After receiving nearly 3,000 entries from amateur musicians on its website, the project is shaping up.

“We were quite amazed by the entries we received. They show that there is so much talent and quality in the country,” says Ali. We [as a band] were able to release an album despite constraints, but there are so many others who are involved in music and don’t have a proper direction or avenue,” he continues.

The competition has entered its second phase, where 10-12 contestants will be shortlisted.

Each of these contenders will record two tracks each at the Walnut Studios over two weeks with the house band, which comprises Kami Paul on drums, Rupert Shahzad on keyboard, Waqar Ahmed on guitar, and Ravail Sattar on percussion.

The second round will essentially be divided into two parts: the first song each contestant sings will roughly determine who the top five are, but no one will be eliminated; the songs will then be posted online for public voting.

Out of the top three selected by the voters, one will end up winning the chance to record with the coveted record label Universal Music India.

Ali says the competition’s emphasis will be on supporting the musicians and providing them with musical facilities that may not be available to them otherwise.

By making the selection more democratic, the show attempts to distinguish itself from television-based music competitions.

“A lot of people complained that other musical competitions don’t base their decisions purely on talent and focus more on looks and image. We want to change that,” Ali shares.

In this regard, Ali says he has tried to go out of his way to accommodate submissions and spent hours ensuring that the submissions are received. In some cases, he even had a few hopefuls come to the studio and record there if they faced issues while making entries on the website.

The excitement surrounding the competition originates from the fact that it is an avenue dedicated solely to local musical talent, who don’t get the chance to perform live. One of the contestants from the top 12 has been a journeyman musician who has performed at various spots in the city.

“This opportunity was God sent. I am only a vocalist and have been trying to make it through. I performed a couple of times at the knowledge factory, but I didn’t get the type of response, which makes one want to pursue music full time,” says the 24-year-old musician.

His first recording experience took place at the Walnut Studios through the platform of Stage Monks. He finished his matriculation and has a diploma in electrical engineering. He now feels that this competition is an important aspect of his musical career.

“Music is my passion, so I knew I was not going to waste my time with the television reality shows. On this platform [Pakistan Superstar], I know that my talent will not be wasted,” he shared.

Published in The Express Tribune, April 2^nd, 2014.

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“I was brought up in the type of family where I was not allowed to watch Hollywood films. It was only Indian films and Pakistan television for me. However, the added advantage that I had was that I got to see Pakistani cinema for free, which I think had a major influence on me,” says Chaudhry.

He had a strong underlying vision that whatever work he did had to be original. It was for this reason that he avoided the Government College theatre scene and focused on creating an independent one.

Similarly, in the case of Jutt and Bond, he humbly approached Dr Younis Butt through his friend Zain Ahmed and asked him to write the serial.Butt refused and told him that if he wants to do something he’ll have to do it himself. That is how he ended up writing it on his own.

“So, then I sat down to make the decision and thought about all the terrible dramas I have seen in my life. I thought about how bad could my writing really be, decided to give it a shot and wrote Jutt and Bond. Over the years, you learn by writing a lot of screenplays. It’s a complete cycle one has to go through as a writer,” says Chaudhry.

While the global economic meltdown had various impacts on television across the globe, it meant a different sort of shift in Pakistan, from Lahore to Karachi. Karachi-based media houses started favouring a different trend, in which the 25-minute sitcoms did not factor. Therefore, for the first time, Chaudhry hit a dry-spell after seven years of prolific work.

“What had happened was that the market had moved to Karachi and people stopped buying content from Lahore. That one year in between was very tough; I was unemployed, Lahore was only making 25-minute-programming primarily and they weren’t buying our content,” recalls the writer.

“It had become our trademark that we did good comedy in Lahore, but people also felt I was just a 25-minute writer and could not handle longer formats,” he added.

His career was at crossroads until his good friends and directors Nadeem Baig and Marina Khan approached him to write for Kis Ki Ayegi Baraat, a Pakistani television drama. The writer of Azar Ki Ayegi Barat, Mohammed Ahmed was tied up with other projects and therefore, Chaudhry was approached to co-write the sequel with Bushra Ansari. By the time he reached Karachi, he discovered that five episodes had already been written.

“This is the first time I am telling this to anyone. They had told me that five episodes had been written but they were incomplete, so I will have to write them. I tried to write for two days and injected whatever life I could in them, but I didn’t think it was good enough. At that point, I went to the co-director (Marina Khan), asked her to give me one chance to write my own version of it and told her that if she doesn’t like it, I will go back to fixing the original script,” said Chaudhry.

Being a writer is inherently difficult, reminds Chaudhry. His own work in building an independent scene, out of which he bred his television projects, has a unique following. But today he is treading new ground as a screenplay writer for films. He is completing the script for one film and will possibly be on board for another film, to follow-up the success of MHSA. He says that his intent is to provide entertainment through his writing.

“I think nothing beats the feeling of 500 people, packed in the cinema house, cheering and clapping. That is what I have grown up watching. Nothing can beat that adrenaline rush and that’s something only cinema can provide,” commented Chaudhry.

“My target has always been to entertain people; I am not into art as far as my work is concerned, at least not now. Even when I was doing theatre, I wasn’t into it. I suppose it’s because I am influenced by entertainment films of the 80s and 90s,” he concluded.

Published in The Express Tribune, April 5^th, 2014.

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In the local context, the decision by Sarmad Khoosat and Nimra Bucha to adapt this for a Pakistani audience was a daring prospect. Performed in front a small crowd at the NCA auditorium, it is reduced to three, short 20 minute plays for the short attention span of the art-loving elite.

There is a disclaimer for the politically correct and innocent minds that the play is filled with expletives, and it would not be advisable for children to watch. The opening scene of Shoot/Get treasure/Repeat, which is titled Fear and Misery, is of a couple played by Sarmad Khoosat and Nimra Bucha. The first scene starts with the intimate yet casual conversation of how their child was conceived, only to disintegrate into a confrontation as they are slowly forced to reveal their darkest secrets.

The immediate chemistry between Bucha and Khoosat shows that they have worked together consistently on a variety of projects. In fact, the decision to produce this seems to have arisen from the yet-to-be released film Manto. One could suggest that this may be an attempt to steer away from the shallowness of television drama, both pushing their boundaries as theatre artists to create a unique and uninhibited atmosphere.

