Contrary to a typical stage, the audience is exposed to a rather simple set where two characters are talking to each other by reading out letters. Surprisingly, this format is maintained throughout the play.  Aapki Soniya cannot really be called theatre as the audience may know it, but is more a half-cooked version of  what is called a ‘reader’s theatre’, something that was introduced in Pakistan by actor Zia Mohyeddin and has once again been reinvented by director Alyy Khan.

With his dynamic voice and effortless acting, all that Mohyeddin needed was a podium to read excerpts of his favourite literary pieces. In Aapki Soniya, we instead see an entire narrative unfolding by the readers. What works for the play is that it is elegant and unpretentious with minimalistic treatment.  What doesn’t work is that the play is way too under-rehearsed for such a basic concept. You will love it if you’re a fan of crisp Urdu dialogues but will surely be left wanting more if you enjoy compelling stories.

Written by Javed Siddiqi, the play is a sequel to his previous work Tumhari Amrita, in which politician-cum-lawyer Syed Zulfiqar Haider is talking to the love of his life Amrita, an artist. In this follow-up, Amrita’s daughter Soniya (Mehwish Hayat), starts writing letters to a rather older version of Haider (Sajid Hasan) in order to find out what exactly happened between them. It’s a very fine script with enough drama to keep you glued to your seats and one-liners that are bound to leave a lasting impression despite the dearth of movement. That being said, Siddiqi’s signature melodramatic undertone makes the love saga seem very superficial, making your cathartic experience as hollow as it usually is after watching a mainstream Bollywood film; you don’t take the experience home with you.

Being cast next to someone like Sajid Hasan takes a lot of courage, but Hayat plays the role with great precision. She usually does go a little over board on TV but hats off to Khan for making her undergo the journey of Soniya — from an anxious little girl to a more unfulfilled but self-aware individual — so instrumentally. Hasan was surprisingly a disappointment because one does not expect a veteran like him to jumble and fumble words and deliver lines so flatly. It almost leaves audience members feeling cheated and deprived of having a true experience. It was obvious that they needed to rehearse a lot more to get the chemistry going, which is by far the only driving force of the play.

As far as the dialogues are concerned, they are mere toppings over a curry served cold. Using microphones was not a good choice at all because where it projected their voices evenly, it robbed us of the raw experience of theatre. It isn’t really hard to throw your voice sans a mic, especially at the relatively smaller Southend Club.

Nevertheless, Khan deserves credit for the simple yet moving use of aesthetic tools to maintain the feel of the play.  As the mood of the play evolves, so does the colour temperature of lights from yellow to darker shades of blue and purple. This specific change in setting  gives the audience a more incisive look into the lives of the characters. Secondly, the background score consisting of Aamir Zaki’s guitar sounds enhances the atmosphere of the play and one only wishes that it was used more to break the monotony at places.

Overall, Aapki Soniya is a breath of fresh air at a time when too much garbage has taken over theatres in Karachi. However, they need to work a lot harder for a picture perfect performance — something expected out of stars like Khan and Hasan. The play runs at the Southend club every evening at 7:30pm till July 29. Go get your tickets now in case you are interested in a feel-good romantic play.

Verdict: Aapki Soniya is an unpretentious romantic play with a very minimalistic treatment. However, it is way too under-rehearsed for such a basic concept. You will love it if you’re a fan of crisp Urdu dialogues but will be left wanting more if you enjoy compelling stories.

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

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“This time, the stress is on folk music — the beautiful folk melodies from Balochistan,” says Sharif Awan, the general secretary of Tehzeeb Foundation. “We will be featuring artists from Lyari to Pasni and Gwadar. This is our way of sensitising the world’s consciousness for Balochistan. Adversity has created so many geniuses that we can’t even believe it.”

The festival that kicks off on June 27 at Marriott Hotel in Karachi will be spread over two days, inclusive of literary readings, poetry recitals, art exhibitions and music recitals.

The Tehzeeb Awards ceremony will take place on the opening day. Literary awards have been titled Syed Abul Khair Kashfi Award for Urdu Language and Literature and Shabnam Shakeel Award for Urdu Poetry. This year’s recipients include personalities like Dr Aslam Farrukhi, Raza Ali Abidi, Dr Pirzada Qasim Raza Siddiqui and Akbar Masoom. Tehzeeb Awards for fine arts will be given to Anwar Maqsood and Naiza Khan. Tehzeeb Awards for music will be given to Ustad Naseeruddin Saami, Ustad Altaf Hussain Tafoo Khan and Mumtaz Sabzal.

“The last 15 years have been less hostile and more appreciative of music and culture,” says Awan. “What was started by the Tehzeeb Foundation has turned into more of a cultural movement — which is why we were able to gather so many artists.”

Music on the first day will be a mix of Pakistani folk, classical and world music by Mumtaz Ali Sabzal (banjo), Ustad Mehfooz Khokhar (classical vocalist), Mazhar Shaggan (rubab) and Rustam Fateh Ali Khan. Also featuring in the festival is French Caravan Quartet who will play gypsy jazz music.

The second and final day will include master-sessions featuring Ustad Naseeruddin Saami, Ustad Fateh Ali Khan (Patiala Gharana), Ustad Rais Khan Sitarnawaz and the tabla-wizard Ustad Altaf Hussain Tafoo Khan.

Awan believes that it is maestros like Tafoo and many more, who have immense contribution towards our cultural history, but have not been duly recognised by the state or the fraternity.

“Tafoo has played music for more than 65 Pakistani films and has never received the pride of performance award” says Awan. “He can play the tabla, harmonium, drum and what not and we have even requested him to play a medley of his hits songs from Lollywood — which he is reluctant to do, but maybe we can convince him.”

With the unrest in the city, such events are welcomed, but they put the lives of artists and organisers at risk. However, Awan believes that music becomes more necessary in such times of aggression.

“Music is a superior art form with superior goals,” says Awan. “It should lead to a more harmonious and peaceful environment — a society with fewer complexes.”

While there are three major theatre plays on stage in Karachi, the Tehzeeb festival could be another feather in the hat of the city that often bleeds, but never dies. The event, which is not open to public, will take place between June 27 and 28. The event seems promising, and could also be a potential recruiting ground for ventures like Coke Studio.

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

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One such event was Tehzeeb Festival, which took place on June 27 and 28 at the Marriott Hotel, was an interesting mix of awards and performances, dotted with spiritual and timeless raags and harmonies connected deeply to the history of music. Unfortunately, the decorum at the event was compromised because of the presence of young members of the audience who did not seem to have the patience to sit down and pay attention to the performances. After every 10 minutes or so, somebody from the audience would get up and move around, causing a persistent disturbance.

A blunder made by the organisers, when the arrival of Baloch musican Ustad Mumtaz Sabzal on stage was accompanied with the intro “please notice the kind of respect we give to the people of Lyari”, left a bad taste. While the announcement may have been well-intended, it delivered a condescending message.

The tradition of classical music in Pakistan can be personified as a dying man breathing his last — it lacks soul today. It is ventures by proactive organisations like the Tehzeeb Foundation that manage to excavate gems from different nooks and corners of Pakistan. Not only should the foundation be applauded for uniting such artists on one stage for an enriching experience, but also for recording and documenting all these maestros, some of whom may not be able to perform on the Tehzeeb stage again.

Will all its mismanagement and problems, the Tehzeeb Festival, for its immaculate services for the preservation of classical music in Pakistan, is definitely being noted in the chronicles of the history of Pakistani music.

