In the month of Ramazan, however, musicians use their voices to recite naats and hamds in order to stay relevant. Around four to five religious albums are released each year, along with countless singles. Popular singers of the late 80s, Junaid Jamshed and Ali Haider, who have given up commercial singing on religious grounds, continue to gain fame and fortune through religious music. As well-known music producer Abid Ali puts it, this is a time of “religious entertainment”.

Ali, who recently produced Fariha Pervez’s self-financed single Labboun Pe Jaari Hai Ism-e-Ahmed, says that for most singers, who are doing one-off singles, it’s only an attempt to remain in the limelight even during Ramazan. “Majority of the singers are not really benefitting financially from doing one or two naats. This is simply a way to stay on screen during Ramazan,” he says.

Many commercially successful singers, such as Abrarul Haq and Jawad Ahmed, have ventured into naat khuwani in the past. One of the most popular naats was Ye Mamla Koi Aur Hai by Najam Sheraz, who, too, was a mainstream singer. Taking that into consideration, young artists also try to follow the trend and get noticed for their religious renditions.

“Musicians are on-board with Ramazan. Many of our mainstream musicians turn into religious singers during the holy month and this is not just veterans but also the new boys,” says Danish Khawaja, music executive for ARY Musik. He adds that over the last three years, the frequency of such singles is increasing and that he has received over 20 videos, including those from established names such as Seige, Ali Haider and Fariha Pervez.

Khawaja, too, believes that this is not a commercial venture for major musicians, but a way to maintain an attentive audience during the month of Ramazan. “There is no money in this as such. By releasing a couple of singles, a singer cannot maintain enough audience for a commercial release,” says Khawaja, who estimates that only four to five singers have fared well financially. He explains that the physical release of albums is currently non-existent and consumers generally buy more serious naats that have a solid religious backing.

This doesn’t mean that there are no singers who truly enjoy singing spiritual music. These may also be the ones that benefit the most monetarily.

One singer, who wished to remain anonymous, explains that leading singers who perform at a gathering can make up to Rs4.5 million in one night. There have also been occasions where artists were presented gold bricks. The singer adds that these represent around 20 to 30 percent of all leading artists. “This is, undoubtedly, becoming a heavily commercialised industry. But there is little scope if you are doing it as only a one-off thing. People who are performing regularly have a huge demand,” asserts the singer.

Singer Humera Arshad, who recently released a naat, said that her mother would take her to majlis when she was a child and that she has been recording naats each year since she turned into a professional. She emphasises that the overall decline of the music industry is one of the major reasons why artists are becoming more involved in religious music.

Arshad also points out that she has not released an album for several years and the record companies have shut down so artists are mostly working on their own initiative. Ramazan, however, is the one time there is a need for good voices and hence, artists avail it. “I think it’s fine if people are making money this way. Entertainment isn’t really happening like it once did plus the government is doing little to revive it,” says Arshad.

Published in The Express Tribune, August 1^st, 2013.

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Chup, which will be produced and directed by Shaan himself, aims to give way to a different aesthetic of film-making. While they are all meant to be commercial films, they will be shorter in length than usual.

Previously, Shaan had said that it was necessary to cut films short and move beyond the traditional Lollywood style. These claims, however, seem to be in vain as little is known about when the film will finally commence shooting.

Mashal Peerzada, daughter of famed actor-director Salmaan Peerzada and a graduate of the New York Film Academy at Universal Studios, highlights that the film has faced a lot of phases with the script being re-written time and again.

Nevertheless, despite several delays, the film’s storyboard, script and some of the music, has already been composed. “We are looking at tight, short and slightly thought-provoking rom-coms,” says Peerzada.

“They are three independent films, which we hope will set a new aesthetic standard. These will be commercial films, but we are focusing on the 90-minute format.”

The series, that involves a story based on relationships, was scripted with Juggan Kazim as the lead artist. Peerzada says that the story will start with a fairy-tale like feel and will then move on to tackling some major grown-up issues.

“I can’t think of anyone else right now in the industry that can do the part – someone who has the charm, and yet is old enough for such as role,” she says.

“It’s not a teeny-boppy romance. It starts from something whimsical but then gets real and addresses grown-up problems.”

Peerzada emphasises that the delay was mostly because the film, though written with a small-budget in mind, required significant funds for marketing. Several companies were supposed to be funding the film and were even catered to with various product placements.

“There were quite large sections of the film, written to accommodate that type of branding and aesthetic. However, when that did not happen, we had to re-write the script which put us back a bit,” she claims.

“I think it is a shame that in a country, which is re-awakening with increasing interest in Pakistani cinema and a growing audience and market, there is still no one who has the vision to fund a project like this.”

While there is a great deal of uncertainty surrounding the fate of the film, Juggan confirms that the film will eventually be made, admitting that delays had taken place due to a variety of reasons.

She said that the film was ready to go on set and that she was hoping to start shooting as early as Fall. Regarding the story, Kazim adds, “This is not going to be a run-of-the-mill, issue-based film, rather it is going to be a commercial film with an artsy feel to it.”

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

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“I am the type of person who is never satisfied or happy,” says Waar’s director Bilal Lashari, who won the Best Music Video Director award at the Lux Style Awards and Best Pop Video at the MTV Pakistan Music Video Awards for Sajni in 2008.

“But the way it (Waar) has come together, I am sure it will raise the bar of cinema (film-making) in terms of what people are used to.” While he has directed several music videos in the past, this will be Lashari’s first attempt at making a film.

Waar is themed around the idea of counter-terrorism, revolving around a team of police officers, who are looking to stop a terrorist attack in the country.

Lashari feels that the film, which will be released under the banner of ARY Films/Mandviwalla Entertainment, is relevant to Pakistan’s current scenario.

“The cinematography, shooting and aesthetics will all be something new,” he adds. The film’s star-studded cast includes Shaan Shahid, Shamoon Abbasi, Ali Azmat, Ayesha Khan and Meesha Shafi.

“Initially, Ali and Ayesha had been given smaller guest appearances but (later), we decided to expand their roles,” he explains, adding that Ali is a natural performer and a great actor.

