba Begum plays Shaan's mother, and Saima is his fiancée. In the war ravages, Deeba and Saima are lost to Shaan, and come to Pakistan. They camp in a small town, which is on the Pak Afghan border, the tribal chief of which used to frequent their town once, and his son, Moammar Rana falls in love with Saima. Meanwhile, the war is halted and Shaan, the true fiancé, comes to this shantytown looking for his mother and his fiancé. You can well imagine what transpires after that. The Afghanistan War pales in front of the weaponry and ferocity that is witnessed between Mommy Rana and Shaan, after that

    The filmmaker of Qayamat is Sheikh Mohammad Akram, who has spent lots of currency on the film. The writer is Jafar Arsh, lyricist is Riazur Rehman Saghar, music director, M. Arshad, editor, Qaiser Zameer, cameraman, Khalid Riaz and the choreographer, Ashraf Shirazi. The cast also includes Khushbu, Nirma, Irfan Khoosat, Azhar Rangila, Rasheed Naz, Shafqat Cheema and Sangeeta too. The songs are sung by Naseebo Lal, Saira Naseem and Humeira Channa.

    (By ZULQARNAIN SHAHID)


  • Zinda Laash resurrected: 1960's Pakistani classic
    If one looks at it in a certain way, Zinda Laash has become exactly what its title means: a corpse that has come back to life! Indeed, not only has the corpse of the film returned to life, but the film itself, long dead, has suddenly found an afterlife, receiving accolades its creators never imagined it would. The film is currently due to be feted at the most respected sci-fi and horror festival in the world - Sitges, Barcelona - and has just been issued internationally on a special edition DVD having undergone a long and arduous frame-by-frame restoration.

    This low-budget Pakistani film, shot in Lahore in the swinging '60s at the instigation and insistence of dashing hero (of the day) Habib, was a minor success when it was released in the rain-drenched monsoons of 1967, but was best remembered as the film that created history in Pakistan: it was the first local production to be awarded the dubious 'A' or 'For adults only' certificate! A dubious honour indeed, but an achievement nonetheless. Though the film was appreciated at the time, it was soon forgotten and banished to the dustbin and dungeon of history, though once in a while its producers, realizing that Dracula and everything about him is indeed immortal, re-released the film, cannily colourizing the lobby cards to entice newer generations to bite at the cherry once again. However, lately, the film had been all but forgotten and its negative similarly dispatched to oblivion with bits of the film lost forever.

    This is where film critic and horror film aficionado Omar Khan combined forces with the similarly horror oriented Mondo Macabro team in the UK to begin the long struggle of trying to first discover and then to revive the corpse and resurrect the Zinda Laash. The quest began in the immediate aftermath of September 11, 2001, with endless, fruitless trips to the buzzing (with life and flies) streets of Royal Park in Lahore where incentives were dangled in front of various industry operators who, once motivated enough, were soon busy sending their orderlies on errands to various studios and godowns with specific orders to seek and retrieve the film.

    "It was weeks before we hit gold (or tin, as the case may be) because finally, it was reported to us by a grinning 'Nikkoo' (our operator) that the tins had been discovered and that the film might yet be workable," said Khan.Eventually, what was retrieved was almost the entire movie, but it was in pretty shoddy shape when it was shipped out to the Mondo Macabro team for their reaction. Fortunately, they became instant fans of the film and agreed that it was well worth taking the extra time and trouble of getting it restored, especially as it was clearly evident that the cinematography of the film was one of its greatest strengths. The restoration job was given to a Russian specialist who also became an ardent Zinda Laash fan and took special pains to make sure the DVD version achieved a look that is nothing short of breathtaking, considering the mangled mess she had started with.

    While the restoration was in process, interviews of various people who had been involved with the film's production were carried out to be a part of the DVD and the translation and subtitling was done with enormous care. Though the film was mentioned in film journalist Yasin Goreja's book 100 Best Films of Pakistan, it is now in the wake of the DVD release that the world has suddenly come to realize that indeed, a lost gem has been rediscovered.

    By Shaharyar M. Khan

  • Movie Review "COMMANDO" Mujahid Or Terrorist?
    While all the papers were full with the competition between the babes, Meera, Zara and Saima, in Commando, nobody talked about what went on with the two boys involved. But, the highlight of Syed Noor's film was a bike race involving Shaan and Momy, which takes the breath away. Jamshed Zafar's all out actioner, Commando is holding the people spellbound with its superb sequences and stunning glamour.

    The question that one is faced with, in this film, is that, do the Muslims of world afford commandoes these days? Most of them are being caught by the Bush Administration as terrorists! Malaysia, where most of this film has been filmed, is the only Muslim country left with no dehshatgardi! Please don't suggest anything there too!

    This thrilling movie, Commando, by Syed Noor has all the items of interest that are needed to win the nod from the' public, including a couple of good songs too. Although, Shaan and Momy have come together in another film this Eid too, that is Pappu Lahoriya (wierd Pappu, isn't he?), but the fun that this film has with both of them parrying swords, is definitely something to watch. Apart from that, Meera and Zara are also in stellar roles, and Saima, for the first time, takes the back row. Or does she?

    Saima sizzles in a shorter role, but her tremendous presence in a guest appearance leaves people shaking their head. Let's admit that Saima has the screen presence to eclipse the best of the lot. So, would Meera and Zara survive in front of her solar flare?

    (By Zulqarnain Shahid)

  • Movie Review "LAAJ"
    Starring: Zara Sheikh, Imran Khan, Talat Hussain, Resham, Rashid Mehmood, Nirma, Usman Mughal, Afshan Quershi, Nayyar Ejaz, Fleur, James Kavaz, Pat Kilman,
    Directed By: Rauf Khalid
    Music By: Amjad Bobby
    Lyrics By: Rauf Khalid
    Cinematography: Waqar Bukhari
    Story: Rauf Khalid
    Editor: Z.A Zulfi
    Art Director: Tanveer Fatima
    Production Controller: Salman Shah

    Synopsis:
    Ignorant of the fact that the World was preparing for a brutal war, a young girl fell in love with a young man in the British ruled India. This is the story of true love, bravery and sacrifices. A reality of a clash of norms and beliefs. This is the history of the people who gave their lives to protect their honor.
    Romance, Action, Suspense, Thrill ,and History Rauf Khalid's.

    IT HAPPENED IN THE EAST
    A True Story:

    In the first half of the 20th century, The warring Pathans of the North West of India turned more aggressive against the ruling Britain. The Fakir of Ippy (A 60 year’s old mystic) was already a living legend before he started a war that was fought over the love of a romantic couple that knew no bounds of religion, cast, color or language.
    The story starts in the twenties of the 20th Century in the un-divided British ruled India. A 17 years old rich Hindu girl named Ram Kori alias Chand Bibi runs from her home with a Pathan boy Noor Ali Khan and reaches a mystic Muslim leader "The Fakir of IPPY" (to embrace Islam and marry the boy of her dreams).