Awards

The awards at the festival were given in the categories of fine arts, literature, classical music, folk music and literature. The Syed Abul Khair Kashfi Award for Urdu language and literature was given to Dr Aslam Farrukhi and Raza Ali Abidi while, Dr Pirzada Qasim Raza Siddiqui and Akbar Masoom were given the Shabnam Shakeel Award for poetry. Anwar Maqsood and Naiza Khan were given the award for fine arts whereas Ustad Naseeruddin Saami, Altaf Hussain alias Ustad Tafoo Khan and Ustad Mumtaz Ali Sabzal received the awards for classical and folk music.

Music sessions — Day 1 and Day 2

The music sessions on day one kick started with a smooth tabla performance by Haroon Samuel, an upcoming Tabla player who not only gave a promising performance on the first day, but was equally dynamic on the second day when he joined Ustad Sabzal on stage.

Omar Surozi, a Sarinda player from Balochistan was one of the untapped talents of the evening, who played a number of melodies of his soil and gave goosebumps to the audience with every note. The first night ended with a rather experimental and remarkable performance by a gypsy jazz French quartet by the name Caravan. The group was so consumed by its performance, that it was almost like they were opening their hearts instead of instruments.

The last night belonged to the maestros, as Ustad Sabzal once again kick-started the evening with the banjo. What followed was simply unexplainable, as Ustaad Saami took the audience on a mystic voyage, led by his classical singing. Next came Ustaad Rais Khan sahib accompanied by his son Farhan Rais. Khan sahib’s wit and humour doubled the effect of his sheer musical brilliance. The only thing that can be said about him is that every time he strums the sitar, a universe is created and destroyed.

The evening ended with tabla wizard Ustad Tafoo Khan, who brought the crowd to its feet and touched so many musical dimensions in a contemporary fashion that it left the young and old members of the audience equally enthralled.

Published in The Express Tribune, June 30^th, 2013.

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Correction: In an earlier headline of this article, the year was mistakenly mentioned as 2103. The typo has been fixed. 

Other session players featured were Mubashir Admani on the keyboard and Bradley D’Souza on the bass. The event was organised by music enthusiast and film-maker Sohail Javed. “This eventually is going to be on TV and radio as a branded event,” Javed told The Express Tribune. “The reason why this jam will stand out from other shows is because the performances will be live and not synthetic. Also, the jam will have a live audience that will enjoy music for two hours and leave.”

The line-up

Shallum Xavier

Fuzon’s front man, Shallum Xavier is by far one of the finest guitar players in Pakistan. As a result of his years of experience in the music industry, Xavier was the only musician who didn’t go off-note during the entire jam. The event was kicked off by a solo instrumental performance by him. The instrumental, Guardian Angel, gave an upbeat ignition to the show.

Abbas Ali Khan

Xavier’s instrumental performance was followed by a fusion song composed in Raag Megh, which was performed to perfection by Abbas Ali Khan. One thing that gets everyone humming along, no matter how rock-heavy or bhangra-oriented the evening is, is a well composed semi-classical melody. This is what happened when Khan started to sing his very famous chart-topper Sun Re. Though small in number, the entire crowd sang along to the song that came out less than a decade ago and became Khan’s claim to fame.

Next, he performed Per Main Hoon Ruka Sa. Though the live version was a little off-tempo as compared to studio recording, it got the crowd going. Some members even shouted for more. The high point of Khan’s performance came when he sang a rendition of the famous sufi kalam Man Kun Tu Maula. Despite his vocal brilliance and diversity of musical styles, the overall arrangement of Khan’s performance could have been better.

Sajid Ghafoor

Many English language bands that emerged in the Pakistani music industry could not survive for a long time, but the duo Sajid Ghafoor and Zeeshan Pervez, managed to evolve as musicians and sustain a cult following. When he came to perform sans Pervez, people wondered how he would fare without the keys and synthesisers genius. But, despite an unimpressed audience, he gave his best shot and did get the crowd to tap its feet to sharp vocals.

As soon as he started to play the riff of the duo’s first track King of Self, the crowd went silent for a moment, trying to register the song which landed the band fame amongst young listeners — a common reaction to all the memorable melodies with forgettable names. If the band’s first album, A Light Year at Snail Speed, was a gem, then their second album, The Harvest, is an entire gold mine, not just in terms of songwriting, but also in terms of post-production quality. Proving his critics wrong about his supposed reliance on auto-tune in recordings, Ghafoor delivered a crisp, though not well-received, performance of We Break up to Make Up.

Faraz Anwar

With Faraz Anwar in the line-up, one thing was for sure — the crowd was in for some head-banging, but sadly his performance was not enough for his fans. He kicked off with Insaan, a song that has inspired a generation of musicians. Most of his fans that showed up at the event came to listen to his solos. However, Anwar seems to be losing his vocal prowess, which could easily be noticed throughout the somber performance on Ujalon Main.

He ended the night with his latest song called Tension, an interesting mix of bhangra and metal. No matter how cheesy the song might sound on TV, it is perfect for a live show and is an ideal upbeat number to seal any evening for rock music fans.

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

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Sanjay (Emraan Hashmi) lives a pretty normal life with his unsophisticated, morbidly fashionable and entertaining wife Neetu (Vidya Balan). After a short focus on the typical family scene, Gupta takes us straight to business. Sanjay, who was once involved in criminal activities, receives an offer of INR10 million to rob a bank by breaking the lock of the premises, from two criminals. Although Sanjay had moved on from his nefarious activities, the amount is way too attractive, so he helps them break the lock successfully. To avoid getting noticed by the police, the team plans not to use the money for the next three months, while Sanjay is asked to keep the money since he is a ‘family man’. What follows is quite puzzling – something that will tease your brain but will be far from predictable.

Although the dialogues are cleverly penned, they are not outrageously funny and often rely on cheap tricks. However, it’s the timing of the actors that makes the humour much more solid and direct. The comedy is not of errors or forced situations, but of circumstances which can be best described as absurdly funny and seriously immoral, all of which is justified within the context of the film.

Balan has gained a few extra pounds for her role and it seems that after the success of The Dirty Picture, her flabby body accompanied by her command over method acting, has really helped her create a deadly combination of talent and looks. Although this might just reduce her to a rather beautiful and talented version of Saima in Bollywood, there are no issues with it if that suits her characters. As Neetu, a rather sharp character, she has not only carried off the plump look well but also pulled off a rowdy demeanour and raw Hindi accent.

Hashmi, on the other hand, proves to be the real winner by making the audience change perceptions with the evolution of his character. He has moved a long way from being the stereotypical ‘serial kisser’.

Unlike your average Bollywood movie, music is not really an interruption, with only one song played in the beginning and one during the end credits. Composer Amit Trivedi does a splendid job with his fresh and innovative tunes, rejuvenating the soul of Bollywood music. After creating master pieces in English Vinglish and Kai Po Che, Trivedi introduces audiences to an interesting and contemporary mix of qawwali, folk melodies and rock music. It is his instrumental brilliance that leaves you wanting more.

All in all, Ghanchakkar is an intelligent film made for a patient and rather intellectual audience that is not just looking for an attractive young star like Ranbir Kapoor or matkas and jhatkas ala Malaika Arora.

Verdict: Ghanchakkar is one of the most cleverly written films to have been made in Bollywood this year. Just for the sake of experiencing a mind-boggling climax, go get your tickets now!

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

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KARACHI: His colleagues at the newspaper thought that he was too eccentric for writing headlines; students at the media school he taught at believed he will make headlines some day. Writer Imran Yusuf may be been a Londoner, but Karachi is where his heart is – both literally and metaphorically.

Formerly sports editor at The Express Tribune, he now works as a content writer for an engineering website. His wife lives in Karachi; a place that not only continues to inspire him, but has also served as the platform where Yusuf formally established himself as a playwright.