While making this film was a big challenge and delays were inevitable, Lashari says that he is certain Waar will provide the audience with something to think about.

“It’s been a crazy learning experience. It hasn’t been easy and it was a constant test of patience,” he says, adding that he didn’t have a real break in nearly three years. “We are attempting to do a lot of things that haven’t been done in Pakistan before.” The film is said to have 400 visual effects.

Focus groups and an English script

Assessment and feedback go a long way, and when it came down to judging how well the movie would do at the box office, writer and producer of Waar, Hassan Waqas Rana decided to do things the traditional way.

He conducted focus groups where people were shown only parts of the film. “Both of us, Bilal and I, are the biggest critics of ourselves. But I think we’ve been pretty amazed by the turnout of the project,” says Rana. “However, the real truth of how the film really is, can only be assessed when it reaches the audience.”

A major part of Waar’s script is in English, which the film-makers explain, has been done keeping Shaan’s character in mind. However, the idea of dubbing in Urdu did cross Rana’s mind. “I think the main worry was that the local audience wouldn’t be able to relate [to it] but our tests have revealed a good response,” he continues.

“We also looked at dubbing the film but resisted because we thought the main character would be compromised.”

After gaining positive feedback from the post-production and editing teams in the US, team Waar is all set for a Pakistan release this fall, with an international release to follow.

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Published in The Express Tribune, August 7^th, 2013.

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“These films can be successful despite the constraints,” he says with confidence. “People are worried that there has been no ban on Indian films, but I think the crowd is looking for entertainment on Eid, so they will see films,” says Sanaullah.

Kamran Chaudhry feels differently. He feels that the lack of preparation and promotion could hinder the films’ success on Eid, and that against Chennai Express, they stand a small chance.  But he is trying to stay positive. “We are just hopeful that cinema-goers will go out and watch these films to support the industry,” says Kamran, adding that it’s important to see local films perform well so they encourage more investment. He laments that the race is against time, and that while work is being done by film-makers, the environment for local productions is not improving as the “government is not interested in supporting the film infrastructure”.

Ishq Khuda director Shehzad Rafique, however, is not feeling the Eid release pressure. In fact, he sees it as a great opportunity to exhibit his work for people to appreciate. “We are putting the film out for the people to judge — we do not expect to compete with Indian films at this point. The importance of local films being made cannot be underestimated,” says Rafique. More importantly, he explains that since business is always divided amongst films, the focus should be on the production of films instead of the secondary issue of competition from Bollywood.

Rafique adds that the increased business significance of Eid today is vastly different since Pakistan has slowly but surely been developing a cinema-going culture. “The important thing is that we are developing a culture so that the long-term health of film-making is maintained,” says Rafique.

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

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“To us, he is a South Asian version of Robin Hood and for a long time, I had thought about doing something that people would be able to relate to while also touching subtly on interesting issues,” says Kazi, who like Shahid, is a veteran when it comes to theatre. “Normally, an actor takes inspiration from the director but with someone like Shahid, he provides inspiration not only to the people involved but also to the audience,” he adds about the actor who was taking a break from theatre but is now back.

Shahid, who has provided the audiences with a variety of TV shows and theatre acts over his lifetime, says that the play will provide a different kind of take on Sultana Daku and will be based on real-life events. Daku, known for robbing trains and giving to the poor, was caught and hung by the British authorities in 1920 after he continued to terrorise the citizens of Uttar Pradesh.

“I will play the role of Sultana Daku, but this will be a total comedy based on original references — it will be fast and racy,” explains Shahid. He feels the play has been cleverly designed as Daku has been portrayed as a likeable villain who makes a promise to his mother which he intends to keep: he would die a clean man. His henchmen are forbidden to rob and loot, but the now retired daku is forced to abduct a journalist who would pen down his tale.

“The play is going to be over-the-top and fast,” he says, adding, “It will have an element of slapstick. It’s definitely going to be a different kind [of script].”

For Shahid, the character he is set to play has been spiced up by the idea that Daku, who is an anti-colonial figure, has been transformed from an outlawed villain into a comedic personality. He has a strong feeling about the play as he feels Kazi and the production team have been quite successful in the past as well with 0092 for example, a play on the pre-election situation in Pakistan.

Flourishing theatre and future projects

Shahid admits that it’s quite encouraging to witness the theatre scene in Pakistan develop to such a large extent. “I think there is a pretty decent theatre scene which has bred out of English theatre; this scene has been able to connect [us] with corporates and successfully put on many plays,” he says. “Interestingly though, this theatre scene is primarily based in Islamabad and Karachi. I think it’s great that young people are pushing the trade forward.”

Apart from theatre, Shahid is set to reprise the role of Mustaq in Vishal Bharadwaj’s Dedh Ishqiya in which his role would be smaller than the one he played in the prequel Ishqiya. Apart from that, Pakistani film Tamanna, in which he has a significant role, is set to release this Fall. He is also working on another independent film by Rehan Sheikh tentatively titled Azad and a TV play called Asee Zadi, which will soon be aired.

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

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As unfortunate as it is, the film is a typical Lollywood venture – full of clichés, choppy direction, poor acting and a terribly structured script accompanied by an over-the-top, loud presentation. It is also a perfect example of the power of branding and sponsorship as one can clearly witness the recurring use of Tapal Daanedar tea in several scenes.

However, the film is a complete rejection of the jihad-inspired movies from the ’90s that seem to be filling the gap of the gandasa-toting, thug heroes of the ’80s. It promotes sufism as the countervailing force to jihad through moralistic dialogues and the narrative of love and spirituality.

This concept is brought alive by infusing together two incoherent and inter-twined stories. Actor Shaan plays his usual role of the evil Chaudhry by the name of Ruliya. Having reached his saturation point with the exploitation of the poor’s rights and abuse of women, Ruliya comes face to face with a sufi, who makes him question his behaviour on religious and spiritual grounds. Although initially Ruliya is trying to beat the spiritual guide, he is soon inspired by the sufi’s moral values. Ruliya eventually becomes a sufi, too, who confronts his internal and external contradiction of hate that is used as a metaphor to address the broader narrative of extremist thought, after he falls in love with Kalsoom (Wiam Ammar Dahmani), only to be rejected because of his reputation.

