The initial years of Pakistani cinema were ruled by sweet-sounding names, lyrical descriptions and metrical and poetic film titles, boasting of some literary merit too. However, the titles of the new films, released with much media fanfare and social media hype, are poles apart from the lingual standards set by earlier film predecessors.
As strange as this sounds, the younger years of the country’s nascent film industry were pre-eminently ruled by a studious taste as well as an exquisite predilection for quality film titles. The examples include ‘Buut Tarash’ (1951), ‘Khizaan Ke Baad’ (1954), ‘Zehr-e-Ishq’, ‘Jaan-e-Bahar’ (1958), ‘Naghma-e-Dil’ and ‘Jago Hua Severa’ (1959). These titles were not out-of-this-world picks but rather mainstream choices, which exuded a finely cultured aura of the 1950s, 60s and, to some degrees, 70s.
Then comes the tipping point for the film industry in terms of gradually reducing number of films produced every year and also in respect of quality the industry was once known for in its early decades.
Historically speaking, ‘Teri Yaad’ (1948), the title of the first ever feature film released in Pakistan, is just the inaugural glimpse of what ensued afterwards and every next film, released over the initial three decades, had an effusive and figurative title attached to it. The film’s titles such as ‘Anokhi Dastan’ (1950), ‘Beqarar (1950), ‘Do Ansoo’ (1950), ‘Bheegi Palkain’ (1952), ‘Barkha’ (1953), ‘Gumnaam’ (1954), ‘Khizaan Ke Baad’ (1954), ‘Darbar-e-Habib’, ‘Lakht-e-Jigar’ (1956), ‘Ishq-e-Laila’, ‘Thandi Sadak’, ‘Noor-e-Islam’ (1957), ‘Sitaroon Ki Duniya’ (1958), ‘Tere Baghair’ (1959), ‘Shaam Dhaley’ (1960), are to name a few orthodox examples out of many that characterised the early era of filmmaking in the country.
The most common element, as found in vintage film titles, is their inspiration from the poetry, both contemporary and of the past. For instance, such title as ‘Aur Bhi Gham Hain’ (1960), ‘Dil-e-Nadan’ (1960), ‘Subhah Kahin Sham Kahin’ (1961) and ‘Awaz De Kahan Hai’ (1962), are not short of metrical excellence, as are ‘Chiragh Jalta Raha’, ‘Eik Manzil Do Rahain’, (1962), ‘Ishq Per Zor Nahin,’ ‘Preet Na Jane Reet,’ and ‘Ek Tera Sahara’ (1963). Things do not stop here as the decade of the 60s was an extraordinary era when the title of every next film surfaced as being in a class of its own, e.g. ‘Eik Dil Do Dewaane’, ‘Pyaar Na Karna Nadan’ (1964), ‘Saaz-o-Awaz’, ‘Tere Shehar Mein’ (1965), ‘Aag Ka Darya’, ‘Dard-e-Dil’, ‘Naghma-e-Sehra’ (1966), ‘Lahu Pukare Ga’, ‘Phir Subah Ho Gi’, ‘Shola Aur Shabnam’ (1967), ‘Dil Diya Dard Liya’, ‘Dil Mera Dharkan Teri’, ‘Eik Musafir Eik Haseena’, ‘Chand Aur Chandni’, ‘Jaan-e-Azro’, ‘Jahan Baje Shehnai’, ‘Main Kahan Manzil Kahan’, ‘Soeey Nadya Jage Pani’, ‘Mera Ghar Meri Janat’ (1968), ‘Geet Kahin Sangeet Kahin’, ‘Fasana-e-Dil’, ‘Dil-eBaitab’, and ‘Baharen Phirbhi Aingi’ (1969).
Though the fall of Pakistan’s film industry had already begun well before reaching its pinnacle, the era of the 1970s was not different either, bringing to the fore such classic film titles as ‘Aansoo
Other than depicting their depreciating artistic taste and attenuated literary flavour, those who have been at the wheel of Pakistan cinema must be held accountable for steadily distorting the portrayal of women on the silver screen - a shameful journey from ‘Shareek-eHayat’ of 1968 to ‘Madam Dahari Baaz’ of 2006, ‘Gulbadan’ of 1960 to ‘Hasina Atom Bomb’ of 1990 and ‘Aurat Eik Kahani’ of 1963 to ‘Pinky Memsaab’ of 2018
Ban Gaey Moti’, ‘Eik Phool Eik Pathar’, ‘Jale Na Kyun Parwana’, ‘Jhuk Gaya Aasman’, ‘Mohabat Rang Laigi’, ‘Phir Chand Nikle Ga’, and ‘Ye Raste Hain Pyar Ke’ – all in the single year of 1970.
Thanks to an educated and erudite breed of screenwriters, songwriters and music composers with a rich literary background at their disposal, combined with directors, producers and filmmakers, the people who were at the helm of the industry were au currant with the prevailing literary scene, locally and internationally – especially, some of whom were bibliomaniacs extraordinaire and polymaths to the core.
The year 1971 welcomed films with classy and poetic titles like ‘Ansu Bahae Pathron Ne’, ‘Chiragh Kahan Roshni Kahan’, ‘Jalte Soraj ke Neeche’, ‘Khak Aur Khoon’, ‘Mera Dil Meri Arzoo’, ‘Neend Hamari Khwab Tumhare’, and ‘Salaam-e-Mohabbat’.
Despite a reduced number of films, notably because of the separation of the erstwhile East Pakistan, the truncated and miserably shorn-of-talent film industry of Pakistan was still able to retain its literary focus as in 1972 many films charmed the audience with beautiful titles. The examples include, ‘Afsana Zindagi Ka’, ‘Baharo Phool Barsao’, ‘Gata Jaye Banjara’, ‘Jahan Barf Girti Hai’, ‘Meri Zindagi Hai Naghma’, and ‘Yeh Raaste Hain Pyaar Ke,’ fol-
lowed by ‘Baharon Ki Manzil’, ‘Daman Aur Chingari’, ‘Khawab Aur Zindagi’ (1973), ‘Mera Naam Hai Mohabbat’, ‘Jub Jub Phool Khile’ (1975), ‘Pehli Nazar,’ (1977), ‘Badalte Mausam’, ‘Mehndi Lagi Mere Haath’ and ‘Mehal Mere Sapno Ka’ (1980).
The downfall is mainly ascribed to the rise of the military rule in the country, which introduced strict film censorship regulations together with social restrictions and moral barriers. To the contrary, the TV industry, in the same military regime, was still able to produce the most successful plays and drama serials of the history of Pakistan Television, mainly because of it still being run by the lot of professionals and creative people in all its departments, particularly in scriptwriting and production. In the film world, on the other hand, the reins were now taken by non-professional opportunists with the least background in the cinema, let alone formal education or any liking for literature, thus availing themselves of the predestined exodus of the former but relatively capable lot, which had now vanished into the thin air of the ineluctable fate.
Whatever the reason for the downfall, it was not a coincidence that films with titles like ‘Haseena Maan Jayegi’, ‘Haye Yeh Shohar’ (1980), ‘Mian Biwi Razi’ (1982) and ‘Naam Mera Badnam’ (1984), which heralded the disastrous beginning of the 80s, made
the ground ready for films titles such as ‘Miss Colombo,’ (1984), ‘Miss Singapore,’ ‘Hong Kong Ke Sholay’ (1985), ‘Shadi Mere Shohar Ki,’ ‘Miss Bangkok,’ ‘Bangkok Kay Chor’ (1986), ‘Manila Ki Bijliyan’ (1987), ‘Love In Nepal’ (1987), ‘Baghi Hasina,’ ‘Choron Ka Badshah’ (1988), ‘Barood Ki Chaon Main’, ‘Zakhmi Aurat,’ ‘Madam Bawri.’ ‘Kiraye Ke Qatil,’ ‘Dushmano Ke Dushman,’ ‘Taqat Ka Toofan,’ ‘Inteqam Hum Lain Ge,’ ‘Lady Commando,’ ‘Toofani Bijlian’ and ‘Manila Ke Janbaz’ (1989).
Keeping up with the Joneses, the following era of the 90s kicked off with a bang with film titles like ‘Barood Ka Tohfa’, ‘Choron Ka Dushman’, ‘Zehreelay,’ ‘Daka’, ‘Haseena Atom Bomb’, ‘International Gorillay’, ‘Jangjoo Gorillay’, ‘Kali’, ‘Maa Qasm’ and ‘Miss Cleopatra.’
Optimising commonplace but hot keywords of the 90s cinema such as ‘Chor’, ‘Gorillay’, and ‘Jasoos,’ the year 1991, in a similar vein, kept up the momentum with film titles that included ‘Aalmi Jasoos’, ‘Akhri Shikar’, ‘Badmash Thug’, ‘Cobra’, ‘Darindgi’, ‘Doulat Ke Pujari’, ‘Goli Tere Naam Ki’, ‘Hussn Ka Chor’, ‘Naag Devta’, ‘Pyar Aur Paisa’, ‘Pyar Hi Pyar’, ‘Rangeelay Chor’ and ‘Teen Yakke Teen Chakke.’ The litany was followed by ‘Mr 420’, ‘Miss Fitna,’ ‘Pamila’, ‘Dunia Das Numbri,’ ‘Jeena Chahti Hun’, ‘Haseenon Ki Baarat,’ (1992), ‘Duniya Meri Jaib Main,’ ‘Mr. Tabaedar,’ ‘Mr. Charlie,’ ‘No Baby No,’ ‘Daku Chor Sipahi,’, ‘Kanwara Baap,’ (1993), ‘Mushkil,’ ‘International Luterey,’ ‘Jungli Mera Naam,’ and ‘Sarkata Insaan’ (1994).
The 2010s and the ensuing era was an exception as in this age and time, the emerging crop of TV artistes and crew, with an envious educational background and sound technical skills on their disposal, rose to the occasion to revive the lost film industry with renewed zeal and passion
Feeling more honoured in the observance than in the breach, the leading filmmakers of 1995 and 1996 were creative enough to name films after TV serial titles, dialogues and chartbuster tracks both from Pakistan and India. The examples include ‘Ainak Wala Jinn’, ‘Dam Mast Qalandar’, ‘Jo Darr Gya Woh Marr Gya,’ ‘Munda Bigra Jaye’ (1995), ‘Chief Sahib’, ‘Too Cheez Bari Hai Mast Mast’ and ‘Kurdion Ko Daley Dana’ (1996). The rest of the film titles which graced the cinema screen in 95 and 96 were, ‘Baghi Shehzaday’, ‘Golden Girl’, ‘Jeeva’, ‘Sargam,’ ‘Jungle Ka Qanoon’, ‘Madame Rani’, ‘Mr K2’, (1995), ‘Aalmi Ghunday’, ‘Choron Ke Ghar Chor’, ‘Chor Machaye Shor’, ‘Ham Hain Aapke Ghulam’, ‘Sangam,’ ‘Ghunghat,’ ‘Miss. Istanbul,’ ‘Ham To Chaley Susral’, ‘International Haseena’, ‘Moamla Garbar Hai,’ ‘Munda Tera Deewana’, ‘Raju Ban Gaya Gentleman,’ and ‘Love 95’ (1996).