The Urdu translation of his play, STUMPED!!!, a story based on cricket and controversies, was presented by National Academy of Performing Arts (Napa) students. The play breathed new life into Pakistani theatre, which was suffering from an overdose of clichés and rip-offs. At a recently held interview at the writer’s residence, he talked about his journey with STUMPED!!!.

“It was faithful in terms of direct language, and somehow, the rhythm, the idioms, the authenticity naturally elevated the whole play,” said Yusuf.  “Apart from some direct translations which you tend to take out as the production goes, I think [Napa graduate] Fawad Khan did a great job with translation.”

Yusuf feels that the aesthetic tools that accompanied the production of STUMPED!!! were well-gauged by the play’s director Zain Ahmed, and were toned down wherever they appeared overbearing. Yusuf, who visits Pakistan frequently, set the play in a place called “Qabristan”, which was his reflection of Pakistan and says a lot about his perspective of this country.

“The play definitely stems out of an almost morbid bitterness, but at the same time, it comes out of true love for this place [Pakistan],” elaborated Yusuf. “I think if the play keeps running with a bit of bitterness that keeps poking you as you desperately run towards the finishing line, it can heighten the quality of the play,” he added.

Drawing parallels between UK and Pakistan, Yusuf said, “When one person gets murdered in London its headline news – you know his name, you know his wife’s name, you know he owns a Labrador called Frankie. But in Pakistan, if someone is shot dead and if he is not a bigwig, then they end up becoming a statistic. This phenomenon had an impact on me and has also translated into the play I have written.”

Yusuf doesn’t find the musicals Karachi presents attractive; he expects something very different when entering a theatre hall. For him, cricket however, is the right device to convey theatrically what he feels about Pakistanis.

“Cricket was the lens through which I understood Pakistan,” Yusuf said. “I would have been more comfortable in setting the play in the drawing room of a rich burger bacha who has parties where Absolut Vodka is served, but I don’t find that interesting and I certainly don’t find that reflective of a wider segment of the Pakistani society.”

Since cricket is more of a man’s domain, it was also his way of commenting on the masculinity of the Pakistani society, as the only female in the play is planted for the exploration of all other male characters.

Yusuf’s future plans include forwarding STUMPED!!! to theatre companies in the UK and prohibiting his wife, Shandana Minhas, who is also a famous Pakistani writer, from writing plays because he thinks that she is just too good at it. “The hunger of an upcoming artist, film-maker or writer in Pakistan is 50 times more than that of a youngster in the UK and this will eventually pay off,” concluded the optimistic Yusuf.

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

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The Lollywood-centric performances included a total of five songs performed by four Lollywood actors, along with late-night talkshow host Mathira. Mathira, Sahiba, Sana, Noor and Meera Jee lit the stage with their performances. The choice of using yesteryear’s hits such as Aaj Meera Nache Gi, Akh Lari Bado Badi, Tu Je Mere Hamesha Kol Rawain, Tere Naal Naal Wey Main Rehna, Luddi Hai Jamalo Pao for the performance was intelligent, as it encouraged the audience to sing along. The performances were entertaining and lively, especially that of dancing queen Noor but the outfits worn by these Lolly beauties were abominations. We understand that outfits for stage performers need the extra bling and drama, but these gola gunda-inspired creations were simply an eyesore.

Ahmed Ali Butt hosted the LSAs again after his performance last year. Though one expected him to strive to perform better than last year, it was quite disappointing to see that apart from three jokes and a video, everything Ahmed Ali Butt had to offer was either flat and crass or simply tacky. Also it was a sheer embarrassment to see the announcer fumbling and announcing incorrect names. Though admittedly the most entertaining part of Ahmed Butt’s performance was his rendition of Taher Shah’s Eye to Eye – very well executed and supremely funny.

Sana busting a move on the LSA stage. PHOTO: FAISAL FAROOQUI

Humaima Malik performed to Nusrat Fateh Ali Khan’s celebrated Afreen Afreen with grace and natural rhythm. In comparison, Aamina Sheikh, who had a futuristic, sci-fi-inspired performance, paled. The choreography fell flat and she looked like she was trying too hard. We love Aamina and think she is a brilliant actor, but performing such choreographed sequences is not up her alley.

Ahmed Ali Butt trying hard to keep the audience engaged. PHOTO: FAISAL FAROOQUI

Faras Shafi and Mooroo’s performance was by far the most interesting one of the evening. The futuristic flashlights and oversized glasses fit perfectly with the essence of the performance. Faras Shafi wearing a wife-beater over his shalwar added more to this character on stage.

Humaima dazzles the audience on Afreen Afreen. PHOTO: FAISAL FAROOQUI

Atif Aslam’s finale performance was a hit, not because of the singer himself rather because of the children dancing with him. These young dancers were by far the best performers we had seen all night and one can only wish they had come earlier to entertain the crowd. Young Aryan Aslam completely took over the stage and over-shadowed Atif’s presence. Thanks to their perfectly executed and thoroughly entertaining dance moves, the evening ended on a great note.

The Inside Scoop

The best acceptance speech was made by Farhad Humayun, who chose to speak in Punjabi. It was commendable that he reached out to his fans and band members. Hands down one of the most touching speeches of LSA 2013!

Mehreen Syed, winner of Model of the Year, was seen arm in arm with her husband Ahmed Shaikh, looking as happy as a newly-wedded lady could be. At one point, she refused to take any more questions from the press, and said, “My husband is waiting for me.”

Designer Shehla Chatoor had an army of ambassadors at LSA 2013! From Lollywood actor Sana to performer Mathira, model of the year nominee Amna Ilyas, album of the year winner Ayesha Omar, Frieha Altaf and Unilever’s Fareshteh Aslam, it seemed that every second person was wearing Shehla Chatoor dresses in metallic colours or digital prints. A source tells us that presenter Humaima Malik was also meant to wear Shehla Chatoor, but on the condition that Shehla dresses only her and no one else at the event. When Shehla refused, Humaima wore a lovely gold one-shoulder dress by Layla Chatoor.

Brace yourselves for something disturbing. Some guests at the red carpet were intrigued when Meera ji introduced a gentleman in a blue jacket as her boyfriend. While the entertainment industry buzzed with the news that Cupid has struck for this Lollywood lady, her family clarified that Meera ji ‘pyaar se’ introduces her brother as ‘my boyfriend’.

Ahmed Ali Butt and Mathira’s attempts to grab the audience’s attention, by dragging guests for an impromptu dance performance, were quite entertaining. While Nomi Ansari was too shy to break into a move, journalist Zurain Imam, singer-actor Ayesha Omar and designer Ali Xeeshan’s moves on hit Bollywood item songs added some much-needed life to an evening that seemed to drag on forever.

The verdict

The winners of the LSAs under the music category were rather disappointing. More than half of the better artists from last year were excluded from the nominations and those who made it were not done justice to. The most absurd and rather hilarious was the Best Album award that went to Ayesha Omar for her album Khamoshi against iconic albums like The Harvest by Sajid and Zeeshan. Despite Faisal Rafi’s finesse with music production and Omar’s improved vocals, Khamoshi does not close to the quality and innovation of The Harvest.

Katna Nai by Sajjad Ali won the song of the year award and rightly so, given the limited amount and variety of nominations. This just goes to reiterate our love for established artists and our rather sad behaviour towards newcomers like Jarar Malik and Mooroo who actually had something new to offer to our industry. How could Ali Zafar be nominated and not get an award?! Shahi and Zoe had given us a brilliant new-age sound of Arshad Mehmood’s melody for Tanhaiyan Naye Silsilay but unfortunately that was ignored.

No one in the audience seemed to understand the purpose behind awarding Ustad Nusrat Fateh Ali Khan being posthumously given the Lifetime Achievement Award over a decade after his passing.

