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

It’d be only be fair to say that 2014 was a roller coaster ride – if roller coasters came with 10 times the vomit inducing vertigo and none of the fun. The political sphere in our country has had a stranglehold on our television screens for way too long. Yes, ladies and gentlemen, it is time to bid the one-four goodbye and what better way to do so than by explaining exactly what we don’t want to see on our screens ever again. Here is a list of some famous Pakistani movies that would look like this if they had a political version: O21  (PG 15 - Courtesy some ‘wardi’ removal scenes) Directed by: Pervez Musharraf Produced by: The Pakistan Muslim League-Quaid and the military establishment Espionage, intrigue, action, serious medical conditions and betrayal combined in ways that made us scratch our heads. The plot follows an army general’s quest for power, acceptance and the mistakes he makes along the way with weak performances by Pervez Musharraf and Chaudhry Shujaat Hussain. The five-hour run time was a little too much and the action scenes involving the war on terrorism appeared a tad overdone. The movie’s only saving grace was the thrilling denouement with the main character saving his skin by a hair’s breadth. All in all, a lot of questions were left unanswered which has most people wondering if maybe a sequel is in the works. [embed width="620"]http://vimeo.com/96420127[/embed] Na Maloom Afraad  (PG 15 - For violence) Directed by: Altaf Hussain Produced by: The Muttahida Qaumi Movement There is no overall plot. Instead, the movie combines many small disjointed stories about the exploits of a gang in Karachi narrated by Altaf bhai, punctuated with songs by Altaf Bhai and music, mostly humming, also by Altaf bhai. And my, isn’t there a lot of Karachi involved! It almost appears as though in 1947 a large port city gained independence from colonial rule and India, and since then its supreme leader has lived in London because his life is threatened by some na maloom afraad. This film became a hit mostly because everyone in Karachi had to watch it… or else. [embed width="620"]http://vimeo.com/99450105[/embed] Dukhtar  Directed by: Nawaz Sharif Produced by: The Pakistan Muslim League-Nawaz and As-Saud Group While the main plot revolves around a family’s rise, fall and then return to power, over all the sugar mills, niharis and circus lions, the film is really an ode to a father. It is narrated by Maryam Nawaz as she describes the exploits of her father, uncle and cousins with special emphasis on how amazing daddy is and how horribly the big bad world treats him. If you love roads (especially motorways) then this is the film for you; it includes a (pointless) 40 minute discourse on how to get from Lahore to Islamabad in four hours flat. [embed width="620"]http://vimeo.com/99717389[/embed] The System  Directed by: Imran Khan Produced by: The Pakistan Tehreek-e-Insaf A gut wrenching account of one man’s fight against corruption, niharis and patwaris, this film will keep you at the edge of your seats with a barrage of ‘this is really, absolutely the final deadline’ deadlines. Viewers will have no clue as to what the plot is about but who needs sense when you have a smoking hot lead, music by some of the industry’s best artists and beautiful women in every frame. The movie is shot in almost every major city imaginable with some passable action scenes and a lot of ranting. Seasoned critics complained about the length and confusing sub-plots; apparently masala is the only thing this country needs for a hit. [embed width="620"]http://vimeo.com/83290248[/embed] Sultanat 1 and 2  Directed by: Tahirul Qadri Produced by: The Pakistan Awami Tehreek These films are nothing but glorified road trips from Lahore to Islamabad. Twice. The first movie ended on a deflated note, which the film’s cult following insists was a cliff-hanger, and audiences anticipated the resolution of many mysteries when the second movie screened, only to be disappointed yet again. Ardent fans claim that we do not understand the ‘director’s vision’ and that part deux was really a prequel to The System before the two production houses parted ways. Most people no longer care. [embed width="620"]http://vimeo.com/79028202[/embed] Tamanna  Directed and produced by: Sheikh Rasheed This is pretty much the Pakistani version of Playback Time (the movie within a movie in ‘Mr Bean’s Holiday’) with Sheikh Rasheed going on and on and on about himself. Rasheed wishes he was important and insists that his life is in danger. Many elements have been lifted directly from The System in which he also plays a minor supporting role. If the man had fans, they’d call it a spin-off. [embed width="620"]http://vimeo.com/67117800[/embed] Puttar Makhan Gujjar Da  Directed by: Asif Ali Zardari Produced by: The Pakistan Peoples Party Bilawal Bhutto stars in this coming of age story of a reluctant burger boy taking up the helm of his dead mother’s empire. This is the PPP’s first Punjabi venture in an attempt to compete with the popularity of The System and Dukhtar, but with the main character struggling with Urdu, let alone Punjabi, the film’s many attempts at seriousness have tripped over each other and made us all laugh instead. Za Yam Kakay Khan  Produced by: The Awami National Party A Pashto film which the makers insist will never be translated, dubbed or subtitled. Those who wish to watch it must learn Pashto or have a friend translate. My Pashto friends tell me that it is mostly about red hats. [embed width="620"]http://www.dailymotion.com/video/x24vr3n_new-pashto-film-pashto-songs-videos-za-yum-kakay-khan-1st-promo_music[/embed] Aitbaar  Directed and produced by: Javed Hashmi An espionage film to beat all espionage films, the movie follows an ex-spy as he defects from one agency, joins another and then triple double crosses everyone. Hoaxes, misunderstandings, and self-discovery combine to produce a film that we’d talk about more if we weren’t afraid of giving away more spoilers. Paindu Prince  Directed and produced by: Bilawal Bhutto After the resounding failure of Puttar Makhan Gujjar Da, the scion of the Bhutto house attempted to salvage credibility by striking out for box-office gold, entirely on his own. The plot revolves around a ground breaking cultural festival and the people who organise it. Bilawal plays multiple roles as himself, his twin, his best friend and his love interest, but alas, his acting fails to match the calibre of his father. It would have helped if the script had been in English as the lead continues to have issues with his accent. A brilliant soundtrack saves the film from sinking completely into obscurity. Needless to say, this year showed us many fails, some more unsalvageable than the rest. But one should never lose hope; 2015 is just round the corner and we need to prayers, with all our might, to make sure that we don’t allow such productions to surface again or may God help us all… Happy New Year folks! ALL PHOTOs SOURCE: FILE