    The Fakir gets the boy and the girl married after the girl accepts Islam (her new name is Islam Bibi).

    The influential and rich Hindus of the area reach the British Court run by an English Political Agent who combines in himself both the executive and the judiciary. The Political Agent is really against the warring Pathans and is all out to teach them a lesson.

    In the court, the Political Agent decides the case against the loving couple. Legally since Islam Bibi had become a Muslim she was to be tried under Mohammedan Law (where a girl of fourteen years is adult and can choose her husband), but according to the Political Agent's decision, since under the English Law a girl is considered minor till she reaches the age of eighteen, both her acceptance of Islam as well as her marriage were void.

    The Muslim lawyers representing Islam Bibi, insisted that the court also decree that the girl will not be taken away from Bannu, it was granted. However, in due course the girl was secretly taken away to Hoshiar Pur. The boy at the behest of the faqir went to Hoshiar Pur. After exchange of hot words with Islam Bibi's family, Noor Ali stabbed a man and was arrested. He eventually broke the jail, picked up Islam Bibi and reached Waziristan. The Britishers after a failed dialogue attacked the village.

    The Fakir unhappy with the attack wages a holy war against the English. Backed by the German aid in Arms, etc. he starts a Gorilla War against the British's. What happened afterwards will be seen on the big screen.
    A Pre-Partition tale of the British Rule in India.

  • Dil Totey Totey Hogaya
    Boldly structured on the sensibilities of the time, director Rasheed Dogar's exciting cinematic effort Dil ToteY ToteY Ho Gaya, follows his earlier such endeavors on celluloid, namely Mehbooba and Janwar. Not unlike his past works, he again puts the whole burden on young shoulders. It is indeed, mighty nice to see a team of producers and director, in this case Rasheed Dogar, Shehzad Gujjar and Riaz Gujjar, who have the guts and the willingness to build a film scenario around young stars. This is a situation which should be appreciated and bucked up, because not many producers are ready to put their money on younger and largely untried artistes. In the past, it used to be Shabab Kiranvi who performed this human miracle by presenting innumerable stars to the Pakistan screen through his experimentative spirit, and later, to some extent, one found that Syed Zahoor Hussain Gillani had the same spirit in him. He gave some of the massive hits of the times, with his Qurbani and Zindagi making headlines in the early 1990s. He gave the younger brand of artistes a lot of opportunity and presented very interesting new stories on the screen. Unfortunately, he was discouraged and depressed by the complete annihilation of some of his later films like Mehndi, which broke his back, and retreated from the ranks. But it is heartening to see that Rasheed Dogar and his producers believe in young people, and in the past, too, they brought forth a handsome young man called Ali Sher, apart from a few new females, in Mehbooba, alongside Arbaz Khan and Noor.

    In Dil Totey... the stars are Veena Malik, a new face, Aamir Kaifi, Karachi's mirth masala, Soniya Malik, Lahore's self styled Lucky, Tabinda, Ali Sher, Afshan Qureishi, Masood Khwaja, Tariq Shah and Shahid, apart from many other young faces. Full of hit songs from folk and film playbacks, the film seems the right recipe for a young and wild generation. Music has been given by Ishfaq Ali, (son of Mushtaq Ali, the famous music director), Umar Riaz and Ahmed Abdullah. The writer of the film is a well known person, Saleem Murad, the camera is in the able hands of Hanif Bhatti and the editor is Zulfiqar Babbu. The songs have been written by Altaf Bajwa and Nasir Ali Nasir, and sung by Naseebo Lal's younger sister, Nooran Lal, Naghmana Jafri, Saleem Lodhi, Shama Ali, Zahid Butt and Farah Ejaz. So, the team has retained the same principle of new voices in the film, along with new faces in the lead.

  • Buddha Gujjar
    After churning out several romantic social vehicles, and failing to get the attention of the viewers in the recent times, Syed Noor has finally decided to conform to the Lollywood traditions after all. He tried valiantly to adhere to the principles he had abided by during most of nineties, but it seems that 11th September has changed much more than just the political and economic side of the world! His films like Sapne Apne Apne, Chooriyan Naheen Hathkariyan, E Dil Diwana Hai and a few others failed to earn profit, which made the top film maker turn to the popular style of actioners, stylizing the hooligans into heroes, which was never his style. With his c caliber and some fascinating scripts from his wife, Rukhsana Noor, they still salvaged some pi with a couple of good movies like Mehndiwaley Hath and Uff Yeh Beewiyan. The super success his action based Buddha Gujjar throughout Pakistan proves one point: that no matter what S Noor says, his rural based Chooriyan created such a powerful trend that after that none of his ~ based movie could make any impact. Both, Daku Rani and Mehndiwaley Hath did superbly, now Buddha Gujjar, a film which is not the typical formula of Syed Noor, has also touched a pinnacle on both Eids, firstly in Punjab, and now in Sindh.

    Buddha Gujjar shows the strength of injustice, where a simple farmer is pushed by the c behavior of the landlords to a situation demanding powerful retaliation from the worker at fields. Of course, Syed Noor begins to unfold his story with a very different hue than mast d others in the game, and keeps his individuality in place, despite strong influences of the commercial Punjabi cinema. It is the mastery and vision of Syed Noor that has made Buddha Gujjar create an impact not possible for other violent actioners like the hits from Sangeeta or Parvez Ran even Masood Butt. They fade away in memory because they have no everlasting images, ant made just to earn quick money by exploiting the emotional potential of the oppressed masses; Syed Noor makes Punjabi films, which will always hold sway. The cast of the film is the usual of a Syed Noor's movie, including Saima, Shaan, Resham, Tariq Shah, and Shafqat Cheema. Only Yousuf Khan, who plays the title, is an added attraction.


  • Daku
    Evading reality while portraying characters in our films is the usual flaw of direction. But, such flaws are few and far between when you watch Shaan's direction. Despite adhering to some sort of success formula, Shaan's Eid release, Daku is realistic and quite different from the run of the mill local movies on dacoits. Those who think his Moosa Khan was violent, don't realize that being Riaz Shahid's son, Shaan is also driven by some sort of revolutionary mind. May be, in some aspects it is misrepresented, but basically, he is the sort of guy who will talk to the people in his films. He loves his people and his country and prefers to talk to them, instead of talking to just a small section of the elite. Having conversed with him at length, I got the impression that he has all the modern day concept in his head, and could successfully try his hand at films like Pink Floyd's The Wall or Scorsese's 1976 classic, Taxi Driver. He has the know how and he has the brains to be artistic. He is a well educated chap, and there is no hitch if he wanted to make a very stylized film for a chosen few. But, he doesn't believe in working in a void.