An angled mirror hangs above the stage, as if to distort and poke fun at the realities of life. The scale, naturally, cannot be compared to the original, which includes a live sound-operator and projectors with images of war. Khoosat and Bucha instead utilise a handheld camera and stage settings to set the tone.

The second play, War and Peace, includes a stand-out performance by Adnan Jaffar, who plays the role of a headless soldier who visits the room of child (Wajood Ibn-e-Sadaf). The scene is immediately captured by Jaffar, whose character looks at both the horrors of war and tales of his childhood. The usage of the phrase freedom and democracy across the three plays is calculated, and is part of the dark irony surrounding war, and how insignificant it is in the face of violence.

The interrogation room becomes the setting for the third and final play, titled Crimes and Punishment. Khoosat plays an American soldier who interrogates an Arab woman (Bucha) who has fought for democracy, but is now confronted by the realities of the invasion of her country, along with the deposition of a dictator. With Bucha grieving the loss of her son and husband, both go to the brink of their talent. This is demonstrated through an avant-garde style of presentation, in which Khoosat uses a live camera on a projector during the scene.

Bringing Ravenhill to Pakistan will turn heads with the traditional theatre going audience, but it is a very important play for our society. Maintaining the essence provides an important look at the hegemonic dimensions of ideology which in the end, is very relevant to Pakistan.

Published in The Express Tribune, April 8^th, 2014.

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However, with the new wave of film-makers having lent impetus to the movie industry like never before, the pressure is on the veteran director to deliver something equally good, if not better.

After facing delays, the only film of Noor’s that was released in 2012 and did considerably better than others was Sharika. The film is a family drama concerning the socio-cultural issue of watta satta (give-take) marriages.

“Sharika is a traditional film, which did normal business. A person should take pride in his work,” says Noor.

He says that he made multiple films at a time when there wasn’t much support for film-makers. Through the platform of Pakistan Film Producers Association, he has been vocal about the question of Indian films taking precedence over Pakistani ones.

In terms of films, this year is going to be an important one for Noor. He has around four films in the pipeline and all eyes are set on him to see if he manages to reclaim his status in the industry.

Otherwise popular among the general public, he says his upcoming film will cater to a different audience. “People my age have stopped going to the cinema. A select, new generation audience has been created; their perception is different. Remember, this is not a big audience. It’s just a few thousand people we are talking about,” says Noor.

His much-delayed film on honour killing, Price of Honour is ready for release in May and then, he will be going to Karachi to shoot action film Bhai Wanted, which is based on target killings and ‘missing’ persons. In the fall, he is scheduled to shoot a love story in Canada titled First Love, followed by another film that he will be shooting locally by the end of the year.

His emphasis as a film-maker and scriptwriter has always been on the content of the story and ensuring it had depth in the way it connects with the audience.

“Presently, I am not making any Punjabi films; I will be focusing on Urdu films. I have always felt that films should highlight [pertinent] issues, but if you do just that, they become dry,” he shares.

Price of Honour, he says, is going through the post-production phase in India and its cast comprises first-time actors. He feels that the time is right for a film with such a bold topic to be released. The film was shot in Rahim Yar Khan over a span of two months.

“The film has all new actors. I selected fresh faces because of the type of characters in the film. They had to look real, not scripted. This is difficult because a mature actor doesn’t [require the same effort as] a new one,” he says.

Noor spent several months researching on the topic of honour killing with his friend Abdul Imkan. “I researched where honour killings occur more frequently and why they do. I also looked at the Mukhtaran Mai case. We made a story by looking at these facets of the issue,” he shares. “There were some tensions, but I have always wanted to do work on things that have not been done before.”

The film Bhai Wanted would have been shot a couple of months ago, but was delayed due to the troubling situation in the city.

“[Film-making] is mainly about drawing inspiration. You can be inspired by a character or sometimes, a true story,” says Noor.

Published in The Express Tribune, April 11^th, 2014.

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LAHORE: After writing critically acclaimed novels, including the poignant Between Clay and Dust (2012), Pakistani-Canadian author Musharraf Ali Farooqi is embarking upon a new project that aims at popularising Urdu literature amongst children.

Under his children’s publishing house, Kitab, which he established in 2012, Farooqi launched a catalogue in December 2013 with eight books, five of which are in Urdu and three in English. The books comprise his book Tik-Tik, The Master of Time and those by renowned authors Sufi Tabassum, Ghulam Abbas and Mehdi Azar Yazdi.

“I am a writer and don’t really have an avenue to make my books available to kids in Pakistan. They have been published elsewhere, such as in India and overseas,” says Farooqi. “The problem is in Pakistan; we do not have publishing as an industry.”

Part of the initiative has been organising a tour during which Farooqi visited schools and other venues to encourage and engage people in the art of storytelling.

“We started to promote our books in Karachi through storytelling sessions in schools, which became so popular that we had to expand them to local bookshops. We have also held two workshops where we taught adults the art of telling children stories.”

He says the initiative was experimental at first and has grown due to the demand for such interactions. “There is a huge demand for children’s literature. We do not have a sense of continuity of what has been available to us over the years, such as the history of Urdu and South Asia. Recorded history dates back to the time of Aurangzeb; it was meant to educate kids,” says Farooqi.

Kitab is looking to expand by housing 40 different books, including those written by new writers and local adaptations, none of which will be Farooqi’s own works.

They will also be publishing Urdu books as well as promoting local authors whose names will be disclosed at a later time.

“There have been project-based initiatives in the past, which would begin, but wouldn’t continue. The idea with this is not only to meet kids and tell them a story, but to encourage children to read,” says Saira Ali, who is working with Farooqi on the project.

She says that the project has a two-pronged goal: to have schools incorporate literature into their curriculum and libraries, and develop a retail culture where kids will be able to buy books of their own liking.

“We interact with children and tell them stories in Urdu. The response has been amazing. Unfortunately, we have stigmatised Urdu language to a point that if you only converse in Urdu, it is perceived as ‘uncool’,” say Ali.

“But when they see that here is an author (Farooqi), who writes in English and has no problem when speaking in Urdu, it creates a positive impact,” Ali adds. 

Published in The Express Tribune, April 14^th, 2014.

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The film La Hasil (the unachievable) is based on the famed O’ Henry short story, The Cop and The Anthem. The project was an interesting venture into amateur film-making, taking students with little to no film-making experience, and training them in order to create an attempted work of art.

