Attempting to map the trajectory of Sajal Aly’s acting career is an arduous task simply due to the vast breadth and depth of performances she has already delivered despite having entered the acting realm just over a decade ago. As with any artiste, the surest way to try and gain an understanding of them is by dissecting and poring over their work in the hope that it offers some insight into their artistic process. The actress is now in that fortunate and oft-envied position where her work well and truly speaks for itself, and she has now amassed a body of noteworthy television serials and films under her belt which can provide some insight into the actress.
While one of her earlier jobs was working as a brand promotions’ girl at a shopping centre, ever since her appearance on Mehmoodabad Ki Malkaain in 2011, there has been no looking back. Her career has already seen her touching the heights of Pakistan’s entertainment industry, be sought after by the Indian film industry, and journey to foreign shores to act alongside such international stars as Lily James and Emma Thompson. But that journey has had its peaks and troughs.
Breaking through
While Sajal’s memorable perforMehmoodabad Ki Malkaawon her the attention of several production houses and directors, her turn as the titular character in the drama Nanhi is what really announced her arrival on the national stage. The 2013 TV serial saw the then up and coming starlet essaying the role of a differently-abled character who is kidnapped and then nursed back to health by Shammo Tai, played by Asma Abbas. While bringing such a character to life would be challenging for even the most seasoned actors, the fact that Sajal was just 19 when this TV drama was released is a testament to her command over her craft at that early age. Directed by Haseeb Hassan, Nanhi attempted to touch upon a variety of societal problems such as the sexual assault of minors and child trafficking. While TV serials which shed light on taboo subjects have become more com-
monplace now, they were still in their infancy in 2013, which only made Sajal’s portrayal of Nanhi that much more daring and impressive.
Following in this vein, Sajal starred in the Yasir Nawaz directed drama Chup Raho in 2015, which also tackled the ills which plague Pakistani society. Centred on the issues of rape and sexual and emotional abuse, Sajal brought both the anguish and the resilience of the protagonist, Rameen, to the fore through a gut-wrenching performance. Perhaps what set this TV serial apart from others at the time was that it presented Rameen as more than just a victim, and gave her a voice and steely determination to fight against the ensuing trauma and societal neglect.
Despite having accomplished so much in a relatively short space of time, it doesn’t look like Sajal will be slowing down anytime soon. Her most eagerly awaited project of the year is the film What’s Love Got To Do With It. Directed by Shekhar Kapur and written and produced by Jemima Goldsmith, the film is a British romantic-comedy based in London and Lahore
The year 2015 proved to be a good year for the actress as she also acted in the television adaptation of Samra Bukhari’s novel Gul-e-Rana as the headstrong protagonist who steps up to care for her family after the demise of her father. The TV serial also saw audiences appreciate the chemistry between Sajal and her co-star Feroze Khan, who played Gul-e-Rana’s emotionally abusive husband in the serial. Hence, it had become evident even early on in Sajal’s career that she would not shy away from taking on demanding and deeply challenging material, not just from an acting standpoint but also from a topical and thematic perspective.
Professional highs and personal lows
While the work Sajal churned out in 2017 is perhaps what launched her into the top echelons of Pakistan’s entertainment industry, it also proved to be a deeply tragic year for the actress on the personal front. Her mother passed away sudden-
ly due to cancer in 2017, and the loss left the young star understandably broken. However, the passing of her mother would coincide with what Sajal herself has referred to as the perhaps the most successful period of her acting career.
First, the instant success of the TV serial Yakeen Ka Safar ensured that the performer was now indeed a household name and one of the most sought-after actresses in the country. Her portrayal of Dr. Zubia as she evolves over the course of the television show won the hearts and minds of all those who tuned in to watch the weekly show. The serial, which was penned by Farhat Ishtiaq, also catapulted Ahad Raza Mir to national stardom, and both Ahad and Sajal would go on to co-star in several other well-received collaborations.
While Yakeen Ka Safar was still ruling the small screen in Pakistan, the Indian film MOM released in the summer of 2017. Acting alongside Sridevi, a veteran of India’s silver screen, would prove to be a challenge for any performer. But Sajal more than held her won against the icon of the Indian film industry as she played the role of a girl who is raped, which leads to her step-mother going on a journey to seek vengeance and retribution against those who wronged her step-daughter. With Adnan Siddiqui portraying the role of her father in the film, MOM served as not just an important milestone in Sajal’s career but also demonstrated her unique ability to tackle extremely taxing roles. MOM would go onto to become a box office hit, earning $22 million worldwide, and the film also earned high praise for both Srivdevi and Sajal’s performances. The film, unfortunately, will also be remembered because it proved to be Sridevi’s last major movie before her untimely demise in 2018. Hence, in the span of a year, Sajal had lost both her real mother and her on-screen mother.
Hitting her stride
After a memorable turn as Sassi in O Rangreza, for which she also sang the title track, it was evident that Sajal was an actress of formidable prowess. While 2017 proved to be a breakthrough year for the actress, it was equally important that she followed up her hard-earned success with projects which built upon her steadily growing resume. Most actors will tell you that often the hardest part of attaining commercial and critical success with a particular project is deciding what to do next, and that can prove to be the trickiest part of ensuring that an actor continues to consolidate their body of work. While Sajal was inundated with offers following the success of MOM and Yakeen Ka Safar her choices in the aftermath of these triumphs is what truly cemented her status as one of the finest actresses currently working in Pakistan.
From Pakistani and Indian film industries to Hollywood, Sajal Aly, in a short space of time, has charted a path most young actors can only dream of
The adaptation of Khadija Mastoor’s seminal Urdu novel Aangan for the television saw Sajal reunite with Ahad as she brought Mastoor’s strong-willed Chammi to life. Directed by Mohammed Ehteshamuddin, the release of the drama was highly anticipated due to the plethora of talent involved in the cast, which included the likes of Ahsan Khan as Safdar, Mawra Hocane as Aaliya, and Sonya Hussyn as Salma. While the show did feel limited in its scope due to the technical and monetary difficulties involved in bringing to life the period before Partition, the acting performances across the board were perhaps the drama’s best elements alongside the cinematography. The playful and evolving nature of Chammi as a character also gave Sajal the license to put her acting chops on full display, an opportunity which she seized with both hands.
She then followed this up with another highly anticipated TV serial adapted from an Urdu novel. When Hamza Ali Abbasi announced he would be acting in an adaption of Umera Ahmed’s novel Alif, he immediately got audiences interested in the project. The casting of Sajal as the female lead, and Hamza stating in 2019 that he had decided to quit acting meant that many viewers tuned in to watch the drama simply out of sheer curiosity. While the serial attempted to tackle notions of spirituality, fame, and destiny, there was no denying that Sajal was yet again delivering an authentic and believable performance. Audiences seemed to agree and were quick to praise the acting and direction of the TV serial.
However, the year 2021 gave TV viewers what was perhaps not just one of the most unique and singular serials Sajal has been involved in but was also unlike any TV show to have come out of Pakistan and India. Released on the Indian streaming platform Zee5, the web-series Dhoop Ki Deewar told the story of an Indian and a Pakistani family, both of which lose their patriarchs in a military border skirmish between the two nations. A narrative which relied
While Sajal’s memorable performance in Mehmoodabad
Ki Malkaain won her the attention of several production houses and directors, her turn as the titular character in the drama Nanhi is what really announced her arrival on the national stage
on empathy instead of bluster, Sajal and Ahad both brought to life the pain and disenchantment which comes to inhabit their characters with such authenticity that one couldn’t help but feel for them both. While it may not have received the viewership it deserved in Pakistan due to the fact that most citizens did not have access to the streaming platform, it showcased a story which most viewers rarely get to see and should be regarded as one of Sajal’s best projects. Her latest foray into television was the hit show Sinf-e-Aahan which saw her re-team with Umera Ahmed. The show told the tale of six female cadets from different backgrounds and their personal journeys before and after they join the Pakistan Army. Despite having made her film debut in the lacklustre Zindagi Kitni Haseen Hai opposite Feroze Khan in 2016, Sajal’s return to the big screen in Pakistan was far more noteworthy. Khel Khel
Mein, directed by Nabeel Qureshi and produced by Fizza Ali Meerza, told the story of Pakistani college students who try to contend with the thorny, and oft ignored, subject matter of the 1971 war and the subsequent creation of Bangladesh. Sajal starred in the well-received film alongside Bilal Abbas Khan, Marina Khan, Samina Ahmad and Zehra Nawab, to name a few.
On the horizon
Despite having accomplished so much in a relatively short space of time, it doesn’t look like Sajal will be slowing down anytime soon. The recent announcement that she will be one of three actresses portraying Fatima Jinnah in Danial K. Afzal’s web series Fatima Jinnah: Sister | Revolutionist | Statesman has already got people talking. A brief snippet released by Afzal gave audiences a glimpse of what they can expect from the actress in the forthcoming series in which she will be depicting Fatima Jinnah during the period of the Partition.
