“Film has always been a passion [for me] and this was the reason why I joined this industry,” he says. Over time, Saeed gradually became one of the most successful TV drama producers in Pakistan. He feels this success has granted him space to experiment and return to his first love, which is film. “It’s important that we make [good] films now. If we do this, then in two to three years, Pakistani films will be a success,” he adds positively.

Main Hoon Shahid Afridi is unlike any previous Pakistani film — it is commercial but is an underdog story which centres on the game of cricket. The star-studded cast includes Javed Sheikh, Nadeem Baig, Shafqat Cheema, Noman Habib (lead), Mahnoor Baloch and a host of others including Saeed himself. The film has been directed by Syed Ali Raza and is written by Vasay Chaudhry.

The story is about a young boy who dreams of becoming the famous cricketer Shahid Afridi. PHOTO: PUBLICITY

Saeed is aware that India and other countries have produced films on such subjects before — Iqbal, Chak De India and Lagaan. But he feels Main Hoon Shahid Afridi is purely Pakistani and is different from the kind of scripts Saeed has been known for. “People expect me to produce something which is themed around shaadi, romance and emotion but I was keen on doing something different,” he continues.

“In India, several sports films have been made. But in general, it’s quite risky to make these because they come across as dry,” he adds, saying he was dreading that. “But I feel if it’s done intelligently, then it could turn out to be an exciting project.” A lot of collective input and effort made this film come to life. “Everyone was tense yet interested in how we could make this film great. You will see that viewers will like this project too,” he says.

The film is about a young boy (played by Habib) who dreams of becoming the famous cricketer Shahid Afridi one day. The local club he plays for, however, goes bankrupt and that changes the whole ball game. In order to deal with the hard times, Habib must figure out a way (with a team of misfits) to win a major local tournament in Sialkot. They ultimately seek the help of an ex-cricketer named Akbar Deen (played by Saeed) who has a dark past.

“Unfortunately, new actors have the tendency to become commercially-inclined but the people we found for this film, are [genuinely] interested in doing good work,” says Saeed, about the cast. “And I think that is very important.”

Speaking about the film’s music, Saeed says it will be released on June 29. The soundtrack has four songs by Shani Arshad Ali and Kamran Ismail-Kami aka Shani and Kami while the lyrics have been written by Sabir Zafar and Nadeem Asad. “The music is brilliant. Even if all songs are not hits, I am 110% sure that at least two songs will be very successful,” he says enthusiastically.

Saeed strongly feels that this change in Pakistani cinema, in which new people will step up and make new films consistently, will ultimately result in the revival of the film industry. “I will be making two films — they are going to be different [from the usual duration] and will be about an hour and a half or two hours long each,” he says. “What digital [videos/films] have done, is that they has opened doors for films to be made. We will make mistakes, but I think it’s a good starting point.”

Published in The Express Tribune, June 8^th, 2013.                                                                                          

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LAHORE: Bollywood’s Mr Perfectionist, Aamir Khan, has suggested his 18-year-old son Junaid Khan not to take up acting yet, but instead start by learning about Indian cinema.

Khan junior, who wants to follow his father’s footsteps and make a debut in Bollywood, has taken up the role of an assistant director to film-maker Rajkumar Hirani for his upcoming flick, Peekay. 

“It was my suggestion that he [Junaid] should learn something about cinema first and get a new experience in life before he makes his choices,” said Aamir, who is also acting in the film, according to the Hindustan Times. He added that this step will help Junaid in the long run. “Let him discover it [his forte] and tell us what he wants to do in the future. Once he has a little understanding of the craft, let him choose. It’s too early to assume that he will end up in movies. It could be acting or directing; everything is going to be his choice.”

The actor added that Junaid is currently completing his BCom degree. We hope to see Junaid doing wonders in Bollywood, just like his father!

Published in The Express Tribune, June 13^th, 2013.

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Due to release on June 21, the film stars Dhanush of Kolaveri Di fame and Sonam Kapoor.

Raanjhanaa – the song

“I am very excited about the track. It’s always fun to do a song with AR Rahman,” says Uppal, who was contacted by Rahman for the title track. “I love his arrangement and composition.” For Rahman, this soundtrack silences those who were lamenting the monotony of Jab Tak Hai Jaan and Ek Deewana Tha.

Uppal shares that Rahman has always inspired him and the two have teamed up on various occasions. More recently, at the One World Peace concert held in New York, the two shared the stage with other leading artists such as Dave Mathews, Natasha Bedingfield, Philip Philips, Cyndi Lauper and others. Uppal has previously also sung soundtracks composed by Rahman for Bollywood film Nayak and Tamil movie Boys.

Uppal says that the main track, which has energetic lyrics by Irshad Kamil, is melodious with a classical touch, but is also upbeat and fresh. “He [Kamil] is one of my favourite lyricists; I really like his poetry,” says Uppal. “The song has a classical tune. Singing it was a lot of fun since I haven’t done a song which is classical and fast at the same time.”

Work in Bollywood

Uppal says that his focus will be on films and he is planning a visit to India in the coming weeks to promote the soundtrack. He feels that collaboration between Pakistan and India is a positive approach. “I think the work being done in India is of very high quality,” says Uppal. “Seeing Pakistani artists there means a lot, since it’s a big platform.”

His own focus has always been biased towards making music for films, despite the fact that he has done four pop albums, as well. “I have always wanted to make music for films,” shares Uppal. “I like to see my songs being played on the big screen.”

Uppal explains that Bollywood has shifted from traditional sounding music and has now become more experimental. He also says that experiments with music occurred in every era, but not all types of music succeed.

“The real test is whether the public accepts this type of music,” says Uppal. “The one which is accepted becomes a trend.”

“Pakistani pop music has been popular for many years,” explains Uppal, adding that music trends are changing in films. “If you look at the music being produced in Indian or Pakistani films, it’s more towards pop.”

Uppal feels that Pakistani music has always been of great standards. He also believes that the latest trend in music for Pakistani films is very beneficial for the country’s music industry. He produced the track Hona Tha Pyar for the original soundtrack of Bol and would like to do more projects like that.