The film has been shot at Qutubshahana, a small village near Sahiwal, and includes an all student cast which stars Khurram Bukhari as Jibran, Amtul Baweja as Anila, Nauman Khalid as Imtiaz and Ali Zafar as Wahid. The story has been written and directed by Arham Usmani.

The story is about a village boy named Jibran who makes ends meet by working at a factory. Unfortunately for him, the factory closes down and he is forced to leave his home in search of work, thereby ending up living in a remote village. Still without work, he concludes that maybe his best hope of survival, with three regular meals and a roof over his head, is prison. With this newfound possibility of escaping his current living situation, Jibran, in quite a comedic manner, sets out on a number of comedic escapades in the hopes of landing behind bars.

The premiere of the film, which was held at the LUMS auditorium, saw in attendance several people from the film industry. Bilal Lashari, Syed Noor, Shehzad Rafique, Murtaza Ali, Shahzad Ghafoor, Sheraz Ghafoor and Rambo were all in attendance.

“People really liked the initial screenings of the film; they were surprised by the cinematography and story. It was very difficult to make because none of us had any experience before, but we found a way to get it done,” says director Arham Usmani.

The students had little to no experience in film-making so in one fall they engaged with film-makers such as Zinda Bhaag arts director Ishra Tariq to gain some technical experience. They also held workshops with several people from the National College of Arts in the hopes of shoring up their skills.

Shot during the students’ winter break, they also raised funds to buy equipment and other things in order to increase the film’s quality. Usmani says his original scripts had to be changed completely in order to accommodate the constraints of the film. He also adds says that by the end, the story had changed completely.

“We, as a society, had been thinking about how our campus had hosted FiLUMS, but we had never been able to produce an actual film, something that we could say is a piece of art of sorts, that people could watch and enjoy. It also had to be something we would be able to complete in a year’s time,” says Usmani.

Project Manager Haroon Bajwa, a third year student, said that the project served as a potential launching pad and inspiration for other people on campus to try their hand at film-making. He said that they had raised between two to three hundred thousand rupees to make the film and, subsequently, were able to buy the latest equipment to help with editing. This, in turn, ensured the end result was polished. He added that the collective endeavor had showcased the rising interest in film-making across students, and was an attempt to use creative ways to produce art.

“The amount of hard work and effort that went into this project made a lot of people happy. In the past, there was only one other sort of attempt to do a film project of this magnitude, but it was never completed or showcased. This is our first big project, and we will be looking to get it to national and international festivals,” says Bajwa.

Published in The Express Tribune, April 17^th, 2014.

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“The word I want to drive home is this Pakistani homeless man, he went on to win the Asian middle weight championship, and he was the best boxer in Asia. When he went to the Olympics he didn’t even know what the Olympics were, and he comes back with a bronze medal,” says Sarwar.

From being an accredited F1 driver, to making music, Adnan Sarwar has always been willing to try new things. Both he and Kiran Chaudhry (the other part of the band) had signed a Memorandum of Understanding to work on a romantic-comedy together, as male and female leads. The plot of the film was to be loosely based on the band, and they were also to do the music for the film. However, Sarwar had other plans of what his first foray into films would be like and this is when the idea of doing a film came up.

“Even then, we knew that films would be our ultimate focus. I was offered roles and I knew that this was the medium we wanted to go into,” says Sarwar, who will both co-produce and play the lead role of Hussain Shah in the biopic. Disclosing minimal details due to non-disclosure agreements that have been signed to back the film, the working title for the film is Hussain. He says that they have used an alternative financial plan and production model so that no questions arise relating to funding during the film’s production. The major chunk of the production budget will be spent on availing new technology, which will make fight sequences look real and the story come to life. Further details of the cast and crew of the movie will be released in a few months when the film’s website and Facebook page are launched.

“There are no big names in the film, and 90 percent of the cast is new. We had the choice to go after big names but that begs the risk of going over budget, which has been one of the primary reasons why films aren’t released in Pakistan. There are 125 films being made, and only one or two films will be released this year,” says Sarwar sarcastically.

Sarwar’s own obsession with Hussain Shah seems to have driven the project. He himself lived for some time in the city of lights while studying medicine. “When I look at this guy, I look at my own life. I have seen poverty driven hunger, I see so many similarities between the person he was and the fight he put up against the world. He may not have succeeded, but he put up a fight nonetheless,” says Sarwar.

Sarwar himself has been training for the role now for six months, and by the time the film is finished, he will have done a year’s worth of boxing training which will include actual fight preparation under the tutelage of Shah.

“Close to when the fight sequences will be filmed, I will actually enter into boxing matches and fight. The fighting in the movie is actually going to be real; we are bringing in boxers both from Pakistan and internationally. It’s going to be very realistic, and we are developing some new shooting techniques,” says Sarwar.

Sarwar spent a year trying to trace Shah down in order to gain film rights to his life story. Shah now lives in Tokyo with his family, where he trains local boxers. Sarwar said that project will also allow the nation to repay the debt that is owed to Shah and his legacy.

“He lives in a different world than you and I. He is completely illiterate; he grew up on a sidewalk. When we discussed the film for the first time, he didn’t understand what a feature film was, and when I told him what we were trying to do, he broke down and wept,” says Sarwar.

“After Shah won, he thought his life had been made, but no one gave him anything. The government only gave him Rs20,000 a month, so we thought the least we could do is give Hussain sahib a portion of the box office sales.”

The project is part of a trilogy of three films related to individuals whose stories have not been given due coverage by media and pop culture.

The Express Tribune tried to get in touch with Hussain Shah for his perspective on the film but he was not available for comment. 

Published in The Express Tribune, April 19^th, 2014.

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Amid this unfavourable environment, one band has managed to stand tall — Roxen. The band’s lead vocalist Mustafa Zahid has been in high demand as a playback singer across the border, but he has managed to prevent the band from disintegrating.

Contrary to popular belief, Mustafa believes that bands are still a potent constituent of the music industry. “How can anyone say that bands have died? It’s like saying that music has died. You just have to be willing to adapt to the audience’s demands,” says Mustafa. The band produced music for films like Murder 3 and the frontman lent his vocals to songs in Aashiqui 2 and Shootout at Wadala.