Perhaps her most eagerly awaited project of the year is the film
What’s Love Got To Do With It. Directed by Shekhar Kapur and written and produced by Jemima Goldsmith, the film is a British romantic-comedy based in London and Lahore. Boasting a cast which includes performers like Lily James, Emma Thompson and Shabana Azmi, the film has already received rave reviews following its premier at the Toronto International Film Festival (TIFF). However, as Sajal walked the red carpet at TIFF, one got the feeling that despite all the success and adulation she has already received, it looks like she’s just getting started.
Yakeen Ka Safar (2017)
Yakeen Ka Safar was arguably the drama that made Sajal Aly a household name, and following the success of this show she quickly became one of the most sought-after actresses in the country. The character she portrayed, Dr. Zubia, resonated greatly with the audience, as did her onscreen chemistry with her co-star Ahad Raza Mir. The drama, which was penned by Farhat Ishtiaq, is still regarded as one of the finest TV shows to come out of Pakistan in recent times. The almost cultish fan following the show quickly developed meant that viewers would eagerly be tuning in each week to discover what the future held for Dr. Zubia.
Aangan (2018)
The adaptation of Khadija Mastoor’s Urdu novel Aangan saw Sajal embody the character of Chammi. Acing alongside stars like Ahad Raza Mir, Ahsan Khan, Mawra Hocane, Sonya Hussyn and Hira Mani truly helped Sajal deliver one of her most memorable performances. The show was helmed by Mohammed Ehteshamuddin and struggled on some technical fronts but still served as an effective vehicle to showcase the powerhouse talent of all those involved in the cast. This was the first time audiences had seen Sajal act in a period piece, and her performance was well-received.
Alif (2019)
Teaming up with Hamza Ali Abbasi to bring Umera Ahmed’s novel Alif to life, audiences were curious to see the on-screen pairing of Sajal and Hamza. From Karachi all the way to Turkey, the drama traversed various decades, locations, and themes as its multi-layered story continued to unfold. The lead actors gave strong performances alongside Ahsan Khan and Kubra Khan. Spirituality formed the cornerstone of this TV serial, and many viewers found the messaging of the show to be enriching and unlike anything else being shown on TV at the time.
Dhoop Ki Deewar (2021)
This web series, which was green-lit by an Indian production house and streamed on Zee5 proved to be instantly impactful for anyone who tuned in to watch this tragic tale of two individuals caught in the same tragedy on opposite sides of the border. Sajal played a Pakistani girl belonging to an army family whose father is killed in a clash with Indian forces. Ahad Raza Mir played an Indian boy whose father dies in the same encounter. Told with great tenderness and heart, this Haseeb Hassan directed series broached this topic in a manner which is quite unusual. The script by Umera Ahmed was perhaps the greatest star of this show.
Sinf-e-Aahan (2022)
After the stellar success of Ehd-e-Wafa, Sinf-e-Aahan tried to recapture its magic by telling the tale of six girls from varying backgrounds who decide to join the Pakistan Army. Written by Umera Ahmed, the drama weaved through the lives of its characters before they join the armed forces, and explored what prompted them to serve their nation. It then shifted gears and delved into the challenges and hardships which such an occupation entails. Naturally, what was most refreshing about this series was that it adopted a unique perspective to tell a story which might have seemed typical if it was told from the male perspective. Directed by Nadeem Baig, the show starred Sajal, Kubra Khan, Yumna Zaidi, Ramsha Khan, and Syra Yousuf.
Kaala Doriya, the new TV serial, revolves around a love-hate story between two cousins. The story is similar to Suno Chanda Season 3 in many aspects. For example, Nadia Afghan takes a jab at everyone with a typical Punjabi accent, Farhan Ally Agha and Sohail Sameer are seen as brothers and Samina Ahmed as their mother living in the same house.
The playwright Saima Akram Chaudhry has teamed up once again with Danish Nawaz for 'Kaala Doriya', a rom-com that could easily pass as a Ramadan special series or an Eid telefilm. The writer-director duo has previously brought two successful comedy-drama series "Chupke Chupke" (2021) and "Hum Tum.”
One more time, the main characters of the story are settled in a posh neighbourhood. It seems a comedy TV series cannot thrive without featuring a joint family living next door and having a love-hate relationship with each other.
On the first go, the relationships between the main characters and the overall family dynamics look quite confusing. The elderly couple, played by Samina Ahmed as Bi Amma and Khaled Anam as Ikhtiar, love each other but they have been
living separately for over 5 years because of their two sons Muneer and Shuja (played by Farhan Ally Agha and Sohail Sameer) had a disagreement over the sharing of property and thus decided to part ways. The rest of the family members had to choose a side, as the rivalry between the two brothers got worse with time.
Where Ikhtiar decided to live with his eldest son Shuja, his wife Shanno (Nadia Afghan) and their youngest daughter Mahnoor (Sana Javed). Bi Amma, on the other hand, decided to stay with the younger one Muneer and his wife Saleeqa (Zainab Qayyum).
Bitto Apa, played by Tamkenat Mansoor, is the only daughter of the elderly couple who is still unmarried and lives with her mother. Muneer and Saliqa have two sons, the eldest one Faraz (Shehzad Noor) who is married to Nida (Adla Khan) the eldest daughter of Shuja and Shanno, and they have two children.
However, as Nida decides to support her in-laws over the property dispute, her parents and sister have somewhat disowned her. Osman Khalid Butt as Asfand plays the youngest son of Muneer and Saliqa who is also a class-fellow of Mahnoor, alias Mano. After 5 years, the two families are living next door and their daily encounters are both hilarious and to some extent, forced and discomforting.
By Sara Danial KARACHITelevision serials, produced in Pakistan, have always been popular across the world. Pakistani TV serials are exported to many other countries and broadcast in several languages.
In fact, it is an over $1 billion industry employing more than 100,000 people. The generation raised in Pakistan, particularly in the 1990s, is well-familiar with the rich history of drama, music, and theatre being created in the country. Over the years, Pakistani actors have raised their bar high, storylines have tackled a variety of thoughtprovoking matters, and the TV sector has continued to up its game.
With crisp scripts, heartfelt lines, moving original soundtracks (OSTs), and powerful performances, Pakistan TV serials have something to offer for everyone. However, the same cannot be said for TV serials produced in India as they have long suffered from an adherence to outdated tropes and formula-based storylines. Therefore, India can learn a lot from Pakistan when it comes to producing quality shows for television viewers.
Relatable storylines
Pakistani TV serials depict events based on reality. Indian plays, in contrast, take place in a heightened reality and focus on creating unnecessary hype and suspense. Relatable characters and situations in Pakistani plays allow audiences to easily empathise with the people being portrayed, telling a compelling tale rather than dragging the story through unnecessary hype and suspense.
Short duration
The duration of Pakistani plays is short and crisp, moving forward substantially with each episode. Based on a maximum of 30 episodes, TV serials in Pakistan end quickly with a well-constructed and logical end.
Most Indian plays, to the contrary, comprise over a thousand episodes and some even last 7 to 8 years without stopping. The cake-cutting ceremonies, unending religious rituals and celebrations, and infinite misunderstandings between the main characters stretch these shows out to an indefinite number of episodes for no good reason.
Truth vs fiction
Based on stereotypical plotlines and predictable clichés, most Indian TV serials, by and large, are common-or-garden, overly dramatic and grandiose to an unrealistic extent. The saas (mother-in-law), for instance, is always painted as a perpetual villain, the husband is shown as a supportive character
Pakistani TV serials try to portray reality and perhaps, this is why Pakistani dramas resonate more with people. In India, their talent mostly moves on to films. As our film industry isn’t as strong, our TV industry attracts the best talent, be it writers, directors or actors
Faysal Quraishi Actor
and the female lead as a chaste, innocent and virtuous woman. Most Pakistani series, in stark contrast, are down-to-earth, portray reality based on facts on the ground and feature various morally grey characters who truly reflect the world we live in.
Set design, costumes and music Indian TV shows feature luxurious sets,
Asfand wants to pursue music as his career and is caring towards his mother, grandmother and sister-in-law. However, he dislikes Mahnoor and taunts her every time they come across each other. Asfand is an energetic young boy with a lively sense of fashion. However, the script doesn't do justice to his character as some of his lines are not often used by someone of his age. Still, Osman as Asfand is able to make every situation hilarious and relatable to the audience.
Mano, a young university student, holds a deep grudge against her sister Nida and her in-laws for abandoning her family. Gifted with an irresistible charisma, Mano becomes the centre of attention in her every scene, thanks to with her childish interactions and disagreements with Asfand on almost everything.
