For the first time, he has composed Urdu poet Kishwar Naheed’s poem Woh Jo Bachiyoan. Ali shares that he is proud of the composition of the song. “It is catchy and memorable. I have given a poem the format of a song,” he comments.

“My friend and political activist, Zeeshan Noel, who liked this poem, asked me to try and compose something around this song. However, I told him I don’t have the money to make it,” says Ali. The song was then commissioned as part of an activism project by the NGO Avaaz.

Ali has been an active part of Avaaz’s 16 days of activism campaign that took place some time back. Made three months ago, Ali shares that the song has been well-received by members of political parties, who have shared the song on social networking websites.

The song diverges from the satirical songs that Ali is recognised for. “I think that because this was an independent project, the poetry is serious and different from what the Beygairat Brigade has done so far,” shares Ali.

This is a one-off project, Ali feels, is free of controversy. “It’s simply a song about how females have the right to go to school. The response to it has started flowing in even before the video has been made,” he tells us.

Composing the song was not an easy feat for Ali, considering that the poem’s stanzas vary in size. Ali shares that he decided to release the song in the wake of the 2014 kidnapping of young girls by militant organisation Boko Haram in Nigeria.

Originally, Kishwar wrote the poem in response to the attacks on schools for female children in Swat. Its pertinence increased following the attack on Malala Yousufzai. “This is why many people assume that this poem was written for Malala,” says Saeed.

Grounded and deeply loyal to the band, Ali shares that the success of the song does not mean he will be turning his back on the Beygairat Brigade. It wasn’t a conscious decision by him to do a solo song — just an opportunity that unexpectedly came along. “We [band members] all work together. However, I do solo projects sometimes. It depends on the requirements for each project,” says Ali.

Beygairat Brigade was supposed to release another single during this period, but was forced to delay it due to the ongoing media war. The circumstances weren’t conducive for releasing it, Ali reveals.

“We were working on a project, which should have been released by now, but we delayed it. The delay was because of the current political situation in the country. The song has a mention of journalists, so we felt that it should wait,” says Ali.

Aalu Anday (2011): Defies censorship and the celebration of violence in Pakistan

Sab Paisay Ki Game Hai (2013): Highlights how the power of money overshadows one’s ethics

Dhinak Dhinak (2013): Criticises the idea of a dictatorial regime

Published in The Express Tribune, May 21^st, 2014.

Like Life & Style on Facebook, follow @ETLifeandStyle on Twitter for the latest in fashion, gossip and entertainment.

The play will be performed in English and Urdu on May 30 and 31. Jamil is directing Saeed in the Urdu version of the play and Saeed will direct Jamil in the English version of the play.

The technical production is being done by Olomopolo theatre production and Justice Project Pakistan.

“It is always exciting to work with this woman (Saeed), it’s been a dream. I have been wanting to get my hands on her for a long-time. There is a lot of stuff that I just want to see her do. It’s fantastic as director; she takes on her roles so beautifully,” says Jamil.

The play is unique; it has been used as a tool for political change and activism against the ruthlessness of the death penalty, as part of the campaign launched by the Justice Project.

The story is about Lorilei Guillory, whose six year-old son Jeremy was murdered by Ricky Langley who eventually gets sentenced to the death penalty. It’s about the mother’s journey and how she develops sympathy and compassion and garner’s the strength to forgive and overcome the ordeal.

“Because we are directing each other and also observing each other’s performances as actors, it’s fascinating how our role of Lorilei evolves. I watch her and use that in my own performance. We are using each other’s strengths and pointing each other’s flaws, so it’s really exciting to be working in that space with her,” says Jamil.

“If you are able to develop a certain relationship, it stays with you and whenever you fall back into that scenario, the bond comes back. That’s how it is with me and Nadia, I think that’s the good thing about theatre it builds relationships between actors, directors and teams, which generally television doesn’t have time for,” shares Saeed.

When shown the script, Jamil knew what she was getting into, due to the intensity and depth of the play. “I had literally skimmed through the script and was pretty gung-ho about it, but I knew I needed someone to direct me and that’s when I knew I wanted Sania on board,” says Jamil.