Commended by Pakistani and Indian audiences alike, Roxen continues to play an important role in reviving the role of bands in the music industry. “There was a time when bands, [such as, EP, Noori and Fuzön) had surfaced and music by bands was trending, but one has to be willing to evolve with changing trends and understand the people who are listening to one. These bands need to realise what their market is,” Mustafa feels.

Debuting with music album Rozen-e-Deewar in 2006, the band has come a long way. Now, Roxen is looking towards the worldwide release of its album Bhoola Sumundar, which is scheduled for August, post Eid-ul Fitr. Mustafa shares that the eight-year-long hiatus between the releases of Roxen’s two albums is because the composition of the band has undergone a few changes. Guitarist and backing vocalist Shahan Khan, who joined the band in 2009, added a unique dimension to the band’s sound, complementing the guitar riffs of Haider Halim.

“We have maintained a blend of pop rock and ballads [in the album songs]. It’s very important that we produce this album as a commercial one. We were originally an underground band that made it to the mainstream because of our [first] album.”

Mustafa feels that Roxen essentially caters to two audiences: one that connects with the band due to its rock and roll genre; and the other that hears its music only because they have heard his Bollywood film music. “So, [through the album], the best thing to do is that we find something in between that would satisfy both the audiences.”

Shahan says that even with changes and commercial compulsions, the sound for the albums is characteristically Roxen. He says that the band members do not follow a disciplined [work] routine, but the camaraderie between them has continued to grow.

“I have only added a few [new] things to the album. The sound is in complete harmony with what Roxen is known for. People used to say that we were becoming a ‘Jal-type’ band, but we really have stuck to the basics,” says Shahan. The band has stood the test of time due to the fact that its members don’t experiment unnecessarily and simply continue to do what’s known to them. “We tour a lot. If an idea or sound inspires us, we work on it; I don’t think art can be planned,” he adds.

Song                                           Name of film                   Year of release

 Toh Phir Aao                   Awarapan                                2007

Tera Mera Rishta             Awarapan                                2007

Jo Tere Sang                     Blood Money                           2012

Hum Jee Lenge                 Murder 3                                  2013

Bhula Dena                           Aashiqui 2                             2013

Published in The Express Tribune, April 24^th, 2014.

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Many of these actors believed that it was their work that somehow improved the conditions of the industry. Out of this mentality came a last attempt to revive Pakistan’s film industry with movies such as Chief Saheb, Sargam and later, Choorian.

This year has not been particularly fruitful when it comes to film production. However, change is definitely on the horizon with Pakistan’s new breed of filmmakers. Veteran leading man Saleem Sheikh is all about trying to maintain a consistent effort with his upcoming romantic comedy for which shooting will begin in October.

His approach and understanding of the entertainment industry has changed in an attempt to come back with a bang and there are no overambitious expectations, he insists. “I want to focus on making a film with a strong story, embrace the new trends of cinema and tackle issues with commercial appeal,” Sheikh tells The Express Tribune.

With fresh faces like Hamza Ali Abbasi and Goher Rasheed taking over the big screen, there will be a lot of pressure on Sheikh to prove himself again. “The pressure has been on us for quite some time, as there is a lot of new talent that is making inroads into the industry. Another change is that emphasis is now on characters, you don’t have to be a hero, or be visible in every scene, you can do a smaller role with which you can improvise and make a strong impact,” says Sheikh.

Looking back at his earlier days of Lollywood, he remembers how he and his contemporaries were trying to sustain the industry with an array of different films but that experiment ended up with more bad films and less good ones.

“It’s funny when I was starting doing films, as it was just about the beginning of the end for cinema, but we didn’t see it coming,” recalls Sheikh

“I remember we used to follow these weird trends. For instance, Evernew developed a concept where films could be dubbed for two markets, both Urdu and Punjabi. They did this only for the money, and, as a result, the quality of our cinema declined,” adds Sheikh.

Sheikh is one of those film actors who began their careers with the small screen, and that too as a child star in the mid-1970s. But it was under the direction of Shoaib Mansoor that Sunehrey Din became an instant hit and people started recognising Saleem Shiekh.

“It was an interesting period and that play took about 1.5-2 years to make. I kept waiting for it come on air and right after that I had become a star in my own right because people had formally recognised who Saleem Sheikh was,” says Sheikh.

The ongoing debate about the influx of foreign content has infuriated Sheikh but like most of the new contributors to the cinema industry he welcomes healthy competition. He believes that insecurities surrounding Indian cinema or foreign content, had dominated the film ranks for the longest time. Now, Pakistani filmmakers have an opportunity to compete and show their mettle. Not only have foreign films brought in a bigger audience, but that audience is more understanding and aware of cinema.

“In television, we found that even though there is competition, be it Turkish or Indian, Pakistani content  has to survive. The same is true for Pakistan cinema, we can really challenge and change things now,” says Sheikh.

Saleem Sheikh’s previous films

Mohabat ke saudagar (1992)

Duniya Dus Numberi (1993)

Qassam (1993)

Chief Saab (1996)

Yes Boss (1997)

Kaheen Pyar Na Hojaye (1997)

Aik Aur Love Story (1999)

Yeh Dil Apka Howa (2002)

Khulay Aasman Kay Neechay (2008)

Published in The Express Tribune, April 25^th, 2014.

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Dunya is particularly interesting, because it is an attempt by old School Lollywood to push a new narrative through cinema. The argument is that this film attempts to engage and reinterpret Punjabi culture so that it can move beyond the chauvinist narratives of the past, and into a more modern realm. By modern, we mean a contemporary world, in which life is experienced through power and the nature of development. Social contradictions become more prevalent, and provide a base for new cultural narrative.

Traditional Punjabi films still, to a broader extent, reaffirm Punjabi culture through its most salient feature, the Punjabi male.  This project probably has its roots in the film Maula Jutt. It has been said that Dunya was also part of the effort to reclaim Punjabi culture in the face of insecurity surrounding the Urdu language. The uncouth male would romance his leading lady, and do similar things as the traditional hero but with air of aggression. Punjabi cinema’s infatuation with the macho male character has never been really challenged, since it is seen as very personalized project amongst filmmakers.

Dunya, could quite possibly have been a hit twenty to thirty years ago. It stars Rambo, an idealistic young man who is forced by society’s injustice to move from his innocent life of the village to the city after his sister Saima is forced to pay a hefty dowry in order to secure her marriage. It is in the fast-paced and scheming environment of the city, that his troubles start. Rambo, as clichéd as it could be, rides in on a horse, only to have his horse and donkey stolen. From there on, his troubles begin.