2014 was like any other year for Pakistan in the last decade, with socio-political and religious excesses taking the lion’s share of space in the newspapers of the country. And yet, despite being overshadowed by dismal news, there was no dearth of winning moments for our country. In retrospect, this may just prove to be the year in which the foundation for a consolidated effort was laid, in the country’s quest to reclaim its lost glory of the 1960s. Progress was made in all domains of life. Some of those winning moments are herein under presented: Admittedly, in a country forever under the sword of Damocles, constantly in trepidation where the next act of violence may stem from, steering the economy in the right direction is a daunting task; one that our policy makers seem to be doing just fine. The country ranked third in the top ten best performing markets in the world for the third consecutive year running. The light at the end of the tunnel is more intense than ever before, as the country proved to naysayers that no amount of persecution can diminish our resolve. Much like on the day after the Wahga attack, we jump back stronger every time things are not going our way. In a rare show of proprietary, the country was finally able to raise questions on the unassailability of the two power brokers of the country, the malignant element within the armed forces and the hatred spewing preachers. The usurpers were given a fitting reminder of their culpability when Musharraf was presented in the magistrate’s court after having spent eight years as the country’s top boss. And the monopoly of the religious elite was checked when the civil society shouted out “wrong number”, in a PK-esque manner, to the callings of Maulana Abdul Aziz, of the veil episode fame (who had tried scurrying away from Lal Masjid fiasco like Alfrid does from warzone in Hobbit 3, in a women’s garb). Also, to add cherry to the top, the VIPs were finally reminded of the essence of punctuality when former interior minister Rehman Malik was thrown off the plane. Throwing down their hands in exasperation, the public for the first time in history put its entire weight behind the armed forces, and the sympathies for the militants’ dissipated as the country chanted in unison, “Zarb-e-Azb”. This led to many a militant wetting their pants, as they scampered to get rid of the only Islamic element about them, their beards. It became evident more than ever before that the religion of these militants, and the hard lines they draw, revolve around their own well-being. Just for exposing this fact, the Pakistan Army boys definitely deserve a pat on the back. The politics of the country witnessed the vigour of 1969, 1977, and 2007/2008 without immediately being followed by a changing of guard at the top. It was a double win; we finally rose to rally for what is ours, while the armed forces in turn, reaffirmed their resolve to keep their khakis out of politics, and restrict themselves to barracks where they could best defend the nation. The country acquired international recognition in its cause of educating children, notwithstanding the adversaries, when the city of Oslo witnessed the youngest person ever lifting the Nobel Prize amongst thunderous applause. Together with this, NGOs like Alif Ailaan kept the country on its toes, with constant reminders that more needs to be done, and more is being done! Home-made drones (Pakistan is now also assisting Turkey in making drones), new industries regardless of the load shedding and venturing into the tablet market are all hallmarks of 2014. But the pick of the list is the auction held last April, due to which 3G and 4G systems of communication became available in the country. The next aim should be to make the country an export surplus nation in the domain of electronics. Dramas and songs had never stopped but the return of the public to cinemas, that which has been gaining strength for some years now, only saw a rise in the last year. Moreover, nothing says tenacity and courage better than the fact that despite the constant barrage of news stories documenting violence, the top three grossing Pakistani movies – Na Maloom Afraad (earned more than a 100 million rupees), Operation 21 and The System – too had an element of violence about them. Although there were a few low points, but the progress within this sector was too hard to ignore. Pakistan bagged silver medals in both Champions trophy and Asian games in hockey, Muhammad Waseem excelled in boxing, and the country was finally able to whitewash Australia in Test cricket after 32 years. Also, the game of musical chair for the chairmanship of PCB came to an end ushering in a period of stability, and an international cricket team’s – Kenya’s – visit to the country portends a return of the cricket to the Pakistani grounds. So there, even if a vast number of stories surfacing seemed gory, there is no denying that the country continues to stride towards a better future. And if this write-up seems too long, what can we say, Pakistan has a lot to show for itself!

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

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

At ease, liberals, as this won’t be a furious grandparent’s rant on the corrupting influence of today’s music. This is a critical analysis of the influence of modern “item songs” on young people, without invoking a moralistic argument. Veteran actor, Shabana Azmi, recently rebuked item songs in the following words:

“I am saying let it be an informed decision. I am not going to dictate what you should do. But be aware that when you do a song like that it is leading to the sexualisation of children and there are four-year-old girls dancing at all kinds of weddings to really bad songs.”

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

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

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

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

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

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

“Daarhion ne phir marwa diya hai” (The beards [bearded men] have gotten us into trouble again)

“Nahi hai na-umeed Iqbal apni kisht-e-weeraan se Zara naam ho tau ye matti bari zarkhez hai saaqi” (But of his barren acres Iqbal shall not despair, A little rain and harvests will blossom, O Winebearer!)