We have seen plenty of romantic comedy series with a
predictable storyline. Amidst all the punchlines and comedic takes, it may be overlooked that these cousins are broiled with anger and hate against each other just because their parents couldn't agree on something in the past. It represents the sad dilemma of our society which ruins many families.
Samina Ahmed has once again proved her acting prowess, this time in the role of a great-grandmother. Khaled Anam, playing the role of a great grandfather, is craving for the love of his wife as well as for the unity of his family. It's beautiful yet upsetting how the story highlights the struggle of an old couple living separately owing to the feuds between their children. Seemingly a good family drama, Kaala Doriya has not been able to make a mark so far. Let's see if Osman Khalid Butt and Sana Javed can become the new favourite couple with a unique take on the story in the forthcoming episodes.
heavy costumes, extravagant makeup, and huge mansions with lead actors indulging in overtly emotional dialogue, while hogging the entire screen space. Pakistani TV serials, on the other hand, are known for memorable OSTs, such as Ansoo by Ali Azmat, Shehr-e-Zaat by Abida Parveen, or Ishq Zahay Naseeb by Naveed Nashad.
Renowned actor and TV host Faysal
Quraishi finds Indian soaps very different to those of Pakistani TV serials and since Indian TV producers have been more focusing on soaps in place of drama production, their shows have lost their sheen. “Indian TV series are brilliant, I must say,” according to Faysal Quraishi.
“Pakistani TV serials try to portray reality and perhaps, this is why Pakistani dramas resonate more with people. In India, their talent mostly moves on to films. As our film industry isn’t as strong, our TV industry attracts the best talent, be it writers, directors or actors,” says Faysal Quraishi.
TV actor Rasikh Ismail Khan says, “When it comes to producing soaps and dramas, India has more liberty than Pakistan, which helps them explore grounds that are not in line with sub-continent culture. I feel they are pushing the envelope, which borders on uncomfortable and disturbs the
zone of the industry.”
Talking about the Pakistani TV landscape, Rasikh Ismail Khan says our culture, religion, and patriotism is at the heart of the content and we create stories, which are in sync with our culture, thus giving a true depiction of reality.
“However, I find major issues with the content being shown in Pakistani TV serials today. For instance, women are shown being slapped and humiliated and most serials revolve around saas-and-bahu dilemma, and the like. By showing this, we are clearly ignoring the power of visual content, we are encouraging viewers to be fixated on these issues. If truth be told, it is not good thing for a man to slap anyone or for a woman cheating in a marital relationship or a mother-in-law being the most vicious woman with no grey tones in such characters. This suggests the fact that we do have our issues too and thus we are not perfect. In India, however, it is more about moving to unchartered territories, which may or may not be accepted. On the contrary, Indian films make us realize that we are nowhere near their standards. By and large, it is all dictated by economics.”
Sana Hussain, an ardent fan of Pakistani TV serial, believes Pakistani dramas are general known for a realistic depiction, from storylines and dialogue delivery to makeup and locations. It looks we have truly mastered the way to portray the stories of an average Pakistani citizen. India, however, needs to tone down the emotion and pompous aura that surrounds their TV shows. They need strong characters, especially women, moving on from romance and family-oriented saas-bahu feuds to some real issues. As not everybody is going to fall in love, romance should be one of the aspects of the script, but not the only one. “India also needs to work on producing OSTs. Their mainstream channels are quite funny and even their news channels are extremely dramatic. The subtlety and nuanced depiction in Pakistani shows is more relatable vis-à-vis the loud tones and outlook Indians present in their plays. However, we need to unlearn a lot too, considering the kind of content being produced now, especially when we have produced iconic TV serials in the 1980s, 90s and early 2000s. Today, only a handful of scripts are worth watching while the rest are not up to the mark and are mostly inspired from Indian soaps,” she added.
In a word, Indian TV serials compromise on narrative and concentrate more on glitz and glamour. In this department, it can be safely said that India has a lot to learn from Pakistan.
He came, he saw and he conquered, that’s the only way to define the charismatic chocolate hero of Pakistani cinema, Waheed Murad. Not only did he change the way romance was filmed on screen but also breathed a new life into the filming of songs. Before his entry, it was usually the leading lady who did all the hard work, including chasing the good-looking leading man, however, it all changed when Waheed Murad danced into the hearts of many with his ‘twist dance’ with actress Neelo in Daaman. Although he wasn’t the lead in the film, he produced his own debut as a leading man one year later in 1964, and the rest is history.
With the help of Ahmed Rushdi’s vocals, he went on to become a heartthrob in no time, helping the pair establish themselves as successful playback singer and actor duo respectively. On what would have been his 84th birthday, let’s take a look at some of the Waheed Murad songs that helped shape up the film industry in the 60s and the 70s, and still continue to fascinate those who have the eyes and the ears for good quality songs.
Ko Ko Ko Rina - Armaan
It all changed in the year 1966 when Waheed Murad’s home production Armaan was released. Featuring a soundtrack that still sounds fresh, a cast that still looks perfect, and a story that has aged gracefully, it went on to do more business at that time than any other film in Pakistan’s short history. When Waheed Murad made his entry in the film through a fastpaced Ko Ko Ko Rina, it added a youthful touch to film songs that was missing till that time. With his ability to shake his feet, in tune with Sohail Rana’s composition, Waheed Murad captured the nation’s heart, soul, and mind.
Ahmed Rushdi’s vocals added that 'pop' touch to the rock and roll number, which is still popular after 55 years, and is known as one of the most popular film songs of all times in Pakistan. Penned by Masroor Anwar, the song recently featured twice in the Ms. Marvel series and if that isn’t proof enough of its longevity, I don’t know what is!
Akele Na Jana - Armaan
For every fast-pace Ko Ko Ko Rina, there is a slow (romantic ballad) Akele Na Jana, and Waheed Murad must be commended for that. When he was producing Armaan, he asked music composer Sohail Rana for a song that he had already composed for a film named Akele Na Jana, and although that film didn’t materialize, Armaan did, making the song among the very best work of the music composer. It was filmed on Waheed Murad and Zeba in the picturesque locations of Murree where their characters flirted with each other without even getting intimate onscreen. The song then returned at the climax of the film in Mala’s voice where Zeba tried to stop Waheed Murad’s character from committing suicide, and needless to say, Masroor Anwar’s lyrics were convincing enough to save the day.
Tumhein Kaisi Bata Doon - Doraha
In the 1960s when the world was changing for the better, Pakistan was in search of a good-looking leading man who was relatable to the boys, and desirable to girls. The search ended with Doraha in 1967 when Waheed Murad's character hitched a ride in the Northern Areas of the country, and then from the back of the van in which he was commuting, flirted with Shamim Ara’s character who was trailing the vehicle in her own car. The expressions, the emotions and the happy-go-lucky manner in which Waheed Murad delivered the song were enough to win the girl on screen as well as the girls of the entire nation who wanted nothing less than a Waheed Murad in real-life. His hairstyle was the other thing that the boys adopted, for it was the most original thing till that time to happen on the fashion front in the country.
Haan Isi Mor Par - Doraha
sel left the leading man, he ended up wandering in the same valley with nothing else on his mind but memories. Waheed Murad played that heartbroken lover in this song perfectly and gave life to Masroor Anwar’s lyrics, Sohail Rana’s composition, and Ahmed Rushdi’s vocals. Director Pervez Malik, the fifth member of the uber-successful gang, went back to the same location where another song from the film Aye Ajnabi Zara Soch Lo was also filmed to give it the melancholic touch and succeeded big time. The song is remembered as one of the most memorable of Waheed Murad’s career because only he could look dashing, even in the white kurta pajama.
Hip Hip Hurray - Devar Bhabi
Although many actors have tried to impress their elders with a song onscreen, such as their mothers, their sisters, or sister-in-law, no one has been able to match the charisma and elegance with which Waheed Murad did it in Devar Bhabi. This Master Inayat Hussain composition features the young hero and his niece who are trying to stop her mother from leaving them alone at home and succeeded in doing it thanks to Ahmed Rushdi’s vocals. Don’t be surprised if you see Waheed Murad playing an invisible drum, make an expression on a horse’s neigh and even get smacked for his antics. Despite being 55 years old, this song is still gold for the eyes and the ears!
Kia Hai Jo Pyaar – Dil Mera Dharkan Teri
Ever wondered who kick-started the trend of a leading man dancing
amongst trees and trying to woo his lady love in such a manner that she falls for it by the time the song ends? It was Waheed Murad who used the Akele Na Jana template successfully opposite Shamim Ara, with little help from Ahmed Rushdi. The song composed by Master Inayat Hussain in 1968 is still remembered after fifty-odd years because Waheed Murad used everything between the earth and the sky to make the heroine realize that he loves her more than anything else in the world. Needless to say, when it was the heroine’s turn to woo back her man, she used the exact song to have a happy ending for the characters, and a memorable number for the listeners.