“I would love to do it if someone is interested,” says Uppal. “But I don’t go out searching for work; I only work on merit.”

Published in The Express Tribune, June 13^th, 2013.

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A visit to Pakistan has shown the duo how perceptions can be different from reality. “A lot of my friends and family had different perceptions of Pakistan but since my visit, all that has proven to be wrong. It will be interesting to see though, how audiences react to our music because the lyrics are in German,” said Rekless, whose real name is David Mayonga, prior to the concert.

The two artists began their journey in the German music industry when they were only teenagers. Based on the outskirts of Munich, they stepped into the industry when a completely new music scene was emerging. “A new scene was being created at that time — we had a lot break dancers, graffiti writers, and we were the only two DJs in our age group. However, it was quite evident that this was going to grow,” said 32-year-old Rekless.

At a time when American hip-hop was influencing quite a number of artists but the basic facilities of music were inaccessible in Germany, the duo felt inspired by hip-hop as a medium to express themselves. “People from poorer backgrounds could not afford turntables at that time so we started out by break dancing; we wanted to be a part of this growing culture,” Rekless continued. “However, with time passing, more and more people started to understand and grasp the idea behind hip-hop — to give yourself a chance to express yourself no matter where you come from.”

The growth of the German hip-hop scene, that was only limited to performances in an underground network of parties and concerts, eventually broke out and became a mainstream phenomenon. This is something that Rekless said had a huge impact on the field of music. “The artists were mostly trying to please the media and there was this whole trend of gangster rap that was being imported. We were also offered major deals but we said no, we are not going to do that,” he said.

After being away from the music scene for a couple of years, the duo is now part of a resurgence of hip-hop. Sharing his passion for his work, Al-Rock, whose real name is Sebastian Wegner, added that he has always enjoyed performing live and creating different sounds using turntables. “When the hip-hop genre was initiated, the DJ played the main part. Nowadays, it’s like the rapper is mostly in the front and at times there is no DJ, so music is missing the scratching,” said Al-Rock. “I think that there is no limitation when it comes to being a DJ but the most important thing is doing it with rhythm.”

The duo will soon be releasing a promotional free-style album in two weeks for the largest hip-hop festival in Germany called Splash! Festival.

Published in The Express Tribune, June 25^th, 2013.

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Born in Lahore as Shaukat Ali, Nashila received a minimal education and began his acting career by performing at small events like weddings and festivals, said his son Noorul Hassan.

He became attached to the theatre scene that developed around the creation of Alhamra in the 1970s and worked closely with writer and director Naheed Khanum. He was also heavily involved in the developing commercial theatre in the early 1980s.

Khanum said that it was her collaboration with Nashila which led her to introduce songs for the first time in stage plays. The popular Qawal Challa that Nashila became known for debuted in Ek Say Bara Ek.

“At the time, plays lasted for several hours. I felt that by introducing a song, we were able to give the audience a break. It proved very successful,” said Khanum.

Nashila also took up small roles in productions outside of Alhamra at the Mehfil and Naz theatres in Lahore. He appeared in several minor roles on television and film, but his career in front of the camera never really took off.

“He was the type of artist who never asked for work. I suppose that he never got the recognition that he deserved,” said Khanum. “I think … he did his best work with me. He maintained a sort of purity in the work that he did.”

Stage director Qaiser Javed, who was a close friend of Nashila, said that he had developed the concept of the one-man show, which provided the basis for future styles of parody in Pakistan of the kind now generally seen on television.

Javed said that Nashila had a very good voice as well as an inherent creativity. His qawwal parodies included musical legends such as Shaukhat Ali, Alam Lohar and Tufail Niazi.

“He was well respected amongst his peers. I think his role in pioneering the one-man show and qawal parodies left a lasting impact on theatre and acting,” said Javed.

The actor was a diabetic and had been suffering from several ailments, said his son Noorul Hassan. He had five children including three sons and two daughters.

Published in The Express Tribune, June 25^th, 2013.

With the aim of asking pertinent questions through his music, Asrar appears extremely passionate about the sufi genre. “My voice comes from within me. Sufi music is a call for love, peace and humanity and is supposed to supersede differences such as caste or creed,” he says. “The important thing is that we continue to upgrade our music. Hence, our thoughts can easily resonate with people in present times and that should be the main goal of every artist.”

The Lahore-based artist has been running his own production studio called Soul Speaks. So far, Asrar has released around eight singles including his latest one titled Waris Shah. It has been a viral hit all over the internet and on television. Having gained his fame mostly through the internet, Asrar believes social media is an important avenue. “Social media has provided us with a space where we can easily connect with our listeners. There are only two music channels now so it is important that us, artists, who are investing a lot on our videos, have an avenue where we can be heard,” says Asrar.

With his song Waris Shah, Asrar is trying to explore a different side to Amrita Pritam. He chose to use different stanzas in his personal version which he believes stands out from the poem; after the traditional introductory lines, he brings a different tone and sound to the poem, which seems to work well. Hence, the song came out as very different from any previous version of Waris Shah. Dominated by the rustic clarity of Asrar’s voice and the acoustic music that complements in the background, his goal is to give justice to Pritam’s lyrics and allow everyone to bask in its glory.

“We aren’t looking to make music for a specific category but the goal is for the song to express sufi thought through its music,” says Asrar. “We have a more acoustic sound so that the words or lyrics are emphasised. This is important so that the younger generation can connect well with lyrics.”

Asrar plans on releasing two singles in the coming month; a song based on the lyrics of the famed poet Jaun Elia and another, based on the work of contemporary poet Wasi Shah. “I think that music has to blend with ideas that prevail in today’s day and age. In fact, I believe that we should try to connect more with the poets of today since they are easier to understand,” suggests Asrar.

Elia’s poem, Allah Hi Dega Maula Hi Dega is based on a beggar who discloses the realities of society and poses existential questions about life and humanity. Whereas the second single, which is based off a poem by Wasi Shah, Ishq Hawa Mein, is something that Asrar is excited about because of Shah’s following amongst the youth.