At a different end, the movie tries to address the idea of love as it exists. Ahsan (Ahsan Khan) is a young engineer who returns to his ancestral village in the mountains to work on a business project. During his stay, he develops a relationship with Iqra (Meera), who is the daughter of a former Army official and is in search of true love. As fate might have it, she is also best friends with Kalsoom, who then also falls madly in love with Ahsan. However, Ahsan decides to marry Iqra and that is when all hell breaks loose and the movie turns dark and dreary.

Meera, who has promoted the movie heavily and pins her hopes on it to make a comeback, has failed miserably as an actor. She did not fit her character at all and could not manage to convince the audience with her superficially romantic dialogues. Unfortunately, talented actors such as Ahsan Khan were given lesser screen time which could have added a bit of depth to the otherwise hollow storyline. On the other hand, the director did a good job in providing shots of scenery, great music and some enticing dialogues that provide minimal enjoyment but are necessary ingredients for success at single-screen cinemas.

Even though, the film seems to be a failure by global standards, the divide of Pakistani cinema has allowed it to be hit on single screens in the Punjab circuit. While multiplexes thrive on quality content, something Ishq Khuda fails to provide, a larger audience that can only afford a Rs100 ticket enjoys such movies. This is probably why the movie has been loved by the masses.

As Momin Ali Munshi blogs on Galaxy Lollywood, “The film stars Shaan, Saima and Meera (who are hot favorites with Shaan and Saima being legends). Also it has the good-looking Wiam-Ahsan pairing and the icing on the cake is that the film is in Punjabi. What more could a common man want?”

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

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From being labeled a loud percussionist band, to two of its crucial members Mehmood Rehman and Meesha Shafi calling it quits, Overload has seen its share of highs and lows. With only three members remaining — Farhad Humayun (founder and lead vocalist), Sheraz Siddiq (founding member and producer) and Nasir Sain (dhol) — the band has evolved on different levels in the last 10 years.

“It really just reflects our journey together as a band. But on a broader level, it signifies the two decades we’ve been playing [music] together, which is a huge landmark [for us],” says 40-year-old Siddiq, who started off his music career in an underground band called Mind Riot with Humayun in the early ’90s. “At the time, Farhad and I were desperate to make our dream come true and had we given up, what would be left in our lives?”

Jeet might just be one of the most ‘clean’ rock numbers Overload has produced since Humayun took over as the vocalist. The single was mastered at the famous Abbey Road Studios in London — where the Beatles and Pink Floyd recorded most of their masterpieces — while it was ultimately produced here in Pakistan. The band has clearly gone all out to ensure that the sound, vocals and lyrics are spot on. With a subtle use of a dhol, Overload is keen on creating a nostalgic rock feel for the listeners.

Nasir Sain, who has been with the band since its birth, has also blended in with the band’s requirements. “The dhol is played in this song, but it’s done in a very subtle way,” says Humayun. “Even Nasir Sain, as a dhol player, has grown — when he is playing at a mela or in a frenzy-filled environment, he plays traditional dhol but when he enters the studio, he knows that he is now playing for a song.”

“There’s been an evolution within the band — we’ve been evolving every day,” he continues. “This song is very important because we are able to look at what we have been through [in the past].”

Humayun hopes that the listeners will be able to interpret the poetic lyrics — written by Tahir Shaheen — in their own personal way. “Every song is a move forward. Even if you are taking two steps back and looking at yourself in a certain way, it doesn’t necessarily mean that you’re still stuck in a time warp,” he explains. “It means you have the intelligence and heart to talk about certain things, which is what an artist is supposed to do.”

The past 10 years have been a rough journey for the rockers, admits Humayun. “Sheraz had two boys, I went through a divorce, my dad died, I lost the house I grew up in because it was too expensive to manage, I went into various businesses and shifted from drums to vocals — it’s been quite an awesome experience for everyone,” he says.

The band plans to release its next album by the end of the year.

Published in The Express Tribune, August 16^th, 2013.

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Nonetheless, despite the overwhelming success of record-breaking Chennai Express, local films like Ishq Khuda and Josh have fared moderately well. While audiences at the multiplexes had an obvious preference for the Shahrukh Khan blockbuster, single screen cinemas saw local films being appreciated.

Chennai Express

The fate of Chennai Express in Pakistan was no different from what was explicitly evident throughout the world. The movie had the biggest opening in the history of the country, showing at 24 to 25 screens across Pakistan. Over its first week, the film has already grossed more than Rs50 million. “It delivered beyond our expectations and after a long time, an SRK film has delivered. Last time, Don 2 grossed more than Rs25 million in five days – this was twice as much. It will easily cross the benchmark set by Race 2 on the local box office [Rs100 million in one month],” says Amjad Rasheed, Chairman IMGC.

Ishq Khuda

The Punjabi Shaan and Meera-starrer was another blow in the face for Lollywood thanks to the poor quality of production and acting. The movie failed to deliver at multiplexes. Nadir Minhas, exhibitor of PAF Cinema, asserted that it was an utter tragedy that such a regional film was offered to cinemas. “It was very disturbing that the best that we had to offer was Ishq Khuda, and it failed miserably,” says Minhas.

However, the film has managed to succeed at single-screen cinemas among the masses. “We are very happy with the success of the film, it’s a lot better than I had imagined,” says Shehzad Rafique, director of the film. “We were never competing with Chennai Express. People have liked the film and they are going to the cinemas to watch it, that’s what matters,” he adds. According to box-office reports, Ishq Khuda has done business of Rs10.15 million in its first week. It is expected to gross a total of Rs20 million.

Despite Chennai Express’s success, some local films managed to fare well but only at single-screen cinemas. PHOTO: FILE

Josh

Parveen Bilal’s independent film released over nine screens only and did not manage to compete well with other contenders despite having received international acclaim. Minhas said that the film had the potential to be as successful as Bol but due to a limited marketing budget and inability to provide 35 mm prints, they missed out on a major chunk of the market.

