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OVER VIEW: The cinema scene 2001
How has the cinema industry fared in the past year? Zafar Samdani gives a candid view of the goings-on of the world of make-believe
How the film industry of Pakistan continues ticking is a mystery master sleuth Sherlock Homes would be hard put to unveil as only three or four of the 40 odd films it produces every year make any impact at the box office. The rest of the movies flop, mostly with a resounding crash. The year that ended last week was no different. Just two films clicked at the window while another three to four movies earned their keep. At least 35 of the 46 films, released last year, made their exit just as quickly.
Actor Ajab Gul’s debut as director was the success story of the year while prolific writer -director Syed Noor who has dominated Pakistani cinema for some years, had a nightmarish time as all five of his productions were mega disasters. All classes of cine goers rejected his work and Noor ended the year with a terribly smudged copybook.
All in all, the cinema of 2001 was as good or as bad as cinema of 2000. A little imagination, concentration on script and an effort to widen its horizons should put it back on the rails. The industry seems to possess everything except a contemporary approach
A total of 46 features, divided equally between Urdu and Punjabi languages were produced during the preceding year but only Gul’s Khoe Ho Tum Kahan and Humayun Gujjar by director Pervaiz Rana, managed to gain reportage approval at the box office. They were blockbusters and for good reason: Ajab Gul won the day by breaking the guns and gore monotony of local cinema with rich romanticism, quality production values, particularly picturization of songs, convincing performances and a simple but well-knit production, while Rana scored with professionally well done dramatic finale in Humayun Gujjar and maturity as director overcoming the virtually institutionalized handicap of Pakistani cinema — a familiar, unconvincing narrative.
Iqbal Kashmiri’s Musalman was rewarded for its emotional appeal and by directly invoking religion. It was a commercial success of reasonable proportions and revived the veteran director’s sagging career, but his end of the year, Eid ul Azha release Sangram brought him back to the previous square. Sangram was run-of-the-mill and provided further evidence of inattention by a competent craftsman whose work was often marked by flashes of creative brilliance in the past. Kashmiri’s hand has not appeared to be fully in command in most of his recent productions. Another success of 2001 was Asoo Billa (director Hasnain) that brought home the unpredictability of the film viewing populace. There was little to recommend the movie yet it fared well at the window.
The films of the preceding year were, however, overshadowed by a movie from the year before, blockbuster extraordinary by producer Shahzad Gul and director Hasan Askari, Tere Pyar Mein. Released in 2000, the movie continued to be screened across the country throughout 2001 to stay on a triumphant course. Business wise it turned out to be a goldmine, while professionally, its quality was acknowledged and rewarded by critics and all cultural organizations that showered numerous awards on it.
Ajab Gul’s production had a special distinction. It was the only successful movie that did not star Shaan. Otherwise, one hero made all the seasons of Pakistan’s cinema last year. Shaan was the central player in all major movies of 2001 as well as the main actor in Tere Pyar Mein. No actor has dominated the film industry like Shaan except the late Sultan Rahi. But popularity with the masses is the only common factor between the two.
There is no denying the rapport Rahi had established with filmgoers. Rahi was hailed as the redeemer of the downtrodden. His very presence illuminated the dark lives of the have-nots and made them feel that their day would come. No disrespect intended to the late actor but he cannot be described as an accomplished artist or complimented for good looks. People expected him to stand up to unjust and exploitative authority and his films were rejected whenever he was cast in a role other than representing hope for the oppressed.
Shaan, on the other hand, has come up as a consummate actor. He receives a difficult deal in film after film as he is required to play the same role in practically every movie but manages to produce, to a certain degree, distinct interpretation of cloned characters. Shaan is apparently convinced that the masses approval is based on his image as a macho, courageous and quietly determined individual whose heart beats in rhythm with the poor and the exploited and has cast himself essentially in the same mould in his own movie, Moosa Khan, the best rated release on Eid. This premise is not to be challenged but one hopes he is given a wider canvas for his undeniably immense talents.
Moosa Khan is Shaan’s third film as a director and its professional quality has placed him in the top bracket of directors. It is clear that he is trying to fill the large-sized shoes of his late father, Riyaz Shahid, as a personality of Pakistani cinema, indeed a challenging undertaking. To Shaan’s credit, he has already made the difficult transformation from an erratic young man to a dedicated member of showbiz. The rest should come if commitment is maintained.
Another feature of his career that Shaan shares with Rahi is that he has been paired with a particular actress. He and Saima have more than replaced the Rahi-Anjuman pair. The two are cast together in practically every other movie. Last year, Shaan had the highest score for an actor with 25 films, more than half of the total productions during that period. Saima was breathing down his neck with 24 outings. The last four releases of 2001, prestigious films for Eid, featured them together in three films.
However, Saima, though an attractive woman and a constantly improving artist, is not in the same league as Shaan. She has contenders for the top slot. Meera did well in Khoe Ho Tum Kahan and Rukhsati, though the film by Shahzad Rafiq was a disappointment, more so in the context of expectations it had aroused. At the end of 2001, Reema came back from behind to feature in three films on Eid and more importantly, as a considerably improved performer. Nirma is going the whole hog to supplement her talent as actress (unneeded by local films) by baring physical assets. Noor is also on a rising curve and Sana, a bad year notwithstanding, is not to be discounted.
As for male lead players, it is a one horse race so far with little chance of anyone catching up with Shaan. Babar Ali has potential but the industry has given him a villainous twist. He is doing well as a bad man and that is better than waiting to be decently cast. Others merely fill vacant slots as Shaan is either unavailable or beyond the investor’s resources.
All in all, the cinema of 2001 was as good or as bad as the cinema of year 2000 or an earlier period in the last decade and half. That it comes up with nearly fifty productions every year gives hope to the sector. A little imagination, concentration on script and an effort to widen its horizons should put it back on the rails. The industry seems to possess everything except a contemporary approach.
In the end, sympathy is due for two individuals. Hasan Askari and actress Sana had a rough time when their film Ik Jaga Huar was scissored to death by the wise men of the censor board. Substantial footage had to be shot anew. The original was reportedly absorbing cinema. And I hope the scribes of the industry start conceiving meaningful characters to give Shafqat Cheema a chance to display the range of his talents. He has done remarkably well without the help from writers or directors and should perform wonders with quality professional support.
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