“Wasi Shah is the teenagers’ poet. I think this song was not difficult to choose because he presents a completely original definition of love,” he continues. Meanwhile, in his search for soulful music, Asrar says that he has also tried his hand at writing lyrics. “As an artist, my goal is not simply to gain fame, it is more about producing something that is meaningful and has an impact on our lives,” he adds.

Published in The Express Tribune, June 27^th, 2013.

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Sanaullah, who is also being tipped to become the first chairman of the Punjab film censor board, has been critical of the standards that have prevailed within the industry over the last decade. He has been trying to use his working class background as a way to ensure that local films continue to be produced. Recently, Sanaullah’s film Pangi Laleeya belonging to the Pashto film industry, Pollywood, was released. His latest project and upcoming film Dirty Girl will premiere on Eid, in which director Arshad Khan has tried to tackle bold and racy topics.

“The film has been shot in several mansions outside of Lahore and is inspired by the Indian film The Dirty Picture,” explains Sanaullah. He also adds that the film is a small effort by him to give back to the industry in which he has worked his way up.

“The story is based on a true incident. However, I don’t feel it is right to mention the location,” he says. “It’s about how an educated girl is forced to become a call girl.” The movie features Nida Chaudhry, Shahid Khan, Babrik Shah, Irfan Khoosat, Rashid Mehmood along with several other known names.

“This is my third effort in making a film. This film can be seen at those cinema houses where Indian films are not being played or in smaller markets where there is lack of content,” says Sanaullah.

His work with Metropole has been refreshing in terms of single-cinemas in Lahore, especially during down time for cinema.

He admits that Indian films filled a void when the continuance of caste-based Gujjar and Biradari films continued.

“Film-goers are far more aware when it comes to watching films,” explains Sanaullah. “They know before they leave the house if they want to watch a particular film or not.”

He has been backed by some of the biggest names in the industry such as Syed Noor, Shehzad Rafique, and Zorraiz Lashari to become the censor board chairman in Punjab.

Sanaullah has been critical about the role of the censor board in the past. “Since Pakistan has created a censor board, it has been ruled by bureaucrats,” says Sanaullah.

“This is the first time a worker or person related to the film industry has been proposed as chairman. Bureaucrats, politicians, capitalists and landowners have held the censor board hostage — they never knew the real issues of the film industry.”

If made chairman, he says that he can tackle real issues and help the struggling industry in Lahore and Punjab. He also reiterates that it was most important that a person from the film industry was selected or promoted.

“I will make sure the grassroot issues, which are neglected by the government, reach the forefront,” says the producer. “The position has been used only for its perks.

I will be the first to propose that I should work only in an honorary capacity.”

Still, there will be a lot of hurdles for him, including the underground mafia and big money investors that influence the industry’s direction.

Sanaullah says that he understands the challenges but is even more assured of his backing from the local industry.

“There are still people from the industry who have political clout which they take advantage of; some people have big money, and others have bureaucratic support,” says Sanaullah.

“Change can only come if someone from the grass-roots is placed who understands the core issues.”

Published in The Express Tribune, June 29^th, 2013.

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“I love films. I love being on film sets. I love acting in films. I love each and everything about films,” he says passionately. “This new wave of reviving the Pakistani film industry is turning into a storm — it will set a new benchmark for generations to come.”

Rasheed’s journey as an actor has been about taking chances and risks. After graduating from Beaconhouse National University in Lahore, he decided to give up the option of joining the family business and moved to Karachi where he dove into acting. The first job he bagged was that of a line producer at Hum TV. Shortly after, he scored prominent roles in two of theatre director Shah Sharabeel’s plays Moulin Rouge (where he played Duke) and Bombay Dreams (where he played Akash).

He then met veteran actor and producer Humayun Saeed who offered him a job at his production house Six Sigma Entertainment.  “Saeed said to me, ‘I have seen your theatre performances and you are good at what you do. You have a gift. Don’t waste it — explore and refine it. Follow your heart’,” continues Rasheed. “I think that was when I decided to become an actor and I am glad that I did.”

Rasheed’s next role is in the film Main Hoon Shahid Afridi as Kaali Aandhi, a fast bowler for the team Sialkot Shaheen. “Kaali Aandhi is a fun-loving, carefree and witty person. But when he grabs the ball for his team, he means business,” says Rasheed. “For the first time, I am playing the character of a fast bowler, which requires intense training, working out sessions and rehearsals.” He admits that a role like this has been on his to-do list and can finally be ticked off.

The actor clarifies that he is very particular about his roles; he has stayed away from television and retains his focus on theatre and cinema. He will soon be seen as General Ziaul Haq in Sawa 14 August, the follow-up of the Anwar Maqsood play Pawnay 14 August.

“I am the kind of person who likes to learn the hard way. I have done bad work and because of those experiences, I have learnt a lot,” continues Rasheed. “I am extremely picky when it comes to associating myself to any project now, because at the end of the day, it’s my decision and I am responsible for it.”

Rasheed has also stepped into the role of a producer for the film Kambakht that is being directed by Hamza Ali Abbasi. “We took our time in the pre-production [stage] and in gathering the team because we didn’t have any big production house to back us,” says Rasheed. “So the only criterion was to be as crazy as we both are and we managed to bring together the seven most amazingly talented people.” The film is expected to release in early in 2014.

The young actor is certain that times are changing and favouring the film industry. “The best part is that we are hopeful — we are making films and releasing them and we have a market. And if not [a large enough], we will make our own market,” he says, clearly optimistic about the current picture of Pakistani cinema. “The industry is being revived from scratch, so everything is very unpredictable right now as there are no set rules — that’s the scary part for a producer.”

The actor is also starring in an untitled feature film directed by Summer Nicks and produced by Zeba Bakhtiar, Jami Mahmood and Azaan Sami Khan.