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

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

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

Since Pakistan’s cinema industry began its journey towards improvement and development, directors began sharing unique stories through their movies. Where Na Maloom Afraad, Waar, Karachi Se Lahore, and Manto amongst others boosted the revival of Pakistani cinema, it also provided a platform for directors to display their immense talent. However, the recently released Hijrat, directed by Farooq Mengal, failed to make the same impact as it fell short in a number of areas. https://www.youtube.com/watch?v=vvevfLr3E8U Simply put, the acting in Hijrat is plain, flat and mediocre. It felt as if the actors were reading the script without emotions, completely detached from their assigned characters. Moreover, the romantic scenes failed to stir any on-screen chemistry between the lead actor Murad (Asad Zaman) and the lead actress Jia (Rabia Butt). A couple of scenes did showcase their acting ability, such as Murad and Jia in the rain and the mass burial, but that was about it. [caption id="" align="alignnone" width="600"] The romantic scenes failed to stir any on-screen chemistry between the lead actor Murad (Asad Zaman) and the lead actress Jia (Rabia Butt). Photo: Hijrat Facebook page[/caption] The story revolves around the life of Murad, living the ideal life in Istanbul, but his life takes a complete U-turn. His mother’s last wish was that he visits Quetta and works for an NGO that caters to Afghan refugees. This major transition in Murad’s life is down-right ludicrous and it honestly leaves the audience confused. You’re likely to lose your focus by the time Murad leaves Turkey for Quetta. [caption id="" align="alignnone" width="600"] The story revolves around the life of Murad, living the ideal life in Istanbul. Photo: Hijrat Facebook page[/caption] Usually, the evolution of the protagonist strengthens the plot of the movie, but in Hijrat, the plot remains stagnant and evokes no emotions within the audience. Also starring in the movie are versatile actors such as Nadeem Baig, Jamal Shah, and Ayub Khoso, sharing the screen with Saima Baloch, Zeb Rehman, Durdana Butt and Mahjabeen. Despite the inclusion of the aforementioned star studded cast, Hijrat lacks in captivating its viewers. The movie progresses in the midst of confusion and neither of our questions are answered. One of the most puzzling aspects is the ambiguous relationship between Murad and Jia. When it finally seems their chemistry will flourish, we stumble upon a second girl, Mahi (Rubab Ali). How is she connected to Murad? That’s another question added to the list. [caption id="" align="alignnone" width="600"] As the movie progresses, questions keep increasing rather than being answered. Photo: Hijrat Facebook page[/caption] The characterisation is too clichéd, it feels more like a sappy soap opera. The songs of the movie do not compliment the story line at all. It felt that they were forced into the movie to provide entertainment, but miserably failed.  The chorography in Brand Chor was below par, but we can say that Ujaar Basti Fegaar Rahain sung by Rahat fateh Ali Khan has a lovely rhythm to it. The item song Chali Re Chali featuring Sana is a fast-paced song where she shows a lot of skin in an attempt to duplicate Mathira and Mehwish Hayat in Main Hoon Shahid Afridi and Na Maloom Afraad. https://www.youtube.com/watch?v=LQkdBASbTOk https://www.youtube.com/watch?v=zOkfEMCXmhI https://www.youtube.com/watch?v=No8WRzmIDQI Hijrat is anything but great. Director Faroq Mengal should be given credit for his earnest effort though. However, a stronger plot, cohesive scenes and finer chemistry between the characters could have made it a better watch. Believe me; you won’t be missing out much if you don’t watch Hijrat.