As far as the fashion awards are concerned, we strongly feel that Kamiar Rokni or Salim Chatoor should have bagged the Best Dressed Male award for having immaculate style. Aamina Sheikh, for the Best Dressed Female award, seemed like a very biased choice since she is not only the brand ambassador for Lux but was also styled by Nabila, the official stylist for the event. It was no surprise to see Nabila bag the Best Hair and Make-up artist award. It’s high time she is given a Lifetime Achievement award instead. 

Here is the list of winners:

Terrestrial Awards

Best TV Actress: Mahnoor Baloch for Tilafi

Best TV Actor: Nauman Ijaz for Qeemat

Best TV Play:  Paayal

Satellite Awards

Best TV Actress: Mahira Khan for Humsafar

Best TV Actor: Fawad Khan for Humsafar

Best TV play: Humsafar

Best TV Director: Sarmad Khoosat for Humsafar

Best TV Writer: Khalil ur Rehman for Manjali

Best Original Soundtrack: Zindagi Gulzar Hai

Music Awards

Album of the Year: Khamoshi by Ayesha Omar

Song of the Year: Katna Nai Sajjad Ali

Best Music Video Director: Farhad Humayun for Aankahi 

Best Emerging Talent: Ahmed Siddiq

Music Icon of the Year: Atif Aslam

Lifetime Achievement Award for Music: Nusrat Fateh Ali Khan

Fashion Awards

Best Dressed Male: Ali Xeeshan

Best Dressed Female: Aamina Sheikh

Best Fashion Photography: Guddu Shani

Best Hair and Make-up Artist: Nabila

Best Lawn: Sana Safinaz

Best Fashion Designer (Pret): Body Focus Museum by Iman Ahmed

Best Fashion Designer (Luxury Pret): Body Focus Museum by Iman Ahmed

Best High Street Brand: Khaadi

Best Menswear Designer: Ammar Belal

Model of the Year (Male): Shahzad Noor

Model of the Year (Female): Mehreen Syed

Best Emerging Talent: Saima Azhar

Lifetime Achievement in Fashion: Sehyr Saigol

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

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Directed by Vikramaditya Motwane, and partly based on author O Henry’s book The Last Leaf, Lootera is a period film based in the ’50s. The film is about a happy-go-lucky landlord who lived with his daughter Pakhi (Sonakshi Sinha), until an archeologist Varun (Ranveer Singh) comes to initiate an excavation around one of the temples owned by the landlord. As fate might have it in a clichéd setting, the handsome boy and the pretty girl start talking and the boy steals the girl’s heart. With Pakhi’s father’s blessings, the two eventually agree on getting married. However, Varun never makes it to the marriage, and what follows is a sharp turn in the story which you are likely to have figured out already through the title of film. The title perhaps plays the biggest role in revealing the main storyline. If it remains at the back of your mind then you’ll easily predict what the rest of the film is all about. A different title or rather a more subjective one could have been way more suitable for the film.

Although Ranveer’s character is rather flat and composed, it somehow manages to save the mystery from being blatantly revealed at the very beginning. While Varun is a handsome young man with perfectly made hair, you can hardly feel the presence of his character. This is the reason why it takes you some time to absorb the beginning of the film because apart from clichéd moments like Pakhi accidentally pouring tea on the boy’s hand or dressing up like him in his absence, it has nothing much to offer. Supporting characters like Varun’s friend played by Vikrant Massey, and his uncle played by Arif Zakaria, help building up the story. The script isn’t bad but a better actor, probably Abhay Deol, would have made the much-needed impact.

Sinha, surprisingly, suited the role to perfection and you will be able to see a more unidirectional, focused and evolved version of the character she played in Dabangg. For a change, her character as Pakhi actually develops with time, and her physical presence accompanied by a natural stubbornness in her dialogue delivery makes her the ideal sari clad girl of the ’50s. Unfortunately, for all those who were happy about Sinha getting rid of her nose ring in the film should know that she gets it back in the second half — sigh!

After an immaculate film like Udaan, Motwane disappoints us with Lootera because it seems that he was way too occupied in having an ideal and complete ending to the film (which was not really needed) that he ended up losing the real gist of the story half way through.

Regrettably, Lootera falls victim to a common tragedy — a director making a mess out of a well-plotted story by relying on a typical Bollywood technique of ‘more, not less, is more.’ Other than the never-ending story, this film is no more than the director’s infatuation with crisp Urdu/Hindi dialogue delivery and vintage looks. We have seen much better period films from Bollywood such as Zubeidaa and Parineeta.

Verdict: Although we do not recommend it as a must-watch, if you are so amazed by the trailers then go ahead but don’t hesitate to leave only 10 minutes after the interval because from there on  it’s just a mere waste of time. Our pick for the week remains to be Ghanchakkar!

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

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“I am extremely thrilled to have won,” she tells us via Facebook, as she is currently not in Pakistan. “I worked extremely hard on this album and I guess all the hard work paid off.”

While she is travelling and has not come across the Twitter posts and articles lambasting the LSA platform for awarding her the trophy, she does add, “Haters will always hate and obviously jealousy will always exist! People who lose will always be sore.” Like Twitter user karachikhatmal pointed out in his tweet “bear in mind that votes were cast on FB”, Ayesha also said, “The critics don’t always understand the way the minds of the masses work. Anything can appeal to them. Even something that is not technically great. Another huge music project is coming out right after Eid… you will see me performing in that as well. So the critics should wait and check that out.”

Before commenting on state of Pakistani music based on Ayesha Omar winning an LSA, bear in mind that votes were cast on FB. #NuffSaid

— karachikhatmal (@karachikhatmal) July 4, 2013

She says she feels honoured to have been nominated along with “huge names” like Sajjad Ali and Sajid and Zeeshan, whose music she says “has always been a source of inspiration and motivation”.

“I never expected to win,” she admits. “I don’t even come close to their experience and skill but this was a voting category and I guess music listeners and fans out there did like something about my album. The criticisers have a right to state their views.”

We spoke to LSA host and presenter Ahmed Ali Butt about how he felt about Ayesha’s victory. “At the end of the day, theek hai. Ayesha Omar is fine, one should be supportive, not critical. If you want to be critical be a strict blogger. I am all for it [releasing an album and making singles] — it takes a lot of b**** to take out music in times like these.”

Nominee Usman Riaz says he is honoured to have been nominated. “People think she deserved to win. To me, winning doesn’t matter, being acknowledged does.”

Gumby, however, was less diplomatic and more terse. “I have just heard a song. I wouldn’t rate her as a singer. The LSA’s should focus more on fashion than music. It is unfortunate that Sajid-Zeeshan and Sajid Ali and Usman Riaz didn’t win. I don’t blame the artist but I blame the jury. This is only a style award not a music award! LSA is about fashion and style and they should focus on that and not on music.”

So who are these jury members in the line of fire? Qayyum shares that a jury member informed him that the music jury vote makes up for about 30% of the award, with the rest determined by viewers.

According to the official results shared with The Express Tribune, Ayesha bagged 18,377 votes, while the lowest number was earned by Dynoman for Naubahar. It is clear that she bagged the most votes owing to her popularity from Bulbulay. It is possible that people who voted for her even didn’t even know that she could sing. Unfortunately, this is what happens when you leave an important award that does not have as much mass appeal for the public to decide. Music categories should only be awarded according to their genres, like they were with the Indus Music and The Music Aawards.

And the winner is!

Voting was conducted via SMS, call centre and votes on the LSA website. Results audited by KPMG were submitted to the LUX Style Awards office as follows: 

Best Music Album

Chahar Balish by Sajjad Ali  9,458

Circus in the Sky by Usman Riaz 2,908

Khamoshi by Ayesha Omar   18,377

Naubahar by Dynoman   2,506

The Harvest by Sajid & Zeeshan 1,624

(Shared by Fareshte Aslam of Unilever)

Published in The Express Tribune, July 9^th, 2013.