Koch Log Rooth Kar Bhi - Andaleeb
When colour films became a norm in Pakistan, Waheed Murad was one of the first to use the colours to his advantage. In 1969, when he appeared opposite Shabnam in their first colour film, he looked dashing despite spending most of this song in an open car without any roof. Composed by Nisar Bazmi, this song was an instant success and appeared again in the film, but in Madam Noor Jehan’s voice who sang it for the very lady he had earlier tried to flirt with. Both the versions were a success but the youth remember Waheed Murad ones more for its happy tone, and because it made them realize that they had an icon amongst them who could be emulated, especially when he seemed to do nothing wrong on screen.
Dil Tumko De Dia Hai – Naseeb Apna Apna
Waheed Murad welcomed the 1970s with his home production where he played the lover boy to perfection. In this song composed by the duo Lal Mohammad Iqbal, Waheed was seen dancing in the park with Shabnam, who had by then emerged as one of the best dancers in films. Before this song, synchronized dancing was mostly seen in either Hollywood films or across the border but the way Waheed Murad and Shabnam owned it, it looked graceful as well as youthful. Add to that Waheed Murad’s expressions especially when he delivers the words ' sambhal rakhna ' and it wasn’t a surprise when synchronized dancing became a part of Pakistani films, and to date, actors try to emulate Waheed Murad, who started the trend.
Bhabi Meri Bhabi - Anjuman
If there ever was a song that described the two sides of Waheed Murad, then it was this Nisar Bazmi composition from Hassan Tariq’s magnum opus. The 1970 film featured Waheed Murad as Santosh Kumar’s younger brother who first danced to this song on the wedding anniversary of his brother and sister-in-law, making sure that it was remembered for a long time. However, when the patriarch falls for the charms of a prostitute, the kid brother sacrifices his own life to save the brother’s marriage by replacing him at the prostitute’s request. The sad version of the song returned in the final act of the film where Waheed Murad played it on the piano, but looked remorseful for deceiving his own fiancée (Deeba), whose actions made the Bhabi realize that there was more to the matter than meets the eye. Of course, it was Ahmed Rushdi who sang both versions.
Dil Ko Jalana – Mohabbat
Zindagi Hai
Despite the arrival of younger heroes on the stage such as Nadeem, Shahid, and Ghulam Mohiuddin, Waheed Murad didn’t lose his touch until the late 1970s. He not only successfully played the kid brother to Mohammad Ali’s character in Mohabbat Zindagi Hai in 1975 but combined with Ahmed Rushdi to give one of the most popular melancholic numbers in Pakistan’s film industry. Waheed Murad was at his animated best in the song where he refused to leave alcohol for his reformed fiancée played by Mumtaz, and kept dancing around the set to show that not even her remorseful persona matters to him.
Over 70,000 people in the world suffer from cystic fibrosis (CF), an inherited defective gene disorder that causes sticky mucus to build up in the lungs, digestive tract and other parts of the body.
It causes difficulty breathing as well as long-term complications such as infection which leads patients to have significantly shortened life expectancies.
However the triple-pill treatment taken by David Fiant, which is sold as Kaftrio in Europe and Trikafta in the United States, has had a major impact since the US first approved it in 2019.
The life expectancy of people with cystic fibrosis born between 2017 and 2021 in the US is now 53, up from 38 a decade ago,
according to US non-profit organisation the Cystic Fibrosis Foundation.
Kaftrio has been hailed as a breakthrough because it targets the underlying cause of the disease, repairing a mutated defect in the CFTR gene.
The treatment was approved by the European Union's medicines agency and by Britain in August 2020.
However, out of the 7,500 cystic fibrosis patients in France, only 40 percent are able to use the treatment.
It has not been approved for children under the age of six, and 15 percent of patients have a genetic profile that renders the treatment ineffective.
Around 900 patients who received transplants of organs such as lungs or livers are also ineligible.
Sabrina Perquis, 41, watched the arrival in France of the new treatment with "great
By Nina Larson GENEVAMore than 15% of workingage adults across the world live with a mental disorder. Mental disorders and other mental health conditions, according to the World Health Organisation (WHO), affect a person’s identity, confidence capacity to work, and the ease with which to retain or gain work.
An estimated 12 billion work days are lost every year due to depression and anxiety, costing the global economy nearly $1 trillion, the World Health Organization and the International Labour Organization say.
"It's time to focus on the detrimental effect work can have on our mental health," says WHO chief Tedros Adhanom Ghebreyesus.
"The well-being of the individual is reason enough to act, but poor mental health can also have a debilitating impact on a person's performance and productivity."
The United Nations has recently presented new guidelines on how to lessen psychological strains linked to the workplace. The new guidelines cover measures to build workers' stress management, including mindfulness and physical activity. The UN agencies for health and labour published two documents filled with advice on how best to prevent and protect against mental health risks at work, warning that psychological distress is costly for individuals and society alike.
The UN health agency cautioned in June that nearly one billion people globally were living with a mental disorder before Covid-19 hit -- and the pandemic has made this much worse.
Working-age adults are especially affected, with one in six suffering from a mental disorder at any given time, according the WHO.
"The numbers are alarming," says Manal Azzi, the ILO team lead on occupational safety and health.
"We have a huge responsibility ahead of us."
The workplace itself is often a trigger for mental health woes, the two agencies warn.
In its fresh report listing 13 guidelines on how to counter the problem, the WHO highlighted that meaningful work can protect mental wellbeing, providing a sense of accomplishment, confidence and earnings.
But it stressed that harmful or poor working conditions, poor working relationships and unemployment "can significantly contribute to worsening mental health or exacerbate existing mental health
hope".
But she had had a transplant 15 years ago and found out she was not able to take Kaftrio.
"It was a tough blow," she admitted.
"When you have had a transplant you live with a sword of Damocles hanging over your head because rejection is always possible," she added.
"We are asking not to be forgotten. Research must continue to find a solution for all patients."
David Fiant says his cystic fibrosis and the arduous therapy it required was so bad he "could no longer tell if I was living to heal myself or healing myself to live".
While waiting for a lung transplant, he was on oxygen therapy and had a six-hour daily care regime, as well as three to four weeks of antibiotic infusions a year.
Then he became one of the first people in France to take a new triple-drug treatment
that has been hailed as a game-changer for people with the rare life-threatening disorder.
"I took my first dose of the medicine one morning. By 3pm I was feeling first effects," he said.
For the first time in years he was able to shower by himself, climb 15 steps at once and above all "accompany my daughter to buy comic books", the 40-year-old said.
When Fiant's doctor examined him after he started the treatment, he could hear air circulating in his lungs. That had never happened before, he said.
Fiant's regime of care has since been drastically cut back -- and he has become the president of the French non-profit Vaincre la Mucoviscidose (Defeat Cystic Fibrosis).
While the treatment's results were "spectacular", he emphasised that it was no miracle.
"There is still no cure for cystic fibrosis," he stressed.
Several research projects are at varying stages of development, searching for an answer for patients with rare genetic mutations.
Other questions remain, including whether the treatment completely blocks the disease's progress or merely slows it down, Vaincre la Mucoviscidose vicepresident Pierre Foucaud said.
The number of cystic fibrosis patients who had an organ transplant fell from 21 to just two per quarter in France from 2019 to 2021, spurred by hopes that Kaftrio would render the operation unnecessary.
"But will these transplants merely be delayed by 10 to 15 years?" Foucaud asked.
"We don't know."
Kaftrio has "opened up a tremendous hope for all patients" but more needs to be done, he added. – AFP
time recommending training managers to prevent stressful work environments and respond to workers in distress.
Aiysha Malik, from the WHO's mental health and substance use department, says it was essential to "stop people from experiencing risks such as very heavy workloads... being bullied, difficult relationships with colleagues or supervisors."
That needs to change, she says, or we will continue "experiencing difficulties with our mental health at work, no matter how many stress-management tools" we apply.
In addition to its new guidelines, the WHO and ILO published a joint policy brief, laying out practical strategies for governments, employers and workers, and their organisations to protect and promote mental health at work.
It also sets out how to support people with mental health conditions and help them participate and thrive in the workplace.
"As people spend a large proportion of their lives in work, a safe and healthy working environment is critical," ILO chief Guy Ryder added.
"We need to invest to build a culture of prevention around mental health at work, reshape the work environment to stop stigma and social exclusion, and ensure employees with mental health conditions feel protected and supported." — AFP
AFP Paris Fashion Week has been launched in September last week with a protégé of Jean-Paul Gaultier first on the catwalk, while the luxury world welcomed the French debut of Victoria Beckham.