Let me admit that I did not know who Nabeel Qureshi was before entering the theatre to watch Actor In Law. I did not watch Na Maloom Afraad (2014), primarily because of its eerily similar appearance to Hera Pheri (2000), until I watched it a couple of weeks back. Nevertheless, the trailer of Actor In Law was intriguing despite, yet again, giving a similar feel to that of Govinda’s Kyo Kii... Main Jhuth Nahin Bolta (2001), which was similar to Liar Liar (1997) of Jim Carey. I was intrigued because it’s not very often that you get a chance to see Om Puri in a Pakistani film. https://www.youtube.com/watch?v=xlQB_40JGFk If Actor in Law was made 30 years ago, Amitabh Bachchan would have starred in it and it would have been directed by Mamohan Desai or maybe it would be a Tinnu Anand film. In fact, it has a dance sequence on Andheri Raaton Mein Sunsaan Raahon Par paying homage to Tinnu Anand and Bachchan. I understand that it is a huge compliment to Qureshi and I agree I have taken great liberty in drawing this parallel. In my defence, Actor In Law has all the ingredients of a Desai masala entertainer. A good looking hero who can act, struggling actor, witty comedy, a bit of overacting by some characters, dances, rain, a message of secularism and a father-son hug. The only thing missing is a trademark Bachchan drunk scene which is okay to miss in its Pakistani version. People of my generation who still watch Amar Akbar Anthony (1977) and Kaalia (1981) with the same enthusiasm as always are always entertained by masala films. [caption id="" align="alignnone" width="600"] Fahad Mustafa.
Photo: Screenshot[/caption] The story is not something you have never seen before – a father-son conflict for the son not taking his life seriously, irreverence of the son and its quirky outcomes etc. This is back to basic stuff. Just like Desai films, Actor In Law is more of a social drama wrapped in comical treatment. In that context, it’s a more mindful film than its predecessor Na Maloom Afraad. Mehwish Hayat’s accent bothered me for a few minutes before it was revealed that she is playing a minority girl. Secularism and tolerance: check. Load shedding is a nuisance and is taken to court. Common man’s problem: check. A woman standing up for her right against sexual harassment. Women empowerment: check. Red brick’s mafia exposed. Rural awareness: check. The best thing is it’s not your holier than thou preachy film. Actor In Law conveys these messages in an easy going way like explaining complex mathematical equations through painting on a canvas. It makes things easier on the eyes. The screenplay is generally tight with few exceptions. The climax court room drama was weak and political antagonists kept coming in and going out of the picture, lacking any clear motive. The protagonist’s role in the second half, especially towards the climax is minimal and other characters take over the control. It would have made it rather interesting to see if Shaan Mirza himself had tried to come out of his conundrum instead of leaving it all to the heroine and eventually his father. [caption id="" align="alignnone" width="600"] Mehwish Hayat.
Photo: Screenshot[/caption] Having said that, the father touch in the end was a classy finish – not from a logical viewpoint but from an emotional angle. Shaan’s emotions kept getting the better of him throughout the film, though. His eyes got wet easier than a London afternoon, at times unnecessarily. The film belongs to Fahad Mustafa. He’s a complete package. Acts well, can dance and has impeccable comic timing. It doesn’t come as a surprise that Om Puri was all praises for him after wrapping his work on Actor In Law. His emotional scenes, even though excessive in number, are very well done. Not many actors of his age can show the range he has shown while carrying the film on his able shoulders. He is a long term prospect for the Pakistani film industry, which is going through yet another, and by far the most successful revival in its history. We will need more from Fahad if this revival has to sustain for a long time. [caption id="" align="alignnone" width="600"] Fahad Mustafa.
Photo: Screenshot[/caption] Speaking of Om Puri, there you have a veteran actor reminding you of why he is one of the best actors in the business. He could have done this role in his sleep. Credit to the producers for picking him over others as this role could have easily gone to another actor and would have lost its impact. Mehwish Hayat has put in a decent performance. She is not the best thing about the film, but does not let you down either. Saleem Mairaj is fantastic, Nayyer Ijaz is as good as ever and Alyy Khan is reasonably worthy. Khalid Anum is poor in his cameo, going over the top and is not funny. Rest of the supporting cast, especially the comedians are a very apt ensemble. [caption id="" align="alignnone" width="600"] Om Puri and Fahad Mustafa.
Photo: Screenshot[/caption] Shani’s music is not overwhelmingly beautiful, but it is good and fits the overall mood of the film. While the title song is well timed and choreographed, Khudaya by Rahat Fateh Ali Khan sounds like a straight inspiration from Ismail Darbar’s Tadap Tadap from Hum Dil De Chuke Sanam. https://www.youtube.com/watch?v=okSMPHvRnYY My personal favourite part of the film is the picturisation of the song Dil Dancer Hogaya. It is artistically done, especially towards the end when Fahad actually takes up the courage to invite Mehwish for a dance and then stops. It was a sweet little moment of Imtiaz Ali’s magic and sensitivity. Also, full marks to the production design team for showcasing Karachi the way they have shown in it – very relatable. https://www.youtube.com/watch?v=LQe7UdLWO9U Qureshi seems clear in what he is trying to achieve with Actor In Law. He is not creating a Moor or a Manto, but he is not creating a Wrong No. either. He has kept things simple and would have made Manmohan Desai proud if he were Desai’s protégé. I keep referring to Desai because this is a brand of cinema which was established decades ago and has stood the test of time. Even today Farah Khan and the likes try to emulate the same formula and have not been able to deliver the same output. Qureshi’s work is a lot closer to Desai’s brand of cinema than a Tees Maar Khan or a Happy New Year types were. [caption id="" align="alignnone" width="600"] Fahad Mustafa and Mehwish Hayat.
Photo: Screenshot[/caption] Actor In Law is vaguely generic at times and refreshingly original at others. A lot of scenes in the film could have looked unnatural or weaker if it was not for Qureshi’s attention to detail or creativity. Case in point the scene where Saleem Mairaj wants to tell Alyy Khan something at the elevator, or the helicopter scene conversation between two villains. His treatment of political satire is also brilliant. [caption id="" align="alignnone" width="600"] Alyy Khan.
Photo: Screenshot[/caption] Nabeel Qureshi has taken leaps of faith in some sequences while looking painfully mediocre in some. Nonetheless, the positives in the film outweigh the negatives by a distance. That makes Actor In Law a thoroughly entertaining film.

Na Maloom Afraad 2 is the sequel we’ve been waiting for. The original Pakistani comedy thriller, Na Maloom Afraad, was released in 2014 and saying that it took cinemas by a storm would be an understatement.

Fahad Mustafa (Farhan), Javed Sheikh (Shakeel), Mohsin Abbas Haider (Moon) and Urwa Hocane (Naina) reprise their respective roles in this sequel directed by Nabeel Qureshi. The film is produced by Fizza Ali Meerza and Mehdi Ali and is written by Qureshi and Meerza.