According to sources at Atrium Cinemas, halls playing Josh remained 80% to 90% full throughout the week. The film grossed Rs1.6 million so far. “We were successful in what we wanted to do with it. We did not want exhibitors to discourage such an independent film which is why we didn’t ask them for too many shows either. Exhibitors should be given credit for allowing Josh in their cinemas and this will set an example for other films that will be released through The Platform,” says Nadeem Mandviwalla, managing director of Mandviwalla Entertainment.

Pashto Films

The Eid weekend was far more promising for Pashto cinema than Lollywood. The films released included Arshad Khan’s Loafer, Muzafar Khan’s Shart and the first HD film Zama Arman. Also shown were Sheikh Akram’s Qurbaani and Joni Malik’s Bangi Lalai, a Punjabi movie dubbed in Pashto. Out of all the releases, Loafer was the most successful securing over Rs6 million in its first week even though it was screened at only one cinema in Peshawar. While everyone thought that Zama Arman would fare well considering it was the first HD Pashto film, it wasn’t so successful. “Producers of the film have invested their blood and tears to make this film happen. Huge amounts of money have been spent on its publicity but the outcome was not satisfactory,” says Khalid Khan, the manager of Shama Cinema. Akram’s Qurbaani was declared a flop.

The total box office return of films released on Eid is Rs100 million.

Published in The Express Tribune, August 17^th, 2013.

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“I really believe that this has been my best film [so far],” says Meera, adding that the film has acted as a medium to restore confidence and faith in herself and her acting career. The crew of Ishq Khuda recently cut a cake in Lahore to celebrate the commercial ‘success’ of the movie. “I was reaching a point where I thought to myself that this may just be my last film,” she adds. “But I think that’s what this film has done… it brought my interest back and I hope to do more work.”

Meera feels that the film’s script is unique as it aims to reach a wide-ranging audience. “It has the ability to connect with people abroad,” she says proudly. “The idea of sufism and true love really just resonates and the film also has good music.”

Her role as a 20-something Iqra, the daughter of an ex-army official, has received mixed reviews. While some say that she was not well-suited for the role, Meera and the film’s director Shahzad Rafique think diffrently. “The director cast me because he needed someone who could act with a certain amount of intensity, which is what you [will] see at the end of the film,” explains Meera.

Rafique too, defends his decision by saying, “I realise that people have said that she does not look her age, but I wasn’t trying to make her look like a college or university girl.” The director also admits that he was not competing with Chennai Express. “If an artist herself says that this may be her best film, there is nothing I can say to exceed that praise,” he smiles.

Queen of controversy

Apart from addressing the criticism she received regarding her role in Ishq Khuda, Meera expresses her feelings about being made fun of and mocked openly by people on television. “It’s a known fact that I started to act in 1995 — I was only a child,” she sighs. “But what hurts more is the way people have tried to judge me. Have they got no decency? They would never do that to an Indian actor.”

She then comments on the controversy regarding Kaun Banega Meera Pati where cricketer Shoaib Akhtar had backed out of her show and she ultimately faced a major financial setback. “He is very over-confident and this is no way to speak to women. If he thinks he’s such a star then I probably have just as big a name,” she says.

Meera admits that she is not interested in doing any films in India unless Mahesh Bhatt offers her one. “I want to be selective in the roles I choose. I suppose if Mahesh Bhatt approaches me for a film, I will do it. But otherwise, I would rather focus on my career here [Lollywood],” she says. “I have always wanted to do television. But I’ll be very honest, I have not been getting any offers… If a director thinks I fit a role, I would love to do something.”

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

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Young and enthusiastic, Azan Sami Khan, who hails from a family of prolific film-makers, is attempting to introduce ‘next generation’ film-making to Lollywood along with his mother. This movie, however, is not a result of him being ‘privileged’ but rather his aim to bring something new to the table. “We should call a spade a spade — it goes both ways. Anything I do will be compared with my parents’ work,” he says.

Khan and his mother set up One Motion Productions with the sole intent of pushing the envelope of traditional film-making and changing the prevailing attitude towards local cinema. The result is an international espionage thriller that has been referred to as a cross between Hollywood flicks such Syriana and Bourne Identity.

The story is partly based on real life events including the bombing of Nato tanks in Afghanistan a few years back. It will feature Shaan as the main protagonist playing a CIA agent alongside Shamoon Abbasi, Aaminah Sheikh and Ayub Khoso.

It is directed by Australian director Summer Nicks and it was produced in collaboration with music director Jamshed Mahmood Ansari aka Jami’s company Azad Film. The whole team though has remained tight-lipped about the release of the film which is expected to be sometime around the end of this year.

Working with a veteran like his mother has been quite an interesting adventure for Khan — a unique combination of the well-experienced and the relatively new. When they get down to business, there is little space for slacking and both work rigorously on a shared vision.

“My mother knows that when we enter the office, she is not my mother and I am not her son. We know each other and have a clear understanding of what we are trying do, and she believes it’s time the younger generation takes the industry forward,” says Khan.

Despite supporting the youth in taking the initiative, Khan says that one cannot simply write-off the contribution of older industry professionals. “I think we are fortunate to have people like Syed Noor in the industry but we tend to be pseudo-intellectual and write them off. Even for us it was the veteran technician who knew how to push through when everyone else was tired,” he emphasises.

Zeba Bakhtiar, a veteran actor herself, has come on board simply to support new talent in the industry. “We are looking at an exciting period — the whole technical side, thought-process, story-telling is changing. This is more about clearing the way for a new creative style that caters to a new generation,” says Bakhtiar.

Having learned a lot from being part of the local industry, Bakhtiar recalls her personal experience and feels that it’s high time that senior members start promoting new talent. “I remember trying to direct a film in the late ‘90s on a 35mm camera — the technology was not up to par. We were using equipment from the late ‘60s,” says Bakhtiar.

“We have to move beyond the idea that this is a glamorous profession. We need serious film-makers who are willing to support so that the new generation of film-makers can come to the fore,” she adds.