From a dark place in society, where everyone has abused the main character, it is Shafqat Cheema who appears as an unlikely saviour, a khwaja sira (transgender) called Guru Ji. Outside the typical villainous role, Cheema takes Rambo under his wing and turns him into a dancer. In a society where people steal, cheat and kill, a khwaja sira who dances for a living and does it honestly becomes a moral example. It should be known that approximately seventy khwaja siras actually participated in the shooting of the film.

The attempt to de-masculinise Rambo is quite fascinating. Not only does he become a dancer, he is questioned about the craft. Another angle of the film shows the typical issues of the rural-urban contradictions, through the love story of Moammar Rana, who plays a type-casted Choorian character of the young man who finds himself in same village as Rambo’s sister Saima.

The film ran for four weeks at Capital cinema, Lahore with minimal sales. This cinema is one of the last few outlets for such local films. The film did have a star caste, with actors such as Nargis, Nayyer Ijaz and others, playing significant roles. However, the production value is extremely poor, as has already been pointed out. From an exploratory perspective, the film is a good way to examine the changing trends of Punjabi culture and cinema. 

Published in The Express Tribune, April 28^th, 2014.

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The comparatively grand music and trailer launch of the Pakistani film The System did just that; it left the people anticipating whether the film will be worth all its hype.

With a budget of sixty million, The System is slated to release in May and an Indian music producer has been hired to give the music. Interestingly, the film is a sort of a redemption case for Ghafoor Butt; the former president of the Producer’s Association, whose last film Khamosh Raho was a complete failure. Butt had long been written off before this film; therefore, all eyes will be on him to see how he fares. The film is directed by his son Shahzad Ghafoor and stars his other son Sheraz.

Butt feels guilty that he had to go to India for the processing of the film and also because the music is an off shoot of the Bollywood music style, however, given the technological limitations back home, he had no other option. The film is currently completing its post-production in India.

“Last year, we saw the success of a film Waar this film is made in the same pattern, same technology and will be of the same caliber,” says Butt.

The film is entirely funded by Butt himself and he has intentionally avoided any outside funding.

The trailer shows the new look of actor Sheraz, who has worked relentlessly on improving his screen presence. Sheraz who will be seen in the leading role went through various training regiments to get in shape for the role of a macho man, who fights against social injustices. The film’s theme hovers on the systemic corruption which starts from various levels of society.

The rest of the cast includes Nadeem Baig, Kashaf Ali, Shafqat Cheema, Irfan Koshart, Kashaf Ali, Nayyar Ejaz, Rabia Tabassum, Saleem Shah, Saima Saleem, Mariyam Ali Hussain, and Saira. The screenplay has been written by Wajid Zuberi with additional input by Shahzad Ghafoor and Sheraz. The songwriting has been done by Indian lyricists Irfan Siddiqui and Mohit Pathak.

“We have tried to make a film that people will appreciate, and even after this we will continue to try and make good films,” says Sheraz. On working with his brother, he says that the thing that stood out was his dedication and passion for films. Besides Sheraz, the film includes a new female lead star Kashaf Ali, has an uninhibited flair about herself; Sheraz on the other hand is comparatively reserved.

“We aren’t trying to compete with other films; at this stage we just need more high quality films. It was great working with Shahzad because he has a passion for Pakistani film industry and cinema,” says Sheraz.

Film Cinema Owners Association’s president Zorraiz Lashari says that this film shows a continuity of the small gains that the film industry has received through Pakistani film. He adds that The System has all the characteristics of a potential box-office success.

The support for the film could be summed by the rare appearance of legendary actor Ejaz Durrani. For the last several years, he had curbed his public appearances. His speech was filled with nationalist rhetoric statements and advocated that Pakistani filmmakers can produce films and art comparable to international standards.

Published in The Express Tribune, April 30^th, 2014.

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An event was recently held at the Al-Hamra Arts Complex to pay a tribute to the invincible Sangeeta. In recent years, she has been more of a spokesperson, advocating positions of the old industry and delving in television sitcoms rather than cinema.

It was the late 60s when she started as a child actor in the film Kangan followed by a role in Koh-e-Noor.  Her mother, Mehtab Rizvi was a determined screenplay writer, who had established a long-term relationship with the film industry. Sangeeta’s father, Tayyab Hussain Rizvi along with her sister Nasreen Rizvi, (also known as Kavita) and brother Raza Ali were affiliated with the film industry as well.

Actor Nisho Begum, Sangeeta’s contemporary and apparent rival, who is now locally known for her poetic genius, was present at the occasion. She expressed that as an actor, she had been insecure of Sangeeta’s stature, but her persistent envy meant that there was something awe-inspiring about her contemporary.

‘’We contested in the industry together, shared the same struggles, but never did I see her give up or surrender,” Nishoo said.

“I think this is the reason why when I think of what we were doing and how, I speak with utmost pride and passion for my friend. She has continued to strive despite her illness and regardless of being told not to stress out excessively,” says Nishoo Begum.

By 1971, Sangeeta had shifted from Karachi to Lahore to become one of the more sought-after actors. During the resurgence of new-age Urdu cinema, she played high-profile roles along with the most seasoned actors of the industry, but her career changed with the film Society Girl. The duo of Syed Noor and S Suleman, a director that Noor was assisting earlier in the day, was searching for someone to make a film out of a script and then Sangeeta, a leading actor realised her bigger dreams.

“She was tall and quiet in those days, she had been told by her mother not to speak on the sets,” recollected Syed Noor. Noor had been working on a script that he was told could possibly be turned into a film.  He recalled that while driving to Madam Mehtab Bano’s house one day, Sangeeta’s mother had expressed her views on the script and suggested that a good director should make the film. Despite entering the pre-production phase, the film was cancelled right after it was initiated.

‘’At that time, I remember feeling sad about the film and that is where I got to know Sangeeta,’’ stated Noor. On the sets of Tere Mere Sapnay, the film Sangeeta was starring in and he was assisting in, they began to discuss the idea of making a film together.

Sangeeta then had to convince her parents on the project. Her mother eventually agreed to support her while her father said it would be a waste of time and money.

“We were really dedicated to what we were doing in those days. There was nothing that could distract us. I used to wonder why we never fell in love,” laughed Noor.