The Mansoor Mujahid murder case

Speaking about the current controversy regarding Mansoor Mujahid, director of Seedlings who has confessed to murdering an acquaintance in Karachi, Rasheed says, “I have a very professional relationship with him; he [Mujahid] is a creative director who is good at his work.” He admits that the two do not have any ties outside of work and did not ‘hang out’ in their free time. “It [the murder] came as a big shock. It was actually quite terrifying to hear this since we have worked closely with him.” According to Rasheed, producer Meher Jaffri is expected to issue an official statement on behalf of the film’s cast. “It’s unfortunate… this will only give a bad name to Seedlings.”

Published in The Express Tribune, July 01^st, 2013.

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Call, best known for its edgy rock-pop numbers, finally has a new vocalist — a year after the band’s ex-vocalist Junaid Khan made his exit. Rocker and film-maker Yasir Jaswal will now be the new face of the band after an official announcement was made, indicating that he has agreed to take up the role.

The band’s front man Zulfiqar Jabbar Khan aka Xulfi and Junaid have produced many hits and also made it across the border and with two Bollywood numbers, Laree Choote and Yeh Pal. Later on, Junaid chose to concentrate on acting and a solo music career.

Yasir, brother of Qayaas vocalist Umair Jaswal and singer Uzair Jaswal, is a popular name in Islamabad’s underground rock scene. Xulfi and Jaswal have had a long affiliation which dates back to the days of the band Entity Paradigm. In Junaid’s absence, the band had been performing with Roxen’s lead singer Mustafa Zahid.

Speaking to The Express Tribune about his decision to join the band, Yasir said, “We jammed together a couple of times, and I guess it clicked right away. Our musical chemistry made it a very easy decision and there were no second thoughts about it.” He added that the band has started to work on a couple of new tracks and is quite sure that Call fans would love the new compositions.

Happy about Yasir’s inclusion in the band, Xulfi said, “His band Irtaash was my favourite new band at the time. I admired their energy on stage and loved Yasir’s compositions and voice. We are already making music together, which has the bite and impact that rock music should have.”

We wish the band all the best and hope that Yasir’s inclusion in Call brings its lost fame back.

Published in The Express Tribune, July 3^rd, 2013.

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Shehzad Ghafoor is the son of Ghafoor Butt, a distributor and producer of Pakistani cinema. However, Shehzad does own his own distribution company in Norway. Up until now he has mostly done business in Bollywood and Lollywood fare. The System will be his first film as a director but he does have some experience with smaller projects such as music videos and advertisements.

As its title suggests, The System is an action film that will focus on corruption, a hot favourite with Pakistani audiences. Shehzad’s brother Shiraz, who has helped with the plot, will play the lead and the cast includes big names such as Irfan Khoosat, Shafqat Cheema and Nadeem Baig.

“Our country’s film industry was on its way down,” says Shehzad. But he feels encouraged that it has changed in the last two years. “Last year when I visited, I came across a script which I liked and I thought why wait until times improve. We should start now.”

The System is set in a neighbourhood in Lahore and will telescope out from the everyday lives of a middle-class family to expose local corruption. Shehzad plans to begin shooting in September.

The challenge, now, however, will be to ensure that the production of the film meets a certain standard. Shehzad is in talks with Indian professionals for production support and hopes to shoot with the latest technology cameras. They will be using several names from Bollywood to help with the technical and musical elements.

“We are doing something unique, because we have hired a lot of the technical team from India,” says Shehzad. Four songs on the soundtrack will be produced in India, and will be directed by Shalesh Suwarma, with poetry from Bollywood’s lyricist Irfan Siddiqui. The tracks will include several leading singers such as Javed Ali, Rahat Fateh Ali Khan, Komal Rizvi, Palak Muchal, Mohit Pathak. Two of the film’s song videos will be shot in Norway.

The System will be a Norwegian film in Urdu, subtitled in English, Tamil and Hindi. While Shehzad believes that the market for Pakistani films in Europe and North America is still limited, he plans to release at an international level.

“The biggest issue for the market of Pakistani films is that there is no distributor for them,” he says. “Indian films have a distribution network, but Pakistanis have not been able to make that yet.” As a result, Pakistani film-makers have to take their film to each international market themselves due to the lack of distribution companies who could do the job for them.

Meanwhile, Shiraz who was also seen in Lollywood’s Khamosh Raho, says that his brother’s idea to undertake a large-scale project in Pakistan had been on their minds for almost a year. He feels that it is important to move beyond Lollywood’s clichéd themes and work towards what he describes as refined work. This does not mean, however, that they should not be accessible to the average movie-goer.

“Our goal is [to do] a project that can improve the value of the industry,” says Shiraz. “We need to move beyond Gujjar-style films otherwise our industry won’t survive.”

Published in The Express Tribune, July 5^th, 2013.

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“It was difficult because we didn’t really get permission to leave our homes,” she explains, talking about her initial days. “The competition was such that people never really allowed others to move forward.” Opportunities were scarce as there wasn’t much happening in the forefront. However, Humaima now feels that times have changed and the competition is healthy.

She claims she is a self-made woman. “I didn’t have any letter [of recommendation] or CV. Whatever I have done, I’ve done it on my own,” she says proudly. “I learnt and understood everything by myself. I now look after my family and I feel proud of it.”

Humaima, who recently hosted the Lux Style Awards (LSAs), feels that awards are a great way to encourage artists to work harder. “Awards mean a lot to artists because they allow them to grow; they also provide opportunities for artists to receive appreciation and encouragement for their work,” she says. “We need awards like Lux [LSAs] to promote and appreciate our own artists for their work and credibility.”

Bollywood, here she comes!

“I don’t know how I started to act but when I did, I found it quite interesting,” says the model-turned-actor who played the lead in Bol, which consequently opened doors for her in Bollywood. “There was less money in acting but it was a place where you had to constantly prove yourself by playing different characters.” Malik has just wrapped up her B-town project Sher, where she plays the wife of a don (Sanjay Dutt). While Sher is slated for an August release, Humaima signed three films with Vidhu Vinod Chopra, with one being Chittiyan.