The same trend was its peak in 1997, churning out readymade film titles such as ‘Jan Jan Pakistan’, ‘Hum Kisi Se Kam Nahin,’ ‘Dil Walay, ‘Ghayal’, ‘Yes Boss’, and ‘Raja Pakistani,’ while the other films were titled ‘Aulad Ki Qasam’, ‘Dever Deewanay’, ‘Deewane Tere Pyar Ke,’ ‘Dil Bhi Tera Ham Bhi Tere’, ‘Karam Daata’, ‘Barsat Ki Raat,’ ‘Mard Jeene Nahin Dete’, ‘Miss Kalashnikov’, and ‘Mohabbat Hai Kya Cheez.’
Hold your horses as the end of such oven-ready, Bollywood-inspired film titles has not yet reached as the years 1998 and 1999 of Pakistan cinema were ruled by films titled ‘Doli Saja Ke Rakhna’, ‘Kahin Pyar Na Ho Jaye,’ ‘Khalnayak,’ ‘Very Good Duniya Very Bad Log,’ and ‘Sahib, Bibi Aur Tawaif’, a Pakistani version of the Indian film ‘Pati, Patni Aur Tawaif, ‘Dil Mein Chhupa Ke Rakhna’, ‘Dil To Pagal Hai’, and ‘Koela’. The other films of the years were ‘Dulha Le Kar Jaun Gi’, ‘Dupatta Jal Raha Hai’, ‘Hasina Numbri Aashiq Das Numbri’, ‘Khatarnak Haseena’, ‘Nakhra Gori Ka,’ ‘Daku Rani’, ‘Dushman Zinda Rahe’, ‘Ik Pagal Si Larki’, ‘Ishq Zinda Rahe Ga’, and ‘Sala Bigra Jaye.’
Though the Pakistani cinema of the 90s could frankly be referred to as the decade of the dittos in terms of using inspired and totally copied film titles, the rise of the new century as well as the millennium could not dare offset the trend, offering a non-stop flurry of verbally tainted films, including ‘Dil Se Na Bhoolana’, ‘Mr. Faradiye’, ‘Ghulam’ (2000), ‘Border’, ‘Fire’, ‘Kon Banega Karorpati’, ‘Sholay’, ‘Toofaan’, ‘Chalo Ishq Larain’ (2002), ‘Darr’, ‘Dil Totey Totey Hogaya’, ‘Kalia’, ‘Tera Jadu Chal Gaya’ (2003), ‘Daaman Aur Chingari,’ ‘Budha Bigra Jaye’ (2004), ‘Dekha Hai Pehli Bar,’ ‘Sarkar’ (2005), ‘Dulhan Banti Hein Naseebo Walian’, ‘One Two Ka One’, ‘Murder,’ ‘Jism’ (2006), ‘God Father,’ ‘Mein Ek Din Laut Kay Aaoon Ga’, ‘Bichhu’ (2007), ‘Anjaam’ (2008), ‘Company,’ (2009), ‘Haseeno Ka Mela’ (2010), and the list goes on.
on film titles slightly inspired and totally copied from various sources.
Then comes the 2011, the new age, ruled by modern technology, virtual reality sensations, state-of-the-art equipment, advanced digital storytelling means and the rest of the scientific wonders that were unavailable to cinema predecessors and filmmakers of the 50s, 60s and 70s. However, the 2010s and the ensuing era was an exception as in this age and time, the emerging crop of TV artistes and crew, with an envious educational background and sound technical skills on their disposal, rose to the occasion to revive the lost film industry with renewed zeal and passion.
Aimed at deriving the kind of guffaw in all likelihood, the title of every next film now appears to be relegating to the stage shows like ‘Buddha Ghar Par Hay’ and ‘Nayee Ammi Purana Abba,’ known for their coarse content and suggestive messages. As a case in point, the masterminds behind coining such clichéd titles as ‘Bhai Log’ (2011), ‘Zinda Bhaag’ (2013), ‘Dekh Magar Pyaar Say’ (2015), ‘Jeewan Hathi’, ‘Oye Kuch Kar Guzar’ (2016), ‘Mehrunisa V Lub U’ (2017), ‘Lafangey’, ‘Ghabrana Nahi Hai’, ‘Parde Mein Rehne Do’, (2002), are no more than the man on the street. Having a lowbrow taste and philistine outlook, the educated, tech-savvy but literarily backward coterie of filmmakers is speedily jumping on the cinema bandwagon to entertain the audience by using colloquial terms and social media expressions of a lesser standard then the poor man’s slogans written on the back of auto-rickshaws and cargo trucks.
What’s equally disturbing is the mixing and combining English words with Urdu ones to create a brand-new film title such as ‘Love Mein Ghum’ (2011), ‘Fiker Not,’ ‘Ishq Positive’ (2016), ‘Ishq Wala Love,’ (2017), ‘Teefa in Trouble’, ‘7 Din Mohabbat In’ (2018), ‘Parey Hut Love’ (2019) and ‘Ishrat - Made in China’ (2002).
Add to the list some forthcoming films like ‘Love Guru Hoja Shuru’, ‘Come on Abhinandan’, ‘Sorry Baba’, ‘Senti Aur Mental’, and ‘Thori Setting Thora Pyar.’ What is of more concern is the new trend of titling Urdu films in English, for instance, ‘Black Cat,’ (2009), ‘Son of Pakistan,’ (2011), ‘Dirty Girl,’ (2013), ‘The System’, ‘Operation 021,’ (2014), ‘Actor in Law,’ ‘Blind Love,’ (2016), ‘Load Wedding,’ ‘Motorcycle Girl,’ ‘Jackpot’ (2018), ‘Wrong No. 2’, ‘Ready Steady No’, (2019), not to exclude the forthcoming films like ‘Fatman’, ‘Money Back Guarantee’, ‘Sorry: A Love Story,’ ‘Middle Class,’ ‘The Window,’ ‘Once Upon a Time in Karachi’ and ‘Half Fry.’ Roaming around Karachi, Lahore and London, there is another craze for naming films after places with a predictable
Despite a reduced number of films, notably because of the separation of the erstwhile East Pakistan, the truncated and miserably shorn-of-talent film industry of Pakistan was still able to retain its literary focus as in 1972 many films charmed the audience with beautiful titles
The film industry’s downward movement summarises the sterilised mindset of the then filmmakers who were overly obsessed with ‘Hasina, ‘Daku’, ‘Chor’, and ‘Jasoos’ or were wholly relying on film titles slightly inspired and totally copied from various sources
From 2000 to 2010, the crème de la crème of the originally-titled films included, ‘Banarsi Chor’, ‘Billi’, ‘Billo 420’, ‘Ham Khiladi Pyar Ke’, ‘Ghar Kab Aao Gay,’ ‘Tere Pyar Mein,’ ‘Kahan Hai Qanoon’, ‘Khuda Ke Chor’, ‘No Paisa No Problem’, ‘Abhi Nahin To Kabhi Nahin,’ ‘Yeh Hui Na Mardon Wali Baat’ (2000), ‘Aaj Ki Larki’, ‘Choorian Nahin Hathkarian’, ‘Dakait’, ‘Munda Rang Rangeela’, ‘Raka’, ‘Toofan Mail’, ‘Uff Yeh Bivian’, (2001), ‘Yeh Dil Aap Ka Huwa,’ ‘Behram Daku’, ‘Babbu Khan’, ‘Manila Ke Jasoos’, ‘Shikari Haseena’, (2002), ‘Laaj’, ‘Larki Panjaban’, ‘Roti, Goli Aur Sarkar’ (2003), ‘Wehshi Haseena,’ ‘Jan Leva,’ (2004), ‘Koi Tujh Sa Kahan,’ ‘Daku Haseena,’ ‘Kyun Tum Se Itna Pyar Hai’, ‘Tere Bin Jiya Na Jaey,’ ‘Dekha Hai Pehli Bar,’ ‘Pyar To Hota Ha,’ ‘Aik Gunah Aur,’ (2005), ‘Madam Dahari Baaz’ (2006), ‘Haseena Golimar’, ‘Anokhi Shikaran’, ‘Aurat Ek Khilona’, ‘Ek Daulat Ki Hawas’, ‘Anokhi Shikaran,’ ‘Honeymoon,’ (2007), ‘Pyasa Badan,’ ‘Gunahon Ki Basti,’ (2008), ‘Miss Top 10’ (2009), ‘Taxi No. 707,’ ‘Madam X,’ and ‘Haseena 20/20’ (2010).
From 1981 to 2010, the 30-year period of Pakistan’s film industry witnessed less ups and more downs but it was overall a dark period as shown by the aforementioned titles of the films, while an exception may be granted to the titles of comedy and horror films (e.g. Mr K2, Sarkata Insaan, etc.). In aggregate, the film industry’s downward movement summarises the sterilised mindset of the then filmmakers who were overly obsessed with ‘Hasina, ‘Daku’, ‘Chor’, and ‘Jasoos’ or were wholly relying
Optimising commonplace but hot keywords of the 90s cinema such as ‘Chor’, ‘Gorillay’, and ‘Jasoos,’ the year 1991, in a similar vein, kept up the momentum with film titles that included ‘Aalmi Jasoos’, ‘Akhri Shikar’, ‘Badmash Thug’, ‘Cobra’, ‘Darindgi’, ‘Doulat Ke Pujari’, ‘Goli Tere Naam Ki’, ‘Hussn Ka Chor’, ‘Naag Devta’, ‘Pyar Aur Paisa’, ‘Pyar Hi Pyar’, ‘Rangeelay Chor’ and ‘Teen Yakke Teen Chakke
In a similar vein, there exists a marked contrast between ‘Payal Ki Jhankar’ of 1966 and ‘Udham Patakh’ of 2021, between ‘Bulbul-e-Baghdad’ of 1962 and ‘Na Band Na Baraati’ of 2018 as well as between ‘Poonam Ki Raat’ of 1966 and ‘Aakhri Mujra’ of 1994.