A French haute couture and prêt-à-porter fashion designer, Jean Paul Gaultier is described as an enfant terrible of the fashion industry. He is mostly known for his unconventional designs with motifs including corsets, marinières, and tin cans. Gaultier founded his self-titled fashion label in 1982, and expanded with a line of fragrances in 1993. He was the creative director for French luxury house Hermès from 2003 to 2010, and retired following his 50th-anniversary haute couture show during Paris Fashion Week in January 2020. Aside from his work in the fashion industry, Gaultier co-presented the first seven series of the television series Eurotrash with Antoine de Caunes from 1993 – 1997.
As is traditional, the first day of the Paris Fashion Week focused on young designers, and the opening show of womenswear spring-summer 2023 is that of 28-year-old Victor Weinsanto, a former dancer who studied under Gaultier before launching his label in 2020.
“My collection is a declaration of love to his generation, inspired by fellow young designers,” says Weinsanto.
Freshly decked out in bright orange hair, the designer believes people are looking for creativity, freedom, madness and humour in their outfits at the moment."We want escapism," says Weinsanto.
Like many of his generation, there is a focus on sustainability — with almost all his designs made from surplus stock from other brands — and inclusivity.
The clothes are designed for "both mother and daughter," according to Weinsanto.
Further nods to the zeitgeist: Weinsanto's show also included a collection created especially for K-Pop superstars Lightsum, who appeared virtually via holograms at the end of the catwalk show.
That digital collection will be sold as NFTs in the metaverse.
Weinsanto says he is fascinated by online fashion, even if he didn't see it as crucial to the industry.
"You can really free yourself," he added. "I want to go beyond 3D."
More than 100 brands featured in the official calendar for Paris Fashion Week.
Almost all were back to live runway shows following the shift online during the Covid-19 pandemic, including Dior, Chanel, Balenciaga, Stella McCartney and Issey Miyake. But all eyes were on Victoria Carolina Beckham, an English fashion designer, singer, and television personality, who made her first appearance at Paris Fashion Week after previously showing in New York and London.
Victoria Beckham rose to prominence in the 1990s as a member of the girl group the Spice Girls, in which she was nicknamed Posh Spice. With over 100 million records sold worldwide, the group became the best-selling female group of all time. After the Spice Girls split in 2001, Beckham was signed to Virgin Records, in which she released her self-titled debut solo album, which produced two UK Top 10 singles.
Beckham has now become an internationally recognised style icon and fashion designer. Following high-profile collaborations with other brands, she launched an eponymous label in 2008, and a lower-priced (diffusion) label in 2011. The Victoria Beckham label was named designer brand of the year in the UK in 2011; in 2012 the brand was assessed as the star performer in the Beckham family's business interests. Beckham's brand has struggled to turn a profit despite strong reviews since she launched as a designer in 2008, and a newly reorganised back office is hoping for a boost in Paris.
In a world of superheroes, be as selfless like Green Lantern John Stewart whose origin story Green Lantern – Beware my power tells the viewers all there is to know about his struggle before and after wearing the Green Lantern ring. Not only does this origin story introduce this new ‘guy’ to the audience but also helps the viewers understand why there was a need to choose a new wearer at all.
In this film, we see Marine Corps Veteran John Stewart mysteriously inheriting a Green Lantern Power Ring, which drags him into an interplanetary war. As a military man who has just completed an overseas tour where he got injured, Stewart barely had control of his emotions. However, after being selected to join the intergalactic peacekeeping force, the Green Lantern Corps, he has a mission in life – to save the universe.
The audience will find out why John Stewart got the 'green ring' when it already had a wearer named Hal Jordan who was part of the Justice League and saved the world on numerous occasions. It was after an encounter with the same Justice League, John Stewart teams up with Green Arrow who believes that something must be wrong with the former wearer who was also his best friend, and decides to investigate.
While they tried to uncover the truth, the pair of ‘Greens’ find themselves amidst
a war between planet Rann and Thanagar, and here is where Hawkgirl makes her entry. While they were still trying to learn the Thanagarian’s motive, the trio encounter the ‘previously assumed dead’ Adam Strange, the local Rann hero. Together, they try to save the universe by joining hands and defeating a common enemy who had nothing to lose but everything to gain by firing a doomsday weapon that would wipe out one of the planets involved in the war, from existence.
Directed by Jeff Wamester, who was also behind the Justice Society: World War II (2021), this direct-to-video animated film has all the ingredients of a high-budget Hollywood flick. There is suspense, followed by deceit and a shocking twist at the end that will shake the audience hard. The action sequences are well-choreographed and the same can be said of the plotline which involves as many as four good guys, with each one getting the importance they deserve.
As for the voiceovers, the star of the TV series Leverage and Leverage: Redemption Aldis Hodge lends his voice to John Stewart and is absolutely brilliant because of his transformation from a guy who doesn’t want the ring to the guy who doesn’t want to lose it. The film gave his fans a sneak peek into his entry into the superhero world, and they would now be more than anxious to see him fight Black Adam in the DC live-action flick as Hawkman. Further voices which join the intergalactic war have Jimmi Simpson as
Green Arrow, Jamie Gray Hyder as Hawkgirl, Brian Bloom as Adam Strange, and Rick D. Wasserman as Sinestro.
Despite having more pluses than minuses, the film has its share of flaws, and the biggest one is bringing too many backstories in one film, which doesn’t help the cause of Adam Strange, and Hawkgirl who deserve an origin film of their own. Some of the fans who have been following the Justice League Animated Series for two decades were also stumped since here, Hawkgirl and John Stewart are total strangers when in fact in the animated series, they are a couple.
Released a few months back, the film has its share of sloppy writing which is visible in the script, because the writers somehow assumed that everyone watching the film would know all there is to know about DC Characters. Yes, Martian Manhunter and Green Arrow are known to all but even a minor league fan of the DC Comics like me had no clue who the third person at the Clock Tower was, and it wasn’t until the credits rolled that I found it was Vixen. Whenever there is a Green Lantern, there is Sinestro but in this version, the iconic villain knew less about the ring he used to wear and Green Arrow had somehow more knowledge about it, including the oath! Add to that the overstuffed story and powerful villains being relegated to the role worthy of a minion, and the film will pose more questions than answers. The similarity between two of the characters who were on John’s side would also confuse some viewers who aren’t well-versed with DC characters, and while it could have been rectified before the film’s release, it wasn’t, for some ‘strange’ reason.
We all know that John Stewart was one of DC’s first African American superheroes, but racism isn’t tackled very intelligently here. The reference to the colour yellow and John’s answer to it doesn’t seem as if the writers gave the script a second reading because had they done that, Green Lantern –Beware my power would have ended up as a classic. Instead, it came out as a one-time watch which doesn’t add any value to the DC Universe except giving Green Lantern his very own feature-length film.
By Taha Kehar KARACHICoupling is a risky pursuit, espe-
cially if it is televised. If a person agrees to be part of a matchmaking show, the long, daunting process of finding his or her 'better half' stands the danger of becoming a public affair. The prejudices and personal vexations that inexorably affect their decision to choose a particular spouse over another are no longer shrouded in secrecy. Exposure becomes their undoing, even though it yields mixed results. Many people who opt for this route recognise that televised matchmaking shows are a form of reality television -- a rough terrain where survival for the fittest is an unspoken norm. As a result, their conduct is tailored towards standing out as unusual or distinct in the choices they make.
A vast majority of matchmaking shows haven't shied away from highlighting the superficial considerations that inform people's decisions to choose their partners. Dismissed, a seemingly inane dating show that aired on MTV two decades ago, is a case in point. Over the span of a single episode, a person was taken on dates by two potential partners and was expected to decide who they wanted to be with. The process was time-sensitive and often led to men and women making ill-conceived choices based on physical attributes alone. Even so, American matchmaking shows are less stringent insofar that marriage isn't perceived as the ultimate goal. Liberated from these constraints, these reality shows can be a tad flippant as casual dating is deemed to be a viable outcome of the process. The likelihood of success stories on these shows is, therefore, a lot higher as the minimum standards aren't difficult to attain.
This isn't the case with shows such as Netflix's Indian Matchmaking where people incessantly shop for partners and keep rejecting suitors over some pretext or the other. Unlike its Western counterparts,
Indian Matchmaking is far more marriage-oriented.
Since the stakes are higher, participants on the show want to make the right choice lest they are compelled to hold their peace -- if not forever, then for the period it takes to find a skilled divorce lawyer.
For two seasons, the matchmaking show has revealed how challenging it can be to choose a spouse who can become a lifelong companion. As a consequence, copious participants on Indian Matchmaking
are shown vacillating between various extremes and dismissing potential partners over trivial reasons. This has led many to believe that single men and women of Indian origin are far too selective or demanding as the expectations they have of their would-be spouses are unrealistic, if not altogether lofty.