    Shaan has worked successfully with a talented writer in films, Parvez Kaleem. But, this time, he has taken the full responsibility for all of it himself. Daku is Shaan's script, dialogues and direction. He is playing a professor, who is forced to shed his educated look and wear the dacoit's Halloween mask due to extenuating circumstances. He has a brother in the college, played by Arbaz Khan. Shaan gets into a situation, where Noor, a prostitute, loves his dacoit persona, and Saima is attracted to his educated personality. The way Shaan has exposed Saima in this film, could gain her lots of points with her in born glamour and grace. Saud is playing the dacoit leader of a gang, who is persuaded to count Shaan in his team. The story is well handled and has enough suspense to win the day. The other cast includes Nayyar Ejaz, Shafqat Cheema and Rambo. The producers of the film are Jamshed Zafar and Najam Malik, who haven't left any stone unturned to add all the masala factors to the movie.

  • Darinda
    A fusillade of machinegun bullets bursts forth as expected, when Baber Kashmiri's action packed thriller, Darinda graces the screen on Eidul Azha. Making his film totally in Karachi, he seemed to be competing with his father, iqbal Kashmiri, who was making his own movie for Eid, called Aatish. So, the prescription, generally, seems to be that the more fire you spit out, the more success will come your way on an Eid. Unfortunately, recent history proves them categorically wrong. The continuous failure of films like Shaan's Daku, Iqbal Kashmiri's Manila Ke Jasoos and Parvez Kaleem's Aakhri Sajda, testifies that the public craves romantic ventures now more than ever. It is evident from the incredible success of Javed Sheikh's Yeh Dil Aap Ka Hua, that a well made, cute movie can do the trick even in this chaotic state of affairs in Lollywood, where crisis looms large. But, yes, the only exception seems to be Syed Noor's out and out action spectacle on the family feuds, called Buddha Gujjar, which did hugely at the box office. In Darinda, may be Baber Kashmiri is relying on this very aspect of the film making that will give him success: lady luck. Just pure lady luck!

    Saima, Shaan, Momy Rana, Babar Ali and Veena Malik play the lead in this action thriller. In Darinda, Shaan, as usual, is the chief protagonist, while Saima makes people swoon. Having Momy and Shaan come together in any film seems to be the best formula. Most movies with them together, have done well at the box office. On top of it, you have Babar Ali also in confrontation with the other two. Babar is no less of a bankable name than the other too. It seems that this formula will soon fizzle out, considering the sort of rat race that is going on in this context. Veena is fast making her presence felt, largely because of her ability to adjust to the demands of the filmmakers and TV serials alike. In this film, she is looking as glamorous as she looks in real life too. If Veena is able to team the craft of voice manipulation and dialogue delivery, she can well manage to have a grand career in the industry. After Zara Shiekh, she is the current most film sensation in the industry today. She is supposed to be acting in many movies and she will be able to win much more place in the showbiz news once she gets leading roles.

  • Shagna Di Mehndi
    Director Pervaiz Rana has come up with a purely family oriented subject for his upcoming Punjabi film, Shagna Di Mehndi. The story revolves around two families, between which a third family sows the seeds of misunderstanding.

    One family comprises the likes of Shaan, Moammar Rana, Megha and Naghma Begum, whereas the other has Shafqat Cheema, Babar Ali and Nirma as its members. Nirma is in love with Moammar Rana, brother of Shaan, a fact that is utterly detested by a third group constituting Tariq Shah and Babar Butt. By sinister means Babar Butt and Tariq Shah create situadons that cause terrible rifts between the two friendly clans and from then on the main conflict of Shagna Di Mehndi crops up.

    Megha is playing perhaps the most vital role in the film. Amongst the film circles, Shagna Di Mehndi is considered to be a make or break movie for the young actress.

    Malik Zafar Ali has produced this Pervaiz Rana's ambitious venture, whereas late Bashir Niaz has penned the script. Legendary Tafu is the music composer and Aqeel Rubi the lyricist.

    The complete cast of the film is Shaan, Moammar Rana, Nirma, Megha, Babar Ali, Shafqat Cheema, Tariq Shah, Babar Butt, Nayyar Aijaz, Irfan Khoosat and Azhar Rangeela.

  • Jeeva Gujjar
    Younus Malik is one of the notable directors of the cine world. It is usually taken for granted that his direction guarantees box office success. To name but a few, the big hits at the box office Mola Jat, Sher Khan, Jeera Sain are the glaring examples of Malik's perfection and dexterity. The films not only won the hearts of the cine lovers within the country but also earned a good name and fame abroad. Mola Jat even today is unforgettable; it became a household name. In effect, .it took Younus Malik at the zenith of perfection in direction. That's why, Mola Jat is a flawless movie; it is an exemplary one. Now, on the happy occasion of Eid Malik announces the release yet another film Jeeva Gujjar. Malik claims that Jeeva Gujjar will not only remind us of the strong characters of Moia Jat and Sher Khan but also be the biggest hit of all times. Let's hope, the direction will live up the expectations of the cinegoers.

    The producer of the film Jeeva Gujjar is Zuifikar Ali Khan. He is also a big shot in the film world. Cine lovers know him through his big hits Sayyoni, Mera Mahiaa and, of course, Barood.

    Zulfikar Ali Khan touches only strong stories. Until and unless he finds that the story is fully convincing from all points of view and it will leave a great impact on its viewers, he doesn't even think of any adventure. He started Jeeva Gujjar when he washimself convinced that story was worth a try. He has introduced a new face of Yasra as Nadira in film world. Younus Malik also introduced Neeli and Nadira both aremore now, but both of them dominated the film world.

    Zulfikar Ali Khan gives the synopsis of Jeeva Gujjar. It is a story of two youth who put forth the lofty ideals of friendship. One of them is a muslim and lives in Pakistan while the other is Sikh and lives across the border in Bharat. The triangle is completed when a third person, who is also an Indian and Hindu by faith, enters into the story. He detests their friendship and tries to break the ties. He sows the seeds of mistrust. When, one day, Muslim friend goes to Bharat to call on his Sikh friend, the villain works effectively and hence becomes successful in his evil designs. Thats when the story takes a new turn.

    Nasir Adib authored the story of Jeeva Guar. Sabir Ali is the music director, and lyrics are of S.M. Sadiq and the singers are Nasibon Lal and Frah Lal. Parvez Khan, Tadveen and Asif are the Cameramen. The cast of the film includes Shan, Saima, Babar Ali, Nadira, Rahila Agha, Rehman, Raza, Nayyara Aijaz, Tariq Shah and Ali Sher.