A film can never be sold by its title alone. However, the film title should always be riveting enough to pique an interest in its intended audience and it must at all times intrigue their inquisitiveness in the film it refers to. Over and above being succinct, engaging and more memorable, the title of the film happens to be its prefatory statement that laconically encapsulates the film’s overarching theme and is laced with both rhyme and reason to rationalise the chosen title, also making it known to those yet oblivious to its theatrical release and ensuing critical acclaim and commercial success.
storyline, as shown by ‘Good Morning Karachi,’ ‘Karachi Se Lahore’ (2015), ‘Lahore Se Aagey’ (2016), ‘Punjab Nahi Jaungi’ (2017), ‘London Nahi Jaunga’ (2002) and the forthcoming film, ‘Once Upon a Time in Karachi’, a copycat title of India’s ‘Once Upon a Time in Mumbai’ (2010), which was too derived from the Hollywood’s ‘Once Upon a Time in Mexico,’ released in 2003. Despite being distinct, the film titles of today are mostly based on clichéd catchphrases, new buzzwords, internet lingo and slapdash verbal contraptions, and therefore are much the same in relation to the time they all belong. The examples include, ‘Chambaili,’ (2013), ‘Jalaibee,’ ‘Halla Gulla,’ (2015), ‘Dobara Phir Se’, ‘Bachaana’, ‘Sawaal 700 Crore Dollar Ka,’ ‘Teri Meri Love Story,’ ‘Dance Kahani,’ (2016), ‘Thora Jee Le,’ ‘Balu Mahi,’ ‘Chupan Chupai,’ ‘Bach Kay Rehna,’ ‘Na Maloom Afraad,’ ‘Shor Sharaba,’ (2017), ‘Maan Jao Na’, ‘Tik Tock,’ ‘Cake,’ ‘Parchi’, (2018), ‘Laal Kabootar’, ‘Chhalawa,’ ‘Daal Chaawal’, ‘Heer Maan Ja,’ ‘Tum Hi To Ho’ (2019), ‘Tich Button,’ ‘Dum Mastam,’ and ‘Carma’ (2022), including the forthcoming films like ‘Qufli,’ ‘Yaara Vey,’ ‘Dhai Chaal’ and ‘Patakh De.’
When it comes to giving an appropriate title to the film, what remains of more concern is now the paradigm shift from using colloquial expressions to resorting to slang terminology. Reportedly, the forthcoming release of the film ‘Bhag Bhootni Kay,’ directed by Syed Atif Ali, will be akin to hammering a coffin nail into the cinema debacle in the particular context of phraseology and language usage. If ‘Bhag Bhootni Kay’ is screened with the same title, this will open the floodgates for even more vulgar film titles tainted both with offline street language and with expletives shared online.
In place of reifying their intellectual absurdity into a literal form, it is high time that the emerging lot of bohemian screenwriters and filmmakers reconnected to their cultural and literary roots, as had been done by the likes of Nazdeekiyan (1986), Aag Aur Sholay (1987), Bazar-e-Husn (1988), ‘Aag Aur Suhag,’ (1989), ‘Pyasa Sawan,’ (1994), ‘Mera Mehboob Mera Qatil,’ (1996), ‘Dil Sanbhala Na Jaye,’ (1998), ‘Khoye Ho Tum Kahan,’ (2001), ‘Khuda Ke Liye,’ (2007), ‘Ramchand Pakistani, (2008), ‘Bin Roye,’ (2015), Mah-e-Mir, ‘Sayae Khuda-e-Zuljalal,’ (2016), ‘Wajood,’ ‘Parwaz Hay Janoon, (2018),’ ‘Betabiyan,’ (2019), and ‘Zindagi Tamasha’ (2002).
Most of the new film titles, in contrast, are semantic enough to suggest the never-ending plight of Pakistan’s film industry, ailing from a long-drawn inability to think of a title, which is original, easy to understand, pleasant to the ear, equivalent to the aesthetic attributes and is also laced with some literary merit at the same moment.
It is not a tall order even for a dabbler to mark the subtle literary nuances of ‘Hum Matwaley Naujawan’ of 1965 vis-à-vis ‘Jawani
Phir Nahi Ani’ of 2015 and of its namesake sequel released in 2018. Other than depicting their depreciating artistic taste and attenuated literary flavour, those who have been at the wheel of Pakistan cinema must be held accountable for steadily distorting the portrayal of women on the silver screen - a shameful journey from ‘Shareek-e-Hayat’ of 1968 to ‘Madam Dahari Baaz’ of 2006, ‘Gulbadan’ of 1960 to ‘Hasina Atom Bomb’ of 1990 and ‘Aurat Eik Kahani’ of 1963 to ‘Pinky Memsaab’ of 2018.
With the ever-evolving scenario of filmmaking and storytelling, it was bound to happen that the trend of having poetic film titles change into something more relevant to current times. I believe the subjects being discussed in today’s films are closer to reality and the film titles, which resonate better with reality, are more in demand and popular. Hence, the shift from poetry to realtime, catchy film titles.
A journey from devising poetic words and expressions to using emoticons and emojis, the time has drastically changed. The language of Gen Z is very simplified and abstract. Thus, the film titles have also adapted the current spoken lingo.
Trends in creative industries change over time and are relevant to its audience. However, poetic and punchy titles coexist and it mostly depends on the message that needs to be given to the target audience.
Well, I loved film titles like ‘Big Trouble in Little China’ and ‘Jeera Blade.’ These titles were my inspiration as they actually reveal what the film is all about. For the film ‘Teefa in Trouble,’ we tried a few other titles but they didn’t suit the film as they sounded poetic and quite serious. The title is half the film. Imagine a thriller with a romantic poetic title. However, some people are good with titles and these days everyone wants to have a memorable title even if it doesn’t apply to the film. Memorable naam kay bajai memorable film banao!
Every now and then comes an actor who mesmerizes both the audience and his contemporaries with his brilliant performance, and then leaves the stage for others to emulate him. Veteran TV and film actor Abid Ali was one such personality who graced both TV and films during his career and set a bar so high that not many would be able to match his performances for a long time.
Born in Quetta in 1952, Abid Ali began his career with Radio Pakistan when he was a teenager, and in four years, made a name for himself as one of the rising stars from Quetta. He moved to Lahore in 1973 and made his TV debut with Zanjeer but it was Jhok Sial that made him a household name. After that, there was no stopping him for he juggled between Radio, TV, and stage until he found success through a drama serial Waris, written by Amjad Islam Amjad.
Playing Dilawar Khan in Waris, Abid Ali gave a career-defining performance as a young man in search of his elder brother's murderer, whom he only knows by name, and not by face. The way he carried the whole drama serial on his shoulders saw him become the leading actor of his generation, and after that sky was the limit for his talents.
Success through drama serials like Waris and Samundar made him a popular actor and also helped him develop his skills as an actor. Not only was he
tall, dark, and handsome, he had a distinct voice that set him apart from his colleagues. He used it to his advantage initially in his career, and became one of the most sought-after actors in the country, delivering one hit after another.
From his first TV hit play Jhok Sayal in 1973 to his final film Heer Maan Ja in 2019, Abid Ali stayed busy doing quality projects on every platform and although he hardly played the leading man in films, he remained the first choice of TV directors whenever they had a difficult role in hand. After Dilawar Khan in Waris and Ahmed Kamal in Samundar, he went on to play diverse characters like the landlord who juggles between two wives in Pyas, the truck driver in Khwahish, the patriarch in Dooriyan, the village elder in Dasht, and the mysterious guy who becomes rich after migrating to the gulf states in Doosra Aasmaan.
If that wasn’t enough, he was the first one to take the first step towards private production with Dooriyan which aired on Pakistan’s first private channel Shalimar Television Network and was followed by mega-budget serials like Dasht and Doosra Aasmaan in successive years. He was not only the producer of the projects but also directed some episodes of Dasht, which is even remembered today because of its ensemble cast and plot. On the other hand, Doosra Aasmaan was the first Pakistani drama featuring a mega-cast to be shot abroad, and set the trend of shooting TV plays abroad.
Abid Ali didn't restrict himself to local TV projects and worked in over 200 films, including two international projects like Sabiha Sumar’s Khamosh Pani and Karan Razdan’s Mr Bhatti on Chutthi. His hit Pakistani films include Khaak Aur Khoon, Gum-
By Taha Kehar KARACHIWhen the first season of Delhi Crime was released in 2019, sceptics weren't pleased with the excessive glorification of the police force in the series. Even so, the Indian crime drama was lauded for its refreshing take on the gritty, grim realities of policing and portrayal of the gut-wrenching Nirbhaya case. That the series was based on a real incident rather than a fictitious one made it come through as a veritable eye-opener - a haunting addition to the crime sagas associated with the Indian capital. Using fiction as a springboard to understand reality, Delhi Crime hit close to home because it drew heavily upon fears that weren't entirely beyond the realm of possibility. The second season of the series, which was released on Netflix in late August, comes across as a pale shadow of the first offering. While watching the first episode, viewers are struck by a soaring sense of nostalgia when we see DCP Vartika Chaturvedi (Shefali Shah) sporting her khaki uniform on screen. Seeing her motley team of reliable and industrious officers in action also inspires a
similar reaction. Viewers who watched the first season in 2019 might need some time to remember each character's quirks and the intricate details of their lives. However, this shouldn't be construed as a sign that viewers should re-watch the initial season to understand the new season. Once the characters find a suitable crevice to rest their heads, they can easily garner the audience's empathy. The creator ought to be commended for presenting the police personnel as the beating hearts of the show rather than as crime-busting agents. Fuelled by sincere intentions and the spirit of humanity, the police officials come through as somewhat reliable, if not angelic.
Viewers are unlikely to be incensed as the series seeks to painstakingly adopt a balanced outlook this season to avoid another sympathetic portrayal of the Delhi Police. The creators have included in the cast a corrupt cop who struggles to keep his machinations in check. With that, Delhi Crime offers a biting critique on the dichotomies within India's police infrastructure. Any traces of discrepancy or malpractice are attributed to not just personal ambition, but also a systemic failure.
Even so, deft characterisation cannot be the only benchmark to assess the merits of the Indian crime
series. The problem arises when social commentary and the desire for political correctness is used to divert attention from a plot that is weak and unwieldy.
The premise of this season is radically different from that of the previous one. This time around, Vartika and her team have to reckon with a series of murders orchestrated by the Kachcha Banyan gang. The creators have modelled the new villains on a miscreant group that terrorised Delhi through
murders committed in the 1990s. It is refreshing to see that they haven't relied too heavily on a specific instance. As a consequence, the second season is allowed to operate within a fictional realm - albeit one that isn't disconnected from reality.