In 2014, Nabeel Qureshi and Fizza Ali Meerza paired up to direct and produce Na Maloom Afraad and it proved to be an instant box office hit. It is the longest running movie in Pakistani cinemas since 2007, beating the records of Khuda Kay Liye and Waar. After three years, the duo returned to direct and produce Na Maloom Afraad 2, which was released over Eidul Azha. Before we get into the nitty-gritty of the movie, it is important to applaud and appreciate the fact that two remarkable Pakistani movies, Punjab Nahi Jaungi and Na Maloom Afraad 2, were released in succession. This is a huge milestone for the Pakistani film industry. But back to Na Maloom Afraad 2; the cast is almost the same, except for a few new additions, and the movie picks up from where it ended in the prequel. https://www.youtube.com/watch?v=d2OO3Af8q-A The movie revolves around Farhan (Fahad Mustafa), Shakeel (Javed Sheikh) and Moon (Mohsin Abbas Haider.) Farhan is happily married to Naina (Urwa Hocane) and is working as the CEO of their company, Shama Achaar, along with his brother-in-law, Shakeel. Everything seems to be working perfectly well for the two, up until they receive a phone call from an offshore bhai (gangster) demanding extortion money. To make things worse, their factory catches fire that night and they’re left in a conundrum. Amidst this chaos, they receive a phone call from Moon to invite them to Cape Town for his wedding to Parri (Hania Aamir). While they are in Cape Town for Moon’s wedding, they somehow end up with Sheikh al Baklawa’s (Nayyar Ejaz) 24-carat gold commode and the trio find themselves in the midst of a cat and mouse chase. This situation is what forms the crux of Na Maloom Afraad 2’s storyline. In terms of performances, Na Maloom Afraad 2 undoubtedly belongs to the three protagonists. Javed Sheikh, like always, proved that he is a true showman through his impeccable performance as Shakeel. Not only are his dialogues penned smartly, he delivered them with utmost hilarity and presicion. Furthermore, Fahad Mustafa looked confident and flawless playing the role of Farhan. His constant transition from being a toughie to an emotional softy leaves the audience in awe. Personally, he was my favourite. Mohsin Abbas Haider added the fun element in the movie, just as he did in the prequel. However, this time around he has a six-pack to flaunt, which he proudly does throughout his time in South Africa. Moreover, even the supporting actors such as Nayyar Ejaz and Saleem Mairaj did a commendable job. Despite having only a few scenes in the movie, Ejaz impressed the audience as the Sheikh. Mairaj, being the splendid actor that he is, was extremely convincing in his role as a gangster. Thus, it would be justified to say that Na Maloom Afraad 2 belonged to the male cast. I, for one, felt that Urwa Hocane and Hania Aamir looked great but were merely used as eye candy since they had nothing major to offer in terms of performance and dialogues. Moreover, Sadaf Kanwal performs an item song, Kaif O Suroor, which could have had better choreography. https://www.youtube.com/watch?v=p6Gx7pMTKos As for the script, it did fall short when it came to the female actresses, but it also fell short in the novelty and interest department. Unfortunately, the dialogues did not leave much of an impression on the audience, other than the great comedic timing. But we can’t expect movies such as Na Maloom Afraad 2 to have exceptionally well-crafted dialogues since it’s purely an entertainment movie, nothing more. Nabeel Qureshi should be grateful to the cast though, because if it wasn’t for the great performances, the already mediocre script would become duller. There were a few scenes in the movie which did not make sense and were extremely illogical, but then again, for a movie such as Na Maloom Afraad 2, it doesn’t matter. As long as a movie manages to entertain the masses with slapstick jokes, it will do well and Na Maloom Afraad 2 does just that. The art direction and cinematic shots are wonderful and the movie has not been marred due to excessive branding, which is a prevalent issue in Pakistani movies. Luckily, the brand placement in Na Maloom Afraad 2 was not overwhelming. I suggest other directors and producers follow Qureshi’s cue and tone down on their blatant advertising and brand placement. All in all, Na Maloom Afraad 2 is a great watch, especially if you’re looking for a few good laughs. The only issue is that it brings nothing new to the table in terms of a storyline and creativity, as I felt I had watched the movie countless times before. If you plan on watching the movie, which you should, suppress the inner critic in you and expect a thoroughly well-shot and funny movie, nothing more. All photos: Screenshots

Pakistan’s blooming film industry has branched itself out with multiple genres; from the family drama in Janaan by Azfar Jafri and Imran Raza Kazmi, to Shoaib Mansoor’s social drama in Verna. However, it goes without saying that our film industry has also given audiences a string of comedy films that left us in a fit of laughter! To name a few of the star-studded hits filmmakers graced us with, we’ve had Na Maloom Afraad and its sequel, along with Karachi Se Lahore, Jawaani Phir Nahi Aani, Actor In Law, and most recently, Parchi. Directed by Meenu Gaur and Farjad Nabi, 7 Din Mohabbat In has been the talk of the town ever since it was announced Mahira Khan and Sheheryar Munawar will be setting the screen on fire together! The teaser, which was keenly awaited by all, has once again surfaced an excited buzz among the industry and fans alike. Co-starring Javed Sheikh, Aamna Illyas, Mira Sethi, Hina Dilpazeer and Beo Zafar, the teaser evidently portrays Sheheryar’s character, Tipu, as a geeky boy who takes on the help of the quirky and frivolous Neeli, played by Mahira, to transform him from a ‘bhaijaan’ (brother) to ‘jaan’ (lover) in a matter of seven days. Though low-key what everyone is anticipating is how Sheheryar, originally the hunk of our industry, will be prepping for his ‘bechaara bhaijaan’ role! Undeniably, what tends to pop out from the teaser and make one do a double take is Mahira’s character, as we see her in an avatar she has never donned before. The queen of expressions has given us various characters we grew to love, both on the big screen and in TV dramas. Be it the innocent and soft-spoken Khirad from Humsafar, the spiritualist Falak from Shehr-e-Zaat, or the resilient rape victim Sara from Verna. And how can we forget Shano, who personified romance in Sadqay Tumhaare? With each brilliant performance, Mahira stole the heart of the entire nation! Quite different from all her previous characters, Mahira as the bubbly ‘Neeli’ has surely stirred up the curiosity of the masses, as we wonder whether or not she’ll be able to nail her newest performance, and that too in a comedy. It may be a little difficult to initially ‘digest’ Mahira’s perky character, which is poles apart from the usual mature female characters audiences are immune to seeing on screen. However, her performances have never failed to impress us, so fingers crossed for what will surely be a stellar act by the exceptionally vibrant team of 7 Din Mohabbat In. The film releases on Eidul Fitr, in June, 2018. All photos: Screenshots