Through this film, the duo is trying to give way to a new genre that hasn’t been experimented with seriously. Bakhtiar asserts that not many films have been made in the past 20 odd years that one could say a certain formula works in the industry.

“There really is no way of judging what formula works. There have only been a few films of consequence that have been released — right now the scene is open,” says Bakhtiar.

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Published in The Express Tribune, August 20^th, 2013.

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The troupe will play five shows in Canada, 13 shows in England, including one in Glasgow, and then 14 shows in Europe. The growing international exposure caters mainly to expat South Asians, who are predominantly of Indian descent.

Muhammed Shahid Ali, who is a theatre veteran and manager of Thakur’s troupe abroad, is organising the tours. He says that the idea to take along more people on tour is in order to expand their overall look and performance. He said that famed stage actor Khushboo, was also tabbed to go along with several other major theatre personalities.

“We have been getting a great response abroad,” says Ali. More importantly, he explained that they had found that Punjabi was the most commonly spoken language amongst the expatriate community. “We have to look at the audience when deciding the type of plays we want to perform, and we do it in Punjabi for that reason.”

A dwindling culture

It is ironic though, that theatre reach within Pakistan is deteriorating, while Punjabi theatre is flourishing abroad. Regional Punjabi stage theatre was once connected to a vibrant theatre scene also present in Karachi and Islamabad, and included the likes of Sohail Ahmed, Umer Sharif and others. “It’s unfortunate, that the situation in Karachi has changed to the point where it has become difficult to do theatre,” says Thakur. “We have limited performances, and what we do is change some of the characters to Urdu-speaking or Sindhi, to accommodate the audiences there, we have artists from different backgrounds who can represent each province when necessary.”

Built from the ground up, local Punjabi stage theatre has transformed into one of the most self-sustaining industries in Punjab, and one of the few entertainment spots where revenues are generated primarily on ticket sales. The Al Falah theatre group consists of many serious theatre talents, such as Aman Ullah, Amanat Chan and Nasir Chiniyoti

Thakur explains that popularity of local theatre has emerged from the absence of any other outlets of entertainment. Unfortunately, Al Falah theatre has been under threat in the past, as it was bombed by terrorists in 2009.However, that’s something no one really talks about, and Thakur considers theatre a simple way for his audience to escape every day stress.

“People assume that only Pakistan is in crisis, but the news shows us that crimes occur all across the world, and that being said, bullets are fired regularly,” says Thakur. “Our goal is to make sure no bullet is fired during a play, and to maintain continuity throughout the performance, which for two hours and 10 minutes has the audience laughing.”

Published in The Express Tribune, August 26^th, 2013.

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“Once you go and search the net for sufism and anti-sufism, you will see a stark difference and realise how risky the path I have treaded is,” says Rafique, who has raised his voice many a time for the revival of Pakistani cinema. “The Taliban sector is totally against sufism and doesn’t accept such interpretations of Islam.”

The film, which stars Shaan, Ahsan Khan, Meera, Saima and Wiam Dhamani, revolves around the idea of finding true love amidst an environment of spirituality. The film questions the idea of the cleric and is based largely on sufi teachings. It even draws its ideas and conclusions from Tahirul Qadri’s fatwa against suicide bombings. Naturally, Rafique has been paranoid and worried about the film’s implications, since it can ruffle feathers in the atmosphere of terrorism as quite a lot of prominent groups disagree with such notions. “These are risky things to do in today’s time — criticising the maulvi is putting yourself at risk,” says Rafique, who has surprisingly not filed any reports or sought protection.

Assistant director Hasnat Afridi points out that making a Punjabi film that challenges intolerant viewpoints is a completely new idea. “For the Rs100 crowd, which is inclined towards commercial Indian films that are bred on item songs, a drama solely on sufism would have been never accepted,” says Afridi. “However, we presented a different side and challenged the so-called ‘maulvi class’and its interpretation of Islam and its teachings. The core idea of the film was to shed light on a peaceful aspect.”

Gwendolyn Kirk, a doctoral student from the University of Texas Austin, who is researching on Punjabi cinema in Lahore, tells The Express Tribune, “Ishq Khuda is above all a film of aspirations — it represents a desire for change in society and in Pakistani film industry in general but especially for Punjabi cinema itself. We see the rejection of the old-style gunda/thug character and also his redemption.”

“I think audiences have responded to this in a largely positive way. I went to see the film at Lakshmi Chowk well after its release, and was pleasantly surprised to see that there was still a good turnout, and moreover that there were more families in the audience. This is the kind of positive change that Lollywood has been looking for,” stresses Kirk. “As far as the moralistic or political connotations of the film are concerned, I think that some people may connect with it and some may not, but the important thing is that audiences are seeing new and different themes which celebrate local traditions and local languages,” he adds.

Apart from challenging perceptions, Rafique highlights that his intention was also to negate the stereotypical view of Punjabi culture being loud. “Punjab is a central place, and getting such a message across is important due to the province’s conservative tendencies,” says Afridi.

The mass element surely has not spared the film critical reviews. Despite this, the idea that regional cinema is bringing progressive themes may have a long-standing impact. Actor Ahsan Khan says that Rafique’s venture is a lot different from other projects. “This was a film built purely for the masses, where people come from less educated backgrounds. This is just one way of exploring an important topic,” he says.

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

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Zeb’s first single in the movie, Mile Ajnabee, is composed by Shantanu Moitra, and the lyrics have been written by Bilal Sami. The next ‘big thing’, as some have referred to her, she, along with the band, is making her own identity. The Express Tribune spoke to Zeb about her newest venture.

“I am very happy that I got to record my first playback single with Shantanu Moitra, with whom I worked on the Dewarists,” she says. “You will hopefully see that I will have more Bollywood-related work in the coming months.”

She describes the shift to B-town as an exciting experience. “I was a bit apprehensive because it is such a big industry. However, I have so much respect for it as I grew up listening to this type of music,” she adds.