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However, when the men in uniform act more or less like Robin Hood, helping innocents by hook or by crook, then the image of the police force comes across as rather a mafia. While previous films have managed to tackle this representation subtly and have shifted the narrative whenever the audience might question the police as a force working purely for its ego satisfaction, Policegiri accepts the harsh reality — the growing ‘dadagiri’ of the Policegirs!

The story is about Rudra Aditya Devraj (Sanjay Dutt), Deputy Commissioner of Police, who with his grand name comes to cleanse Nagapuram of all the crime-driven activities and restore peace. Unfortunately, apart from its slight effort of evolving the typical Bollywood cop narrative, which after seeing the film seems less of a conscious effort, there is nothing brilliant about the film. Once again shamelessly borrowed from a Southern hit, Policegiri is Tamil director KS Ravikumar’s first Hindi film and rightly so because the film as a whole turns out to be bland with repetitive and incredibly loud Southern-inspired action sequences that seem pretty mindless.

The dialogues are average and the screenplay appears to be executed rather foolishly. The heroines in such movies often play irrelevant roles and so does the charming beauty Prachi Desai; she seems more fit to be Dutt’s daughter and hence, looks out of place. The real let down remains to be Prakash Raj, who despite being such an incredibly diverse actor seems to have been fixated in the role of an obnoxious super villain — that is kind of getting more ridiculous by the day.

Nevertheless, it is pretty ironic that Dutt plays a policeman in this film right after he went to jail but at the same time, it is tragic that we won’t be seeing more from this ultimate performer for a while. After all, be it the cool and witty concept of ‘Gandhigiri’ as Munnabhai or his aggressively painful Policegiri as DCP Rudra, this veteran actor knows how to fit in any role with sheer class and style. We hope to see Dutt back on the silver screen with a better film because it’s this man’s charismatic personality that has dominated the Pakistani poster market and work out routines at gymnasiums for generations.

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

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While we are struggling to strike a balance between “Pakistani” and “religious” when it comes to culture, our neighbours have taken their culture seriously and built upon it. So much that their culture has become their biggest export and identity. Ironically, our contributions to their culture are considered “imports” from Pakistan.

Bollywood is the major reason why our artists haven’t switched to office jobs. With India opening its doors for our talent, the number of artistic imports has surely increased but the overall quality has deteriorated.

While a myriad of musicians and actors have traveled to India, only a few succeeded in making an impact. Acting for films has never been our forte. Be it the likes of Zeba Bakhtiar and Talat Hussain or Pakistan’s version of a chocolate hero Ali Zafar, we haven’t been able to leave a memorable mark. Although Zafar is trying hard to make things work with his multiple talents, but so far he has failed to impress with his acting skills which is probably the reason no major production has featured him in a lead role.

Joining the list of imports is Meesha Shafi, who has recently acted in Bhaag Milkha Bhaag. We are aware of Shafi’s raw voice but her work as an actor for TV or even a film like The Reluctant Fundamentalist has been below average. Humaima’s performance in Sher with Sanjay Dutt is yet to be seen. While she did a good job in Bol, we can only wonder how she will fare across the border. The less that said about Meera, Veena and Sarah Loren’s performances in Bollywood, the better.

Music, however, is a domain where our real power lies. Our artists no longer have the vision or impact that our legend Nusrat Fateh Ali Khan had, who made a Bollywood debut with his music for the film Aur Pyar Ho Gaya and never looked back. From the critically-acclaimed album Sangam with lyricist Javed Akhtar to other various projects including one with Oscar-winning composer AR Rahman, Ustad Nusrat Fateh Ali Khan went there to prove his mettle and did so with utmost style. His so-called successor Rahat Fateh Ali Khan has lost his charm and is living entirely on catchy compositions by Bollywood composers. Though, he might be getting more popular with every track and minting money, it seems he has lost his finesse as a raw performer.

While Shafqat Amanat Ali is playing it safe, Zafar hasn’t produced music that will be remembered. As for Atif Aslam, fame came to him a little earlier than expected and this may be the reason he couldn’t refine his talent. Regardless of that, the range he demonstrated in Mori Araj Suno from The Reluctant Fundamentalist, speaks volumes about his resilience as an artist. After Nusrat Fateh Ali Khan, he is probably the most influential artist from Pakistan in Bollywood and if he carries on his solo projects simultaneously, he will do wonders.

So should we expect more talent budding from within Pakistan? Yes. But will it be better? No. That’s because artists such as Meesha Shafi are more or less residues of our raw musical talent. These budding stars are so focused on making it to Bollywood that they are unable to produce something different and remarkable.

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

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From the film’s soundtrack, the only video track that has been released is probably not getting as much air time on music channels as other pop songs due to Ramazan and its ‘different’ sound. However, the remaining three songs from Josh’s soundtrack are rather simple and basic, with only a few striking moments. Shahi Hasan and his studio Indus World Music have produced three songs for the film while the remaining one has only been mixed by him. After a disappointing season of Cornetto Music Icons, where none of the songs succeeded in making a great impact despite having big names in the line-up, Shahi applies his age-old approach to music in Josh. While the music does sound catchy at some instances, it appears to be repetitive and overdone. Having said that, the overall mood of the music does manage to create a raw appeal, which is needed for an independent film like Josh. However, the real impact will only be felt once it’s played in the cinemas

Tu Nach

This one is a typical Punjabi techno number with a catchy tune that is bound to make you shake a leg! The song is produced by Manesh Judge, Noor Lodhi and Michael Anand and is written by Barinder Judge.

The sound mixing has been done by Shahi Hasan. Tu Nach is by far the most captivating song in the film. However, it isn’t really an extraordinary composition – you are likely to find hundreds of Punjabi tracks with a similar melody. Nevertheless, it’s the groovy, engaging beat of the tabla that makes this song so powerful. The rap does not appear out of place within the song, but it does seem slightly exaggerated at places.

Mohabbat Ka Junoon

One of the major issues with composing Allama Iqbal’s poetry is that it has been done so fashionably by the band Junoon that anything different feels like abuse, whereas anything similar seems to be a complete rip-off. Mohabbat Ka Junoon, a poem by Allama Iqbal, is featured as the thematic soundtrack for the film and has been composed by Noor Lodhi and Asim Khan. The vocals are by Noor Lodhi, music is given by Shahi Hasan, Manesh Judge & Noor Lodhi, whereas the song has been produced by Shahi Hasan. The clichéd use of guitars and the tabla makes the sound appear weary. While Iqbal’s lyrics hold a deep, philosophical and interesting meaning to them, an avid music listener will hardly be able to contain a yawn. Innovation is what’s lacking here and not content.

The Time Has Come/Yeh Dil Kyun Mera

The third song of the film has two versions to it and is the original soundtrack (OST) for the movie. Both versions of the song have been composed by Shahi Hasan and Zoe Viccaji, who has also given the vocals.  It’s a slow and mellow number with a soft and somewhat grey feel to it. The sound of the guitar sets an ideal background for the film, which highlights stories inspired by Indo-Pak partition. The melody is powerful and flows smoothly, at least in the English version of the song called The Time Has Come. However, in the Urdu version, one can notice Zoe trying to make an extra effort that does not suit her vocal texture.

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

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“His variations made the banjo follow the rules of sur and taal and it eventually became the most eminent sound of Balochi folk as we know it today,” Ustad Sabzal tells The Express Tribune.

The Ustad is a master of the art of playing banjo and was recently acknowledged by the Tehzeeb Foundation at a classical music festival, which he appreciates wholeheartedly. Humble about his ancestry that thrived purely on musical innovation, Sabzal is a Baloch at heart and passionate about the region’s folk music. “Balochi folk is way above and beyond Dane Pe Dana and Laila O Laila,” scuffs Sabzal. “It’s just that the lack of attention given to music by the later generations has narrowed it down to only a few known names.”