Faced with the mounting pressure to choose wisely, a vast majority of participants on Indian Matchmaking focus on meaningless technicalities instead of the bigger picture. It is, therefore, unsurprising that suitors are rejected for not adhering to the seeker's rigid criteria, which could include anything from their physical appearance to their choice in furniture.
When impulsive decision-making becomes endemic, it is the duty of the matchmaker to step in
and act as a referee and remind the players about the rules of the game. While Sima Taparia is notorious as the purveyor of instant reality checks for her clients, her 'sixty-percent' mantra and incessant pleas for a relaxation of inflexible standards are often dismissed. In the two seasons of Indian Matchmaking that have been released so far, the matchmaker is a beleaguered entity who lacks credibility and is often the object of ridicule.
Taparia's clients seem to defy her dictum with alarming regularity and she is often relegated to a practical non-entity in a matchmaking process she is being paid handsomely to initiate. Their scepticism of her old-world wisdom can be ascribed to a burgeoning discontentment with the idea of arranged
marriages. Such arrangements are often considered to be antithetical to the notion of love depicted in romantic comedies churned out by Hollywood and the Indian film industry. At the same time, the matchmaker's approach to finding suitable partners for her clients has its shortcomings as individual needs seldom assume centre-stage.
Taparia's preoccupation with the long-term gains of marriage is at variance with the short-term requirements that her clients may expect from the arrangement. That a popular cast member on Indian Matchmaking refused to work with Taparia is a glaring sign of the matchmaker's failure to cater to her client's tastes and expectations. In a similar vein, Taparia's inability to successfully match her clients with suitable partners is also a troubling sign.
The matchmaker may have to revamp her traditional, family-oriented and distinctly desi approach to finding suitors if she wishes to prevent her free-spirited yet intransigent clientele from slipping away. Be that as it may, it would be wrong to find faults in Taparia's strategies alone when the premise of the show as a whole is fundamentally flawed.
Conventional wisdom would have us believe that a show that focuses on the matchmaking process in the Subcontinent would reflect its darker truths in a nuanced manner. It is an acknowledged fact that matchmaking in India isn't an individualistic pursuit as it is made out to be in the Netflix series. The process is community-driven and is punctuated with conflicts that aren't always linked with the couple. Dowry demands, though penalised in the country, are a recurring concern that complicate the process of finding an appropriate match.
Unfortunately, these realities aren't depicted on Indian Matchmaking. What emerges is a rose-tinted, whitewashed portrait of matchmaking that is tailor-made for a Western audience. Taparia's clients may be of Indian origin, but the matchmaking process that they've signed up for is far from 'Indian'. A vast majority of them are based in the West and are negotiating, quite weakly, their family's expectations of an appropriate partner for them with their own quest for a fabled happily-ever-after. The results are, of course, chequered -- a dismal reminder that cupid is merely a construct in the Indian marriage market. Audiences are left wondering how powerful and poignant the show could have been if it had focused on the bittersweet realities of matchmaking in a strictly Indian context.
Indian Matchmaking suffers from the stereotypical trappings of reality television. The focus remains on entertainment value instead of a desire for an accurate depiction of social customs. Even so, a faithful portrayal of the matchmaking process would have enriched the quality of the show. The Netflix series succeeds in achieving some semblance of authenticity by highlighting the interminable expectations people have of their potential partners. Where it falls short is in drawing attention to the subtleties and machinations involved in the process of making matches.
Farewells are bittersweet and challenging. However, the last season of Dynasty seems to defy this assumption. Viewers who are willing to invest time in watching the 22-episode-long fifth season might at some point want to desperately bid adieu to the Carringtons and their endless shenanigans. This, of course, is a predictable reaction as the series has always struggled to measure up to expectations.
When the Dynasty reboot surfaced a few years ago, it was touted as both a throwback to the original 1980s soap opera and an opportunity for course-correction. While the creators made a conscientious attempt to rectify the flaws in the original series, they couldn't bring back the sizzling drama that kept audiences engaged in the 1980s soap opera. During the five seasons of senseless intrigues and tepid dramatic confrontations, audiences seldom witnessed anything radically different from what they had seen before. Instead, tried-and-tested tropes were recycled with reckless abandon and absurd plotlines were pursued with an alarming regularity. Be that as it may, originality isn't the missing ingredient that could have salvaged the series from its natural death. From the outset, the Dynasty reboot has benefitted from a heady dose of ingenuity and has
By Omair Alavi KARACHIThere are two kinds of celebrities in this world; those who are famous for their work, and those who make a difference. 'People
Magazine Special: Top 100 Celebrities
Who Define Our Time is about those five-score celebrities who have made a difference with their work, and continue to do so. They can be movie stars, sportspersons, musicians, or even politicians without whom this world wouldn’t be the same.
Before we move ahead, let's discuss the criterion which was applied to select these hundred people that matter the most to the American public, since it's published under an American magazine. Each celebrity featured in this book has done something that was either not done before or achieved something remarkable that hasn’t been emulated. It might be something said by a film star, a feat achieved by a sports hero, or a legacy left by someone who wasn’t expected to be famous for some reason.
Therefore, if you don’t know that the meaning of The Matrix star Keanu Reeves’ first name is ‘Cool breeze over the mountains', that actress Brooke Shields faced the camera for the first time when she was 11 (months, not years), or that the only time Princess Diana was upstaged by Prince Charles was during the announcement of their engagement, then you need to read this coffee-table book and enjoy it thoroughly.
Expertly divided into six sections, this book covers nearly everyone who should be in such a collection. The former US President Ronald Regan is there for his impressive work as an administrator and so is Arnold Schwarzenegger for emulating him at the state level; Julia Roberts and her smile make it to this book as does the devilish grin of Jack Nicholson,
and a book about influential celebrities wouldn’t be complete without Robin Williams or Steve Martin who are here because of ‘defining’ something in a better manner than their contemporaries.
The first chapter in this book is titled ‘Power Houses’ which houses those celebrities who are more than A-listers and that’s the only place in the world where you can find Brad Pitt, Jennifer Aniston, and Angelina Jolie together. The ‘Movies’ section features film stars such as Robert De Niro, Al Pacino, and Bill Murray who have given their best to Hollywood and without whom the American pop culture wouldn’t be pop at all.
Then there is the ‘Television’ chapter which talks about those actors or actresses who have done exceptional work on the smaller screen while ‘Music’ features those celebrities who have used songs to make their presence felt.
While Courtney Cox, Farrah Fawcett, and David Letterman find their way into the Television part, the next one couldn’t have been complete without Michael Jackson, Celine Dion, and Barbra Streisand to name a few.
After these four major categories, there are two more that cater to the ‘Next Generation' and the ‘Icons’; while the former takes care of the young and forthcoming celebrities, the latter is home to those who might not be part of showbiz necessarily but are important enough in their own rights. You may or may not agree with the selection but in an ever-changing world, fresh induction of celebrities is not just the need of the hour but also what the circle of life teaches.
As for the pictures, the selection is first-rate and in some cases like Elizabeth Taylor, Brooke Shields, and Paul Newman, breathtaking. The Clint Eastwood image tells the readers that when Dirty Harry wasn’t busting criminals, he was an extremely good-looking chap,
even ventured into uncharted terrain. The problem stems from the show's excessive emphasis on banal subplots, which contribute heavily to its shoddy, meandering narrative arc. Such problems tend to arise when a show has a gargantuan cast for which precious screen time has to be effortlessly carved out. It is difficult for audiences to sustain their interest in every character's trajectory and many of them become selective. They cultivate an emotional connection with characters whom they find intriguing and, quite literally, gloss over scenes that feature subplots they don't care about.
Dynasty's fifth season suffers from a similar predicament. Each 42-minute-long episode brings to the fore a posse of inconsequential characters who vie for the audience's attention. Sceptics may be tempted to argue that these characters deflect the viewers' attention from the main premise of the show. But after so many seasons of
senseless intrigues, it is difficult to pinpoint what the fundamental premise of the show is.