Society Girl became the launching pad for Sangeeta, the first female director from Lollywood. That period was followed by several successful films directed by her, including Muthi Bhar Chawal in 1978. After a phase of predominantly Urdu films, she contributed significantly to Punjabi films. Though a critical review of her work would be interesting, it is the context and progression of Sangeeta’s success that matters the most.

Published in The Express Tribune, May 2^nd, 2014.

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“The album is a mixture of love songs  — about being in love, falling in love or unfortunately falling out of love. I am very excited about this album, because I feel it’s my best work thus far. There has been a dedicated team working on this for the last several months, which I believe is something you will be able to hear in the melody and lyrics,” says Khan.

Khan’s album is going to be released on June 8, alongside the IIFA telecast which will premiere on television to an estimated 600 million viewers. The intent is to go big while also keeping close to his roots. Bagga and Yousuf Salli who contributed lyrics for the song Rhim Jhim have a major role in the albums production process, along with the producer Salman Ahmed, who has helped with his experience abroad. The album will experiment with traditional melodies and maintain the cultural ethos.

“I have always said that Bagga is more of a magician than musician; he has hand crafted the music for this album,” says Khan, who tries to maintain his soft-spoken image.

“Mian Yousuf Salli has an almost impeccable role in the album and his lyrics in the song Rhim Jhim are amazing. The song has been sung by Shreya Goshal and me,” he adds.

“I have always believed that music has no boundaries, and since this album is about love, the title also has matched that sort of idea of getting Back2Love,” says Khan.

The album’s producer Salman Ahmed explained that the collaboration with Priyanka Chopra could not happen due to issues with her record label and because the time wasn’t  right. Salman added that in a span of ten years, Rahat has grown into one of the most sought after live performers and playback singers with an international following.

“The main reason why he had not been able to release an album before is that he has been one of the busiest artistes in the subcontinent; he could not focus on his own personal album,” says Ahmed.

He says that the album does not compromise his dedication towards traditional and local melodies and that there will be more of an international feel to the album. He said that there were no barriers on the type of music that Rahat can explore.

“This album shows that he can do anything as an artiste, he can experiment with different genres. You will see that he doesn’t compromise on the lyrics and melody in his songs,” adds Ahmad.

Interestingly, Rahat has collaborated with several artists from across the border including Sajid-Wajid, Salim-Suleman Merchant, Goshal and others. There have been reports that Khan has been busy recording two music videos; one of them is said to be loosely inspired by Jennifer Lopez and features Elle Abram. Further, it was disclosed that the marketing and promotion budget is said to be larger than the budget of most local films.

Published in The Express Tribune, May 4^th, 2014.

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The Lollywood version of the song, which features famous Punjabi theatre actor Iftikhar Thakur, has been making the rounds on the web and caused quite a stir. “I am open about the fact that we have been inspired by films from across the border. I think people liked the film [Lafangay] and we have tried to mould our songs in accordance with the popular trend in India,” says Nasim Haider Shah, director of Lafangay. “India has far better quality and standards. One thing we did was that we shot the film in HD, which improved the production value of the film.”

Shah is prominently known for making low budget B and C grade films in Saraiki, Urdu and Punjabi. He has previously worked with Iftikhar Thakur, who is commonly regarded as one of the best comedians who have emerged from theatre and has, in the past, has been reluctant to work in films.

Lafangay played for a couple of weeks at the Metropole Cinema and has been playing at several smaller cinemas across Punjab. In the film, Thakur plays the role of a village boy who has come to the city where he is set to complete his graduation. His desire is to marry a modern city girl and the rest of the film revolves around the challenges he faces in pursuing such a girl.

“We needed a song that would be in line with Thakur’s character and him chasing the girl, so we found Aaj Blue Hai Pani to be a perfect fit,” says Shah. The song has been shot at a farmhouse on Raiwind Road and includes extras from Thakur’s theatre troupe.

The song also features theatre dancer Mahnoor, who was also seen shaking a leg in another Bollywood-song inspired item number for the film Dirty Girl. Currently, in the local theatre circuit her dances are some of the most sought-after ones.

Mahnoor, who performs two shows daily at the Mehfil theatre, says she was surprised to see the viral success the song has become. She shares that the stigma attached to theatre dancers is upsetting as they have always tried to push boundaries while maintaining a certain standard.

Defining the line between ‘vulgarity’ and ‘boldness’ Mahnoor says that while people are thinking the video is vulgar, it’s only intent was to be bold. “This video has a little glamour and is an innocent effort, which people have liked. I think that in India, one thing you see with item songs is that they are bold, not obscene. I have also done a version of Baby Doll, which also has the same purpose.”

“Considering the budget of the film, I am pretty happy with the response it has received. An important rule of item songs is that you have to bring something new and that is what I am known for,” says Mahnoor.

The video of the awkward-looking Thakur, trying to sing romantically to Mahnoor is being considered as a gimmick and called one of the weakest attempts at remaking a song. Regardless of this prevalent viewpoint, the video has massively gained attention on social media platforms.

Published in The Express Tribune, May 5^th, 2014.

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At Al-Hamra, the Cultural Journalist Foundation paid a tribute to the singer and poet, to celebrate his 50 years in music. As Ali approached the stage, there was a sense of anxiety which people around him didn’t notice, due to his natural composure and ability to make people feel at ease.

As he walked on stage he started to get teary-eyed, as the ripple of applause began to exasperate into a crescendo of appreciation. The stage was set with a large throne, where he was crowned with an ornate turban. Fifty years is a long-time — Ali has seen it all and despite his unconventional roots, people forget that he was one of the first Pakistani musician who developed a fan following abroad.

Unlike his folk contemporaries, his career started unconventionally. Despite belonging to a family of artistes, it was as a student that he first developed his local fan following at college functions and by 1970, he established himself as a well-known singer. Sporting edgy long sideburns and bell-bottoms, Ali had a dashing rock star persona going on for him back in the day. He churned several hits — in ghazals, folk music and playback songs for the film industry. He has also been a well-regarded singer of the coveted genre of national songs.

Ali told The Express Tribune that he consciously made sure his focus remained on music over the years. His life is filled with several anecdotes, including his collaborations with fellow artistes such as Mohammed Rafi.

“I managed to remain very grounded as an artiste, my mother always said the bigger an artiste gets, the more arrogant he gets; she had always hoped I maintained a humble personality,” said Ali.