Even though Balochi folk melodies can get anybody to tap their feet, only a few songs like Dane Pe Dana have made it to the mainstream. So, why is it that Balochi folk music failed to penetrate the commercial industry compared to its ethnic counterparts?

“Frankly, it’s not because Balochistan has always been sidelined as a province,” elaborates Sabzal. “It’s rather because the generations after my grandfather never took the cause of propagating regional folk seriously,” he asserts.

Revealing a philosophical side, Sabzal offers a rather interesting explanation on the struggle of Balochi musicians and how there desperation makes them resort to other means — a personal theory that can be applied, more or less, to all dying art forms in the country. “Music is only meant either for the king or a beggar as one has everything at his disposal and the other has nothing to lose,” he says. According to him, all musicians lie somewhere within this spectrum and try hard to make ends meet through a lot of other options. “I am neither a beggar nor a king and that’s why I couldn’t do justice to my craft.”

Love from Lyari

Like many members of his family, Sabzal, too, has represented Pakistan all over the world and his admirers range from former President Pervez Musharraf to many other senior dignitaries. Though Balochistan and its music is Ustad Sabzal’s passion, Lyari is where his heart and soul lie because it is the very soil of Mewa Shah Graveyard in Lyari, where the father of his great grandfather is buried. Sabzal becomes a little uncomfortable and sensitive when asked about his hometown and rightly so, because a recent incident made him question his own place of living which was once populated by his ancestors.

This unfortunate incident was actually a recent raid on his house by the Rangers, who suspected some criminal activity. Undoubtedly, Sabzal was baffled over this unprecedented visit. “Why would you suspect that an artist would give refuge to or will know about these mischievous gangsters? Ask me about sur and taal and I’ll tell you everything,” he exclaims, feeling ridiculed. “They should have gone to the local police station before raiding my house. We are creative people and such incidents only handicap us emotionally and in extreme cases, physically,” he says.

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

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If we look back, the father of qawalli Hazrat Amir Khusro had achieved the style that we know today by merging elements of Arabic and Persian music with Indian classical music. Since the content was all about finding God within yourself, an idea that echoes the foundation of sufism, the works of other mystics who followed the same line of thought such as Baba Bulleh Shah were also taken up by qawals. After centuries of spiritual enchantment throughout the world, qawali still survives as one of the most powerful and influential forms of religious music to date. This is the reason why its impact is felt even more in the holy month of Ramazan. And that, too, when it is being performed by the deadly duo of Fareed Ayaz and Abu Muhammad.

A powerful performance

The evening started off with a naat that, through its words, celebrated the birth of the Holy Prophet Muhammad (PBUH) and described the reactions of the Holy Prophet’s (PBUH) family and Hazrat Jibraeel (AS), on his birth. The naat had a relatively slow tempo but the lyrics were enlightening enough to make anyone feel spiritually connected.

Breaking away from their streak of enthralling performances, the duo shared its reason behind choosing a specific playlist for the Napa audience. “Since we are performing at an arts academy, we have only chosen to perform pieces that are a telltale sign of music theory and are universally accepted. So that the cycle of knowledge can carry on simultaneously,” said Ayaz.

What followed was a soulful rendition of Sakhi Kaise Kahun Mohe Laaj Lage, which the duo has gained immense popularity for worldwide. The command of the supporting brothers on the high and low notes was simply amazing and spoke volumes about their significantly impeccable talent.

Their playlist largely revolved around the Persian works of Amir Khusro and those of Baba Bulleh Shah. But the ones that were accompanied by a translation from Ayaz successfully made a place in the hearts of young and old listeners.

Nami Danam Che Manzil Bood, a Persian piece of poetry by Amir Khusro which is also considered to be a naat, resonated through the walls leaving the audience in a mystical trance. This was followed by a relatively well-known number Khabaram Rasida Imshab, owing its popularity to Coke Studio and Ayaz’s signature antics on stage. It was by far one of the most elaborate performances until the highlight of evening, Mera Piya Ghar Aya took the crowd by storm.

The evening ended with the traditional ‘rung’ as everyone rose in veneration of the kalaam with inner satisfaction pulsing from every corner of the hall. While the elders felt every single word to the fullest, the younger audience members swayed to the tune.

The evening was well-attended, with the likes of Taj Haider and pop singer Shehzad Roy in the audience, despite the two bomb blasts that had struck the city just a few hours prior to the event. They, along with others, seemed truly mesmerised.

“If you people keep showing your appreciation for art and come here with such high spirits then we can definitely get our old city back — the city that has lost its real essence,” said Arshad Mehmud, senior faculty member at Napa, as he thanked the audience.

Hats off to Napa’s music department for organising one of the best qawalli nights to have taken place in Ramazan.

Published in The Express Tribune, July 24^th, 2013.

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But like many heroes, Sallu’s tragic flaw is that he likes to live dangerously. The highs of his Bollywood career are overshadowed by the lows of his personal life. The shy guy Prem, who rose to stardom with Maine Pyar Kiya, has a side that lives on the edge and has made headlines for all the wrong reasons. How ironic that the song Character Dheela Hai has been featured on him!

Bollywood’s golden but troubled goose

There is no denying that Salman’s got the Midas touch — despite not being critically-acclaimed, any film he’s cast in becomes a commercial sensation. When Salman takes his shirt off, competing male actors start working out to develop six packs and up their game. When he wore long hair in Tere Naam, young boys queued outside salons to get his look. In total, eight films that Salman has worked in grossed over INR1 billion at the box office, including his latest hits Dabangg (2010), Ready (2011), Bodyguard (2011), Ek Tha Tiger (2012) and Dabangg 2 (2012). Despite back-to-back controversies surrounding his love life and court hearings, Sallu has proved to be an asset for the Indian film industry.

We have also seen Salman romance the hottest and most successful B-town female actors at the peak of their careers. However, his off-screen personality is different from the on-screen passionate characters he plays. Be it Sangeeta Bijlani, Aishwarya Rai or Katrina Kaif — Salman is not only known for dating the actors during their golden period, but also for allegedly assaulting them — a reason reportedly Ash gave when she walked out.

The Dabangg cop gone bad

“The court can hang me. I am tired of such lengthy proceedings.”

Nothing else defines Bollywood superstar Salman Khan’s rather hot-blooded temperament that this statement he made during a court proceeding back in 2006 that landed him in a legal row. Khan was summoned over charges of killing two blackbucks, during a break in filming in 1998.

If Salman’s history is studied, it has actually been a case of ‘hit-and-run’ (pun-intended), as he has dodged charges framed against him in the past. Sallu had been jailed briefly, but always managed to be bailed out. If Salman’s situation is compared to that of actor Sanjay Dutt, who is serving the remaining three-and-a-half years of a five-year term, it might be safe to say that since so much capital is involved, negotiations for a safe route for him must be taking place. After all, while Sanjay might have been loved by the industry, he is not nearly as commercially successful now as Salman.

Fans are wondering if the box office big shot will get lucky this time. The delay in court proceedings and cases is not something unusual in India but the time at which the case has resurfaced is very crucial — will there be a Bollywood ending for this hero?

CHARGED

An Indian court on Wednesday charged Bollywood star Salman Khan with culpable homicide over a 2002 hit-and-run case that could land him behind bars for 10 years.

Controversies

Hit-and-run case

In 2002, Salman is alleged to have run his Toyota Land Cruiser vehicle onto a pavement and over five sleeping homeless people in suburban Mumbai, killing one and injuring four others. He spent 17 days in jail and later clarified that he was not driving.