“The process has been so cathartic, because if someone hurt a child I loved, I would want to kill them. That’s where I started; saying the lines over and over again. It’s clear that the hate must end, the killing must end, and someone has to start that. You realise that the killing or violence you see in the world today whether its Pakistan or elsewhere, comes from a place of fear,” says Jamil.

“You realise that killing a murderer will not lessen murderers in society, you will still have that fear breading, yet more violence. For me, as a woman and mother, the premise of this character, how this woman who rises above everyone else and learns the power of forgiveness, was very empowering,” adds Jamil.

Saeed, who like Jamil has been known for her roles on television, says that they have been rehearsing for nearly twenty days intermittently and he thrill of being on stage beats television and film. “You have more creative control when you’re doing theatre, something like this would never be done on television. This kind of commitment or oneness with what I am saying, the kind of psychological alliance is something I find in theatre and not in television, that’s why we keep coming back to it,” says Saeed.

The play will premiere in Lahore. Other cities will have to wait due to the busy schedules of the two actors. They do wish to get the play out to the wider audiences.

“We are hoping to take this to other cities, but right now, Nadia and I are overcommitted, so we do not know when that would happen. However, we most likely would want to take this to different places and perform this more often, it is something that we feel people should see, talk about, debate or whatever,” says Saeed.

Published in The Express Tribune, May 26^th, 2014.

Like Life & Style on Facebook, follow @ETLifeandStyle on Twitter for the latest in fashion, gossip and entertainment.

“Roles can be similar in many ways, but my goal as an artiste is that no matter how many times I play a poor mother or a character of a similar nature, I have to add something new to my character in terms of feelings, pain or the shade of the character,” says Kausar.

One of her best performances was in the drama serial Kalmoohi, which was aired on PTV and was directed by Sarmad Sultan Khoosat in the 1990s. She was also greatly appreciated in a more recent role in Faisal Rehman’s telefilm 9/11. She didn’t get to pursue film as actively as she would have liked to because she was a single mother of two. Her children, who graduated from the University of Punjab, are now independent and working as bankers.

She now has time to focus on her career in film and has given her utmost to her upcoming project in which she is playing the role of Khoosat’s wife, who is the last of the dwindling kite-makers. The actor feels that such art-films provide a different sort of medium for an actor. “Art-films have their own value in many ways, they provide us with an avenue to look at real life subjects,” says Kausar.

“The role of craftsman who had been working for many generations has disappeared. The film reminded me of the studio system and how many technicians lost their livelihood because of changing times. You begin to wonder how they are making a living now,” says Kausar.

Director Murtaza Ali says that working with Tasneem Kausar was interesting because of her pure acting talent. The actor has in the past played the role of Irfan Khoosat’s wife on several occasions. In this film, she plays the role of a loud and outspoken wife to a husband who doesn’t speak much.

“She has incredible acting talent. As I directed behind the camera, she would ask when we were ready and within seconds she would be able to convert into her character, which was something amazing,” says Ali.

Tahira Bibi, who is a first time actor in the film, had the opportunity to rehearse with both Khoosat and Kausar. It was their ability to own the character that made it easy for her to act with them says the debutant. “My character is someone who visits the old city regularly and is sort of missing the dearth of such craftsman in this modern world. It was brilliant how easily they were able to shift into character. Khoosat would sit with the actual kite-makers for an hour before each shoot, while Kausar would always ask if I wanted to rehearse lines. The experience was truly positive,” says Tahira.

Being an unconventional female lead, Kausar feels that television has brought a lot more emphasis on glamour and the role for female actors has become less intense. Pointing out the growing number of people associated in the television industry, she implores that the rigor needs to be maintained and people should work on creating depth in stories and characters.

“I have done a lot of dramas, but I remember having to shoot a drama in Kalashakaku. The scenes were so real that the local women would gather around during the shoots, as it was something they could relate to in real life,” says the veteran actor.

“It may be just how I feel, but now the focus is more on creating glamour on screen, rather than working on serious characters. This limits the type of characters women can play,” concluded Kausar.

Published in The Express Tribune, May 29^th, 2014.

Like Life & Style on Facebook, follow @ETLifeandStyle on Twitter for the latest in fashion, gossip and entertainment.