“I really enjoy working in Bollywood movies. They are professionals and I am also looking forward to seeing a positive attitude towards my work in our own industry as well,” she continues. “And as far as working with Sanjay Dutt is concerned, it was an amazing chance for a young actor to work with such a legend.”

Humaima says she is quite picky when it comes down to the roles she plays.

“I always want to do something different and roles that will be remembered by my audience and fans,” she explains. “I am very selective in choosing my characters and a unique script is my priority.” She adds that she wants people to see that she is a versatile actor.

With or without Wasim Akram?

Malik has been quite guarded about her personal life. While sources told The Express Tribune that Humaima was approached by cricketing legend Wasim Akram and that she declined “due to the age difference”, the star denies any connection. “At the beginning of my career, I would panic over rumours and wouldn’t know how to react to them. But with the passage of time, this seems like a part of my job,” she says. “Now, I don’t pay any heed; I treat them with ignorance.” Akram is 47, while Humaima says she is 24 years old.

“My full focus is on my career and rumours will never be able to come in my way.”

Published in The Express Tribune, July 11^th, 2013.

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“Since the script phase, we had a lot of issues finding a distributor for our film. It is very difficult to find someone to release a film whose director is not from a film family or doesn’t have that backing,” says Bilal. “This is what it has always been about from the very beginning — getting the film to release in Pakistan.”

Bilal, whose reputation as a film-maker has grown rather subtly, is known to be a globetrotter — residing in the United States but being brought up in Nigeria and Pakistan. Before switching to film-making, Bilal was an engineer. She recalls the initial stages of shooting and how challenging it was for her to put together the movie amidst the lack of a support structure and funds. She eventually partnered with Saad Bin Mujeeb of 29-1 Productions and co-produced the film, which took four years to see a release date.

“The support system for the film was very limited at the time — finding the right equipment and a trained crew [was not easy],” says Bilal. “For example, it was a rather new concept for a lot of people to shoot using natural sound.”

Even though Josh has managed to grab attention at film festivals in Melbourne, Mumbai and Calgary, Bilal feels that it was not as challenging as it was to find a distributor in Pakistan. “The film festivals come easier. Ours is considered a small film with an unknown audience and generally distributors tend to look towards Bollywood and escapist films,” claims Bilal.

The influx of new films in Pakistan that has followed since Josh was premiered abroad has really shown how quickly change can take place. Local importers and distributors like Nadeem Mandviwalla have started taking interest in the fresh style of local films. The Platform, which was launched this year with the intent of giving space to emerging film-makers, has provided Josh with a chance to reach cinemas. “There are a lot of films being made now, but it’s important to ensure that they are not limited to a typical Lollywood genre. Rather, they should cater to a variety of sensibilities,” stresses Bilal.

Bilal is currently focusing on a new project, tentatively titled Forbidden Steps. The film will probably require a larger budget than Josh and the script has been written keeping Shahrukh Khan in mind for the lead role. “Currently, the script is under-construction and I am hoping to have a heavier budget for it,” adds Bilal. As for Josh, the dates for the premier have yet to be confirmed. The film is slated to release on Eid, which will probably be one of the most prolific days for the Pakistani film industry in recent times, as some major films will make their debut on the silver screen.

Published in The Express Tribune, July 12^th, 2013.

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LAHORE: Having become a regular pick by Indian composers, lead vocalist of Mekaal Hasan Band, Javed Bashir is excited about the success of his songs in Once Upon a Time in Mumbaai Dobara and Bhaag Milkha Bhaag. The globetrotting Bashir is happy for the respect and love India has given him. “I have travelled around the world and the amount of love I have received in India has been an honour.”

With all the accolades he has received in India, Bashir is all for friendly ties between the neighbouring countries. Doing his bit to foster the process, Bashir told The Express Tribune that he plans on releasing a collaborative single with music director Shankar Mahadevan, which will be about Indo-Pak peace.

Bashir has composed the song titled Aao Muhabbat Ka Ghun Gaya, which will feature Mahadevan on vocals.

“This will be a big track that will help build a bridge for peace between India and Pakistan. We had plans to release the track last year, but my visa had been delayed. I am planning to release it on my next tour to India,” said Bashir.

The track will be the title song of his album Dholna, which is a tribute to Bashir’s teacher Nusrat Fateh Ali Khan. Bashir said that he will be releasing the album soon.

“It is a great blessing of God that I was able to give tribute to Khan Sahib. He was such a great teacher that it became difficult for me to do justice to the song vis-à-vis his kindness. But, luckily, I have been able to combine Khan sahib’s traditional singing style with that of my own and I am sure everyone will like the result,” expressed Bashir.

Bashir said vocalists such as Lata Mangeshkar, Asha Bhosle, Shreya Ghoshal have a great fan following in Pakistan.

He also mentioned that his favourite male singers are Ustad Rasheed Ahmed Khan, Mahadevan, Hariharan ji, and Roop Kumar Rathod, whom he is also friends with.

His single Yeh Tune Kya Kiya in Once Upon A Time in Mumbaai Dobara has been directed by ace music director Pritam.

The song, which has a touch of qawwali, features Bashir’s voice in a versatile fashion. Bashir provided a sufi and classical dimension to Bhaag Milkha Bhaag’s two songs Mera Yaar and O Rangrez. The latter is a duet with Ghoshal.

“O Rangrez is very special because of the way it has been composed in the classical thumri style — a method which many major music composers in the past have used. The credit for making a great song like this [O Rangrez] goes to Shankar-Ehsaan-Loy,” he said.

Bashir added that the Mekaal Hassan Band will be releasing its single, Aaon Sayion, soon. The song has been composed by Bashir and arranged by Mekaal Hassan. It features Muhammed Ahsan Pappu on flutes, Amir Azhar on guitars and Gumby on drums.

Published in The Express Tribune, July 15^th, 2013.

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“Good things come to those who wait for the right time and opportunity,” says the model. “I accept a project when it seems right to me. I did have an idea that this might happen at some point, but I was not hunting for a role in a big film.”