Blackbuck case

In 2006, Salman was convicted under the Wildlife Act of India for poaching a blackbuck in Jodhpur during the shooting of film Hum Saath Saath Hain in September 1998. He was handed a five-year imprisonment and was fined INR5,000, but was released on bail after spending less than a week in jail.

Mumbai attacks

Salman had to apologise for comments he made in the aftermath of the 26/11 Mumbai attacks. He had reportedly claimed that attacks got a lot of attention because the “elite” were targeted. “It was the elite that was targeted this time. Five star hotels and stuff. So they panicked. Then they got up and spoke about it. My question is why not before. Attacks have happened in trains and small towns too, but no one talked about it so much,” he had said. His comments that Pakistan was not to blame and that Indian security forces were to blame also drew strong criticism in India.

The Hindustan Times has compiled a list of projects that Salman is currently involved in: 

Bigg Boss 7 — Seventh edition of famed reality TV show.

Mental — Salman’s brother, actor-turned-film-maker Sohail Khan’s directorial venture.

Kick — Film-maker Sajid Nadiadwala’s film which is set to go on floors by the end of July.

No Entry Mein Entry — Sequel to film-maker Anees Bazmi’s No Entry.

Prabhudeva’s untitled next — Choreographer-turned-film-maker Prabhudeva plans to make action film with Salman.

Sooraj Barjatya’s untitled next — Hum Saath Saath Hain film-maker Sooraj Barjatya plans to make a film with Salman after 14 years.

O Teri — Salman has a cameo in brother-in-law Atul Agnihotri’s film titled O Teri.

YRF’s next — After Ek Tha Tiger, Salman is reportedly planning to begin shooting for Yash Raj Film’s next venture after Mental and Kick are completed.

Remake of Shikshanachya Aaicha Gho — Salman Khan is considering working in the Hindi remake of Mahesh Manjrekar’s Marathi film.

I Am Hariprasad — Main Aurr Mrs Khanna’s director Prem R Soni announced to make I Am Hariprasad with Salman.

Projects in planning stage — Apart from the projects which are under pre and post-production, Salman has other movies which are in the planning phase.

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

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Each of the three films releasing this Eid belong to a different genre entirely and hence, their impact on the box office and audience is likely to vary. The line-up includes the most-hyped Humayun Saeed production Main Hoon Shahid Afridi, Shahzad Rafique’s long-delayed Ishq-e-Khuda and Iram Parveen Bilal’s internationally acclaimed, small-budget Josh.

Amongst the three, Main Hoon Shahid Afridi has the highest expectations attached to it since it is not only Pakistan’s first sports-centric movie but also one that involves a major chunk of the film industry in its making. However, it remains to be seen if it only turns out to be a potpourri of sorts with Afridi’s name as its best selling point, though we hope otherwise. A blessing in disguise for the film is Shahid Afridi’s brilliant form in the first and last ODI. If he performs well in one of the upcoming T20 matches, the film will incidentally attract hoards to the theatre hall, since he is the only surviving star of Pakistan who is equally acknowledged by the ‘classes’ and the ‘masses’. The Afridi factor, accompanied by its big budget, catchy music and a commercially-layered patriotic theme can possibly make it a gold mine for the local box office.

Main Hoon Shahid Afridi is releasing on 35 screens across Pakistan and may cross the Rs30 million mark in its first week, barring any major unrest in the country. Keeping that in mind, it might do a total business of around Rs80 million, which, compared to the approximately Rs100 million budget of the film, is inadequate. However, with no mainstream Indian films being released on Eid, the film may gross more than expected.

The other release is the long-awaited Punjabi film Ishq-e-Khuda starring Ahsan Khan and Meera. This, too, will be released on 35 screens across Pakistan. It is expected to face stiff competition from Main Hoon Shahid Afridi at multiplexes and other cinemas in urban and sub-urban areas of Pakistan but is expected to sweep the single screens in Punjab.  The film seems like it could prove to be a surprising win for Punjabi cinema like Syed Noor’s Majajan but it won’t do that well on the box office compared to the other big release. Overall business of Rs20 million to Rs30 million will be quite an achievement.

Finally Josh, which despite having gained international fame received the least amount of attention in terms of marketing, will release digitally only on nine screens across the country. Nevertheless, it might just prove to be a surprise package. In terms of business, nine screens can barely result in a good return for the film though we can expect some power-packed performances. Although the budget of the film hasn’t been disclosed and returns can’t really be predicted with such a narrow release, we hope that Josh competes well alongside these commercial films so that other independent film-makers are also encouraged.

Alongside celebrations, this Eid probably brings the biggest test for Pakistani cinema as the return will truly represent how dependant we are on foreign films and how many more screens we need to have in order to make film-making a feasible business in Pakistan. Best of luck to everyone involved!

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

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The stir that was caused by Shoaib Mansoor’s Khuda Kay Liye (KKL) in 2007 changed the face (and genre) of ‘Lollywood music’ to one that moves within the range of pop, rock and mellow tunes. KKL’s original and distinctive music album became a chartbuster not only in Pakistan, but also in India with album copies selling in equal numbers in both countries.

Six years down the lane, the soundtrack of one of the most expensive Pakistani film’s in our cinema’s history, Main Hoon Shahid Afridi, has been released. But while the music of actor-turned-film-maker Humayun Saeed’s film is not your run-of-the-mill dose of Lolly beats, it could have been better.

Main Hoon Shahid Afridi’s soundtrack, has some catchy numbers but even those are repetitive. PHOTO: PUBLICITY

Like the entertainment-packed film, the soundtrack is also heavily inspired by Bollywood. While it’s Bollywood-inspired trailers and storyline will attract hordes to theatres, the music suffers as it  follows the same-old formulaic treatment, making one feel that although the songs are catchy, the tune is repetitive.

The album consists of five songs. Jera Vi Hai Aanday has been written by Shani and Nadeem Asad, while Malal, Teri Hi Kami and a cocktail of two songs Angreja and Beautiful Night have been written by Sabir Zafar. An undisclosed item song Teri Hi Kami is also on the soundtrack. The music has been composed by the young Pakistani duo Kami and Shani.

Judging by the one item song (Teri Hi Kami), the soulful ballad in the voice of Rahat Fateh Ali Khan (Malal) and the upbeat, motivational/ patriotic song (Jera Vi Hai Aanday) by Shafqat Amanat Ali Khan which is sure to give you an adrenaline rush, the film’s music has everything to make it a hit but nothing as such to make it memorable. There is no denying that apart from Beautiful Night (which is lacklustre), Kami and Shani have created music which is as good if not better than the music of any Bollywood film. Having said that, there is nothing awe-inspiring about the MHSA soundtrack. It is good for Bollywood, but average by Pakistani standards — we have always made better and original music.

Main Hoon Shahid Afridi’s soundtrack, has some catchy numbers but even those are repetitive. PHOTO: PUBLICITY

Our inclination towards Bollywood music is rather shocking. It seems that the composers were given a heavy dose of AR Rahman and Lagaan music as inspiration, which is reflected in the safe and orthodox song writing. Khuda Kay Liye, Bol and even Chambaili had the signature Pakistani sound, which is why they stood out and this will be considered an extension of the Bollywood music we hear every day.

Where Angreja has the groove, rebelliousness and punch to be blared from car woofers — courtesy of Punjabi lyrics —  Beautiful Night, an English song based on the same groove and mood released separately is rather irritating and quite exaggerated. Club music, it seems, is strictly a no-go area for a country that grew up singing and listening to mehendi songs. Artists need to confront this reality and get over it because so far, all attempts at making English-desi club music have been pretentious.