 

  • Jut Da Vair
    In these tunes of the Kalashnikovs, our valiant Jut is still fighting with the gandasa and the bludgeon! What would you call that? Sheer disregard for times or the fact that the rural areas may be dealing with the oldest forms of the hand deer armory rather the. The finger pushed weaponry? But, despite that defying the odds, the quiz stands undeciphered: why does the common cine-goer still pays 30 to 40 to watch Shaan do another Rahi miracle to defeat the feudal forces? Only this year, when a campaign was launched to re name the titles of the films on the hooligans and badmash, the only film, which was a hit at the box office on Eid-Fitar, was Syed Noor Chaudhry Karamat’s Buddha Gujjar throughout Punjab. Released in the Sindh circuit this Eid, Buddha Gujjar threatens to outdo all others except another film on a rural hetman, Hasan Askari's Varyam. Even before this, what does the success; of films like Sultana Daku, Moosa Khan, Kaloo, Shere Lahore and Aaraain Da Kharak etc, indicate? It could mean that the common title,, farmer and the Bhatta labor is still looking for that rurally bred savior, who would, deliver them frown the talons of the feudal ion. 13e it Sultan Rahi, Mustafa Qureishi, Ejaz, Habib, Iqbal Hasan, Yusuf Khan Shaan, Momar Rana or Babar Ali, the face only denotes the savior, in whatever brie or style he comes.

    The same story revolves around Jut Da Vair, which is directed by Parvez Rana, with the story from the pen of one called Miskeen Ali (not so miskeen, it seems, with such violence portrayed!), and dialogues and screenplay from the senior person, Whams Kamal Pasha. The film maker is Haji Muhammad Shafique, a man welt versed in production for along time now. The film has a cast of Shaan, Saud, Momar Rana, Rambo, Saima, Nirma, Megha, Nayyar Ejaz, Raheela Agha and Yusuf Khan, in a vital role. The story is about a peaceful and straightforward villager, Saroo Jut, who tills the land and earns his fining, until the landlords of the area push him so far into the wall, that he throws away his farming went and picks up Kalashnikov to fight injustice. It's an age old story, with no novelty, but the big cast satisfies the filmmaker that it will be a hit.

  • KUNDAN
    Brilliant film artiste, Nadeem, went into hibernation after his film, Chand Grihan dived to a failure in 1997. There was this news in the air that Nadeem was leaving the industry because of Syed Noor's insistence ttat he can replace Nadeem with any of the dtaractetr ar'hsles, because he cost him five lac, which is more than any le hero in Vie industry. Nadeem was not ready to play by the rules of the film world, and tuned towards the TV world. In that context, he was slightly quick to react. Otherwise, the y was not .ready to lose 1. Now, after the senior director, Iqbal Nimmi started a film called Kundan, and approached Nadaem, he listened to the script, as always, and said yes. The biggest surprise came when he visited the Everrnew Studios, and saw that a huge crowd of artistes and film -related people ware waiting to welcome him into the industry. it showed that he was still dearly loved by the industry.

    Late Bashir Niaz gave Iqbal Nimmi a scriptthat was powerful and had the class to inspire a senior artist. So, Nadeem was approached. Nadeem asked to be told story which was the same old yam about a boy's family being butchered and he being intent ups exacting vengeance on the killers.. When the boy runs. away, a dacoit gives him a place to sir. When he grows up to become Nadeem the dacoit tees his daughter with him. Later, be pleads with the hero to change his ways to those of a respectable man. But, as he starts to change, those villains who killed his family were after him, and send him to the jail and bum his house down. So, the vengeance vim deep.

    ft's a done to death story but the direction seems potent and looks like diverging into something powerful cinema. Shaan plays Nadeem’s son, and Shaan and Saima playing man and wife. In this connection, it is interesting to note that after quite a while, Nadeem and Shaan are facing each other which wilt breed good cinema. Another positive aspects is that Momy Rana is playing the villain party, which will make sparks fly. Others in the cast are Irfan Khoosat, Naghma Begum Asif Khan, Tariq Shah, Babar Butt, Nayyar Ejaz, Mohsin Khan and Shaqfat Cheema.

    The film maker of Kundan is Barber Butt , the music director is Zuffiqar Ali, the song writer is Saeed Gillani, Khwaja Parvez and Iqbal Chudhary, cameraman is Athar Sabir, and the editor is Khalid Bakki. The songs have been sung sweetly by Shazia Manzoor, Saima Jahan and Asad Amanat Ali.

  • Manila Ke Jasoos
    The way Manila has been hosting our jasoos brothers, it feels that, maybe, our CIA has a branch somewhere in that city. Manila Kee Bipan was released in 1 986, Manila Ke Janbaz was screened in 1990, and lqbal Kashmiri's Manila Ke Jasoos will feature on the big purdah on Eid. With this sort of adventure in Manila, it looks like the city Will soon host the next film, Manila Ke Rarrgilay in the near future.

    By the way, this is the same film, which became infamous for that fracas between Saud and lqbal Kashmiri. Reportedly, Scud felt cheated, playing an all powerful villain, who is being beaten up by every Tom, Dick and Harry. So, he asked lqbal Kashmiri to sort this out. IK was a bit moody and answered him in rude manner to mind his own business. "Do your own job, and let me do mine," he told Saud. So, Saud beat him black and blue. That made lqbal Kashmiri neela in Manila! Fortunately for them, they sorted out their differences and the film was completed just in time for release on Eid.

    Iqbal Kashmiri is well known for his success scores on Eid. Films like Jo Dar Gaya Who Mar Gaya and Ghar Kab Aaoge are top hits of IK on Eid. Manila Ke Jas" is also reportedly a thrilling movie, The story is from Nasir Adesb's prolific pen, while Waqar Bukhari's cinematography is worth, the wait. Three helicopters have been used for this film, and special effects nd trick blasts make this film a nice treat for the viewers. A trio of villains, Scud, Nawaz Khan and Bilal Chaudhry are seen stealing the atomic spare parts, which are then recovered heroically by Shaan, Babar Ali, Sara, Resham, lmran Khan and others. Veena Malik plays a most important role in Manila Ke Jasoos. The way all the girls have exposed themselves, it looks like there was a shortage of fabric in Manila. The music is by ace musician, Zulfiqar Ail, and editing is by Qaiser Zameer. Humaira Chartna, Saira Naseem and Naseebo Lai have swig the songs, while the songs have been written by Riazur Rehrnan Saghar and Khwaja Parvez. Producer of the dim is Sheikh Akram.