Rabia says the director is convinced she will mesmerise the audience. PHOTO: PUBLICITY

Hijrat, which marks Mengal’s directorial debut in Lollywood, is said to be a romantic drama that is placed in the backdrop of the Afghan War, where millions were rendered homeless. Rabia plays an Indian doctor named Jia, who works for rehabilitation centres set up for IDPs. She is happy that she’s debuting in the industry with a lead role. “The passion is fiery and we [the team of Hijrat] are determined to captivate the audience. No stones are being left unturned; now the success of the film depends on fate,” says the model-turned-actor. “Things solidified once I was ready to switch from the fashion industry to the mesmerising silver screen and the director was convinced that I would dazzle the audience,” she adds.

Rabia admits that Hijrat is one of the most demanding projects she has been a part of. “All this hard work is a demand of my role, but I am sure it will pay off. I am really excited about all the upcoming projects in the industry and foresee a sparkling revival of Lollywood.”

She is optimistic about the Pakistani film industry’s future. “You know Lollywood is no more. I don’t know what I should call this rebirth [of cinema] yet, but it seems good things are in the making,” she says.

Mengal, a well-known name in the Pakistani television industry, has gone all out to make his film debut with a perfect mix of fresh faces and seasoned actors. Apart from Rabia, the film stars model Asad Zaman and actors Noman Ejaz, Ayub Khoso and Wiam Dahmani.

“The first spell has been shot — what an enlightening experience it has been!” exclaims Rabia. “The silver screen is hungry for blood and sweat — it demands serious hard work, which means there was no slacking at all on our part.”

Still a novice in acting, Rabia says she will not make hasty decisions in her acting career and will focus more on improving her craft. She adds that she’s being offered projects for acting and modelling, but tries to refrain from being easily impressed.

When asked if she will take up offers from India, she says, “I will not bend over backwards to earn a role in Bollywood. I am staying true to my ideology and my craft. If things are meant to be in my favour, I will be handed whatever I deserve on a silver platter.”

When asked why he chose Rabia, Mengal says that the unusual love story will show her in a different light. “I felt Rabia was perfect for the role and after auditioning her, it was clear in my mind that she suits the character well,” he adds.

The director also expressed that he was committed to promoting new talent and that Zaman, who plays the lead role opposite Butt, was also making his debut. “We [film-makers] have to promote new talent in the industry. I think the two [Rabia and Zaman] will have strong on-screen chemistry and give powerful performances in the film.”

The film, which is touted as a big-budget project, is expected to release between October and November, adding to the array of Pakistani films slated for this year. The teaser will be out this Eid.

Published in The Express Tribune, July 19^th, 2013.

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When Farhan Saeed left Jal, there was quite a lot of speculation of how he would survive as a solo artist. With the release of his single Pi Jaun last year, he silenced critics who felt he lacked the versatility to make it on his own.

However, since then, he has been building a career rather quietly.

Saeed has certainly branched out by frequently touring and performing in India and making his own mark on a global level.

His long-awaited solo album will release in the last quarter of this year. Having faced delays in releasing his album, Saeed has been quite vocal over Twitter about record labels and their unfair attitude.

“Record companies are not being fair. Maybe they can’t be, I don’t know. But one thing is for sure, at the end, it’s the artist who suffers,” he says.

“According to the labels, the physical sales of music are almost nil, which kind of makes sense considering the new trend of downloading music through social media platforms, but then the region in which we do music doesn’t have transparent ways of sharing royalties either,” adds Saeed.

Saeed’s debut album aims to have all the ingredients for success. He claims that the album will be more of a fusion of two different genres of music – a surprise for his listeners and will incorporate an element of versatility and various different sound techniques.

“I love being a versatile artist and that’s what I’ll try to be in my upcoming album. Having said that, my first priority would be to offer quality music to my listeners,” asserts Saeed.

Although he attempted to prove his flexibility as an artist with the two singles Kyun Gayi and Tu Thori Dair following Pi Jaun, they did not manage to garner the same viral success.

Despite that, Kyun Gayi will be featured in an untitled Bollywood film. The song basically brings out the emotion of separating from your lover. “The video of Kyun Gayi has been played on all channels and has been appreciated by the viewers.

However, the lyrics being in Punjabi makes it a little less commercial for an international market,” says Saeed.

Meanwhile, his other track Tu Thori Dair released just last month and Saeed seems enthusiastic about the product as it involves the use of sarangi, an instrument that has never been used in any of his songs.

“This one’s a relatively new song in that it has a soft, melodious tune with the addition of a new instrument, sarangi. It is a slow romantic number that emphasises on the concept of it’s ‘never enough’ when two lovers meet,” he says.

Like most young Pakistani artists who have indulged themselves into Bollywood’s temptations, Saeed, too, has been working more and more in India with several tours across the country at local concert hotspots.

He is of the belief that currently India is one of the most vibrant environments for music and with the local industry going downhill, Bollywood offers a great way to connect with international audiences.

“India is a good market for any profession. Pakistani singers and musicians are warmly welcomed there.” says Saeed.

“It’s always helpful to have access to an international market. However, when the local industry is facing a relapse, it becomes more of a necessity.”

The singer currently has several projects in the pipeline including music videos and some Bollywood projects apart from his upcoming album scheduled to release by the end of the year.

Published in The Express Tribune, July 22^nd, 2013.

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“I know that many [TV] shows have taken advantage of her condition in the past,” says screenwriter Suraj Baba, referring to TV show producers who would invite her to their shows for ratings or feel-good tributes. “But when I saw a recent tribute to her, I thought I would visit her since I hadn’t seen her in three years.” He says he felt distressed after seeing her. “I am appealing that someone [needs to] provide her with basic help such as security or a person who can take care of her.”

Daughter of Indian tabla maestro Allah Rakha, Bano has won many awards including the Pride of Performance. But today she lives alone on Kasuri Road, in a house that is so broken down it gives one the impression that it is haunted. It lacks basic amenities such as gas and power, the furniture is broken, trash fills the driveway and a stench surrounds the place. The only working appliance Bano owns is her television.