While soap operas tend to drift from one premise to the next at a swift pace, there is always a central character or conflict that sustains the interest of viewers. In the original Dynasty, the simmering conflicts among Alexis, Cristal and Blake were the fuel that kept the engine running. In the reboot, the dramatic core of the show has wavered considerably. At one point, Fallon (Elizabeth Egan Gillies) and her antics were single-handedly holding the show together. Even now, a vast majority of Dynasty fans watch the show because they are curious about Fallon's next personal or professional move. However, the Carrington heiress still has to compete for attention with a motley crew of meaningless characters who should have been written off a long time ago. Without a central focus, the series tends to falter and effectively loses its sheen. The fourth season of Dynasty ended with a shooting incident that was nothing short of calamitous. Viewers expected the new season to begin on an equally chaotic note. Instead, many of them will be astonished to find that the first episode is untainted by the storms that struck in the previous season. The mood of the series swiftly changes after Fallon slips into a coma. Her momentary absence brings a sudden lull to the series and acts as a glaring reminder of how critical she is to the show's success. Once she recovers, Dynasty returns to its usual track where events cause neither a whimper nor a bang. The occasion half-baked calamities strike a few chords without reaching a crescendo. Business arrangements turn sour and stoke personal conflicts. Even so, viewers are unlikely to be fazed by these developments. After all, Dynasty would be meaningless without the looming fear of hostile takeovers and personal turmoil. After every few episodes, an unmistakable highpoint is reached and the series gathers momentum, albeit to fritter it away with relative ease. The confusion steered by a character's double role isn't utilised to drive
the plot forward. The arrival of forgotten but troublesome Carrington uncle isn't mined to full potential. Plot conveniences are thrown in to iron out any situations that the creators find tedious or unwieldy. In other instances, arbitrary business scandals and catfights over candelabras are used to distract the attention of the audiences.
Some of the most memorable moments of Dynasty's fifth season are those that are separate from the all-important business scandals. Liam Ridley's journey as a bestselling author who suffers from writer's block and contemplates plagiarising his professor's novel is executed with care. Amanda's love life as well as her efforts to reinvent herself as a Carrington heir after working as an industrious lawyer are equally compelling. There is fertile ground for growth in these characters. If the creators are contemplating spin-offs with characters from the Dynasty reboot, they should look no further than Liam and Amanda. The fifth season of Dynasty doesn't carry the spirit of a final hurrah. The rhythm of the show stays fairly consistent and creates the promise of subsequent seasons. The final episode, however, is an anomaly as it pulls the series out of its languor and propels it towards a rushed, if not entirely unsatisfying, denouement. For most viewers, the final episode has a distinctly dream-like quality. A Carrington sibling finally gets his comeuppance while another emerges from the shadows. Though somewhat contrived, the finale reveals that the show's creators always knew how to put its wavering storyline back on track, but were reluctant to use their superpowers.
In hindsight, the five-part series can be construed as a watered-down version of the original soap opera. Sceptics might be quick to assert that the show exemplifies the dangers of rebooting old soap operas. However, the merits of the Dynasty reboot can't be discredited so easily. The five seasons of the Dynasty reboot will be remembered for their sensitivity to issues of race and gender -- a crucial ingredient that made a classic seem more palatable to modern viewers.
that Elton John used to be young once, or that there was a reason why Sarah Jessica Parker had the million-dollar feel while being part of Sex and the City.
Unlike other books in the market that rely on attractive photographs, this edition’s specialty is the informative-yet-hilarious narrative that follows the awe-inspiring photographs. Each and every artiste gets a page of his or her own where their accomplishments are explained briefly. On some pages where the celebrity doesn’t need anything except their name, a hilarious anecdote would be presented that you can share with your friends later.
In a book where Meryl Streep is introduced as ‘most actors would be thrilled to have 16 films on their resume; Streep has 16 Academy Awards nominations’ or which features Katharine Hepburn’s quote ‘if you obey all the rules, you’ll miss all the fun’, the readers will never be at loss. They would find interesting things about the favourite celebrities of their generation and find something that was unknown to them or their friends.
I was surprised to know that comedian Richard Pryor was paid a million dollars more than Christopher Reeve in Superman III, or that Jennifer Lopez remains the only human to have had the No. 1 album and the No. 1 film in the same week. On the whole, this is one book that you should have in your collection for reference as well as to curb your enthusiasm for nostalgia. If you had no idea that Brad Pitt felt ‘like a girl walking past construction workers’, Paul Newman thought that he looked ‘like Red Riding Hood’, or that Sandra Bullock dumped her husband after he had cheated on her, then you have a lot of catching up to do.
Let this treasure trove of information guide you towards an interesting world where both the pictures and the text have a lot to say.
She may seem to be a newcomer to television but Hiba Aziz is anything but a debutante. She has been around for quite some time and has appeared in a few TV serials like Adhura Milan, Rani, Babul Ka Angana, Ek Aam Si Larki, and Tumhari Maryam. However, she gained recognition for her performance in Badshah Begum where her character went from a village belle to Khadima Khaas and finally became the wife of Pir Shahmeer, the brother of the titular character.
What the audience liked about her character was her transition from a nobody to somebody in a matter of a few weeks. When the play began, she was an innocent girl who became fearful due to the treatment she received from her mistress’s stepbrother but finally became the epitome of confidence and grace once she was rescued from the jaws of the evildoer. BOLD had a chat with the tal ented actress who had a lot to say about her performance in the play, her forthcoming projects, and how a well-deserved break helped her deliver her best performance yet.
BOLD: We are in love with your performance in Badshah Begum where your character has progressed from south to north. But the million-dollar question that everyone wants to ask you –why were you missing in action?
Hiba Aziz: (Laughs) To tell you the truth, I wasn’t very content with the kind of characters I was being offered in TV serials. I began my career seven years ago, relocated to Karachi from Lahore, and wanted to do some substantial roles but instead got supporting characters, in cluding a couple of negative ones, which wasn’t what I had in mind. Three years back I decided to take a break from the hectic life I was leading and went back to Lahore to be with my family. Trust me, the break helped me big time because when I did return to acting after the hi atus, it felt refreshing, which is exactly what I was looking for.
What made you change your mind and return to acting, after three years?
When the director of Badshah Begum Khizer (Idrees) approached me for the play, I wasn’t very anxious to make a comeback because nothing new was coming my way. When he was narrat ing the script to me over the phone, I realized that it more or less seemed like Empire of the Mughals, which is one of my favourite books. I interrupted him to point out the resemblance to which he replied with ‘kind of’ and went on to
complete the narration. I wasn’t sure whether I wanted to say yes or no until he said that he wants me to do the play because he thinks it will be good for me. This one sentence made me change my mind and I accepted the character of Gulnar who begins the play as Khadima Khaas and then goes on to become an important part of Badshah Begum ’s family.
Did you know that the character would become the most important aspect of the play, as it progressed?
Oh yes, I did. Everything was going against Gulnar when the play started but with the play nearing its end, she is the sort of glue that binds the whole family together. My relationship with everyone from Badshah Begum to Pir Murad Shah Alam (played by Abul Hassan) was in
strumental in the 90-degree angle shift that my character takes, and I had fun playing the different shades that take Gulnar from innocence to being threatening.
How was it to perform on screen with the freshfaced Hamza Sohail, who plays your husband in the play?
Hamza Sohail is a wonderful actor and while we were paired as husband and wife, on set I got brotherly vibes from him. He is a fun-loving professional actor who knows how to interact with people, and that’s why we had a lot of fun on the sets. Even before our tense scenes, we were laughing our heads off, which made me comfortable
Many actresses wouldn’t have even thought twice had they been offered to play Khadima Khaas? What made you go for a character that begins as a servant of all places?
The best part about the play was that it didn’t follow a typical Saas Bahu kind of story nor was my character that of a conniving girl, or an innocent sister. The scale Gulnar’s character was offering me was huge and it intrigued me as an actor and a performer. I chose to say yes to the drama since it enhanced my artistic point of view, and the rest is in front of the audience.
Secondly, I was able to relate to the place where Gulnar was at the beginning of the play because I had already been there, so instead of becoming a challenge for me, Gulnar became an extension for me which helped me big time. As you said you didn’t want to play second fiddle in plays, but Badshah Begum features the who’s who of the industry. Didn’t you feel threatened by the ensemble cast despite playing an important character?
It’s sad that in our society, we categorize female actors as either a beautiful girl who cries all the time, an antagonist who doesn’t want others to have a happy ending, or a mother-in-law who is somehow frustrated at her own son or his wife, for some odd reason. That’s why, for me, playing Gulnar was more important than being intimidated by the huge cast around me. I didn’t let my mind get conscious of my surroundings because had I done that, I wouldn’t have been able to give the high-quality performance that was expected from me.
Who is your favourite actor with whom you would like to share the screen in the future?
The late Moin Akhtar was my favourite actor but unfortunately, he isn’t anymore with us, but I would love to share the screen with Bushra Ansari who I admire a lot.
Well, you got to work with her blood relative in Badshah Begum, didn’t you?
Oh yes, I loved working with Zara who in fact has something that reminds others of her aunt. She is a lovely person to work with and since most of my scenes were with her, I had a ball on set. She doesn’t let others realize for a second that she has achieved a lot as an actress and that’s what made the other cast members relaxed around her.