    Brilliant film artiste, Nadeem, went into hibernation after his film, Chand Grihan dived to a failure in 1997. There was this news in the air that Nadeem was leaving the industry because of Syed Noor's insistence ttat he can replace Nadeem with any of the dtaractetr ar'hsles, because he cost him five lac, which is more than any le hero in Vie industry. Nadeem was not ready to play by the rules of the film world, and tuned towards the TV world. In that context, he was slightly quick to react. Otherwise, the y was not .ready to lose 1. Now, after the senior director, Iqbal Nimmi started a film called Kundan, and approached Nadaem, he listened to the script, as always, and said yes. The biggest surprise came when he visited the Everrnew Studios, and saw that a huge crowd of artistes and film -related people ware waiting to welcome him into the industry. it showed that he was still dearly loved by the industry.

    Late Bashir Niaz gave Iqbal Nimmi a scriptthat was powerful and had the class to inspire a senior artist. So, Nadeem was approached. Nadeem asked to be told story which was the same old yam about a boy's family being butchered and he being intent ups exacting vengeance on the killers.. When the boy runs. away, a dacoit gives him a place to sir. When he grows up to become Nadeem the dacoit tees his daughter with him. Later, be pleads with the hero to change his ways to those of a respectable man. But, as he starts to change, those villains who killed his family were after him, and send him to the jail and bum his house down. So, the vengeance vim deep.

    ft's a done to death story but the direction seems potent and looks like diverging into something powerful cinema. Shaan plays Nadeem’s son, and Shaan and Saima playing man and wife. In this connection, it is interesting to note that after quite a while, Nadeem and Shaan are facing each other which wilt breed good cinema. Another positive aspects is that Momy Rana is playing the villain party, which will make sparks fly. Others in the cast are Irfan Khoosat, Naghma Begum Asif Khan, Tariq Shah, Babar Butt, Nayyar Ejaz, Mohsin Khan and Shaqfat Cheema.

    The film maker of Kundan is Barber Butt , the music director is Zuffiqar Ali, the song writer is Saeed Gillani, Khwaja Parvez and Iqbal Chudhary, cameraman is Athar Sabir, and the editor is Khalid Bakki. The songs have been sung sweetly by Shazia Manzoor, Saima Jahan and Asad Amanat Ali.

 

  • Nag Aur Nagan
    Highly experienced, yet not known for sound planning, director Jamshed Naqvi is somebody who has had quite a few flops in recent years. Nothing succeeds like success, ri and Jamshed Sahab has had no big silver screen triumphs lately. This has reduced his credits and integrity both in no small measures. Apart from Sangeeta and Syed Noor, there have been very few directors, who have shown the way to the youngsters in this industry. He is known specially for his co productions during the 1980s and the early 1990s, which were shot partly in Bangladesh, Sri Lanka and Thailand. After faulty vehicles like Agar Tum Na Hotey, Pamela and Wah Kya Baat Hai, Jamshed Naqvi has ventured forth with Naag Aur Nagin.

    Let's hope he has learned his lessons wen, and it's not a serpentine wiggle into another big climbdown! Jamshed Sahab has mainly focused on the jungle, rather than the city, which is a trait that puts him parallel to Shamim Ara. It is said, humorously of course, that the hero heroines of these two directors are elephants and chimpanzees. Jamshed Sahab's vital interest in the snakes makes one wonder it he has been a snake charmer or something. In Agar Tum Na Holey, with Zamarnrd playing the dancing nagin, with Faisal (a la Jeetendre and Sri Devi), and now Naag Aur Nagin, he has concentrated on the same topic. During the 1980s and the early 1990s, this could be a back alley out of the jinxed jurisdiction, because there were only two heroines, Babra and Shabnam, who were bearing the load of the industry, in the Urdu film department.

    But, later, and now specially, the same formula would not hold. There have been quite a few commercially viable films on the human snake relationship in the past, like Khalil Qaiser's Nagin (1959) with Neelo looking stunning that rote, Shabab Kirarni's Saperan (1961), projecting a sexy Laila in rural setting Raza Mir’s Nag Muni (1972) as Rani comes forth as seductive, and last but not the least, who can forget Hailer Chaudhry's plagiarised but exciting Nachey Nagan (1987), where pretty and petite Nadirs made a one pair with Ismail Shah. In fact, a film by the same name, Nam Aur Nagan was also made by Hasan Tariq, in 1976, which also had Rani opposite Waheed Mural, but it didn't do too well. So, only if you have a proper script and some good handing, a fantasy can hold its own. When one hears that Ruktsana Noor has written the story of this film, one feels more confident about its chances, because she is a very fine writer of scripts, as she has shown with Syed Noor. With Sauna and Veena Malik starring in Naag Aur Nagan, it could be interesting to see who dances more like the Nagin. Moammar Rana and Babar Ali play the leads, white Badar Munir, Tabinda, Irfan Khoosat and Shafqat Cheema are also featured. The music director is M. Ashraf, while Rukhsana Noor, Saeed Gillani and Riazur Rehman Saghar have written the songs. A. Nayyar features is responsible for the musical score after a long time, with Azra Jahan, Ameer Ali, Saira Naseem, Humeira Channa and Waris Baig. The editor is K. D. Mtrza and the cwmeraman is Azhar Burk!.*

 

  • Phela Sajda
    Phla Sajda, a soon to be released film, narrates the tale of Sikh boy and a Hindu girl who are deeply in love. As the ory progresses, their love affair takes a turn and they realise that they had been aimlessly spending life without finding out the real essence of it.

    Pehla Sajda is one of the most awaited movies of recent times. It's writer/director Pervaiz Kaieem is of the view that this film will prove to be a landmark in the history of Pakistan film industry. He believes that today's filmgoer is not being treated to clean, conventional and meaningful films. So far as casting of the movie goes, Pervaiz says that ideally he would have wanted to have Shaan in playing the lead. But owing to his over committed schedule and occasional tantrums he opted for a new boy.

    The couple playing male and female protagonists in Pehla Sajda are two newcomers. Bilal Khan and Alina.. The latter has shown her acting talents in quite a few television plays and PS is her first cineventure.

    T, .p rest of the cast includes Nayyar Aijaz, Safeer, Tabinda, Dan=~j, Rashid Mehmood, Pinky, Hassan Khan, Mahvish, Azhar Rangiia and Afshan Qureshi.

    Wajahat Alrey has composed the background music for the film.

 

  • Pyar Hi Pyar Mein
    Last Week Fahim Burney held a press conference for his directorial film debut Pyar Hi Pyar Mein." PHPM will be released in Pakistan 3 weeks after Eid and sometime later in Dubai and London, which would label this an international film. MAG was witness to Burney's apparently distinctive point of view and his complaints against the state of Pakistani Cinema today.