Zeb expresses an interest in doing music for Pakistani films, as she had been tabbed in the past to feature on the soundtrack of Shaan’s film Chup. “I would feel a lot of pride in doing work for a Pakistani film,” she says. “My dream would be to incorporate my music in Pakistani cinema, because the satisfaction you get working in your own industry, you don’t get working abroad,” she asserts, adding that  since the Pakistani film industry isn’t big, there is “honesty” in its work.

“There are a number of very good Pakistani films being produced, and Indian people are looking towards them as well due to this reason,” she adds.

Break-up – what break-up?

Since her cousin and other half of the band, Haniya Aslam decided to take a year off to study music production in Canada, the sight of Zeb treading alone is a surprise. Rumours began to surface that Zeb and Haniya had broken up. To clarify the band’s status and assure fans that they were still together, Zeb held a press meeting at the art café Nairang, in Lahore last weekend.

“You’ve probably never seen me alone, as my cousin Haniya is always with me,” she clarifies. “The last few weeks, there have been rumours that the band has broken up,” says Zeb, adding that they will continue to work together once Haniya returns.

She also said she looks forward to what Haniya will bring back. “Even though we have worked with some very good producers, we figured if one of us puts some effort towards learning production, our work could greatly improve, so we can create and bring out our own sound,” Zeb says.

“It’s important that everybody wishes her luck, because she may become the first female Pakistani producer in the country!”

Before Haniya left, the band completed several projects, including the collaborative album with Shantanu Moitra and Swanand Kirkire, which will be released next. The band has also composed and completed a number of Bollywood tracks, which have yet to be released. Their personal album is ready, but until a record company comes along, the band will not release it.

Zeb has left for the US, where she will spend the better part of the month collaborating with an American band. Also, for the next year, she will be touring, recording, collaborating and keeping the ethos of the band alive.

Published in The Express Tribune, September 4^th, 2013.

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Initially tabbed to be a television series, the project’s soundtrack and musical score will be under Jamal Rahman’s True Brew Records, which has numerous major productions under its belt including the music of Mira Nair’s The Reluctant Fundamentalist. After listening to Ali Sethi’s debut single Dil Jalanay Ki Baat in Nair’s film, Khoosat was sold and quickly decided to bring Rahman on board.

“Sarmad has given me free reign in a lot of ways and lots of margin to experiment,” says Rahman whose team consists of Danish Khawaja from Poor Rich Boys and Babar Khanna from Coke Studio, who will be responsible for desi percussions. “He [Khoosat] said, ‘I want to make it yours and run with it.’ That’s the best thing you can have when working on a project.”

The team will be responsible for the entire sound of the film — sound effects, background score and original songs — excluding the dialogues which will be done in Karachi. Manto, which stars Khoosat himself along with Imran Abbas and Mahira Khan, is a period drama set in Lahore during the last years of the famous writer’s life. Thus, the music needs to bring the elusiveness of that era to life.

“We’re talking about Manto living on Hall Road in an absolute state of poverty — this is a very unique time [period],” continues Rahman. “So we are basing the soundtrack on the compositions that existed in the ‘50s. We will take that and develop the music in a modern way.” The music will be traditional yet contemporary and fresh and similar to Dil Jalanay Ki Baat. “Sarmad also tried to push that the music has to be desi but with a modern twist,” he adds.

Sarmad Sultan Khoosat. PHOTO: PUBLICITY

The film’s title track will be sung by Ustad Salamat Ali Nazar while Sethi and Meesha Shafi will lend their voices to a song each along with a duet featuring their vocals. The soundtrack should be complete by the end of September so work on the musical score may commence.

“Nazar is not really well-known but has a very particular sound to his voice which we quite liked,” Rahman explains, adding that they had listened to numerous singers but none fit the part. “We really liked the tone and heaviness of his voice and thus, we will use him for the title track.”

“We also have Ali Sethi who I think has a phenomenal voice. His musicianship is quite mature for someone who has been doing this for just a short period of time.”

Sethi, on the other hand, feels Manto will be an important film as it will coincide with the resurgence of the film industry. “I’ve seen only rushes of the film. It had an atmospheric and impassioned story,” says the young singer. “It touches a nerve especially right now, when all our bombastic narratives about Islam and the nation have fallen apart — in that sense, it’s a timely and important film.”

“Manto’s music is weirder, darker and more expressionist than anything I have ever done before,” he adds.

Meanwhile, Rahman reveals that he is working on assembling a band which will be known as True Brew All-Stars. “The idea of the band is not limited to any one genre and it is not a commercial project — it’s entirely my own experimental thing,” he explains. “The band will have a fluid line-up — anybody that I want to work with will basically be in the band.” He further reveals that a music video is scheduled to release by the end of the year.

Published in The Express Tribune, September 6^th, 2013.

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“It was a once in a lifetime experience in which we got to visit different sites and explore locations — it allowed the creative juices to flow,” says lead vocalist Ali Noor about the project which is part of travel music show Fox Traveller’s SoundTrek. “This is very different from previous covers because I am not really going to sing. I am just going to play the guitar. They [Adil & Vasundhara] had approached us and have done a completely different take on the song. But overall, it was a mind-blowing experience.”

Noor further reveals that the band ran into Adil & Vasundhara during their last US tour. They instantly hit it off and Noori performed with the duo in India. Noori is the only Pakistani band in the SoundTrek series amongst Indian musicians such as Avial, Lucky Ali, Indus Creed and others. During this travelling musical jam, the band explores various regions in India apart from jamming and discovering new styles.

Co-existence, collaborations and a third album

“The idea was to do a collaboration in a setting where you’re also exploring the place,” says bassist Ali Hamza, adding that it was similar to what’s done on musical television series The Dewarists. Noori visited Jhodpur in Rajhastan, went to old forts and also took part in fox-lining.

“Adil is a jazz guitarist and Vasundhra is a jazz singer — they added those elements [to the music]. And then there were also these Rajasthani folk percussionists,” he continues. “So there was a mix of things happening but it was [still] more about exploring those specific places.”

Noori seems to have developed a fan following in India, too. So, like other musicians, is the band also interested in pursuing a career in Bollywood? “For now, we have not planned anything for Bollywood but we are looking at working on another collaboration there [in India],” says Hamza, adding that they plan to work on a single soon with musical duo Hari & Sukhmani.