Veteran actor, Nadeem Baig plays the character of a neighbourhood maulvi and is also the father of the protagonist of the film, Haider Ali, an unconventional looking commercial cinema character who looks to challenge the formations of localised corruption which start from the very bottom. The character is played by Shehraz a new edition to the Pakistani film fraternity. He brings out Pakistan’s own version of Salman Khan with his shirt-tearing actions and heroic dialogue, particularly (Iss system kay saath mein nahi chal sakta, ab system ko meray saath chalna paray ga [I can’t follow the system, the system will have to follow me).

After last year’s buzz surrounding the action-intensive film Waar, there has been an on-going divide over the potentialities of localised commercial thrillers which have both, easy consumption value and also a relatable character that can reach the diverse and divided audiences across the country.

When speaking about Pakistani cinema, it’s about the small gains. It is commendable how Ghafoor managed to release and make the film in under a year. The director successfully brought his own stylistic value and emphasised on the quality, something that has been missing from Lahore for several years. Utilising flashbacks and simple narratives, he has been able to bring cinematic quality.

The film builds on the narratives given through the 1980s and 1990s; action-thrillers which focus on masculinity and machismo laced with moralism, which have become inherent to the culture of nationalism that has developed over the last couple of years.

The rival of the protagonist is corrupt police officer played by Shafqat Cheema. Ali fights against a corrupt legal system which has negative impacts on society. In an attempt to take down this system, Ali becomes part of the system itself by joining the police force.  Even Ali’s love interest, whose character is played by Kashaf Ali, is the daughter of a corrupt inspector in another government office (Irfan Khoosat).

Ali becomes the unlikely anti-hero, as he works his way up the policy ladder and infiltrates the network of corruption which leads its way up to the Chief Minister (Nayyer Ijaz). He then tries to obliterate the corrupt individuals who have sold the nation for money and power.

The film does not have a shortage of talent and Shehraz has proven himself to be promising and determined. A lot was expected from the supporting cast of villains in the film, considering the vast amount of experience that people such as Nayyar Ijaz hold, more depth could have been added to the characters they played. Cheema, however, acted brilliantly.

The film has moments where the story is unnecessarily stretched; however the score keeps you engaged throughout the film. The music of the film was composed in India and has four songs; each of them is different from the other. It’s a shame that the energetic dance number called Naughty Saiyyan sung by Supriya Ramalingam and Mohit Pathak is not being played in every neighbourhood in the country.

The film fits in the tradition of Lollywood which has long been looking for its time back in the spotlight. This will be an interesting and original experiment of commercial cinema which the masses will be able to connect to.

Verdict: The System is as poignant as the trailer of the film, full of sound and fury signifying nothing in terms of content but spot on stylistically. Shehraz however is a good contribution to the league of Pakistani actors and given the time can prove to be one of the better new faces.

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

Like Life & Style on Facebook, follow @ETLifeandStyle on Twitter for the latest in fashion, gossip and entertainment.

The film’s soundtrack has been backed by the Tradition Plus team, which includes music heavyweights Sahir Ali Bagga, Rahat Fateh Ali Khan and cultural icon Yousuf Salahuddin. With fresh melodies and lyrics, the songs are pleasing to the ears.

The film’s British director Steven Moore says, “The unique thing about the film’s music is that it doesn’t just comprise Bollywood-inspired songs and dance numbers. The music [extends meaning] to the film.”

Moore, who was teaching film-related courses at the South Asian Media School in Lahore, has been avidly interested in the Pakistan’s culture. He has referred to the city as his home and has worked towards maintaining the entertainment quotient of the film while not succumbing to the normative, commercial content of local films.

“Artistes churn out different tunes all the time, which is why we don’t impose the kind of music we want on them. We simply give them some sort of inspiration and let them do their job,” Moore explains. “This is because if you tell artistes to make music for something specific, such as a film, then they tend to interpret it as an ‘assignment’, thus losing sight of creating something unique.”

The music album comprises three tracks, out of which two were unveiled at the launch: the title track, which has been sung by Amanat Ali, composed by Afzal Hussain and arranged by Hassan Abbas; and Chal Oye, sung by Ali Azmat and composed by Sahir Ali Bagga.

The film’s soundtrack has already received acknowledgment overseas; it has won an award at the London South Asian Film Festival for the track Koi Dil Mein, which Khan has lent vocals to.