“I have always taught my sons that they should treat culture and music as an art and not be distracted by other things,” he added.

Ali’s son, Imran Shaukhat Ali whose career has largely been connected to his father said: “I was very lucky to be born in the household of Shaukhat Ali; he was able to achieve a lot success through his struggle and hard work. Naturally, the expectations for me are even higher, so I have to try and work twice as hard.”

“Every four to five years, the trend in music changes; what I saw him do was that whenever there was a gap, he continued to write. He has written four books of poetry as well,” added Imran.

He said that his father had always worked with a sense of humanity and connected with less privileged people. The longevity and ability to adapt to the changing circumstances is what stood out in his career.

Ali’s poetry has also received great appreciation; he himself in his Pride of Performance award acknowledged that his work as a poet also gets credit for his achievements.

“My thinking has always been linked with culture and the betterment of the country as a whole. History has shown that artistes end up being remembered for generations, so if you are committed and loved, despite the generation gaps and passing times, the music lives on,” concluded Ali.

Published in The Express Tribune, May 8^th, 2014.

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Director Hasnain Hyderabadwala has previously directed commercial films such as The Killer (2006) and The Train (2007). Now four films old, he says that he has the knack for communicating emotions through the silver screen. “I have always had a command over human emotions and I was drawn towards making Ya Rab because of its sensitive theme. I see it as a wake-up call for not only South Asia, but also other parts of the world,” he states.

He feels that being a responsible filmmaker and Muslim, it was his duty to make Ya Rab. He shares that veteran director Mahesh Bhatt, who has been an avid promoter of the film, had recommended him to highlight this issue in order to dispel the stereotypes that often surround Islam.

“This is not supposed to be provocative film. It’s a thought-provoking film, which draws inspiration from the 2008 Mumbai attacks. It’s about how Muslims around the world are manipulated under the false pretences of ‘jihad’ and Islam,” he comments.

Putting together a script with consideration and also getting the point across was challenging for Hasnain. He maintains that extremism is not limited to India and Pakistan; it is a widespread phenomenon. He consulted several individuals to make sure that he takes a balanced approach in making the film.

However, the film has faced a fair share of controversy. A public-interest litigation had been filed against the film to ban it from premiering in India and the Indian censor board was reluctant to certify it without a significant amount of editing.

“From day one, I knew the film would face resistance, but jeet sach ki hui (truth was victorious),” he claims. “We have received overwhelming support from the English, Hindi and Urdu press.”

The film features a relatively lesser known cast according to Bollywood standards. It stars Pakistani actor Manzar Sehbai, Ajaz Khan and Arjumman Mughal, among others. Hasnain shares that working with Manzar, who has given a powerful performance in the film, provided depth to the script. “I was looking for an actor to play Dr Mazhar and happened to see Bol. That day, I knew I had found my actor. Manzar sahib is a fantastic actor; he is the only actor who I gave the liberty to perform as he pleases, as I did not want to restrict his movement or expression,” he said.

The film has received mixed to good reviews; one of the criticisms is that the film’s quality and budget could have been increased.

Hasnain plans on making a thriller next, which is presently in the pre-production phase.

Some Bollywood films made on the issue of extremism, post 9/11 

Madhoshi (2004)

Yun Hota Toh Kya Hota (2006)

Hope and a Little Sugar (2006)

Aamir (2008)

Black and White (2008)

A Wednesday (2008)

New York (2009)

Kurbaan (2009)

My Name Is Khan (2010)

Tere Bin Laden (2010)

I Am Singh (2011)

Published in The Express Tribune, May 9^th, 2014.

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Expressing her commitment to Pakistan and its people, Veena shared her plans of eventually moving into politics and doing social work. “I went through a turbulent and busy time in my life, but I suppose, distance made me realise how much I miss my people, friends and family. As the saying goes, distance makes the heart grow fonder,” she said.

Veena is inclined towards becoming a leader of the awaam and may venture into politics in the near future. However, she is in no hurry as she feels that becoming a politician requires time. She hasn’t joined a political party yet, but she wishes to join someone who has a positive vision. Underlining her avid interest in working for social welfare, she stated that she has recently been appointed as a goodwill ambassador for the International Human Rights Commission.

After Veena declared last year that she’ll be turning a new leaf, many wondered about her future course in films. She shared that she only wants to do good quality films that promote nationalism on a local and global level. She also implied that she might even produce films. On her singing career, she commented, “I am not going to quit singing.” Interestingly, we may even see Veena working on music with her husband, but she said that nothing is concrete yet.

Of the multitude of times she has been subjected to criticism by members of the local film industry including actor Shaan Shahid and filmmaker Syed Noor, she said, “In the past, there have been attacks on my personality and me as a woman. Being an individual with a global following, I [take the criticism in my stride] and believe that this shows how much people from all backgrounds love and respect me.”

Discrediting the prevalent rumours that followed her exit from the country, Veena claimed that she has always stood up for her country. Sharing her idea of a woman’s right to freedom of expression, she asserted, “I feel that freedom of expression gives me the right to speak for myself as an independent woman and in that capacity, I can say whatever I want, but when it comes to representing the country, it is different.”

Veena feels that her marriage has further strengthened her determination to pursue things that she is interested in. “Now that I have a partner with me who shares my interests, I think things will become easier for me,” she said. Asad shared that what attracted him the most about Veena was her outspokenness and clarified that her representation in the media does not reflect her true personality.

Published in The Express Tribune, May 10^th, 2014.

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“There are some intriguing tunes in the album, which I am hoping will do wonders for the listeners, I would say the defined sound of the album is a mix of blues and alternative rock, and of course, folk is the soul of this anthology,” says QB.

She hasn’t really spoken to the media much in the last year and only recently started touring again. It took her almost a year to recover from a major accident she got into in Lahore last year.

“I have always kept it low-key, I am very camera shy. I don’t think things have changed since my accident, but I definitely took a year to recover because the injuries were pretty severe,” says QB. The recovery went on for several months and it has taken over a year to get her back in place.

“I suppose the most practical way of living is to know that accidents can happen with anyone, any minute, any second and they barely ever come with second chances,” says QB.

QB has performed with Shazia Manzoor and the BBC Philharmonic orchestra and has been known for giving electric live performances.