“We have done collaborations previously with Indian artists such as Euphoria, so work is being done. And if the political situation improves, that project will be complete,” he continues, adding that the song was a simple Punjabi tune called Yaariyan which aims to look at the human side of things.

“It’s not about your nationality — it’s about accepting that you’re a normal human being. It’s knowing that you can co-exist, have fun as friends and not create hoopla that this is a Pakistani-Indian collaboration,” says Hamza. He feels it’s important to make it look normal as compared to blowing it out of proportion.

Noori is currently going through a transitional phase as drummer Gumby has made his exit, the band’s new office is being set up in Lahore which should be the breeding ground for its third album, and a new line-up along with collaborations with local musicians is also on the agenda.

“10 years of experience doing this — there has been great learning and progression,” says Hamza, adding that the band is trying to put out the anticipated album soon. “It will be for the audience to figure out, whether it’s something new or different.”

Published in The Express Tribune, September 7^th, 2013.

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Lollywood seems to be on a roll. Recently released commercial film Ishq Khuda — which fared well at singe-screen cinemas in the country — will be screened at the Bollywood Film Festival in Norway on September 11.

The admiration this movie has received from across the border will definitely boost the confidence of other film-makers in Pakistan, says film’s director Shahzad Rafique. The star-studded cast includes Shaan, Meera, Ahsan Khan and Wiam Dhamani.

“This is a premier film festival which has been known to screen top films from South Asia,” film’s assistant director Hasnat Afridi tells The Express Tribune. He reveals that Ishq Khuda is the only Punjabi film which has been selected for screening alongside popular Bollywood movies such as Kai Po Che! and Yeh Jawaani Hai Deewani.

Festival’s director Nasrullah Qureshi invited Ishq Khuda’s team and decided to screen the movie due to the media attention the film has received in Pakistan and other countries. The festival has developed a strong fan following amongst Bollywood buffs and according to Afridi, getting an invite was an achievement in itself. Due to short notice however, it is still unknown if members of the cast and crew will be able to attend it. “We are waiting on the visa but I think it might be too late,” Afridi adds.

Published in The Express Tribune, September 10^th, 2013.

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The journey of a star is never a hassle-free one and things were no different for Zafar. “A lot of dreaming, believing and hard work goes into it. You sleep it, eat it, wake up to it, live it, breathe it and most of all, you stick to it, be it music, films or sketching in a lobby,” he says about how his dream came true. “It’s important to follow your instincts and I did that – I gave into my passion for music and acting.” He feels everyone faces obstacles but it’s how you deal with them, which makes all the difference.

“Growing up, I used to watch a lot of Amitabh Bachchan movies and later, when I was a bit older, I watched Dilip [Kumar] saab’s,” Zafar says on his inspiration to act. “People remember them even today for the characters they played. And I would love to do play such roles that would leave a mark.”

When it comes to having a conscience, Zafar insists that he has one and he portrays it via his selection of movies. “When I choose a script, I keep general values of my home country in mind. I don’t accept roles that don’t appeal to me,” he asserts, adding that he’s only signed those movies which he felt he could relate to. But would he be interested in working in our local film industry? “I’m not against [the idea of] working in Lollywood or anything. It’s just that I haven’t been offered anything substantial yet.”

“It’s thrilling to see the Pakistani film industry going through a renovation and hopefully, it will be revived back to its glorious days,” Zafar adds sanguinely. “However, I’m not an expert in forecasting trends, but I think it’s on the right track.”

Balancing act – music or acting?

It’s important to not forget your roots and Zafar remembers them vividly. He started his career off with music, and despite working in one of the largest film industries in the world, he isn’t ready to give up his singing career.

“I guess I’m good at multi-tasking – I divide my time equally and stay dedicated to each discipline,” he explains. The increase in work load has not deterred him in any way from achieving his goals. “After all, I love doing what I do and I wouldn’t have it any other way. Even when I’m shooting, I can very well be writing a song or composing music simultaneously.” At the shooting of his film Chashme Baddoor, he admits that he was busy recording music for another movie in his free time.

Zafar reveals that his fourth music album is currently in production, and the heart-rendering melodies will surely be a treat for his fans. He also highlights that the music scene in Pakistan has always been alive. “And I’m doing my part in contributing to the music industry as are others – I think it’s very adequate,” he says. “I will always be a part of the music industry as I started my career there.”

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

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Despite being the iconic Nusrat Fateh Ali Khan’s protégé, Rahat seems to almost always shy away from the spotlight. With minimal interviews to his name and an aura of mystery surrounding Rahat, The Express Tribune finally caught up with the playback singer. “It’s true that I have chosen to be relatively reserved with the media but it is something which is purely unintentional,” says Rahat, pointing to his busy schedule. “This is something I wish to change, and as an ambassador of my country, I believe people need to know more about the activities undertaken by their fellow countrymen.”

When it comes to creating music, the maestro admits that he needs to work in solitude. “I like to work in an environment that is secluded and allows me to concentrate on my music,” he says about his swanky farmhouse on Bedian Road (or to him, his humble abode), which has been transformed into an extensive music studio. “I am able to control the quality of the sound I record and ensure that my fans get only the best — something they expect from me.” The title song for Ishq-e-Mamnu was recorded there and he is also working on his upcoming music album, which is scheduled to release by year end.

From qawwali to playback singing

“Bollywood gave me the chance to collaborate with the industry’s best composers,” says Rahat defending the switch he made. “And I embraced the transition well. For me, playback singing has been wonderful in terms of my own growth.” He feels the industry provides musicians with opportunities to learn as well as helps them establish a wider presence and name for themselves in the music arena.

While traditionalists didn’t hold back in making any comparisons when he ‘turned his back’ on his qawwal origins, Rahat feels it was inevitable and people were bound to talk. But the singer remains adamant on growing as an artist, experimenting and trying out different projects. “I starting singing qawwali at the age of 15 with my [uncle] Ustad Nusrat Fateh Ali Khan,” he recollects. “And as I have grown as an individual, I have also wanted to grow as a professional and diversify. I believe in good music, whatever the genre.”