The neo-noir film will be a test for independent filmmakers who are looking to make an impact through non-traditional stories. Despite limited resources and delays, Tamanna aspires to bring something new to the table, as it diverges from issue-based and thriller films that are commonly being made in the industry.

Another interesting aspect of the music is the way in which the music videos have been shot. The director of photography for the film Malcolm Hutcheson has been an avid collector of old film cameras, which he used for stills. For filming purposes, he found a way of using the classic wind-up camera, which had been used predominantly in the past for passport photographs and has now become obsolete.

“There were plenty of these cameras available in Lahore 20 years ago,” says Hutcheson. “Since I am interested in photography, I started to speak to local photographers, who were throwing these cameras away. I thought that it would be better to get hold of these cameras than disposing them. Now, at least these cameras are safe and with them the social history of Pakistan is preserved.”

He shares that despite constraints such as load-shedding in Pakistan, completion of the film was only made possible due to an innovative and hands-on approach to filmmaking. These handicaps even led the team to experiment with unusual aesthetic choices, so that they could efficiently utilise the production phase of the film.

It is fitting to see that the much-awaited Tamanna will finally be making it to the cinemas. However, one wonders why the discussed constraints were an impediment for the producers, considering that others in the industry are also faced with similar problems.

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

Like Life & Style on Facebook, follow @ETLifeandStyle on Twitter for the latest in fashion, gossip and entertainment.

One of the contestants Aoun Ali Khan, who sang Kishore Kumar’s timeless hit Roop Tera, is a talented 21 year old who has been searching for avenues to make it big in the music industry. He claims that he had been selected for Pakistan Idol, but was deprived of the opportunity as he was told that all spots had been filled.  He is the son of local musician Muzakat Ali Khan, and says this is his time to scale the heights of the music industry.

“Through this platform, I have been able to connect with a wide array of people. I have been trying to get hold of a platform that would launch my career as a mainstream artiste,” he shares. “To be in the running for winning the chance to record with Universal Music India [at Pakistan Superstar] has driven me [to prove my mettle].”

The initiative has been a stepping stone in the lives of upcoming musicians who used to promote their music through word of mouth and their personal Facebook pages. Zahra Haider Shah, one of the contestants, is a professional in marketing and has a small band with her brother. She feels that the show will provide long-term benefits to the music industry since it has been designed to engage people through the virtual space.

“For a lot of us, the opportunity is unique. The songs have been recorded live with no auto-tuning. Facing the camera has been an interesting experience and the competition has been quite intense,” says Shah. “Pakistan has a lot of talent; Pakistan Superstar is a good space for new musicians. It is the first programme in the country that is being carried out via social media, and being from the marketing sector, I feel that this space had not been utilised as much as its potential allows it to be.”

The first round, which included a song each by 10 singers, offers unique renditions of both Pakistani and Indian songs. Perhaps the most engaging performance of the round is that by Bahawalpur singer Shahrukh Rajput, who sang a quirky version of AR Rahman’s Hamma Hamma. A performance of String’s Sar Kiye Ye Pahar by Tahir Naeem was pleasing to the ears. Contestant Shiza Naseem’s cover of the song My Immortal by Evanescence was a melodious addition to the show’s round.

Other notable performances include Aizaz Sohail’s soulful version of Kahay Cher Cher by Kavita Krishnamurthy. Sohail has been trained by musician Ustad Abdul Rauf. 21-year-old Fahad Ali’s rendition of Junoon’s Yaar Bina is a fresh take on a 90s classic.

The show is backed by a house band comprising veteran underground musicians such as Kami Paul on drums, Amir Ajmal on bass guitar, Ravail Sattar on percussion, Rufus on keyboard and Waqar Ahmed on guitar.

The team at Walnut Studio, which includes social media entrepreneur Muhammed Adnan Butt as executive producer, and SYMT band members Hassan Omer as music producer and Farhan Ali as project manager, has been successful in riveting music enthusiasts towards it.

Accessibility of the videos and the programme’s production value has certainly made it worthwhile. So far, it seems clear that the project will not be a flash in the pan initiative.

Published in The Express Tribune, June 7^th, 2014.

Like Life & Style on Facebook, follow @ETLifeandStyle on Twitter for the latest in fashion, gossip and entertainment. 