“I simply love performing live. Performing with an 80 piece orchestra was great. It was one of the best live set-ups I have worked with after Coke Studio. I had a lot of room to experiment with some famous numbers like Long Gawacha by Mussarat Nazir and Lambi Judai by Reshma Ji. It was an enthralling experience,” says QB.

Music gives QB a feeling of fulfillment that she is contributing towards making the world a better place. Since gaining popularity in 2009 through Coke Studio and releasing several hit singles, there is a sort of distinct aura around QB. Her music represents purity within the new generation of singers. She belongs to the same trajectory of singers as Reshma and Nazia Hassan.

QB admits that one of the reasons why she was widely appreciated was because there are very few female singers in the country. She speaks about how we have immense raw talent all over Pakistan and “the bitter reality is that our music industry has not been appreciated as it should have been. Instead, our neighbours (India) have an eye for them,” says QB.

She also acknowledges that if you are not lucky or if you don’t have any connections, then it’s impossible for the talented ones to make it to the stage. “Our people back us, but they would still prefer Sheila Ki Jawani over Yaar Daadi Aatish Ishq, it’s not just about voices but mostly material,” she says. It’s a fact that our general public prefers Indian music over Pakistani music and QB expresses her views on the matter saying: “Not that I have a problem, but why do you think India’s and America’s industries thrive? It’s because of viewership.”

Published in The Express Tribune, May 13^th, 2014.

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The 30-year-anniversary festival, titled Aaj Rang Hai, has been derived from Amir Khausrau’s poem. According to the troupe, rang is a word that has inspired poets, painters, lovers and so on and Ajoka has been about bringing colour, despite the dire circumstances.

On Tuesday night, the troupe performed their famed play Dekh Tamasha Chalta Ban - a vicious critique on the societal implications of the blasphemy law. It’s the only time Gauhar didn’t laugh or feel the sarcasm of the environment she is in. She said this play has been dedicated to the late Salman Taseer and this time it is being dedicated to recently-assassinated HRCP member Rashed Rehman.

Ajoka started in 1984, in a house lawn of Cantt, Lahore, as a progressive movement taking place at the time. Its first play was Jaloos, which was written by Indian veteran revolutionary and playwright Badal Sircar.

“When we started the country was under martial law; we did not have access to these halls, the things we wanted to express were in opposition to the dictatorship, with its emphasis on Islamisation, in which minorities and women were the particular targets,” said Gauhar.

“The vision of Ajoka from the beginning was to create a cultural space, which was rapidly shrinking. Considering how Naheed Siddiqui’s programme had been banned and many other symbolic things that happened during Zia’s time, culture and art was facing many restrictions,” she added.

Alternative theatre started from performances in homes and then expanded to small progressive gatherings which primarily compromised of hardened political activists and students. Over the years, Ajoka maintained its overall consistency.

Gauhar’s husband, Shahid Nadeem  is a well-known playwright and has seen the political circumstances change. He believes that the staying power of Ajoka stemmed from the fact that it was looking to address questions related to the system, societal mindset and inequality. He explained that they learned to use dry and dark humour and new theatre techniques so that plays maintained interest amongst audiences instead of coming off as a sermon.

“It’s never been easy to write plays on these topics, which are considered bold, as they may provoke people with intolerant and extremist mindsets,” said Nadeem.

He explained that Ajoka’s main idea has been to observe history and contextualise the modern day myths of Pakistan. It represents the disturbing nature of how divided the country is; on one hand there is a modern and aware population which knows its rights and culture and on the other hand, there is a rise in the retrogressive and right-wing movements, which in the past were largely confined to the tribal areas or conservative belts.

“We have worked on accessible plays which have looked at Indo-Pak history, trying to observe the circumstances before partition in an attempt to contextualise history and learn about where these problems are coming from and where they lie,” added Nadeem.

Ajoka Theatre is showcasing seven plays from 10th-17th which include Hotel Mohenjodaro, Kari, Dehkh Tamasha Chalta Ban, Mera Rang De Basanti Chola, Lo Phir Basant Ayee and other classics as well.

Ajoka isn’t the only troupe that has entered its third decade. Back in 2009 Tehrik-e-Niswan celebrated 30 years in a flamboyant ceremony where Sheema Kermani glowed in the spotlight as her students presented light dance and some music at the opening of the Tlism Festival. Tehrik-e-Niswan (The Women’s Movement) is a women’s organisation in Pakistan. It was formed in 1979 in Karachi by Kermani. Tehrik’s initial focus was organising seminars and workshops regarding women issues and now they organise cultural activities like theatre and dance to convey their message.

Published in The Express Tribune, May 15^th, 2014.

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The 70 year old, who passed away on Thursday, was experiencing considerable pain due to kidney problems and diabetes during her last few days. Her four sons Mohammad Ali Butt, Ahmed Ali Butt, Mustafa Ali Butt and Hamza Ali Butt were constantly by their mother’s side.

The singer was born in Lahore on February 21, 1944, and was a lot like her mother in terms of looks and voice. The Shah Noor household was quintessential Lollywood royalty; her father had been one of the most prolific producers and directors of his era.

Shaukat and Noor had taken the old Shorey studio and made it into what was once the prolific Shah Noor Studio. However, by 1955, the couple parted ways and Noor gave Shaukat stake in the studio in exchange for custody of her daughters including Zille Huma. “With time, when we join practical life and start raising our kids, we remember how our parents raised us. I think about the love and happiness with which I was raised,” said Zille Huma in an interview in 2008.

Zille Huma had grown up in an environment where music was all around her. However, her mother wasn’t too keen on providing her with formal training and urged her to focus on developing a practical life as a housewife.  She didn’t stay away from music for too long. In 1993, she started her career professionally after several years of formal training from her mother’s Ustad Ghulam Muhammed. Naturally, this increased the similarities in their styles of singing and the inevitable comparisons between the mother and daughter flowed in. Noor Jehan had stopped singing in the year her daughter started, however, she had the opportunity to see Zille Huma sing.

Dr Umar Adil, a close friend of Madam Noor Jehan and well-known television personality expressed his sorrow on Zille Huma’s demise and spoke about how she continued her mother’s legacy. “Even though Zille Huma could not come at par with her mother, she did what few children have been able to achieve. She continued with the same sort of love and charisma,” he said.

“She had the most beautiful personality, her concerts were a feast for the eyes and ears and she gained a  massive following for that,” he added.

Published in The Express Tribune, May 17^th, 2014.

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