Commenting on the current situation of the Pakistani film industry, Rahat feels it never reached great heights but is hopeful that things can change if investments are made. “Right now, our major hurdle is not that we lack talent but it’s that we don’t have the resources to make good quality motion pictures,” he sighs. “We need huge investments. I wish our government gives this important industry its due attention, and sets aside a sizeable budget for arts and entertainment.”

Apart from playback singing, for the local industry and Bollywood, Rahat is keen on releasing his own music album. “When I play and produce my own music, it provides me with a unique sense of fulfillment unlike any other. Artists shouldn’t just sing for others but should also produce their own music,” he says.

However, it will be released by an Indian company by the end of the year as he hasn’t been able to find himself a suitable distributor in Pakistan. “There was a trend when artists would launch their own albums in Pakistan instead of singing for others, but that seems to have become obsolete,” he regrets.

Rahat is set to go on tour with his band and will be seen performing in Cardiff, Birmingham, Nottingham, Manchester, Leicester and Leeds.

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

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“If you look at Karachi, the industry is booming. National Academy of Performing Arts [Napa] has set a trend in which the audience regularly waits for new productions and along with that, private productions are also being made,” says TV, film and theatre veteran Irfan, adding that theatre has been noticeably revived in the City of Lights. “I think it’s out of awe and envy that we hope to bring back theatre in Lahore. This is an initiative towards reviving theatre as an industry.”

Several extensive plays starring leading directors and actors including Sohail Ahmed, Sania Saeed, Nimra Bucha, Naila Jaffri, Samiya Mumtaz, Nighat Chaudhry, Nauman Ijaz (who is set to make his debut in theatre) Sarmad Sultan Khoosat and Irfan himself along with others, are part of the agenda.

“This will be a good opportunity to see a lot of our stars who haven’t performed in Lahore, for instance, Sania Saeed or Sarmad Khoosat,” Irfan continues. “Nauman Ijaz will also be performing for the first time on stage — seeing these people live on stage will be a different feel altogether.” While the festival will take place in Lahore, this doesn’t mean the plays will be solely Punjabi. “We are going to incorporate the three languages of Lahore — Urdu, Punjabi and English. We have a nice diverse palette of plays.”

Plan of action

With a holistic attempt to connect art with the heritage of the city, the festival’s main goal is to bolster the audience’s interest in theatre and performing arts. Workshops for students and people interested in the nuances of stage performances have also been organised. On a more interesting note, plays will not be held on one specific venue but in a multitude of locations — primarily those with cultural significance — across Lahore.

“The whole idea of this festival is to explore Lahore through theatre. [Currently], we don’t go outside and tend to stay on our own block,” says festival coordinator Samreen Kapasia, about the inflexibility that prevails. “So with our [upcoming] theatre performances, we have a different idea. We will have performances at Lahore Fort, at Expo Center and we have also modified our street theatre performance for Mian Salli haveli.”

The team has developed a core-group which comprises like-minded friends, but the focus remains on creating an environment which would allow the audience to come out and enjoy the performances.

Limited entertainment options are another reason behind the expansive design of the festival. “If you speak to our parents or friends, you will see that we don’t really have much to do. We can only go out, eat and come back,” Kapasia explains. “So the idea is to bring forth culture as well, with this initiative. Thus, this is a very eventful and happening thing we are trying to experiment with.”

With time, the organisers hope to expand the project outside of Lahore as well.

Published in The Express Tribune, September 14^th, 2013.

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The Express Tribune caught up with the rising star ahead of his concerts. “I never do a show if there is no demand. I don’t have time to leave my country or work, to experiment to see if people are going to like my music, the reason I came [to Pakistan] was because I got a response,” remarks Raja, who is visiting Pakistan for the first time.

He is influenced by an array of genres of music, namely hip-hop, Latin music, and other sounds. Raja was introduced to desi music around three years ago, which provided a new trajectory to his music.

“I didn’t really grow up with desi music. I listened to it for the first time only three years ago, and when I did listen to it, it changed my life,” says Raja. His first single, No Clue ft Salah Edin quickly became a success, reaching all the major channels in India and Pakistan.

“I love to perform, I don’t say I like to sing live because it becomes difficult, but what I really love is the way I entertain, I’ve got so much self-confidence,” says Raja.

The urban desi hip-hop market has grown over the last 15 years, and has seen several popular artists, such as Jay Sean, leave a mark on a global level. Raja has been quick in devising creative beats, along with exuding his own sense of style and fashion. He also is the first to openly sport a Mohawk and experiment with his own look. It’s a whole attitude that he represents, and wants to promote.

“Yes, I need my X-factor; I need my style, because I have to make people look at me. People need someone who can represent Pakistan,” says Raja.

“He does the dancing, and he also designs his own clothes, what the people need to know is he is a trendsetter,” says Sahil Raja, his brother, MC and manager.

“About two years ago, he started out from the beginning like everyone does, but in one-and-a-half year, with only four singles, he has toured all over the world. Not many artists in this scene can do that with [just] four singles,” continues his brother.

Raja’s brother has tracked his career, and thinks it’s Raja’s hard work that has allowed him to grow so quickly. Producers in Bollywood have been approaching him for tracks, and his untitled album, which is in the process of completion, will be released with a major label.

Interestingly, the show comes at time when privately organised shows have digressed. With security issues, and an overall environment that has not catered to large scale tours, there is still a push for privately organised shows. Raheel Minhas of Glorious productions, who organised a tour for Bohemia, said that while has become harder for international artists to tour due to security restraints, people are still working to organise shows.

“The concert scene has been down since 2006, but I thought I should do something for the youngsters, because this avenue of live performances has really stopped,” says Minhas.

Minhas feels the biggest challenge is convincing international artists about the viability of touring in Pakistan, along with showing them that the market here is still strong. With Karachi being the centre of violence and security issues, shows in the port city of Pakistan may not go ahead as planned. Regarding other venues and performances, Raja’s concert schedule can be easily found on his Facebook page.

Published in The Express Tribune, September 18^th, 2013.

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