Owing to its catchy melody and lyrics that suit the music of a rebellious theme for a cricket loving nation, Jera Vi Hai Aanday remains to be our favourite.  Lines like “mae ki jaanaa tuk tuk karna, mae tae yaar lapetaan (I don’t know how to play tuk tuk but I can hit the ball hard)” not only address the ongoing Misbah-Afridi competition, but also encompass our sentimentality as a nation.

VERDICT: 3/5

Published in The Express Tribune, July 31^st, 2013.

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The story revolves around Fatima (Aaminah Sheikh), a well-to-do teacher in Karachi who lives with her estranged father. Having lost her mother at a young age, Fatima finds a friend in her loving and maternal nanny Nusrat Bi (Nyla Jafri), who has raised her.

One day, Nusrat Bi is found dead in her village Khuda Ki Basti, which is owned by feudal lord Khan (Qaiser Nizamani). Fatima is shattered but suspects foul play, so she decides to investigate the matter.

Here, the film turns into a detective story, with Fatima frequently visiting the village with the ease of a superwoman despite the presence of a dangerous landlord and thugs.

Iram Parveen Bilal is a director of visuals and not actors. PHOTO: PUBLICITY

Stylistically, the film is a treat. Special mention needs to be made of cinematographer Nausheen Dadabhoy for capturing the true soul of rich and poor Karachi instrumentally.

The crispness of the day shots compared to the more half-hearted execution in the night scenes, however, shows where her comfort zone is. Another shout out must be given to art director Mehnaz Diwan, who plays the pivotal role in making us believe in Khuda Ki Basti with her keen attention to detail.

Now here’s the downside; the editing is lazy. The script is so weak that viewers may not recall so much as a single dialogue when they leave the cinema and the story relies too much on clichés — such as a needless romantic twist just before the climax.

The characters at large are hollow, and so much of the control is given to Fatima that it seems that the story could have unfolded without Uzair (Mohib Mirza) and Adil (Khalid Malik).

A fact that stands out throughout the two-hour long film is that Bilal is a director of visuals and not actors. The cut-throat visual treatment with some interesting montages is a treat for the eyes. But the underutilised acting talent leaves you wanting more.

At one point Adil, delivers the line “artists hi is mulk ki ek sachi awaz hain” but makes no impact at all, making the scene look more like a camera rehearsal than the final take. Having said that, for most of the underperformed scenes, a weak script, frail acting direction and off-time editing is to blame more than performers.

In contrast, the scenes in which the feudal lord’s seven-year-old son Shera (Abdullah Khan) walks ahead of his father’s armed goons, his toy gun in tow, are memorable and impactful.

Iram Parveen Bilal is a director of visuals and not actors. PHOTO: PUBLICITY

Aaminah Sheikh has done a commendable job as expected. While she isn’t extraordinary in her role as Fatima, she is miles ahead of new actors when it comes to pulling off such a strong protagonist. Adnan Shah Tipu as Gulsher, however, is the real star of the film.

The Pathan sidekick of the feudal lord Khan, Gulsher’s guilt about the prevalent injustice and internal conflict is communicated beautifully to the audience. A maestro like Jafri reflects her brilliance in the few but phenomenal frames she is in, and her aura is felt even after her character’s death. Ali Rizvi as Ahmed is on top of his game throughout the film and is a great addition to the emerging league of Pakistani actors.

The ‘woman against society’ subject has been done and dusted in Pakistani narratives to a point that it is almost a whole genre. The treatment of the subject may vary from one storyteller to another, but the story is inherently tied together by the cause and effect chain of similar events. As a result, every new story becomes a more glorified version of the older one.

Verdict: 3/5

Despite its orthodoxy and needlessly extended duration, Josh is a win for independent cinema in Pakistan. It succeeds in accomplishing what films like Bol failed to achieve, by focusing on one subject and thoroughly highlighting it with research.

Published in The Express Tribune, August 2^nd, 2013.

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While producer Humayun Saeed is currently not in Pakistan, the film’s writer Vasay Chaudhry tells The Express Tribune that some last minute problems arose. Azam Khan, a well-known film editor who owns the post production house Xperts, passed away during the fine-tuning of MHSA.

“It was really sad for everyone. To troubleshoot, we had to rush abroad to continue the post-production process but unfortunately, we wouldn’t have received the final prints on time,” says Chaudhry.

This, however, is not the only hurdle for MHSA. At the eleventh hour, the previous understanding between distributors and film-makers that no Indian film will be imported on Eid has suddenly been overruled.

While the newspaper ads of MHSA and Bollywood flick Chennai Express read “releasing on Eidul Fitr” and “coming soon” respectively, The Express Tribune has learnt that the latter will be taking MHSA’s slot during the Eid break.

Chaudhry admits that stiff competition from the Shahrukh Khan-starrer is a reason for the delay; Chennai Express has the killer combination of King Khan and Rohit Shetty, a director who has never flopped at the box office.

“Whether you like it or not, we are not ready or willing to compete with a big budget Shahrukh Khan film,” he says.  He adds that he is disappointed and shocked that no one from Lollywood has made an issue of this sudden move to allow Indian films.

“I am surprised that no one from Lollywood or the Film Producer’s Association has said anything about this issue — especially Mr Syed Noor, who is the biggest advocate of banning Indian films in Pakistan and often rambles about it on television,” says Chaudhry. When contacted, Syed Noor said he could be surprised if Indian films were screened on Eid as distributors had given him their word.

While IMGC Entertainment is bringing Chennai Express to Pakistan, Satish Anand of Eveready Pictures is importing yet another expected blockbuster, Once Upon a Time in Mumbai Dobara, which is eventually expected to give MHSA a tough time at the box office.

“We want all these films to have good business because they are supporting the cause of Pakistani cinema,” says Satish Anand. “It is very unfortunate that Main Hoon Shahid Afridi will not be screening on Eid because it takes away the comfort and initial business that any film is supposed to receive on Eid.”

However, Nadeem Mandviwalla, who’s company Mandviwalla Entertainment is distributing MHSA, feels otherwise. “Eid has its advantages and disadvantages, so if a film has to do business it will do so before or after Eid,” he says. He also believes that, given the circumstances, delaying MHSA is the wisest decision as it now has more time for pre-release events and promotions.

“Pakistani films are very personal to the public and they want to see the stars talking about the film,” he continues. “All of this couldn’t have been possible by Eid. The anticipation for Main Hoon Shahid Afridi has already been built up. We can keep building it for another couple of weeks.”

The delay in MHSA has definitely disappointed many cinema goers, who were ready to buy tickets on Eid but will now have to wait for a few weeks. This delay may just be a blessing in disguise for Josh, but only if people treat it as a separate Pakistani film and not a secondary option to Chennai Express.

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

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Correction: The abbreviation MHSA was earlier misspelled as MHSH in the story. The error has been rectified.

Let alone the enlightenment of his ideas, Quraish Pur was a linguist par excellence  who soothed everyone by the mere delivery of Urdu words until Monday, when he passed away after a  protracted illness. According to Daily Express correspondent Pervaiz Mazhar, he was 80 years old.

Quraish Pur, along with Obaidullah Baig, Iftikhar Arif and later, Ghazi Salahuddin, were the collective identity of one of the longest running programmes on Pakistani television called ‘Kasauti’.

Despite working for quite some time for Urdu and Persian radio, ‘Kasauti’ was where the generation of the 1970s first noticed this impeccable genius and from there on he never looked back.

“[Quraish] Pur was a man of letters,” one of the founders of PTV Aslam Azhar told The Express Tribune.

Quraish Pur was a well known commentator who enthralled everyone with his commentary on national day celebrations.

Quraish Pur never got married and lived with his sister in Muslim Quarters in North Nazimabad, Karachi.

His burial took place after Maghrib prayers in the Paposh Nagar Graveyard, Karachi.

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