Usually, good-looking actresses like to do commercials and you are clearly in that zone, but we haven’t seen you around much. Any specific reason for that?
I think it has more to do with my personality than anything else. I don’t like to spend time with people I don’t know, which is sort of a drawback in the media industry. I can’t help it because that’s me!
Now that you have played a major character in a TV serial, I am sure offers must be piling up for you?
I have already started working on my next play Qalandar, details of which will be shared soon. All I can say is that it features Muneeb Butt, Ali Abbas, and my Badshah Begum co-star Komal Meer, and my character will surprise all those who thought that I couldn’t better Gulnar so soon.
After the turmoil which surrounded the release of Sarmad Khoosat’s Zindagi Tamasha in Pakistan, audiences were wary about the screening of the film Joyland in local cinemas. Directed by Saim Sadiq and produced by Sarmad Khoosat, the film explores themes of gender identity, sexuality, and societal pressures in Pakistan, all of which are considered to be taboo subjects. Hence, it comes as a pleasant surprise that Joyland will officially be released in Pakistan on 18 November, 2022. Sadiq made the announcement by releasing a new poster for the film which features artwork by renowned PakistaniAmerican artist Salman Toor. Sadiq said that no image could ever represent the collective human essence of Joyland better than Toor’s “heartbreakingly beautiful” painting. The film will be screened in cinemas across Pakistan, according to Sadiq. After its unprecedented success at Cannes and the Toronto International Film Festival (TIFF), cinema-goers in Pakistan are eager to see Joyland and witness a film which has made Pakistan proud overseas.
By Sara Danial KARACHI
The 3rd Gandhara Independent Film Festival 2022 (GIFF) recently took place at the National Academy of Performing Arts (NAPA) in Karachi from September 24 to September 25, 2022. Held in collaboration with NAPA, the festival provided a dynamic landscape for budding independent filmmakers, writers, and artistes from the local and international circuits. The festival is known to present a selection of stories that are curated and screened in Pakistan and around the world. The two-day festival was a definite success with a full house on both days. The festival began two years earlier, in 2020, with a vision to drive and exhibit the excellent works that would go unnoticed were it not for such festivals.
Achieving this feat is a small wonder for NAPA as it has been constantly encouraging and ardently supporting richly deserving content, with a critique and analysis of topics deliberated by panellists and moderators belonging to the industry. This allows them to shed light on the craft and the importance of film festivals, the challenges being faced by all the stakeholders involved and the way forward for all of them, along with the audience.
GIFF remains the only platform to showcase the creative expression of independent filmmakers in Pakistan who want to voice their thoughts along with providing entertainment. As the festival discovers award-winning filmmakers to curate immersive and innovative exhibitions, it also, in the process, builds a space for art and storytelling that is not just inspirational but possesses a potent catalyst for change.
This brings us to another dilemma – the dearth of film festivals in Pakistan. Junaid Zuberi, the CEO of NAPA, emphasized the need for such platforms: “The impression of the visuals and screen is powerful, impactful and vocal, without having to say much. This cannot be achieved by an orator speaking for hours to an audience. There are many social disorders that need to be brought to the forefront but are not spoken about, owing to social stigmas around them. These can be easily addressed and exhibited through such forms of creative expression. Although we are primarily a theatre-based organisation, as artists, we feel the need to promote other mediums as well. Because many students graduating from NAPA are working with TV serials, music, films, and many other
forms. We have carved a niche and established the theatre as a strong base. But we need to move forward and explore other realms to build the industry at large.”
Kulsoom Aftab, Manager Continuing Education at NAPA, says, “These kinds of platforms are not only a much-needed space for films only. All forms of art must be recognised and acknowledged, whether it is films, theatre, photography, animation, dance, or storytelling since all of these forms enhance each other. With these festivals, I hope to look forward to more original and thought-provoking content emerging from new artistes. We used to have the KARA Film Festival, but the vision needs to take a broader perspective now.”
Pakistani Nobel laureate and global activist Malala Yousafzai is well known for her years of work aimed at ensuring female access to education. However, she is now set to don a different hat after having signed a three film deal with Apple Inc. Malala, who runs a production company by the name of Extracurricular, will serve as the producer on three films which will explore a variety of topics ranging from dystopian fiction, to the lives of fisherwomen in South Korea, and Japan after World War II. The medium utilised to tell these stories will also be different as one will be a feature film, one a documentary, and the third one a series. Malala hopes that this initiative will give a platform to women of colour and also introduce new Muslim writers and directors. It is evident that this partnership hopes to tell stories that are often marginalised, and could prove to be fruitful for both Malala and Apple.
The South Asian Visual Arts Network (SAVAN), which is made up of a variety of artists from South Asia, is set to hold an art auction in New York, the proceeds from which will go towards helping the affectees of the floods in Pakistan. The calamity has seen celebrities from across all platforms launch a host of individual and collective efforts to provide flood relief in this time of crisis. The auction organised by SAVAN will take place both in-person and online. Hence, if viewers wish to attend the event virtually and bid for artworks that interest them they can do so from the comfort of their homes. This was done to ensure that the donations raised were not just limited to those individuals who managed to visit the auction. The artists whose work will be on display at this auction includes Misha Japanwala, Ruby Chishti, Fiza Khatri, Sunil Gupta, Qinza Najm, and Ambreen Qureshi, among others. All the revenue generated through this auction will be donated towards flood relief efforts.
The stimulating panel discussions featured renowned experts from the industry such as Khalid Anam, Sabiha Sumar, Faris Khalid, and Mohammed Ehteshamuddin, moderated by Omair Alavi on day one of the event. With an insightful discussion about the rise and fall of Pakistani cinema, the talks entailed the challenges the cinema is facing in the country and the way forward to restructure the film industry. Another panel discussion on the same day had Paras Masroor, Vajdaan Shah, Akbar Ladhani, Nigel Bobby, Meesam Naqvi and Saqib Sumeer, moderated by Kulsoom Aftab, which elaborated on contemporary Pakistani films.
The day two of the festival discussed the presence of parallel independent cinema and the role of film festivals. Moderated by Kulsoom Aftab, the panellists, comprising Omair Alavi, Ali Rizvi, Ahsan Bari and Mohsin Ali, expressed their views and convictions cantered on the topic. The talk came to the conclusion that all artistes must build a networking platform to build a community of sorts that would help them assist and leverage each other’s works. All the panel discussions emphasised the importance of a sense of responsibility to present, acknowledge and appreciate meaningful, riveting films, and how it needs to be taught at the grassroots level, beginning from educational institutions, documentary screenings, workshops with industry experts, and master-classes with global filmmakers to capitalise on the collective wisdom and
knowledge base to enhance the learning curve for the Pakistani audience.
Expanding on the same conversation, Omair Alavi, an established entertainment journalist, said, “Short-film festivals are important primarily because we can tap new talent and their works get an outreach which they otherwise may not be able to achieve in mainstream cinema. Pakistan has enjoyed festivals in the past. Gradually, they faded away, either because they became commercial, or less genuine. But the revival is required to bring forth unexplored flair which may transcend from short to long formats before they can explore feature films. At GIFF, the films showcased were commendable and I hope to watch more laudable work from Pakistan.” He also recommended the viewers to watch Spider, a film by Nash Edgerton.
The audience liked The Headhunters Daughter by Don Josephus Raphael Eblahan which tells the story of Lynn who travels across the highlands as a country singer. Murder Tongue by Ali Sohail Jaura was another film, which relayed the story of Karachi being in constant upheaval when in 1992 the state-sanctioned "Operation" brought the city to its worst nightmare. Then there was August Sky by Jasmin Tenucci which also won the Cannes Short Film Special Distinction. Bear by Nash Edgerton, an Australian comedy-drama film, also received positive reviews from critics. Trumpets in the Sky by Rakan Mayasi, is a story of a girl named Boushra, born and raised in Tripoli, Lebanon, in the mid-50’s, who begins to dread her childhood. The award-winning films, Letter Room by Elvira Lind (Academy Award for Best Short Film), and Monsters by Frank Tremblay (Best Canadian short film at Rendez Vous Quebec Cinema 2020) were equally mesmeric. Others included The Silent Echo by Suman Sen, The Journey Within by Mian Adnan Ahmad, Deaf (Sorda) by Eva Libertad and Nuria Muñoz-Ortín, Radio by Vipan Malawat, The Hunt by Amy Fajardo, Roberto by Carmen Cardoba and Haru's New Year by Alice Shin, each compelling and hypnotic in their own right.
Sharing and disseminating art to create a global platform for artistes is a cornerstone principle of NAPA’s initiative and these festivals that go beyond their domain of theatre are proof of their tenacity and belief in an inclusive artistic community. NAPA’s collaboration with GIFF in this historic and unprecedented endeavour serves as a reminder of the necessity of films.