The Kachcha Banyan gang targets older adults from fairly affluent backgrounds by using the same techniques with considerable ingenuity. It is amply clear from the outset that the criminals are engaged
nam, Insaniyat Kay Dushman, Kalay Chor, Mr. 420, Hawaein, Moosa Khan, and his final film Heer Maan Ja which was released just a month before his death.
After over two decades in the industry, Abid Ali moved to character roles in the new millennium and played the father or grandfather whatever the script offered. Even then, he played Saba Qamar’s husband in Bunty I Love You, the patriarch in Mehndi, Dayar-e-Dil, and Aangan besides diverse characters in Naagin, Pinjra, Daldal, Tajdeed e Wafa, Mera Rab Waris, and Ramz-e-Ishq. Despite growing weak in his final days, he didn’t let his health affect his work and continued to work diligently.
He belonged to that rare generation of actors who had a distinct voice, and through his stints with Radio Pakistan, and later with PTV, he understood the importance of using his vocal talent. Many of the TV commercials that are currently on air feature his vocals, since no one was able to replace the freshness of his vocals and delivery of words.
His expertise with vocals was one of the reasons why no one was surprised when he was selected to dub the dialogues of Anthony Quinn in Urdu for The Message. Opting for Abid Ali proved to be integral to the success of the dubbed version that aired on local TV.
Abid Ali can be counted among those actors who not only worked on his characters but also made others look good. Every actor, actress, or director who had worked with him during his career remembers him for his touching their souls. His untimely death three years ago devastated the TV, Radio, and the film industry, and none of them have been able to recover from that shock.
in acts of copycat violence - a blatant sign that more nefarious forces are involved in the murders. Vartika and her team of competent personnel remain cognisant of this fact. Yet, they are overwhelmed by the frequency of the murders and constrained by orders given by high-ranking officials.
The team eventually pursues the predictable course in their investigation instead of going off the beaten path. As a result, audiences have to endure episodes filled with heartbreaking scenes where members of denotified tribes are hauled out of their homes and mistreated at the hands of the cops. Though such instances of scapegoating and police brutality are rampant in society, it is distressing to see the morality of the impoverished being called into the question in this manner. These scenes aren't suitable for the faint-hearted. Cynical viewers might even see this form of scapegoating as an attempt to the blame the poor for crimes committed against the elite. This, however, is a rather extreme viewpoint that shouldn't be entertained when it comes to serious cases involving murder.
It is reassuring to note that Vartika and her team aren't particularly keen on these disconcerting tactics. Once they realise the fault in their strategies, the DCP and her crew opt for a refreshing change of tack. The outcome of the investigation is far from compelling and even stands the danger of coming across as cumbersome and clichéd.
If viewers adopt a less cynical approach to the events that unravel on our screens in season two of Delhi Crime, they will understand how most crimes are steered by socioeconomic inequalities and injustices. Be that as it may, discerning viewers may find it difficult to stomach the fact that the denouement uses the dichotomies between the haves and the have-nots in such an unflattering manner. If audiences choose to keep the power dynamics out of the equation and watch the season just for its entertainment value, the Indian crime drama may not rattle them as much.
Another concern that remains palpable throughout the five-part series pertains to the image crisis surrounding the Delhi Police. It is tough to brush aside the notion that Vartika and her team's actions are prodded by the desire for damage control rather than any justice considerations. Given that the series has a history of whitewashing the police force, viewers might find it difficult not to arrive at this conclusion.
Despite its occasional lapses and partiality towards the police, Delhi Crime does succeed in depicting some memorable moments. In one such scene, Vartika has to reckon with the daunting task of informing a woman that her parents have been brutally murdered. Buoyed up by a mix of pain and discomfiture, this scene highlights the difficulties involved in police work. The realistic nature of these scenes makes it difficult to rule out Delhi Crime as yet another agenda-driven crime series.
The problem with Delhi Crime's new season arises when social commentary is used to divert attention from a weak plot
Let’s take a trip down memory lane when Saturdays were more ‘animated’ than ever
By Omair Alavi KARACHIThere are two kinds of viewers in this world, those who have grown up watching cartoons, and those who still live on a cartoon diet. Joe Garner and Michael Ashley’s It’s Saturday Morning – Celebrating the Golden Era of Cartoons is a book for both categories of cartoon lovers because it takes them back into the era when cartoons used to be the only reason children woke up easily on weekends. This book has everything any cartoon lover would need since it covers the very best animated series of all time. The only drawback for some newer audiences would be the coverage of cartoons that aired between the 1960s and the 1990s, but the authors have a valid reason for that. In their defence, since the book covers ‘Saturday Mornings’ that lasted till the 1990s, there is no reason to cover those animated series that came after the end of ‘Saturday Mornings.’
The book brings together all those shows that helped parents sleep soundly on weekends, and made Saturday mornings an event worth looking forward to. People who grew up in countries like Pakistan – where there was no morning TV till the 1980s – would also be able to relate to the selection in this book since most of the cartoons first aired on PTV, later on STN and finally were available on Shaheen Pay TV (SPTV) when it became an ‘in thing’ in the 1990s.
What makes this book something to have in your library and worth every penny spent? It celebrates all those memorable shows that impacted the kids of the era big time, those iconic characters that are still part of the pop culture, as well as catchphrases, songs, and TV commercials that were instrumental in adding value to the pre-internet era when life was simple and cartoons were educational.
The current generation may call them
By Kayenat Kalam KARACHIWhile everyone has a love-hate relationship with their family members, the furry fellows are the most loved ones in any case. And yet, no one follows the ‘leave a little sparkle wherever you go rule’ more than our fur buddies as they tend to fill our houses with their glitter-like fur that just doesn’t get off. No place is perfect when you have pet fur floating around your entire house and getting on just everything, including your clothes.
Cats and dogs may be poles apart in nature but when it comes to shedding fur, they are more or less the same. Sadly, there is no guaranteed way of escaping this vexing fur dilemma. However, there are a few things that can still help you in successfully managing the issue. Try out these tips and tricks to keep your home fur-free without having to say goodbye to your most lovable hairy buddies!
1. Every day, brush your furry friend
A great approach to reducing hair shedding is to brush your pet every day. The brush gathers loose hair as you go over your pet's coat; you may discard it afterward. As a result, there won't be any fur to drop and collect around the house.
Pet hair brushes can be broadly categorised into three categories as mentioned below:
● A pin brush
● Brush with bristles
● Bristle brush made of natural fibre
To handle hair clogs and fine brushing, a pin brush is an excellent option. When you practice daily brushing, a bristle brush comes in handy. Hair without hairballs is smoothed as it glidingly passes over it. Using a natural fibre bristle brush is a wonderful idea to remove any loose hair that has accumulated on your pet's coat's outermost layer.
2. Get a furniture cover
The majority of home pets have a propensity for lounging on beds, couches, and other pieces of furniture and thus the pet hair is left all over the furnishings. We advise putting slipcovers on your furniture. Even bed sheets or substantial pieces of material are acceptable. Simply cover your furniture when not in use and remove the covers when you need to utilize it. You'll save a tonne of time with this approach. There's no need to separate each strand when someone visits your home.
‘animated series’ but what dominated the family living rooms from the 1960s to the 1990s were known as cartoons. This excellent and well-researched book talks about that era and discusses how it helped American children and those who grew up in other countries become upright citizens. According to this book, the cartoons weren’t just successful because they were ‘novelty’ but because they educated kids for four straight hours on Saturday mornings without instilling dangerous thoughts into their minds. The book is divided into four parts – the 1960s, 1970s, 1980s, and 1990s. In the 1960s section, you will find both The Flintstones and The Jetsons – one series about the past and the other about the future –alongside the timeless The Bugs Bunny Show, The Archies, and Jonny Quest to name a few. The 1970s section featured Scooby-Doo: Where Are You!, Super Friends as well as Schoolhouse Rock! and Fat Albert and the Cosby Kids. As if that wasn’t enough, the readers are treated to the arrival of Thunder Cats, Transformers, G I Joe as well as He-Man in the 1980s section, which also features The Smurfs. Although Teenage Mutant Ninja Turtles made their first appearance in the 1980s, they
achieved iconic status in the 1990s and that’s why they feature in the cartoons from that era. The authors thank Steve Spielberg for his approach to cartoons
in the 1990s since he sought to revitalize old-fashioned animation in various forms, and succeeded, His Tiny Toon Adventures and Animaniacs were the
last animated cartoons that ruled the Saturday mornings before the transmission was closed and cable television took over.
The way the writers take the readers back in time is soothing as well as informative; it is as if the person with the book in his hand is watching the cartoons from his or her favourite era, with commercial breaks in between. What begins as a journey in the past from The Bugs Bunny Show, The Jetsons, and Jonny Quest then takes the audience into the world of Super Friends, Scooby-Doo, The Smurfs, as well as He-Man, Teenage Mutant Ninja Turtles, Tiny Toon Adventures, and ends up with Pinky and the Brain, the iconic characters who appeared in not one but two series in the 1990s!
The best part about this book is that each show, irrespective of its era, is discussed in detail, complete with statistics such as the year it was aired, the number of seasons it aired, and on which network, with the number of exact episodes as well. You will be surprised to know that some of the iconic cartoons like Space Ghost and The Archies were short-lived and ran for a longer duration because of syndication.
That’s not all, the readers will be thrilled to know the backstory of many
iconic traits that became popular when some of the shows were aired. Like Scooby-Doo’s name was penned after a network president heard Frank Sinatra say ‘Scooby do be do’ at an airport; that the writers didn’t coin the phrase Yabba Dabba Doo for Fred Flintstone, the voice-over actor Alan Reed did; and that when ‘What’s up Doc’ was penned, no one knew that it would become one of the most popular phrases of all time!
Add to that the initial concept images of the cartoons, the behind-the-scenes insights from the producers or artists or both as well as the candid photos of the creators and you have a document that will keep on giving. The commentary that accompanies these chapters as well as the cartoons is important as well since it explores the cultural setting that influenced that specific series’ creation as well as its importance to the children of the era in which it aired.
If you didn’t know that The Flintstones was influenced by the 1950s sitcom The Honeymooners, Space Ghost was made in the mould of Batman, and The Pink Panther first appeared in a live-action movie of the same name, then you do need to improve your knowledge about cartoons. You might need the help of Scooby-Doo and ‘the meddling kids’ to enlighten you about the ‘mystery’, Archies about the music aspect while Fat Albert might lecture about racism that reigned supreme in the 1970s.