LAHORE: Legendary Pakistani film star of yesteryear Shamim Ara has been in coma for about four years now, after undergoing brain surgery. According to internal sources, the artiste has been getting treatment for her coma in a hospital in London since 2010. Her son, Salman Iqbal, has been looking after her and taking care of the hospital expenses.

Shamim Ara’s impact in Lollywood fraternity is very unique; she plays the role of godmother to many of the female actors, who eventually became big names in the industry. Actor Resham holds the veteran actor in high regard and is in constant touch with her son. “She has been in the same condition, she is fine but they are waiting for the swelling in her brain to decrease,” Resham told The Express Tribune. “I only had a chance to work with her in a few films, but somehow she left a lasting impact. She is a great human being, humble and very soft-spoken,” added the actor.

Veteran actor Bahar Begum, one of Shamim Ara’s closest friends, shared that the two shared a special bond and how these four years have felt very long. She revealed that it would have been difficult for Shamim to stay in Lahore for treatment and hence she was moved to London. She added how lucky her friend is for having a son like Salman and that, unlike most artistes who cannot afford to bear the costs of sustained treatment she is being taken care of.

“She is very strong and over there (London) you know that the facilities are a thousand times better. The rest is up to God. She is lucky to have her family, we are all always praying for her recovery,” added Bahar.

Shamim Ara has had a rather tumultuous journey as a star. Her first film Kunwari Baywa did not yield much success at the box office, but the role gained her a lot of respect. Shortly after that, she got a string of hit films under her name, such as Devdas, Doraha, Humraz and other films.

“The thing is, no one has anything bad to say about Shamim Ara, because of the way she worked and the seriousness with which she always delivered,” recalls actor Habib Ur Rehman.

She developed into something more than just a star. “Before, people would discourage their daughters from becoming actors, but after watching Shamim’s characters, that changed. People would encourage their daughters to be more like Shamim Ara,” added Habib. “For many young actors, she is someone special; she helped them and gave them a lot of guidance in setting the tone of how an actor should look and act.”

Shamim Ara’s contribution is not only limited as an actor but she has also contributed as a director and producer to the film industry of Pakistan. We at The Express Tribune wish the legendary star speedy recovery and hope to see her in good health in no time.

Published in The Express Tribune, June 12^th, 2014.

Like Life & Style on Facebook, follow @ETLifeandStyle on Twitter for the latest in fashion, gossip and entertainment.

Tribal and official sources said that the fresh fatalities came in renewed clashes at scattered areas of Bara, adding that 10 security officials and seven militants were also injured. Besides, two civilians were also killed in Bara.

The tribesmen reaching Peshawar from Bara said that in the early hours of Thursday security forces, with the help of jet bombers and heavy artillery, targeted hideouts of militants in Sepah and Akakhel areas.

The tribesmen narrated that the latest airstrikes were severe. However, there are no details of casualties, and no official statement has been issued in this respect so far.

“During shelling several mortars landed on the civilian population areas causing injuries to at least 10 persons, including two children,” said the migrating tribesmen.

The security officials said that the dead militants included a notorious commander. Elsewhere, members of Zakhakhel Peace Lashkar set on fire houses of 10 militants in Akakhel.

The two civilians were reportedly killed when security personnel allegedly opened fire at them over violation of curfew in Alam Godar area of Bara.

Meanwhile, migration from the plains of Bara and the mountainous region of Tirah continued for the sixth consecutive day. Fata Disaster Management Authority (FDMA) Coordinator Zia Afridi told The Express Tribune that around 5,000 families, comprising more than 30,000 individuals, have abandoned their homes and reached Peshawar, Hangu and other parts of Khyber-Pakhtunkhwa. However, the official said that almost all of them have already been registered as internally displaced persons (IDPs).

On the one hand, civil administration and security forces are asking tribesmen to vacate the area and on the other hand sealing roads citing curfew as the reason. Such contrary acts on the part of the government are causing hardships to those trying to shift to safe places. Due to lack of transportation, hundreds of people can be seen walking towards Peshawar and Jamrud town of Khyber Agency.

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

Published in The Express Tribune, September 21^st,  2015.

The post Badhaber assault: 5 attackers traced to Swat, Khyber appeared first on The Express Tribune.