Following his visit a couple of days ago, Baba reached out to his contacts in the television fraternity with the hope of raising money for her. As a result, actor Shamoon Abbasi showed his support via Facebook and Twitter in order to start a fund. Unable to find any relatives or family — her only son was shot dead in 2005 — who could take care of her, Baba has decided to start a campaign to draw in the government’s attention. He hopes that basic care — a maid or security guard — will be provided.

Bano’s financial condition, however, is the least of her worries. It is clear that her mental state has deteriorated as she was unable to speak clearly or coherently. “I just sit all day and watch television. I may clean up the house one day,” a disheveled Bano told The Express Tribune, seeming rather lost. She reveals that she was unaware that media was taking an interest in her life but does remember that she appeared on a TV show recently and that the channel never ended up paying her.

When asked how she feels about people raising funds in her name, she is bitter and angry. “No one has spoken to me about making a trust or an account [to raise funds for me],” she snapped, completely oblivious to the notion. “Whoever said that, I will ask them what they want from me.” She admits that her car had also been stolen about three years ago.

General speculation by people in the television industry is that those close to her may have ulterior motives such as obtaining her wealth. She discloses that she has some land in Punjab and a plot in Karachi. The house she currently resides in is worth a lot despite its deplorable state.

Taking notice

Baba’s voice has been heard as Pakistan Muslim League-Nawaz MPA and former actor Kanwal recently paid Bano a visit. She feels that money is not the solution right now as Bano is going through an extreme bout of depression. “People can do whatever they want but my main interest is to make sure that she is provided a better environment so that she can overcome her depression,” says Kanwal. “Being a woman as well as a former artist, I feel it’s important that we support her. I don’t think throwing money is the solution. We want to help her, so she can overcome this.”

Published in The Express Tribune, July 23^rd, 2013.

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Each year, the festival selects 11 countries to promote their language of music and dance and is hosted at the Kucukcekmece Lake Amphitheatre in Istanbul. Gul asserts that the festival was a great opportunity for the local talent to represent its country and culture positively. “It was a very prestigious experience since we were representing Pakistan. You can tell this is what’s missing here — there is little space for personal growth and people are not enjoying that. It shows how much should be done to promote culture,” says Gul.

A dance group of 16 young girls traveled all the way to Turkey to represent Pakistan and its culture. PHOTO: PUBLICITY

The students, who were selected from a dance and music programme held at LGS, did not have any professional training whatsoever. Hence, in order to prepare for the prestigious festival, the troupe hired Jahangir. The famed kathak and folk dancer has trained under well-known classical dancer Bina Jawwad and has given several notable performances internationally including India, Italy, USA and the UK.

Being a teacher and choreographer, Jahangir said that the team had exceeded expectations competing strongly against professional delegations. “People over there were rather surprised by their preparation and the way the girls had carried themselves throughout the performances without any professional training,” he says. Jahangir points out that the school was teaching dance as a subject that can help one with life in general and believes that such schools are doing a great job of providing space for training and cultural promotion.

The festival included performances from every country on both the opening and closing night. The dancers performed in the presence of the mayor of Kucukcekmece, Aziz Yeniay, and a relatively large audience. The troupe from LGS performed a sufi folk and sufi soul dance. During the rest of the week long festival, they performed different regional dances including bhangra. After their performances, the teams organised a special night of cultural exchange where Jahangir also did a kathak performance.

Jahangir feels that the trip offered a much-needed chance to promote a positive image of Pakistan and dispel any existing stereotypes. “While interacting with other countries, we would be asked, ‘how can you perform in this environment?’ and I would respond simply by saying that this is only a phase. Our real culture accommodates art,” he shares.

A dance group of 16 young girls traveled all the way to Turkey to represent Pakistan and its culture. PHOTO: PUBLICITY

Jahangir emphasises that it is highly important that dance is promoted along the right terms in order to help preserve and sustain culture. He says that in the current environment, dance has rather been used as a vehicle to promote vulgarity, in turn, damaging the reputation of cultural dance forms.

“The vulgarity promoted through dance in the form of stage theatre has tarnished the reputation of dance. So while we have a lot of hidden talented artists, it isn’t so evident on the surface of it all,” says Jahangir. “Those who actually want to move ahead to promote the arts will have to suffer, but then again it has its rewards too.”

Published in The Express Tribune, July 25^th, 2013.

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About two months ago, Pappu was admitted to Mayo Hospital in Lahore to receive treatment after a bout of psoriatic arthritis during the Mekaal Hasan Band’s (MHB) tour of India. The incident, in Pappu’s words, “shocked” him, but the zealous artist is determined to make a full recovery. “I was practicing the flute for about 14 hours a day. I literally could not play the same flute that I had put away at night,” Pappu recalls.

Given his undying love for the instrument, Pappu says he tries not to think about the possibility of not being able to play the flute again; he instead focuses on strengthening his muscles. Pappu was his own motivator in troubled times. “I thought that if I continue to practice in this condition and work on my fingers, then no matter how much pain there is, I would be able to play the flute again.”

Pappu’s journey began when he ventured into the film industry as a playback flautist between the ’70s and ’80s. He also had a long-term association with Nusrat Fateh Ali Khan and other famed artists such as Alam Lohar and Attaullah Khan Esakhelvi. “The film industry once played an important role for thriving music in the country. Gradually, people who did not come from a film-making background joined the industry, in order to get fame. That became the reason of its decline,” says Pappu.

However, the industry’s decline could not hurt the demand for Pappu’s skill. Even today, he is booked to play with the country’s leading musicians and artists.

The demise of Pappu’s father in his early life pushed him to do something to sustain himself — his choice was music. “I never felt overburdened. You can never feel overburdened by music,” he says.