Some avid cartoon watchers like this scribe might disagree with the selection of Darkwing Duck over Duck Tales, picking The Care Bears and Adventures of the Gummi Bears in the presence of The Smurfs and selecting live-action Pee Wee’s Playhouse since it wasn’t a ‘cartoon’ at all, but then, it all depends on what the writers think best. They were there when these shows were aired, and hence the readers should trust their judgment. After all, they have done a commendable job by taking you back in time, without making you leave your space, giving you something that you didn’t know!
continue even with the healthiest diet because it's a natural process. It is also an indication that your pet is growing and in good health. But making sure your pet eats a balanced diet can help to prevent them from getting skin or hair issues. It could make sure that their shedding doesn't go beyond what would naturally occur.
6. Deep cleaning every week
A thorough cleaning is superior. Your home won't shine as brightly as it will after a deep cleaning session even if you follow the advice above. So, we propose a deep cleaning session at least once every fifteen days.
The best method for getting rid of pet hair is:
● Clean the furniture cover
● Vacuum the carpets and floors
● Clean air filters
● Use a moist mop Hardwood is indeed aesthetically pleasing, not just to the homeowner, but also to the visitors. It might be a good fit for the interior of your home, but if you decide to adopt a pet, you might run into problems. For instance, the hair from your pet can stick to your hardwood flooring, which would undoubtedly draw your attention.
lenging surfaces. Around a hundred adhesive sheets are typically included in disposable lint rollers. And each one costs between four dollars and six dollars. A disposable, inexpensive pet lint roller should be in your luggage if you're traveling with a pet.
4. Change air filters
As was already said, a lot of your pet's fur is airborne. It hovers in the air for a never-ending period of time, which is dangerous. Imagine someone entering your home and taking a piece of cat hair off the meal you just served. How embarrassing would that be?
Or even worse, picture a friend who is allergic to cats sneezing due to the excess cat hair in the air.
3. Rollers to remove pet fur
Pet hair-removing rollers or pet lint rollers are similar to conventional lint rollers. They clean surfaces by collecting hair, threads, and other undesirable materials from them. The main distinction between a pet lint roller and
To solve this issue, we advise routine air filter changes. Your home's air filters are already stressed because pet hair is lying around. Over time, they could get clogged. As a result, wash and replace them at least every two months. For a better air quality, you can also install air purifiers.
5. Make your pet's health a priority
The hair loss process will
Although cleaning vinyl or hardwood floors may require extra caution, you shouldn't be alarmed because the appropriate advice can always be of help. Use a moistened mop to clean them as it will function as a magnet to attract any dog hair on the floor.
Also, keep in mind to clean your hardwood floors using solutions designed for wood. A Swiffer can be a big assist in cleaning your hardwood floors even though it is not required.
7. Fur removal glove
The furry hair gloves remove stray hair and give your pets a gentle massage. With its real touch, you can easily put the hair away of long and curly-haired dogs and cats. Cleaning up is simple because the hair that sheds cling to the glove. It massages your pet like your hand would, saving you from having to chase after them. The hair sticks to the glove after grooming, thus making it easy to separate and remove the hair. Overall, maintaining a fur-free place in the presence of pets is a formidable task. The most crucial thing is to maintain consistency and stay on top of the issue. It is difficult to achieve both at once, but the aforementioned tips will help you remove the pet hair while keeping it off your clothes forever.
Maintaining a fur-free place in the presence of pets is a formidable taskBy Zehra Batool KARACHI
Burnout, or work-related exhaustion and stress are part of everyday life.
However, when one is faced with an enormous workload and an unbalanced worklife, burnout has a tremendous impact on one’s work productivity but as well as one’s physical and mental health.
Burnout occurs when work-related stress gets too severe or lasts too long. Though stress and burnout frequently overlap, burnout is defined as being overworked, feeling overwhelmed, and feeling ‘trapped’ with no way out. In stress, you feel better once things settle down. In contrast, burnout makes you plumbs the depths of despair and hopelessness and you start assuming the worst.
Reasons behind burnout
Various factors might lead to burnout while the critical point reaches when the work pressure or stress at work becomes excessive or continues to be for an extended period. You may be vulnerable to burnout if you have:
A minimal amount of control over your workload.
Almost no appreciation for a job well done.
Unclear work requirements.
Unreasonable or excessively rigorous work requirements.
A high-intensity workplace.
Too much work, particularly when it leaves you with less time to pursue your personal interests.
Signs of burnout
Much like stress, burnout shows up in many ways for different people as it is typically associated with emotional fatigue and can disrupt all aspects of your life, including your physical health. Its symptoms might emerge in your life as mental, emotional, or physical symptoms. Typical symptoms of burnout usually involve:
Physical burnout:
• Persistent stress
• Irregular sleeping patterns
• Unexpected, recurring health issues, e.g. headache, cold together
with mental health conditions like despair and anxiety
Mental burnout:
• Dreading the work
• Absence of enthusiasm or drive
• Loss of sense of accomplishment
• Uncontrollable procrastination
• Feeling unable to deal with new
challenges
Emotional burnout:
• Rage or irritability at work
• You suddenly and deeply despise your job
• Workplace hopelessness
• Social withdrawal
After one identifies the causes and treatments of burnout, let's talk about how to
deal with it. The condition can worsen if the root causes are not addressed. Recovery from burnout is a gradual process and you need time and space. Do not hurry through this process.
Tips to recover from burnout
1) Identify the causes
Discovering the cause of your burn -
out is the first step. This may be apparent in some cases. For others, discovering this will require time and reflection. Examine any resentment you may have for your job first. Feelings of resentment frequently indicate that something crucial is lacking. Consider what you can do to address
your burnout once you have identified its underlying causes. This may entail giving up some of your control over certain tasks, increasing your level of autonomy at work, working remotely once a week, or even switching roles.
2) Travel or take a leave of absence
Taking a genuine vacation is a fantastic approach to recover the lost energy. You can rest and unwind when you have some time off from work. Taking time off is crucial for receiving the rest you require and developing long-term solutions to burnout, even though the stress and issues you are currently facing at work might still be there when you return.
3) Learn to say ‘no’
While you are recovering from burnout, try not to take on any new obligation or commitment. With coworkers that require your assistance, this could be difficult. However, you must learn to say ‘no’ politely.
4) Reevaluate your goals
Revisit your personal goals. When your employment does not support your long-term goals or does not connect with your beliefs, burnout may occur. Lack of clarity on your objectives can also lead to frustration and fatigue.
5) Replace the negative self-talk
You may fall into a pattern of pessimistic thinking, which usually gets worse overtime. You can overcome this by developing an optimistic outlook. Affirmations, which are hopeful remarks about the future, aid in creating a mental picture in your head and a sense of conviction about what you're doing. You should be proud of your achievements, no matter how minor. These events can assist you in re-discovering happiness and significance in your work. While some of these tactics will work for you, others may not. So, discover a combination of strategies and best practices that seem right for you. Do not be scared to try something new if you feel that it is not working.
you need to make to stay fit and healthy
By Muhammad Ali“It is not necessary to work out round-the-clock to achieve fitness goals as one needs to take baby steps and let one’s body rest as well,” says Shahrukh Aziz, a fitness coach as well as owner of a local fitness and exercise centre in Federal B Area in Karachi.
Overly optimistic goals can disappoint you sooner in your fitness journey as no one expects you to run ten miles on your first day of running. The best approach is to move slowly but steadily and get a grip first. Be smart with setting milestones and try to achieve them one by one within an extended time frame.
We often confuse fitness with losing weight, however, it’s all about choosing a healthy alternative for your body in terms of food and lifestyle. As things take place, we tend to set unrealistic fitness goals and regret them later. After exercise, your muscles require proper resting and healing time and pushing things too hard to achieve fitness isn't advisable and can cause damage to your entire body. You may even develop more serious issues if you exercise too heavily from the word go.
Talking about safe exercise guidelines, fitness coach Shahrukh Aziz said, “When you hit the gym, make sure it's not for a short-term goal because you might end up causing more harm to your body than good. Short-term goals make you over-exercise, which can be dangerous. Exercise is a crucial component if you want to live a healthy life, but if you don't give rest to your muscles, you will end up feeling more tired instead of fit. So working four days a week for 40-50 minutes is ideal and will gradually make you fit.”
Moreover, lifestyle changes are a must if your goal is to stay fit for longer. Sleep on time and avoid junk food, and if you're following a diet along with exercise, variation and portions are important. “Plan your meals before adding a fun element to your gym routine”, he added.
Protein is crucial for recharging your body before a workout. It's equally vital for your post-workout recovery as well. Drinking a protein shake or having any protein supplements post-exercise can reduce the risks of muscle injuries. It also allows your body to fill in more protein by cutting down the fat mass. That's how you lose weight, after the piled-up fat breaks away after your training and is replaced with healthy protein particles.
But what's a suitable quantity for protein shakes? Shahrukh believes that the amount of protein shakes required vary according to weight and physical activity. He says, “If your activity is more than usual, you will need more protein. Alongside this, one needs a properly balanced diet to stay
fit. The diet should consist of protein, carbs, good fats, and multivitamins to fulfil the body’s daily requirements.”
Additionally, he added that if the protein requirements are not fulfilled through your diet, only then should you get protein supplements. For example, if a person is 75 kg, his daily intake of protein must be about 60gm, otherwise he may include a protein supplement in his diet to fulfil the daily requirement.
If you consume protein supplements before exercise, you give a pump to your body. Shehzad Shafiq Memon, a physical trainer, also favours using protein powders. He believes they are miracle
workers for your muscles. The more warmed up and energised your body feels, the better and more effective your workout. The extra protein consumption helps your body concentrate on tissue repair and boosts enzyme production, which, as a result, assists your muscle growth and your muscle-gaining cardio will show the desired results in no time.
“As an adult, you may suffer muscle loss due to ageing and protein deficiency. Protein powders can work wonders to restore muscles and improve overall health,” says Shehzad. “Look, there’s some difference between a workout and over-exerting your muscles in the name of
exercise. You can’t exercise 7 days a week. You can avoid overtraining by maintaining an exercise log. The log should include the days, duration and time of your workout and exercises you do each day. This way, you can reduce the risks of extra fatigue and post-workout strains”, according to him.
But, when talking about exercise and protein powders, we must address the use of anabolic steroids and ergogenic drugs as they must always be avoided and should not be consumed by the average gym-goer.
“When it comes to a robust, muscular physical shape, the bigger is not always better. I don't believe in using steroids to achieve your fitness
goals. The people who participate in bodybuilding competitions resort to such shortcuts which have an adverse impact, damaging your organs in the long run,” reveals Shahrukh.
Sticking to a fitness regime is tough and it may take you some time to see significant results. So you have to celebrate every milestone you reach, either small or big. Find a gym partner if you think it’s hard to stick to your daily fitness routine. They can simultaneously be your motivator and competitor too. There may be times when you feel like skipping the workout, but you probably can’t bail on your friend waiting for you at the gym!