Bollywood’s latest female-centric flick, Veere Di Wedding is the most recent film to be banned by the Censor Board of Film Censors (CBFC) from releasing in Pakistan. According to their findings, the film had “vulgar language” and “questionable content”. From the looks of the trailer, Veere Di Wedding is Bollywood’s closest remake of Sex and the City. A tale of four girlfriends who are wading through the rough waters of romance, marriage and family, all the while supporting each other and finding solace in friendship. For South Asian audiences, this movie is almost a pioneer in terms of showing female friendship as its central plot, as opposed to a female’s quest for love. Whilst it might have its pitfalls when viewed from a feminist lens, the film undoubtedly has the potential to leave its mark on South Asian audiences worldwide, particularly a lot of educated and independent women. https://twitter.com/mahwashajaz_/status/1002178990298357760 I grew up in the 90s, and watching Bollywood movies wasn’t really ‘allowed’ in my house. My parents were anything but movie buffs, and they had a particular dislike of Bollywood. This made it all the more attractive for my sister and I, and the only movie we got our hands on was Dilwale Dulhania Le Jayenge (DDLJ) – a Bollywood cult classic in the genre of romantic comedies. Even though that movie has a special place in my heart, just because it was my first exposure to the concept of romance in a ‘desi’ world (not counting watching Hollywood movies since most were predominantly ‘white’), nonetheless, the movie follows a stereotypical larger-than-life romantic journey, where a girl finally finds meaning in marrying the man of her dreams. https://twitter.com/PotaytoPotato/status/1002438552188342273 https://twitter.com/ankitaChak15/status/1002427579402465280 Meanwhile, even most Hollywood teen movies that do talk about female friendships reflect caricatures and socially aggressive girls in a vile context, reflected in the likes of Mean Girls. Research in media consumption analysis has proven that the portrayal of gendered characters has a profound impact on adolescents. The system of rewards shown helps younger audiences internalise certain behavioural traits that will help them succeed. Not just that, they also internalise ideas about what a ‘reward’ means. For instance, for a woman, it is usually shown to be the attainment of romantic love culminating in a marriage. For a man, it could be the ability to mess around with multiple women and ultimately settle down with the ‘perfect’ one. So a story that actually talks about how women can sometimes not want marriage (Sonam Kapoor’s character), or about those who can make bad choices in relation to it (Swara Bhaskar’s character), or those who thought they always wanted it but are getting cold feet (Kareena Kapoor’s character), is likely to teach young girls that it’s alright to be confused and alright to not want things society has prescribed for you. Most importantly, that another woman can sometimes be your strongest supporter through your entire journey, and even though you might meet many men, your girlfriends will remain constant. https://twitter.com/BollyAlien/status/1002476732782403584 However, apparently, such content is “questionable” and “vulgar”. Meanwhile, what is totally acceptable and applauded is Humayun Saeed taking a trip abroad with his four married friends with the sole aim of philandering in Jawani Phir Nai Ani. Or the recently released Bollywood film Sonu Ke Titu Ki Sweety, where the two male protagonists can be seen constantly swearing and indulging in behaviour only the CBFC found acceptable. What’s even better is that young boys will watch such movies and think it’s alright if they party and sleep around with other women, because at the end of the day, a good dance performance will win them back their wife’s love, or an overly emotional dialogue about protecting a woman’s honour in the court room will immediately result in their wife revoking divorce proceedings. https://twitter.com/Abbasayy/status/1001824993909575688 https://twitter.com/HasanFaryal/status/1001766895572475905 Pakistani cinema itself is replete with similar examples, from the completely pointless ‘item numbers’ in Karachi se Lahore and Na Maloom Afraad, to the trailer of the upcoming Pakistani film Wajood, where there are multiple scenes showing women dancing suggestively in front of a man, with the purpose being to titillate men. Meanwhile, Punjabi theatres regularly showing tasteless dance performances – where women dance for men – have existed for time immemorial now. https://twitter.com/Frieskhilado/status/1002006422224285696 https://twitter.com/Mehrunissa92/status/1002118381212925952 Ultimately, whatever appeals to the male gaze and shows a woman as nothing more than a sex symbol is approved – legally and socially. But the minute the screen starts to show women – especially women floundering, making mistakes, and learning, all the while still being ‘human’ – audiences and authorities alike start getting jitters. https://twitter.com/sara_mrana/status/1002046081750843392 https://twitter.com/return_to_hades/status/1002052861906350081 It’s time the CBFC revisits its rules and standards for judging a film’s content and the larger impact it is likely to have, especially on young minds. But it is also time the Pakistani film industry steps up and starts producing content we can wear on our sleeve with pride (the likes of Motorcycle Girl), and not three-hour-long caricatured, misogynistic rubbish disguised as ‘humour’. Humour that always seems to come at the expense of women.