    "I bring thee a change. I bring thee the difference that many promise but never fulfill. I bring thee the quiet revolution. I bring thee this so that I may be rich. Please fatten my wallet for this is no revolution only a slight abandonment of the contemporary" These words were my understanding of the fascinating press briefing delivered by Mister Fahim Burney to a room full of newsmen. The newsmen were circumspect in their observation of the famous television Director.

    The press conference was held fashionably late much to the fault of fellow journalists. A thin pamphlet along with a dozen stills from the film was distributed freely and what was inside the supine pamphlet was of vested interest. The pamphlet was precise. Pertaining to "We know why you stopped going to cinemas." All the reasons mentioned in the pamphlet were justified. Along the lines of "you don't go anymore because the dialogue & dance is unsuitable for family viewing." "That the stories are plagiarized" etc. There was also serious opposition to the "Gundasa" Culture to be found in the pamphlet. The pamphlet also described of the coming of this film as a "quiet revolution." This was all heart warming. The writing in the pamphlet was rather elementary and the ideas posed and discussed were interesting to any one interested in the Pakistani Film situation. But it tried it's best to bog down the spiritual revolution and optimism it could've sparked. Which is just personal scrutiny in case you’re wondering? Returning to the "controversial" pamphlet, it also spoke of PHPM being the bringer of this revolution and the change the cinema's filthy marsh like condition. All these, I'd say, were promises of just what everybody currently in opposition of the current state, desires. What we all really desire is the fulfillment of such oaths. What the pamphlet forgot to mention was the hideous state of Cinema Houses and the general opinion on their condition. Those who haven't visited the theatres in years are convinced that the theatres are dilapidated beyond easy or inexpensive salvation. Though I won't jump to obvious conclusions yet, please note the pamphlets and its distributors' refusal to alleviate the fears and assumptions about the state of Cinema Halls.

    Right before beginning we were shown a couple of songs from the film that served as background to scenes both of dance and drama. Burney after a few well timed jokes proceeded to illustrate in great detail the extensive usage of foreign equipment, crew, and locations for the film. He spoke of how the film was processed where Hollywood films such as "Pearl Harbor", "Jurassic Park" and such others were processed. The stress applied here begs me to report that a friend of mine is in part of the launch of the DVD of a local cult film (see http://bubonicfilms.com) and he told me that the DVD Box Stickers were to be made in some Asian Country where most companies that need to save money send their films. If he had bragged that particular detail it would be a direct analogy to what Burney did.

    One of the highlights of Gurney's conference was Change. He wanted Change. And by change he meant ...1) Original and well scripted stories. 2) New Faces (Reema's regular performance at music shows destroyed the credibility of her ability to play an innocent young sister in a film). 3) New This, New That (equipment, general atmosphere on the set etc).

    Burney also spoke of how "vulgar", crass and crude the local films have become.

    Here he did not elaborate on the sexual nature of the films since his film wouldn't be sexually lite and wouldn't be about the romance without a few songs and love scenes. I knew this after seeing the promos. The audience that is anti sexual suggestion/nature in films would find these dance numbers no different. Gurney sounded passionate about his war on vulgarity but no real change regarding the clothes and romance scenes was evident in the promos.
    Perhaps the nature of physical romance would be 'refined' to the standards of some but be assured Ladies and Gentlemen that refinery of sex is not something found in the dictionaries of the audience he was calling out to. At the end of Burney's conference he took some time to acknowledge the questions the journalists may have had. The interesting ones of these were...

    Since the film will be shown in England, Will you subtitle the film?
    . No. Because I think the Pakistanis abroad will be enough to make this a successful international release.
    But wouldn't you want the foreigners to see this film?
    Yes. But I think that the expressions of our actors are so good that the foreigners wouldn't need to understand the dialogue exactly.
    (It is permissible to laugh now).

    What Gurney explained later that PHPM wouldn't be shown throughout the UK but only in London? This seems like a foolish strategy to me since there are more Pakistanis who are potential audience everywhere else rather than in London. Unless it's an one night only event. Burney also displayed spite for the “Gujar" Culture in Pakistani Films and subtly hinted at being the hand of doom the Punjabi Film Culture. He also explained that he was best at making stories that have triangular love relationships.

    Now there were several things that Burney didn't realize or purposely over looked, either way it doesn't really matter since these were ignored.

    One, I explained it before. The sad state of Cinema Halls. Two, when he said original stories he meant no plagiarism I'm sure. Someone in the audience whispered, "That's taken from Mohabatein" when a scene of the leads dancing near a fire was projected. You figure out what means. Three, love stories e not the messiah. Making only love stories won't save the cinema and bring revival and he desperately wants. Four, by bashing the current culture and promising change he is indirectly insulting the audience that is currently supporting cinema. This is unwise because in commercial cinema you are not supposed to alienate any sort of audience but then what do I know about marketing anyway. Now the funny thing is, that the product he presents' isn't an evolutionary" one. He hasn't directed (as much as I hate to refer to it in such situation) the next "Citizen Kane." What he's done is made a film that seems be an inbred film that imitates the look of Indian films to success.

    What's he done is made a film along the lines of "Yeh Dil Aap Ka Hua" (he aims he started way before Javed Shaikh had the idea for YDAKH). Making such films won't be salvation. It will certainly improve the landscape consider] the current situation. But this is no revolution. The revolution will come yen some of the independent Pakistani directors of today are given reasonable budgets and next to no studio interference. But that's an essay for another time. This essay isn't meant to attack the filmmaker or the film. It's meant to make things clearer for those who may have understood things differently rough the magic of gimmickry and dishonest or unintelligent journalism. I would like to conclude by saying that if you like Indian Films fine and wonder why our Films can’t be like this?" then you will probably enjoy PHPM. But if w have other reasons I hope you'll consider what I have explained today. I'm half hoping that this film rolls in the green for a long time perhaps so that the basic "change" philosophy is appreciated and producers may sanction dangerous experiments in Cinema. But then again this may mean a string of imitations and copycat litter. If I were you, I wouldn't bet on this horse for a creative zenith in Pakistani Cinema. The Indian directors may spark a revolution any revival ...but NO ...a Pakistan commercial film emulating Bollywood will not the Cinema.

 

  • Raqasa
    According to Meera, Raqqasa will prove to be a milestone in her film career. She believes that the kind of performance she's given in the film will say something of her acting skills. The verity of this claim can only be gauged once Rasa graces the cinema screens (September 30).