While work-related burnout can be mentally and physically taxing, it can be overcome in a holistic and timely mannerFitness coaches clear the air about safe exercise and the lifestyle changes KARACHI
Chrishell Stause
Tan France Shantel VanSanten Sam Richardson
The world of makeup and beauty, once a female-dominated industry, is now experiencing some gender-breaking creativity
By Mubarra Yousuf KARACHI
When social media apps really started gaining popularity in the early 2000s, online platforms which discussed makeup were widely regarded as a strictly “girls only” zone. Many trailblazers in this field and early makeup YouTubers such as Jaclyn Hill and Kandee Johnson quickly gained fame due to their makeup looks during this time, with a lot of them now having their own makeup brands, thanks to the fame they garnered early on in their social media careers. On the flip side, mainly due to prevalent societal norms, the idea of men sharing a passion for makeup has seemed unthinkable to many. While men have been makeup artists for many years, most of their duties remained confined to the work they did behind the camera. However, some path-breaking men in recent times have broken these stereotypes and flaunted their makeup talent in front of the camera.
Patrick Starr
If there is one male makeup you have heard of, chances are his name is Patrick Starrr. Having shot to fame in record speed, Patrick has already collaborated with perhaps the biggest and most well-known company in the makeup world - MAC. In July 2020, he launched his very own makeup brand called One/ Size, which caters to all customers irrespective of gender or colour. Patrick has successfully demonstrated that there is no playbook one needs to follow in the makeup world. He works to inspire others to simply follow their dreams regardless of what others think, and he wishes to promote inclusivity through his makeup line. So if you are looking for subtle everyday looks or eclectic makeup options, you need look no further.
Ryan Burke Ryan Burke, a New York based photographer and makeup artist, is probably one of the most talented individuals you can come across in the makeup and beauty community. Ryan dominated this unexplored landscape before the rise of male makeup artist like Manny, James Charles and Jeffree Star. He has always been an artist who cares less about looking conventionally "pretty" and is instead more focused on blowing our minds, which he has done time and time again. Ryan has never really tried to put a label on the kind of makeup he enjoys doing, simply calling it "androgynous", and he wants it to be wild and unpredictable but also nuanced and rhythmic. He also uses items which aren’t typically used for traditional makeup looks, like beads, feathers and the occasional brass pipe! Ryan was also instrumental in opening avenues for male makeup artists to become the face of large makeup brands. He had already been a part of Pat McGrath’s team well before the likes of Maybelline and Covergirl started using men for the cover of their campaigns.
Manny Gutierrez
If you have watched any sort of makeup tutorial on YouTube you have probably come across Manny Gutierrez, better known as Manny MUA. The humble yet hilarious makeup artist never fails to amaze with his incredible skill and has become one of the most well-liked beauty gurus on YouTube, having already amassed almost 5 million subscribers on the platform. Having gone from a small creator posting his makeup looks on Instagram while working in retail for MAC and Sephora to a globally renowned figure in his field, his career has grown exponentially. Since then he has also launched his own makeup brand called Lunar Beauty and has also been the first ever male to partner with Maybelline for an advertising campaign for the launch of their mascara, solidifying a place for male makeup artists in the beauty industry in the process. So whether it’s a discussion about the duplicate of a high end makeup product or a review for some of the world’s most overhyped makeup lines, Manny has you covered.
Mario Dedivanovic
Another male makeup artist that has made a name for himself in the world of celebrity makeup is Mario Dedivanovic, who has garnered fame for being Kim Kardashian's makeup artist. The duo has really driven the makeup world forward over the past few years, repeatedly producing red carpet looks that have set trend after trend. The contouring technique he used to style Kim in particular has already taken the internet by storm and dominated our social media feeds. After becoming one of the most influential makeup artists around, it was only a matter of time before he came out with his own makeup brand. Called Makeup by Mario, this makeup line wants every user to be able to feel pretty with little effort, even if they don’t have the decades-worth of experience that Mario does.
KARACHI
If you are fond of scrolling through social media to see, experience and explore the world through the other people's posts and thoughts, the top 6 Netflix shows, as listed below with details, will make you start planning and saving for a dream trip around the world.
Jack Whitehall: Travels with My Father
If you enjoy reality TV, travel series, and unfiltered humour, the ‘Travels with My Father’ is the show for you. The show's star, Jack Whitehall, is a wellknown comedian in the UK, and the plot of this show revolves around a father-son vacation in England. Jack chooses to travel during his "extended gap year" with his father, Michael, a former TV producer and talent manager, who is extremely wealthy and conservative. An entertaining show, Travels with My Father offers viewers a chance to get a fresh perspective on different nations and their cultures.
With two truly pleasant individuals (who occasionally offend each other, like any father and son duo) at the helm of the show, their endearing moments together serve as the heartbeat of the series. Given that the two hardly ever had any quality time together when Jack was a child, the tension in the first season is clear. You can watch Michael and Jack become more comfortable with one another as the seasons go on and they begin to truly understand each another. This show will interest you if you enjoy British comedy and also want to gain cultural insights into different parts of the world.
By Omair Alavi KARACHIRarely is a hit TV show’s second season bigger, better, and more fun to watch than the first one. But when you have actors like Steve Martin, Martin Short, and Selena Gomez in one frame, with one of them ‘framed’ for a murder she didn’t commit, then not much can go wrong. Exceeding all expectations, the second season of Only Murders in the Building will go down as a series where everything improved with the passage of time, and murder-solving became more interesting and interactive.
The Plot
The second season of the series returns with detective podcasters Charles-Haden Savage (Steve Martin), Oliver Putnam (Martin Short), and Mabel Mora (Selena Gomez) arrested for a crime they didn’t commit. Since the police couldn’t link them to the murder of Arconia’s cranky co-op board president Bunny (Jayne Houdyshell), due to lack of evidence, they are left to solve the case themselves. The season focuses on different aspects of the trio’s backstory as well as providing the audience an insight into Bunny’s life, which becomes the topic of the already-hit podcast Only Murders in the Building.
Cinda Canning (Tina Fey) on the other hand feels that the trio isn’t innocent and launches the ‘Only Murderers in the Building’ podcast to prove her theory, with the help of her abused assistant Poppy White (Adina Verson). However, the trio that solved the murder in the first season had help in the shape of a talking parrot, a missing painting, passages within the building, and a growing list of suspects that includes those already behind bars.
The Good
Only Murders in the Building may have begun as a mystery series in the vein of the classic TV shows of the 1970s and 1980s (not Brazzos) but it has grown into something bigger. From Steve Martin to Martin Short to Selena Gomez, everyone looked their part and acted as if they were characters in a real building instead of actors playing those characters.
Steve Martin leads the pack not because he is the cocreator of the show but because his character CharlesHaden Savage is someone we all know – a former celebrity who wants to go down fighting. On the other hand, Martin Short is brilliant as Oliver Putnam, the former Broadway director who has his own issues to deal with and lights up the screen whenever he is in trouble. As for Selena Gomes who seems to have 'become' Mabel Mora in the course of the series, she is most overtly dramatic because it was her apartment in which Bunny was killed, and she was the last person to see her alive.
This show, like any good TV mystery, deals with the who, the why, and the how a murder was committed and despite being involved in one way or the other, the trio jokes about the case, until it gets serious. The bromance the two Martins share is the highlight of the show, one that made their films The Three Amigos and Father of the Bride so successful.
The writing is excellent and so is the execution, giving every character besides the trio something that makes them human. Be it the new mother and board president (Christine Ko), the vastly talented doorman (Teddy Coluca), or friendly detective (Da’Vine Joy Randolph), or Charles’ double (Jane Lynch), they all have something to offer, without distracting the viewers.
The Bad Not everything was perfect in the corridors of the Arconia though; why wasn’t the building’s new board president Nina present in the meeting where the killer was apprehended? What happened to the design changes she wanted to make in the building that might change Arconia forever? Why was Marv suddenly following the trio in the blackout episode and drawing suspicion towards himself?
season was better than the first has more to do with developed characters than developing ones, and when the trio is told that because of being persons of interest, they should not play sleuths, they do exactly that to clear their names. The episode that focuses solely on the victim is so intelligently produced that it adds a new dimension to the series, making the viewers take note of everything that happens on what proved to be the last day of the character.
The best part about the second season is that it combines the elements of suspense, thriller, comedy, and murder into one so that it caters to all kinds of audiences. The climax sequence is so intelligently done that everyone feels surprised and happy at the same time. Add to that the return of Shirley Maclaine as a up comic Amy Schumer replacing Sting as one of the residents, and Cara Delevingne making her appearance as a shady art gallery owner, and you have ten episodes worth of content that doesn’t
The World’s Most Amazing Vacation Rentals
Living up to its name, the show takes the audience to some of the most amazing places of the world. We follow hosts Luis D. Ortiz, Jo Franco and Megan Batoon as they are each tasked with looking for different kinds of rentals, one of which is bound to meet your needs. Luis keeps an eye out for high end luxury rentals, Jo seeks out those that offer singular experiences in unique locations, and Megan is on the hunt for affordable rentals, providing the experience of a lifetime. If you have ever wanted to travel from Finland to Bali, you can map out your expeditions as you watch these hosts partake in different adventures across the places they visit.
Somebody Feed Phil
Finding a travel show on Netflix that is better and funnier than ‘Somebody Feed Phil’ might be quite a challenge. As a kind of successor to ‘I’ll Have What Phil’s Having’, we follow the host, Phil, as he now travels the world exploring, better to say, tasting cuisines of different cultures - from Bangkok to Rio de Janeiro. Thanks to Somebody Feed Phil’, learning about different cultures while laughing at Phil’s unmatched sense of humour sounds like the perfect way to build your itinerary for your next trip.
Down to Earth with Zac Efron
‘Down to Earth’ is a documentary that follows famous actor, Zac Efron, as he travels around the world with wellness expert, Darin Olien. The duo learn about how sustainable communities live around the world and occasionally the two even indulge in a meal with local inhabitants to get to know about their lifestyle. They embark on an eye-opening journey from Iceland to Costa Rica to showcase the creativity and diversity that exists in two very different parts of the world. It also explores what is inspiring these communities to lead greener lives, and is, therefore, a travel documentary which also serves as an interesting discussion about sustainability.
Dark Tourist
If you are drawn to murder mysteries and wish to explore sites where some gruesome, depraved calamities might have occurred, then you have just found the perfect show to binge this week. Filmed and hosted by journalist David Farrier, the author of the 2016 hit documentary Tickled, he explores a new side of tourism that is not usually touched upon. Traversing through war zones, crime scenes and exploring the lives of cults and gangs, this show really discovers the darker side of mankind. From meeting the vampires of New Orleans, visiting the most nuclear radioactive places on Earth open for swimming and fishing to the death worshipping cults of Mexico, Dark Tourist will have you hooked from its beginning.