As a flautist, Pappu is known for his breathtaking solos, which can be traced back throughout his extensive playback career. He feels that the industry lacks quality flautists and that the government does not provide any support to bring out new talent. “There was a time when there were platforms where one could learn and play the flute. Now, due to the absence of such spaces, people have started to learn through alternative means, such as the internet. However, one can’t learn until there is a watchful teacher to guide them,” says Pappu.

Pappu, the oldest member of the Mekaal Hasan Band, met Mekaal during the Pete Lockett tour in 1999. After that, the two decided that they should form a band which would focus on making fusion music comprising sufi and rock genres. “Our sound has always worked with two types of boundaries — sufism, with extensive use of different tunes and poetry, and rock,” says Pappu.

Pappu says that the band’s third album, Andholan, will be a treat for MHB fans due to the amount of flute and guitar solos in it. “When it hits the market, people will enjoy the flute and guitar solos. The audience will hear how lengthy and improvised the parts are,” says Pappu.

Published in The Express Tribune, July 29^th, 2013.

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In this environment, Pappu Samrat remains to be the lone ranger – possibly the only experienced film choreographer on this side of the border. With several films premiering on Eid, Samrat has choreographed ‘item songs’ and dance sequences for Main Hoon Shahid Afridi and Ishq Khuda. Having worked in all types of film for pretty much every director, he is the most sought-after choreographer for film today.

Pappu Samrat has choreographed ‘item songs’ and dance sequences for Main Hoon Shahid Afridi and Ishq Khuda. PHOTO: PUBLICITY

“I can’t explain what has happened, but I think because of the lack of education, I don’t see many youngsters interested in choreography,” he says. He feels that the industry has shifted away from classical dance, so there is a growing need for professional choreographers. “We are seeing some new choreographers come about through new films, but there is obviously still some time before this area is perfected.”

Samrat blames the absence of dance culture and intent from actors to learn dance for the huge talent gap when it comes to male dancers. “There isn’t really any will amongst male actors when it comes to learning to dance,” he says, without taking names. “In fact, this has a lot to do with how characters are presented. For example, if a hero is a police inspector, he has to be a macho man. Our audiences have not accepted something different,” says Samrat.

No way to go but up

Despite the low number of dance sequences and subsequent participation from actors, there is hope that dance talent will be promoted as Pakistani films evolve.

Screenwriter and director Pervaiz Kaleem says that the over-all execution of films is being forced to change thanks to new films entering the market. He elaborates that screenplay, dialogue and direction require a new aesthetic which is different from classical films. As a result, dances will also have to improve.

“Dance is an integral part of Pakistani films because it gives life to music,” says Kaleem.  Despite this, Kaleem feels there is a dearth of choreographers and that most directors, no matter which background they come from, tend to use Samrat for his experience and skill.

“There are only a few people who have the experience and knowledge to provide good sequences,” he adds. “I have not seen much innovation on this front.”

Lollywood versus Pollywood

Samrat’s competitor and rival, choreographer Nigah Hussain, who choreographed the Lux Style Awards this year, also feels that dance will evolve when the Pakistani film industry takes off. Hussain says that the lack of dance academies has contributed to the dearth of choreographers in the country.  “There still is no film industry to speak of. Till new films with new stories and ideas are made, new dances cannot be made,” says Hussain.

Despite this, he says investment is being made for better dances and points out that even Pollywood has started to work on increased budgets to produce better sequences that could compete with Lollywood.

“I think that we have talented individuals who have the ability to perform,” he says. “Many major actors in Lollywood have done good sequences.”

Published in The Express Tribune, July 29^th, 2013.

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And confident she has a right to be. As a former actress, and now an MPA for the ruling Pakistan Muslim League-Nawaz (PML-N), she is used to basking in the spotlight.

However, the spotlight is not at all why she joined politics almost six years ago; she wanted to, and still wants to, make an impact on a broader level.

Her unwavering voice, strong beliefs and evident determination speak louder than her words.

It’s a man’s world

Noman is unequivocal about the importance of working for greater women’s rights. She was provided a ticket on reserved seat and stresses how difficult it is for independent women to run unless they are from big families or have powerful backing.

“Men are very intelligent beings, they are able to judge a woman instantaneously,” she claims. “I have always been a bold woman. Whether in showbiz or politics, I have never allowed anyone to bother me.”

She expresses disappointment over the failed implementation of the laws protecting the rights of women, especially working women, during the previous tenure.

“Women work more than men. They not only have to work outside the house, but they also have to come home and take care of the families,” she explains. “Laws must be implemented so that no person can harass or bother any woman. If someone does, there should be a safe place, and concrete processes at work, for women to complain and get justice.”

In this vein, Noman highlights the significance to address the question of violence against women, such as victims of acid attacks and karo kari, and to also liberate those who spend their entire lives working in brick kilns to pay off unending loans.

“These women work day and night, but have no security and no rights. We have to liberate them from this insecurity,” she says determinedly.

Change in the offing

Despite the skewed workings of a deeply patriarchal society, Noman is certain that things are changing, especially within political parties that traditionally did not cater to women wanting to run in the elections. Now, according to her, PML-N is planning to award tickets to women to contest in the next tenure.

“In the next elections, those women who want to run and have done work in their fields will be given tickets,” she says. “The idea is to give party support to competent women who are not financially or familialy strong.”

Although Noman acknowledges that it is a male-dominated society, she asks rhetorically which field, which sector does not boast of a strong female presence.

“They [the women] have made it this far,” she states. “Our goal is to make their presence stronger.”

Meant to be

For Noman, this move into politics isn’t a simple fluke, as it may seem at first glance.

She was a television actress at a time when Pakistani dramas were in a league of their own. According to her, she chose the medium because dramas provided a social commentary, and were rooted in deep issues prevalent across the country.

Her approach to both acting and politics has been uncompromising, built on hard work. She is not afraid of getting her hands dirty, and aspires to help others above all else.

“People thought I would just join the culture wing and go home,” she says, with a slight smile. “But I joined the women’s wing. Culture is a part of me, and I will always fight for it, but want to do something for the masses.”

Published in The Express Tribune, July 29^th, 2013.