    The film is about a girl, who is a perpetual dreamer, says director Pervaiz Rana. All her life she's quite oblivious of love. But axe she finds out that there's someone who has taken a shine to her, her attitude toward life goes through a. sea change.

    It might surprise a lot of readers to know that svelte Resham has played second fiddle to Meera in Raqqasa. Those who have been to the sets of the movie believe that Resham has tried her level test not to appear the female 'sidekick.' And there was a conspicuous rivalry going on between the two leading ladies of Lollywood.

    Muhammad Kamal Pasha, who has scripted many a hit movie, writes Raqqasa. The cast of the film is Shaan, Meera, Moammar Rana, Resham, Saud, Laila, Jan Rambo, Qazi Wajid. Napa gum and Raheela Agha.



  • Shararat - By Shanaz Ramzi
    After Inteha's success in the major cities of the country, moviegoers, and even those who only see the chance film that is heavily recommended, had been awaiting with interest for Samina Peerzada's second directorial venture, Shararat. Alas, the wait did not bear fruit. But what was surprising was that when it was released, not many people turned up to see it.

    One is unsure whether it was poor advertising that was responsible for the pathetically low turnout initially. In any case, had people bothered to show up, they would have been in for a shock - for Shararat is a far cry from the bold, well-directed and sensible movie that Inteha was. Meant to be a light comedy, in fact a spoof of Punjabi films and with a multi-star cast, the film fails to draw any laughs and frequently becomes quite trying on one's nerves. The disappointment is even greater knowing that it is the work of someone who is capable of better work.

    The plot, if there is one, is really quite simple but made out to be complicated by eliminating little details of relationships that sort themselves out as the movie draws to a close. Neha (Reema), her half-witted brother and their cousin Mickey (Babar) live for some unknown reason with their grandmother, Nagma in a mansion in Lahore. Zarro (Mehar Hassan), yet another grandchild based in the US, arrives for a holiday to celebrate Basant and promptly becomes the target of Mickey's ardent love and Sardar Omer Daraz Khan's (Usman Peerzada) lecherous yearnings, simultaneously.

    Meanwhile Lachhi (Nirma) is a village girl in love with Yawar (Moammer Rana), while Jogi (Shaan) is enamoured by her. Yawar comes to stay with his uncle who is a gardener in the mansion and Zarro and he fall in love. You have to watch the three-hour movie if you wish to find out who ends up with who, and more importantly, how, and whether the villainous Sardar gets away with his villainy.With hardly a plot to boast of, the film required an extremely strong script in order to win the audience's interest. Instead, what is amazing is the senseless banter and ridiculous dialogues that most of the stars indulge in for the better part of the movie. Void of humour, they fail to amuse and the only witty dialogue that comes to mind is when a gay offers himself to Sardar Omer saying, "I'm homeopathic you know, if I am of no value, I won't be harmful either." The one or two quick repartees during the climax scene, when Zarro is kidnapped and her allies are trying to rescue her, are the rare moments when one is exposed to some wit.

    If the film was meant to be a spoof, and one could well believe that since every grave matter is dealt with in a ridiculous fashion, it should have been a lot more action-oriented. Movies that poke fun at serious issues, in this case kidnapping and an unsought impending marriage, need to have crisp dialogues throughout and fast movements, otherwise the impact is lost.

    Samina's astute direction is also missing in the film and there are some scenes that simply do not do her credit. For instance, take the scene in which Yawar attacks the thugs giving Zarro a hard time in a bangle shop. All the spectators are already standing waiting in anticipation for the fight, as if they had received some premonition, and the shopkeeper instead of offering some resistance, just stands around trying to conceal a smirk. Shaan's fight sequence is highly unrealistic too, with each gangster attacking him one at a time instead of taking him on together.

    Having said that, one must concede that the film has its strengths too, for whatever they are worth. The acting is by and large up to the mark, although Reema does hover on the brink of over-acting. Mehar Hassan comes off the best among the female actors, and is quite natural in her role. The costumes are pleasing to the eye and the cinematography vastly improved from the days of Inteha. While the musical score is not exceptional, there are a couple of numbers such as Tara ban kay with reasonably good lyrics. One does feel, though, that not as much effort has been put in the picturization of the songs as in her debut production, so much so that in the final song and dance sequence, one can swear that eunuchs have been used as the veiled extras.

    Editing too leaves a lot to be desired, particularly in the latter part of the movie. Make-up, particularly of Nirma, is not up to the mark and looks very caked, while Shaan's wig and moustache look ridiculously fake. It is time our moviemakers realized that what makes a film tick is not commercial masala put together without any heed, but a simple, interesting storyline presented in slick packaging.




  • Piyar Hi Piyar Mein

    Director: Faheem Burney
    Cast: Aashal, Aanchal, Nesha, Wasif Butt and Waseem Sohail.

    Fahim Burney’s maiden silver debut Piyar Hi Piyar is making headlines these days for various reasons. Just a few days ago, when the song s of the film were screened, Faheem Burney is contrary to all the expectations, out done many in every field especially the choreography and the music.
    Though, inspired by the latest Bollywood based masala songs that are always looked up as envy in Lollywood, the director has gone ahead and shot the songs using the latest equipment. Farheem Burney, who has always been known for fulfilling the commercial needs of the tube with his glamorous productions lately, has never been taken seriously by the viewers as well as the other contemparary directors. A couple of months ago when he took the decision of making his next move in the silver screen, nobody knew for sure what Faheem was upto.

    As making a film with a bunch of new kids on the block was surely not every one’s choice.
    Piyar Hi Piyar, his debut in the silver screen is fast been shot and again he sticks to his statements, “to give a fresh appeal to the silver screen”. That is the very reason, the whole cast consists of new comers including Ashal, Aanchal, Nesha, Wasif Butt and Waseem Sohail providing a fresh outlook on the screen.

    Faheem Burney told that like always he is trying to provide something different than the routine stuff. “That is why I am using new faces as people are fed up of seeing the repeated faces again and again”.

    No doubt, the songs that have been shot up till now provide an entirely fresh look to the screen and Faheem attribute all this to the latest equipment that he is using.

    They were really marvelous, the screen provided a fresh look and it look totally different. “That is because of the latest equipment that I have brought from abroad”. When asked about the presence of Meera in the movie, the director has to say, “I have put Meera just to add some standard to the box office sizzle and pull, she has performed in an item number in which she has really put a lot of hard work and given her very best. I am really impressed by her performance”.

    The dance sequences and the music is quite new and novel idea than the other lollywood stuff. No doubt the film is making headlines among many quarters and it will attract a lot of masses from the visible star studded charms when it would be released, but the problem is today that unlike the other tube directors who entered in the film dome, Faheem Burney is not been taken seriously and that may be good for Faheem.