Pedal the World Cycling tours are solo pursuits which are not driven to win fame or money and are mostly pursued for personal gratification and fulfilment. ‘Pedal the World’ is the latest documentary about a global cycling journey of Felix Starck, pedalling a bicycle thousands of kilometres through numerous nations in the course of a single year. We follow Felix on his bicycle travels as he leisurely traverses the globe in this 90-minute film, comprising high-quality vacation-style footage. Pedal the World does a wonderful job of documenting Felix's bicycle journey and its associated challenges and adventurous encounters along the way.
The bottle gourd, locally known as kaddu or lauki, is one of the most-sought after vegetables used in the preparation of a South Asian meal. It is not only part of the traditional local curries, saalan, and dry vegetable preparations like tarkari and bhujia usually eaten with bread, but also has other culinary uses too. For instance, lauki ka halwa is a mouthwatering South Asian dessert. Similarly, bottle gourd is also often used to prepare raita, which is a yoghurt-based condiment.
There are two types of bottle gourds: the round ones and the long ones. It is considered to be very light and easily digestible, as compared to different oil-based or protein-rich foods. Understandably, bottle gourds have many health benefits associated with them.
Type of plant
Round bottle gourd has a well-branched, quickly spreading vine which attaches itself to different nearby trees, hanging ropes or trellis with the help of its tendrils. It is therefore recommended to install a trellis for the vine to climb onto and reach its maximum height. The vine may spread and grow up to the height of 8 to 12 feet. White coloured male and female flowers of the round bottle gourd start to turn into a fruit within five to eight weeks of the seeds’ germination, once the female flowers have been pollinated and fertilised with the pollen of the male flowers.
Organically grown round bottle gourd is likely to produce 1 to 3 fruits at a time, if these are being grown in a container rather than in the ground. However, chemical fertilisers such as NPK and DAP can boost your chances of growing more vegetables at a time.
How to sow and grow
The seeds of the round bottle gourd are hard shelled and have a tough exterior. Therefore, it is difficult for the seedling to germinate easily. The gardener, thus, helps the seedling to burst out from the shell of the seed with a little intervention. For that, the seeds, before being sown, are soaked over-night.
Other methods often used are scarification and stratification of the seeds before they are sown. Along with the over-night soaking of the seeds, both methods help to weaken the seed shell, hence making it easier for the seedling to rupture the shell while germinating.
It is considered a good practice to sow the large-sized seeds more deeply into the soil than the smaller ones. Round bottle gourd seeds can be placed at least half an inch deep into the soil. Rather than growing on a trellis, a greater yield of round bottle gourd is expected if its vine is spread along the ground. The only precaution advisable here is to ensure that the fruit of the round bottle gourd does not come in direct contact with the floor or the soil, and it should either be hanging or be supported by a cardboard beneath it.
If there is a limited availability of space, then the round bottle gourd can be grown in a 10 inch container, but ideally the container size should be at least 14 inches in both height and width. The best option, as always, is growing the vegetable in the ground, for which a single vine can be grown on every square feet of land available. The best time to sow round bottle gourd
The round bottle gourd needs direct sunlight daily for at least 4 to 6 hours. The vine grows well in moist soil, however, it should be ensured that the soil is not over-watered. Like all other plants, avoid showering the vine and do not water directly onto the base of the vine
seeds is just after the last frost date. The seedlings can be prepared indoors and, as the temperature rises, the seedling can then be transplanted outside.
Pollination
One of the primary issues faced by many while growing round bottle gourds is that the flowers on the vine usually bloom during dusk time. At this time, pollinators like butterflies and bees are generally not available to pollinate the female flowers with pollen from the male flowers. In this scenario, where the flowers are blooming at dusk without pollinators, human intervention can help to fertilise the female flowers. For this, one may use the gardening technique of hand pollination. This can be done by removing the petals of any one male flower and rubbing them onto the centre of all the female flowers on the vine. One may also use a Q-tip for this purpose by swiping it on the centre of the male flower and then swabbing it across the centre of all the female flowers.
Watering and sunlight requirements
The round bottle gourd needs direct sunlight daily for at least 4 to 6 hours. The vine grows well in moist soil, however, it should be ensured that the soil is not over-watered. Like all other plants, avoid showering the vine and do not water directly onto the base of the vine.
Fertilisers for plant nourishment
Initially, the plant should be provided with nitrogen rich fertilisers to increase foliage. Once the flowering starts, nitrogen fertilisers can be replaced with banana peel liquid alongside the normal watering. This way, during the flowering and fruiting phases, the potassium fertiliser will help nourish the vine of the round bottle gourd. It is always better to use homemade organic fertilisers rather than the chemical alternatives available commercially.
Pest attack
The round bottle gourd vine is more prone to diseases and pest attacks. Some of the common pests and diseases include aphids, mealy bugs, fruit flies, powdery mildew and downey mildew. To avoid diseases and pest attacks on the vine, it is recommended to spray the vine with an organic pesticide like the organic neem oil pesticide once a week. If the vine has a larger space in which to grow, the leaves get quite aerated and this helps to reduce the risk of any plant disease or pest attack.
Fruiting and harvest
The vine is likely to produce round bottle gourds for harvest after around 60 to 70 days of the initial seed sowing, and the fruiting continues for at least another 6 to 8 weeks. If you can scratch the skin of the round bottle gourd with your nails easily, that is when it is considered to be the perfect time to harvest the vegetable. Many use this trick when buying gourds from the market as well.
The writer is a physician and focuses on issues related to health, traveling and kitchen gardening. He tweets @Ali_Shahid82 and can be reached at kalishahid@ hotmail.com
Your debut novel, This House of Clay and Water, explored sensitive themes such as gender bias, escapism, and the need for acceptance and love. How did you dare achieve this feat, especially in a country which is riddled with taboos?
To make the journey of writing the story one hopes and wishes to tell, is by being oblivious to the world. I gravitate towards writing because that is the process through which thought is distilled to its clearest, cleanest form, when nothing can or should be allowed to come between the purity of intent and the precision of craft.
When I write, I am not trying to be anyone else, please anyone, hide myself, make myself smaller or pretend in any way. I am not guilty of deception when I am writing. It is my honest self. Again, perhaps that is why I gravitate towards reading and writing. Reading makes me connect with the honesty of other writers, other people like me who found that their true versions could exist only between the blank spaces of their own words. When my words start filling up the blankness of a white page, I begin to exist in a fluid, but visible way. I exist as I wish to, without the pressures and expectations of the world. I do not tailor my words or my thoughts to I should, I must, I have to. Not when I am writing. I am the free-est version of myself when I write. That is why I write.
The novel ‘This House of Clay and Water’ is close to my heart because it is a story I wanted to tell for a long time. I had lived with this tale of conundrums and impossible to understand love because love is
something that is most courageous in us. Love is something we fear and we covet. Love and hope can spring in the most unlikely places. These are the strongest bits of us. We tell stories of hope and love again and again because they’re fascinating and they’re enigmas we don’t quite get. The story essentially revolves around characters that are primarily peripheral in our society. How important and difficult was it to voice out their part of the story?
I am a woman. I am a writer. I am always on the periphery. I am many other things as well which make it impossible for me to be at the centre of a lot of things. I was raised by people who tried their hardest to avoid power when it was at their fingertips. This makes power suspect for me. My father was the youngest MPA in the 1960s. He served his constituency and his country for more than fifty years. He was also a published poet, essayist, and a non-fiction writer. That equation runs in my blood. Art is political and politics can be an art form for some. Power is a graceless, ravenous creature which does not often beget wisdom. Strength of character, courage and grace under pressure are traits one builds over time. I learned that watching my mother, who is another larger-than-life persona in my life. She didn’t live by halves. When one is raised by people who argue over household matters with poetry couplets and quotations from the greatest Urdu writers of the time, you learn to think differently. I was never raised to claim the centre. I was
raised to keep my eye on the centre and my feet planted firmly on thresholds. I listened to Sufi poetry, and Iqbal when girls my age were listening to Madonna and Michael Jackson. I’m not denying that these two made huge contributions to music, I’m just saying, my aesthetic was never populist and never power-centric.
What triggered you to write about love, discrimination and unkindness, a rather delicate subject? Was it the patriarchal society which contributes to the thought process?
Being patriarchal agents will not save us. We should have the ability to think critically, question endlessly and see the difference between a threat and a question. I would rather be Bastami, than a Mullah any day. And yes, I think my novel tells many truths, but some people are just not brave enough to face the truth
If these so-called noble girls can watch the drivel on our screens in the form of drama serials and plays, rest assured they’re not too ‘noble’ for any novel, let alone, mine. However, not everyone is intelligent enough to understand the nuances of fiction, nor brave enough to question their own longstanding beliefs
Except for the lotus flower, which can grow in the dirtiest of places, I cannot think of another that can grow in an environment that is antithetical to their being and remain beautiful and worthy of temples. Most often, we are not who we are but where we are and perhaps that is part of the tragedy of being human. Maps, borders, water, matter at the cellular level.
I always say that my parents equipped me to see the world in three and a half languages but that’s a reductive way of looking at it. I’m not including non-verbal languages I learned. Empathy. Shame. A word misused in English because the word ‘sharam’ is so multi-layered and springs from the desire to not shame yourself or others. To have ‘lihaaz’ and ‘adab’. To spread a dastarkhawan which will not shame the host or the guest. To not put others to shame by showing off. These are just some of the ways shame is portrayed in our culture.
By this I mean, there is good and bad everywhere. Even in my novel there is a very clear representation of both, good and bad in places, people and situations. We have many social structures which are harmful to all kinds of minorities whether they’re based on religion, gender, sexual orientation, finance or class, and at the root of them all is patriarchy and at the root of patriarchy is power.
So yes, you are right, all these subjects are delicate. How one lives one’s life is also an art. There are lovely poems about it.
Do you think religion has become a medium of working around the difficulties of societal burdens?
Religion has been used for leverage for as long as it has existed. Religion is personal but also the business of the state because religion is power and the state knows it since the Middle Ages. Karl Marx said religion is the opium of the masses. Others said it was hope. But when religion is used as power by powerful state and world actors, then bad things happen. But religion gets a bad name for the way it is used. We should learn about our religion and the world we live in and we should learn to be tolerant.
Your favourite authors?