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 

With films like the Na Maloom Afraad series and Actor In Law under his belt, Nabeel Qureshi has not only entertained audiences but has also pulled off three of his ventures thus far. It won’t be wrong to say that Qureshi is a filmmaker for the masses, with Na Maloom Afraad being a genuine entertainer, whereas its sequel – loaded with toilet humour – also received appreciation, though not as much as the original. So what happens when a director known for mass entertainers tries something new and moves towards a different genre, with a film that centres on a social issue? The answer would be Load Wedding. https://www.youtube.com/watch?v=NkXBll2DpuQ The film seems to be based on a wafer-thin, yet bipolar plot. Raja (Fahad Mustafa) and Meeru (Mehwish Hayat) are in love but circumstances – such as Raja’s father dying and Meeru getting married – keep them apart. However, Meeru’s husband dying right after her marriage is a quick resolve to the angst, giving our protagonists the chance to be together. Till the interval, the film presents itself as a typical romance, until the leading couple get together. After the interval, however, the plot takes a U-turn to focus largely on the issue of dowry as Raja tries to get his sister married, and highlights the issue whilst ridiculing a certain infamous TV game show host. The “romantic” first half of the film drags a bit; it feels too slow, and the audience seems bored while presented with illogical scenes, such as when Raja stalks Meeru. I mention illogical and hard to believe, for this ‘stalking’ sequence takes place on the narrow streets of Niraali, their village, and no one seemingly finds it odd that a grown man is following a girl around. What Pakistani village did they base this on? Given the cultural context, the scene just feels problematic. Admittedly, I am still wondering what the writers were thinking when they wrote Raja telling Meeru that it was his luck and the outcome of his prayers that she was widowed. I cannot be the only one who feels that not only is the dialogue quite pointless, it is also rather insensitive. Performance wise, Mustafa is brilliant, as always. Comedy is his forte, but he also does justice to his emotional and romantic scenes, and is an example of perfect casting as he is entirely believable as Raja. Hayat, on the other hand, is also excellent, as she handles a difficult character with ease and makes the love story between her and Mustafa’s character very believeable. Samina Ahmed performs well, but the same cannot be said for Noorul Hassan, who needs to broaden his range. Fahim Khan, on the other hand, was exceptional and brings an exciting element to what turned out to be a boring film. There are many scenes in Load Wedding that do not make much sense and feel forced. One particular flashback scene was added only for the cameos and that's pretty much it, as the entire scene lacked substance otherwise. Additionally, the honeymoon scene made me recall a specific episode from a 90’s Pakistani sitcom titled Guest House, where a sister-in-law (Bushra Ansari) ruins her brother’s honeymoon by tagging along the newlyweds to Murree. On a side note, the cinematography showcasing the setting in Murree is purely bogus and torture to the eyes. Many emotional moments in Load Wedding give the impression they have been added only to make the audience cry, which unfortunately does not work, as the pacing of the film does not allow the audience to connect with the characters emotionally. The film also shows Meeru as a polio worker, with polio being another issue raised in the film with no punches. The only highpoints in the entire film are as follows:

1. Fahim Khan’s game show sequence,
2. The climax, which reminds you of Madam Noor Jehan’s song Aaj aur kal.

The year is almost over, and there is no doubt the ‘revival’ of Pakistani cinema continued in 2018. It would even be fair to say the so-called revival phase is over and the industry has stabilised to a degree. It should only go up from here, as our filmmakers have now understood the basic needs of the modern cinema going audience. While production values, music and the film treatments have significantly improved, the stories remain the weak link. However, this is a problem with most large-scale films, even across the border. Yes, there are still some black sheep insisting on making poor films and drowning our cinema again, but that number has grown to be fairly limited. And no, this was not a sly dig at the makers of 7 Din Mohabbat In (7DMI) or Maan Jao Na. This year saw a good mix of mainstream commercial ‘masala’ cinema with experimental and unique storytelling. Amidst all the chaos, there was some method to the madness. In other words, it was not like the Pakistan cricket team. In this article, we will have a look at the news-makers in the Pakistani film industry over the past 12 months. The all-rounder https://www.youtube.com/watch?v=jw5dTVTX9zo Arguably the biggest film produced by Pakistan, and also its most awaited one, was Teefa in Trouble. It was a movie of firsts; the directorial debut for Ahsan Rahim, the first film for cinematographer Zain Haleem, the first film for actress Maya Ali, and the first Pakistani film for Ali Zafar. It took its time to complete and the producers took a gutsy step by not releasing it on a holiday. Teefa in Trouble lived up to its hype and turned out to be a technically sound, well made, all out entertainer. It was a master class in editing, while its brilliant cinematography, quirky humour and apt sound design were the strength of the movie. Veteran actors such as Mehmood Ali and Javed Sheikh stood out, whereas Maya had a reasonable debut. On top of it all was the excellent chemistry of the trio formed by Rahim, Faisal Qureshi and Zafar. It was evident the three of them had complete confidence in each other, which is why despite a recycled storyline, the film was a huge success and set even higher future expectations from Rahim and Zafar. The underachiever https://www.youtube.com/watch?v=NkXBll2DpuQ Nabeel Qureshi’s track record has been nothing short of remarkable at a very young age. Along with Fizza Ali Meerza, Qureshi has created two instalments of Na Maloom Afraad and the very entertaining Actor in Law. This year they came together with Fahad Mustafa and Mehwish Hayat to present Load Wedding. Load Wedding is a good film. It has the cultural sensitivities of interior Punjab, Shani’s soulful music, good acting, satirical humour and most importantly, a couple of very strong social messages i.e. the nahoosat (bad luck) brought by a widow, and the load of dowry upon a girl’s family. Despite flaws in its execution, such as the Punjabi accents of non-Punjabi actors, it was still a very well-made film. However, it did not receive the success Qureshi’s previous films did, the main reason for which was a box office timing clash with Jawani Phir Nahi Ani 2 (JPNA 2) and Parwaaz Hai Junoon (PHJ), both of which released on the same day. After all, a Pakistani couple was not going to spend Rs6,000 on three films in three weeks. Ultimately, the audience chose the higher entertainment value of JPNA 2 and the more glamorised cast of PHJ over Load Wedding, which went under the radar despite being the best of the three Eid releases. A hot wave in the summer https://www.youtube.com/watch?v=3Qa_DNWlYlA June was the month of Eid, and one would expect major films to come out during the occasion. Although we saw a flood of releases on Eid this year too, all of them left the audience high and dry. The biggest disappointment, which was expected after seeing its trailer, was 7DMI. The first venture in films for its producers, 7DMI was a loss-making venture from a financial view point and a painful venture from the audiences’ point of view. Despite being quite awful, it was still not the worst film of the weekend. It was accompanied by two other duds in Wajood and Na Band Na Baraati. However, it was Azaadi which singlehandedly ruined Eid for the cinema going audience of the country. Terribly painful to watch, even for half-an-hour, Azaadi was infused with patriotism and devoid of any story, acting or direction. It made it worse to hear this was allegedly produced at tax payers’ expense. The ‘accidental’ hero https://www.youtube.com/watch?v=cr96skoXSuM A film I have already praised wholeheartedly in an earlier review is Cake. You wouldn’t have expected first-time director Asim Abbasi to create the sensitive piece of art that he did through this movie, which is now Pakistan’s official entry for the 2019 Oscars. It even generated decent box office collections for a semi parallel artsy genre without any mega film stars. Cake is exquisitely crafted, beautifully written, purposefully directed and sensitively acted. It should have garnered a lot more than the credit and praise it received; however, being the official entry to the Oscars is definitely a cherry on the cake. The king of animation https://www.youtube.com/watch?v=9o996V_puWU The animated movie of the year is undoubtedly The Donkey King. There was definitely stiff competition, as both Allahyar and the Legend of Markhor and 3 Bahadur were good animated films. This genre is still relatively unexplored for Pakistani audiences, as it requires a lot of commitment and effort. The Donkey King, a film as much for adults as it was for the kids, was a brilliant political satire. It spoke of a world where cops are turtles, the media is run by monkeys and political advisors are foxes. And let’s not forget the presence of a grand circus master trying to control everyone! Aziz Jindani, having proven his mettle in the corporate world over the years, has done remarkably well in his debut venture in the world of films. The moneymaker https://www.youtube.com/watch?v=TUM6liPArUE In 2018, JPNA 2 became the highest grossing Pakistani film in history. Making more than Rs60 crores, JPNA 2 set new benchmarks for Pakistani cinema. It is also encouraging to see that a Pakistani film with a high budget (said to be in the range of Rs25 crores) can actually be profitable for the producers and distributors. Even though I personally don’t buy the content of the JPNA franchise, it is quite obvious that Nadeem Baig and Humayun Saeed have figured out the formula of entertaining Pakistani audiences and becoming commercially successful. https://twitter.com/iamhumayunsaeed/status/1044554545123282945 As the year draws to a close, there are some big projects in the pipeline for 2019. Saqib Malik’s long-awaited debut Baaji is highly anticipated, while Asim Raza is coming back with Paray Hut Love. Shaan’s Zarrar promises to be a high-octane spy thriller, but the biggest of them all could be Fawad Khan’s first Pakistani film in years – Maula Jatt. Here’s hoping these will all be fantastic films for 2019, and we will finally see the first Pakistani film to cross Rs100 crores! Happy New Year!

Films such as Laal Kabootar have a much bigger responsibility to cinema, particularly for Pakistani cinema, which is going through an interesting phase of its life cycle. Pakistani cinema’s revival is over; it is now in the maintenance stage. I don’t think it will go down to the disaster that it was, but whether it grows further or not remains to be seen. https://www.youtube.com/watch?v=CgzJ6KRBK8w In order for cinema to grow, all kinds of audiences have to start coming to the theatres; the kind who would watch Kahaani or Andhadhun over Thugs of Hindostan. If you go wrong in making a Jawani Phir Nahi Ani or a Na Maloom Afraad, there will be three more films of the same genre releasing in the next six months and the maintenance will continue. Failure of a comedy will not hurt cinema as much as it would if you go wrong while making a Laal Kabootar, because these films bring in a new audience to the cinema and their failure can alienate those viewers from Pakistani cinema forever. Laal Kabootar has a strong pull for the indie audience. It’s trailer, even though not promoted enough or in the right way, hits the cord and generates enough interest for that specific audience. Once it brings you to the theatre, it has a lot of ingredients working well for the recipe. Taha Malik’s soundtrack is brilliant; probably the best element in the mix, taking a leaf out of Bejoy Nambiar’s book.

*Spoilers alert*

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!”