  • Aatish

    When Rashesd Sajid pens a story, it is Written in binary colors: fiery red and criminal black! Releasing on April 4, Iqbal Kashmiri’s explosive film, Aatish is a forcefully written script which forgets a battle for one's own rights and the inferno of devilish crime. Aatish was completed in Karachi and was shot with top stars. One important aspect of this film is the presence of seniors, Nadeem and Aaliya, who appear on 'the silver screen after quite a while. Nadeem's last movie was
    perhaps Chand Girhan, which was a flop and made him retract himself in a self created shell not to work in films. His major concern during the last three to four years has been TV serials. But, it is no secret that Nadeem is primarily a film artiste and his best has been witnessed on the big screen. Iqbal Kashmiri has given him some vital roles in his relatively recent films, as can be seen from films like Mummy and Jo Dar Goya Woh Mar Goya. Nadeem's return to celluloid goes to the credit of Mr Kashmiri, who has brought him back with a novel message, that a brilliant artiste does not wither away with time; you only have to rejuvenate him to perform at his optimum.

    Similarly, Aaliya, whose vivacity and charm was second to none in her heyday during the 1960s and 1970s, is back with a certain flair. She does feel that the role she has in this film could have been much more detailed, but once she is back in the industry, it will be for the better. Aaliya was also probably seen last during the mid and late 1980s, in light hearted or comedy movies with Ali Ejaz and Nannha. Her last important films that people remember are perhaps Maula Jut and Sher Khan. But, her return bodes well for Lollywood, which is in dire need of good character actors to boost its own morale and business.

    Momy Rana, Nirma, Nisha, Saud, Imran Khan and Veena Malik are the young and leading stars of Aatish, while Raza, Baba Prince, Rashid Mehmood and' Shafqat Cheema are the blackguards who take up crime to oppose the good men and women. Nadeem and Aaliya add maturity and caliber to the screen. The film makers of Aatish are Chaudhry Mohammad Munir and Tariq Mehmood, with music from M. Arshad, lyrics from the senior song writer, Saeed Gillani, which are sung by Humara Channa and Saira Naseem. Shabbir Haider Shah handles the camera and the editor is Qaiser Zameer.

  • Pyar hi pyar mein
    An action-packed long play
    By Shanaz Ramzi

    With all the hype surrounding Fahim Burney's debut directorial venture Pyar hi pyar mein, one was expecting a blockbuster that would breathe new life into an industry that has recently seen a ray of hope in the shape of Yeh dil aap ka hua. Alas, that was not to be. With all its pluses, the movie still failed to click at the box office, perhaps because it packed far more than people were willing to swallow in one go.

    But before one dwells on the film itself, a bit of advice for the contemplation of the government: Could they please do away with the archaic law of playing the national anthem at the beginning of every show? Nowhere in the world is this practice still in vogue, and for good reason. It is highly disrespectful to the flag as a considerable percentage of the audience refuses to budge from their seats, while a good many who show up late continue to speak and move about locating their seats with complete disregard for the anthem.

    Coming back to the movie, as credits rolled on the screen, one couldn't help noticing that no attention had been paid to proof reading. With spellings like 'dubing' and 'nagitives,' it didn't exactly create a great impression on the audience.

    The plot, though interesting and certainly a change from the norm which tends to be either slapdash comedy or highly predictable stuff, is perhaps too radical for the digestion of our still largely conservative public. And to boot, largely unknown faces, a couple of which often wear deadpan expressions, expounded the problem.

    The opening scene is impressive enough with a well-executed dance-tableau performance of The story of life by students of an art academy. Sara (Anchal) and Ashal (Ashal) are partners in the academy and in love with each other. Ashal has dreams of striking it rich before settling down to marital bliss and fate brings him face-to-face with the one person that is determined to make his dreams become a reality - Nisha (Nisha).

    Nisha, enamoured by Ashal, sweeps him off to Dubai to establish a branch of the academy there. Ashal gets involved with her, although he still loves Sara, and Nisha manages to create enough hurdles between them to make Sara marry a loving business tycoon, Akhter. Meera makes a guest appearance as a dancer. Ashal spots her dancing at a nightclub and begins to pursue her. And all this before the interval!

    After a couple of dance sequences, Ashal discovers that the woman he has been pursuing is not Sara, but her twin sister Anchal. Before he can think of starting with her where he had left off with Sara, he discovers she has a fiance, Sameer. He brings her to Pakistan, fiance in tow, to reunite with her mother and sister and discovers that Sara has become a widow. She gives birth to a son and her step mother-in-law gets her kidnapped to coerce her to marry her younger son, so as to keep the wealth in the family.

    To find out what ensues, one must watch the film. Suffice to say, enough happens in the movie to seem like a long television play or a short serial. Some of the developments that take place are totally unnecessary and one is left wondering why they were incorporated to begin with, except perhaps to give the required footage to the film. For instance, the sole reason for Anchal's presence seems to be an excuse to choreograph two glamorous songs on the twin sister, since they couldn't possibly be depicted on her as a widow. The presence of a villain, Grenwich, also appears to be superfluous, for he arrives and disappears without making any difference to the plot.

    Other than the fact that there is simply too much happening, the one aspect that detracts from the film is that some of the concepts introduced are largely unacceptable. Nisha could well have played the role of 'the other woman' without having to resort to drinking, smoking and sleeping with the hero, or for that matter, kidnapping him, brief as it may have lasted. And similarly, there were no justifiable reasons for Ashal to be drinking and sleeping around - other than the fact that he didn't have to strive hard for either.

    While it is heartening to see new and attractive faces finally gracing the silver screen, and Nisha and Sameer definitely have talent, both Ashal and Anchal need to be groomed further. Anchal has a tendency to speak with her eyes shut and both of them have frequently delivered their lines sans expression. Anchal's make-up, especially as Sara, is horrendous, while she looks considerably better in her role as the twin sister.

    The costumes are pleasing to the eye and the only grouse one has is Anchal's insistence on wearing heavy walking shoes under most of her slinky, sexy outfits. The songs are well choreographed and have catchy lyrics, especially Dharak dharak keh kehta hai dil and the cinematography is slick. One does wonder why there was such hype about leading film stars for a guest role, as Faheem Burney stated. A dance sequence in the film that eventually went to Meera, though it was an enjoyable number, didn't strike one as anything particularly spectacular.

    On the whole, one feels that the basic fault with Fahim Burney's direction lies in his treatment of the film as a bold television play. Otherwise, the film is packaged well and other than the one time when Ashal and Nisha are shown as speaking on stage without mikes, he has been quite meticulous about details and logical sequencing of events. Maybe he'll be wiser the next time round.




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