I loved Edith Nesbit, LM Montgomery, Louisa May Alcott, and all kinds of fairy-tale as a child. Then, in my tween and early teens, I devoured Agatha Christie, the Brontës, Jane Austen, Alexander Dumas, Julius Verne, H. G. Wells, Charles Dickens, Victoria Holt, M. M. Kaye, P. G. Wodehouse and so many others. And then, I read everything. So, I dove headfirst into Tolkien, Patricia Mc Killip, Ursula Le Guinn, Virginia Woolf, Lydia Davis, Katherine Mansfield, Joan Didion, Ernest Hemmingway, F. Scott Fitzgerald, and so many others. I especially loved studying Shakespearean, Greek and American tragedy. I think Pakistani literature in Urdu
especially, shows the same darkness and light. I also studied Sufism for many years. I discovered Pakistani writers in my twenties. These days my favourites are Shandana Minhas, Osama Siddique, Awais Khan, Naima Rashid and Soniah Kamal.
When I discussed ‘This House of Clay and Water’ in book clubs, your work was assumed to ‘shock women.’ It raised the question: Can these stories be read by ‘noble’ girls? Do you think it bridged the gap between ignorance and truth?
That’s some shocking bit of news to me, actually. Thanks for sharing it. If it shocks women, then it’s good. Maybe they’ll be shocked out of their internalised misogyny. First, complacency and ignorance do not make anyone noble. Second, we should stop convincing ourselves that ignorance means innocence. Third, innocence is overrated. We link innocence with not having knowledge of carnal matters. If these so-called noble girls can watch the drivel on our screens in the form of drama serials and plays, rest assured they’re not too ‘noble’ for any novel, let alone, mine. However, not everyone is intelligent enough to understand the nuances of fiction, nor brave enough to question their own longstanding beliefs. I am not talking of religious beliefs which are fundamental. Pretending to be better than the next person will not save us. Our complicity will not save us. Being patriarchal agents will not save us. We should have the ability to think critically, question endlessly and see the difference between a threat and a question. I would rather be Bastami, than a Mullah any day. And yes, I think my novel tells many truths, but some people are just not brave enough to face the truth.
How can the literary world empower society like ours?
Everyone has a role to play. Writers, readers, bookshop owners, publishers, all of us. I want quality in printing and book presentation. I want more artists for better book covers. I want more skill and more collaborations with other, older publishers and printers for better results for books as finished products. Wouldn’t that be something?
I would love to see more book fairs. I would love to see publishers have more author readings, book signings. Literature was a huge part of Pakistani life. Mushairas, discussions, talks were being held everywhere all the time, something which has dried up over the years. Bookshops, publishers, authors need to work together to rebuild what is lost.
After a prolonged hiatus from the silver screen, it looks like Fawad Khan is set for a much-awaited return to Pakistani cinemas. While fans of the Humsafar star are already eagerly looking forward to the release of Bilal Lashari’s The Legend of Maula Jutt - in which Fawad plays the titular character - it looks like they can now also look forward to another forthcoming film from the Lollywood celebrity. Faisal Qureshi’s directorial debut, Money Back Guarantee, has Fawad in the lead role, with the director now stating that the film is set for a release on April 21, 2023. What makes this project unconventional when compared to other Pakistani films is that it will also mark the film debut of cricketer Wasim Akram, and his wife Shaneira Akram. Involving a potential bank robbery plot, it looks like Wasim is set to play the antagonist to Fawad’s protagonist. The recently unveiled poster for the film gives audience a glimpse of what they can expect from this exciting forthcoming film which boasts of an extraordinary cast, comprising, but not limited to, Ayesha Omar, Mikaal Zulfikar and Javed Shaikh. Based on the impressive talent involved, it looks like this film could be a blockbuster
One of the benefits of the prevalence of social media and online distribution platforms is the ability to amplify the music of deserving artistes. The release of Ustad Noor Bakhsh’s album is a testament to this. Recently, videos of the veteran Baloch benju player were trending online and viewers across the globe were showering him with praise, not just for his impeccable music skills but also for his beaming smile and the pride he evidently took in his craft. With many inquiring as to where they could listen to more of the artiste’s work, the release of his album on the online music streaming platform Bandcamp comes as a welcome surprise. Titled Jingul, after a bird which inspired Bakhsh to compose the original title track, the recording and release of this album was spearheaded by the Pakistani record label honiunhoni. While already locally renowned for his mastery of the benju, the availability of his music to a worldwide audience will surely help further his reputation. The album is available for purchase on Bandcamp, and all the revenue generated through these sales will go directly to Bakhsh.
Carma is a thrilling ride that can steer the film industry in a new direction
By Bold Desk KARACHIHollywood director Quentin Tarantino is known for his films that revolve around violence, and Pakistani filmmaker Kashan Admani tried to replicate the Tarantino technique in Pakistan, through Carma. In fact, he dedicated his film to Quentin Tarantino and his golden words, “Violence is one of the most fun things to watch” which kicked off the proceedings, and then practically endorsed what the guru meant.
Starring Osama Tahir, Navin Waqar, Zhalay Sarhadi, Paras Masroor, Umer Aalam, Adnan Siddiqui, and Vajdaan Shah, Carma revolved around a kidnapping gone wrong (or gone right, depending on your perspective) on the streets of Karachi where it’s a normal thing to happen. However, each and every character involved in the act had one or two ulterior motives that made the film interesting for its entire duration.
While Osama Tahir played the hapless victim, Zhalay Sarhadi’s Sasha called the shots, and for the next 113 minutes, the two seemed to be involved in a game of chess that didn’t have a clear winner until the climax. The non-linear narrative was intelligently distributed chapter-wise, just like Tarantino does, and took the audience on a thrilling ride that they will not forget for a long time.
The most memorable aspect of Carma was its novel use of a car as a surrounding as almost 80% of the film was shot in a car, either moving
or parked. From the scenes where Osama Tahir’s character talks to his girlfriend and psychiatrist, when his parents communicate with him, or when he is kidnapped and taken for a ride, every important scene is filmed in a car.
And when you have a film that is mostly shot in a car, not having a car chase would have been criminal. The film features a car chase that takes place in the early moments and grips the audience because it is something that hasn’t been attempted in Pakistan before. However, it could have been divided into two parts so that the audience would have been treated to not one but two car chases, and those who got bored with the dialogues would have been rewarded.
The sound design is impressive throughout the film, because had it not been done intelligently it could have gone wrong big time. It was backed up by impressive performances from the cast, who surprisingly were selected after the audition. Be it Osama Tahir, Zhalay Sarhadi, or Navin Waqar, they all auditioned for their characters, which is an unheard-of thing in Pakistani cinema. That’s why the actors who appeared on the screen looked fit for the characters and not once did they remind the viewers of their previous work on TV and/or in films. And that’s why they were able to give a credible performance – theatre actors like Paras Masroor and Vajdaan Shah looked so menacing that it would take them years to convince the audience that they aren’t gangsters in reality. Umer Aalam, who is doing well in a reality show these
Looks like Pakistani-Canadian actor Ali Kazmi is set to have a busy few months. The actor will be starring in a Canadian theatrical production of Anton Chekov’s Uncle Vanya this month, and then will get ready for the premiere of his forthcoming short film Desi Standard Time Travel at the prestigious Tallgrass Film Festival. Directed by Kashif Pasta, the short science fiction film explores a genre and a concept, which is rarely explored when telling South Asian stories. The short film will follow Ali’s character as he travels back in time in an attempt to spend one last evening with his recently deceased father. Co-written by Aysha Aijaz, Nessa Aref and Kashif, the Pakistani-Canadian venture has been described by Kashif as a “time travel drama with heart”, and the synopsis certainly gives the impression that this short film packs an emotional punch. Ali said that he couldn’t be happier about the film premiering at the 20th Tallgrass Film Festival because participating in this annual festival has been a goal of his.
days, gave a powerful performance and it didn’t seem for a second that he was making his film debut. Khaled Anam, Adnan Siddiqui, British singer Lily Caseley and Arjumand Rahim were also impressive in their limited appearances, as was the made-up drive-in cinema where an action scene took place.
The three characters around whom the film revolved were Osama Tahir, Navin Waqar, and Zhalay Sarhadi. While Osama Tahir played the dutiful husband to Navin Waqar, Zhalay Sarhadi played the antagonist who wanted to benefit from their union. Her plan was to kidnap the husband and return him for a prized possession about which only the wife knew. Did she succeed or did she fail, you will have to watch Car-
most iconic performances in a Pakistani film because she convinced the whole theatre that she was badass and until the film ends, she was in control of the situation. However, unlike most of the characters, her character didn’t have a proper backstory and the writer Fawad Hai should be held responsible for not giving it a thought. Had her backstory been established properly, it would have allowed the audience to appreciate her anger, and her motives which they sadly couldn’t.
And some of the sequences were quite gruesome, which is why the film was rated 18+, but that didn’t stop the makers from stylizing some of the shots that were never attempted in Pakistan. Gone are the days when a bullet couldn’t penetrate a praying Muslim; here the bullet penetrated in such a way that even Hollywood would take notice of the execution. Add to that the perfect background score and you have a film that could be sent to festivals abroad, and maybe be submitted as Pakistan’s official entry to the Oscars next year.
ma to find out the answer. However, one thing is certain that you will exit the theatre impressed with the trio’s performance.
Osama Tahir has all the characteristics of a leading man, and he displays them perfectly in the film. His biggest issue was the dialogues that he had to deliver because that hindered his expressions which were spot on. Navin Waqar might have debuted in a film quite late considering her TV debut came a decade back, but she looks impressive in every scene she is in. In fact, she and Zhalay Sarhadi must immediately stop working on TV and go all filmi because they know how to carry themselves.
Zhalay Sarhadi’s portrayal of a female gang leader will go down in history as one of the
However, there were some issues with the film that kept it from becoming a box office leader during its first week. The use of a ‘MacGuffin’ (an unseen element that drives the plot) was impressive but not appropriate considering most of the dialogues and the text onscreen was in English, whereas the ‘MacGuffin’ name was in difficult Urdu. Secondly, when you have a plot that depends on the twists and turns, the director must cut the trailer intelligently, but here, the makers erred by advertising one of the major twists in the trailer, which lessened its impact. On the whole, Carma is a good attempt for those audiences who love to watch crime capers, and thrillers and have an appetite for the Tarantino style of filmmaking. For the rest, it will be hard to digest since the story moves back and forth, which isn’t a normal occurrence in Pakistani films. The shortcomings are there, which include too much use of the English language, too much back-and-forth style of narration, too lengthy sequences, and too many dialogues which could have been smartly edited on paper instead of being cut after being shot. One hopes that Kashan Admani and his team don’t stop here and learn from the experience because we need daring filmmakers in Pakistan and he fits the profile.
