The Departed*****

*ing: Jack Nicholsan, Leonardo Di Caprio, Matt Damon, Mark Wahlberg, Alec Baldwin and Martin Sheen

Directed by Martin Scorsese
Tagline: Cops or Criminals. When you’re facing a loaded gun, what’s the difference?

It’s hard-hitting, it’s brutal, it is The Departed – a snarling monster that turns a crime drama, a cat and mouse chase into a masterpiece with absolutely fantastic, incredible and riveting performances and grueling, gruesome violence. In the battle between organized crime and the good old dedicated cop, it reestablishes the brilliance of its cast and director. Will it pick up a couple of Oscars? Unlikely, as it’s too bloody and too realistically graphic. But it is one of those films that stretch violence and brutality to the max without losing control over content.A remake of Siu Fai Mak’s 2002 thriller, Internal Affairs, The Departed brings to life a story that has been told before but it works brilliantly because of its execution and actors.The key players are Frank Costello (Jack Nicholson), an Irish mob kingpin – feared by all, hated by most, envied by others. A man who has a
wildness to him, he is brutal to the point of insanity. He is a killer who really has no conscience – who recruits a young boy and sends him off to the police academy. That boy grows up to be the ever-deceptive, Colin Sullivan (Matt Damon). Then there is Billy (Leo Di Caprio), a loner who also becomes a cop and as luck would have it, he infiltrates Frank’s world of crime. Two moles with two different missions: one controlled by Frank and the other standing against him. The result, The Departed.
The story line sounds simple enough. Someone infiltrates the CIA, LAPD, and NYPD…the list is endless. But The Departed is unlike any previous flick because it is an actor’s platform. It is a cinematographer’s exam and it is Martin Scorsese’s return to crime drama. It’s his unpretentious, realistic, gripping affair with the saga of cops and crime and it sweeps you in, whether you like it or not.Visually, The Departed is slick as hell. Every scene has a conviction to it that can’t be overturned. The scene where both Colin and Billy look for each other is brilliant. When Costello walks into a diner, it’s captured just as brilliantly as it is written and performed. From start to end, this is a slick flick.But the best part about the film is its actors. Jack Nicholson shines once again. Vindictive, feared, he is a man of many shades, one who you’re afraid to see. It’s not a film about him, he supports the cast but his presence is powerful, showcasing a cold demeanour that frightens. In the opening lines of the film as he says, “I don’t want to be a product of my environment. I want my environment to be a product of me,” you realize what a strong shadow he casts on the film. And if Nicholson brings out an effortlessly riveting performance, Leonardo Di Caprio shines like a blood diamond. This is his best film to date, it beats The Aviator and makes Titanic look like child’s play. Leo, despite being a great actor has always been treated as a movie star. His looks have always been boyish, and this vulnerability actually makes Billy the most lovable, fascinating and edgy character. As Billy, Leo is awesome. He is torn; morally he wants to do the right thing but realistically, it’s suicidal. Costello is capable of mean, dirty street crime that no cop can stop. Billy is edgy, shaking at times, beaten at others, always on the hunt, fearful of the deeds he is assigned to. However, Leo deserves the Globe, the Emmy and the Oscar. And perhaps even a Bafta. This certainly does not mean that Matt Damon should be ignored. Damon, over the years, has learned the fine art of deception, at least when it comes to films. From The Talented Mr. Ripley’s obsession to the cheater in Ocean’s Eleven and the amnesiac Bourne, he has certainly come far. But it is this film that really makes one take notice of the actor. Colin is a man who is deceptive, someone who calculates every risk, cunning all the way and a man who will protect himself above anything. His is also an edgy character but for very different reasons. Martin Sheen, Alec Baldwin and Mark Wahlberg – all three do awesome work as supporting members. Scorsese in the past few years has been doing other things. The Aviator, Gangs of New York, and documentaries on Bob Dylan and even Michael Jackson but with The Departed he returns to his true niche. Enough with the Oscar fervour and its shenanigans, this is Marty at his vindictive best and it rocks. Long after it departs, the film lingers on and makes you think of a society rotting from the inside, gnarling and twisting in the mean streets of Boston. The Departed is a must see film but it should be said that if you can’t take bloody, bloody Costello than it’s not for you. –Maheen Sabeeh *YUCK **WHATEVER ***GOOD ****SUPER *****AWESOME

Doorie bursts Atif’s bubble

Atif Aslam’s Doorie is uninspiring, monotonous and features only a few decent melodies that have been composed by everyone but the singer. It’s certainly not the follow up one was hoping for.By Maheen Sabeeh.

Artist: Atif Aslam, Album: Doorie**
One fine day, walking around Laraib Music, hoping to find something decent to listen to, I came across an Atif Aslam poster. It had a picture of him and stated that Atif was back with a new album that comprised of 17 tracks. This was a shocker for various reasons. First of all, 17 is a huge number. How many artists in Pakistan can manage that many decent tracks on one album? Moreover, Atif’s album appeared out of thin air. One day there was nothing and the next day, puff! It was there. There was no pre-release hype, no launch gig, not even a press conference. Skeptically, I bought the album as Atif was a superstar and had won hearts with just one song (‘Aadat’) in 2004. Imagine what 17 gems could do collectively. Sadly, my skepticism was accurate because as soon as one rolled down the album jacket, two things became clear: Doorie isn’t an Atif Aslam album in its truest sense and secondly, it is an album that should’ve been called ‘Atif remixed, featuring 6 new tracks.’
Spin the cdDoorie is a chaotic mix of 17 songs that are incoherent, weak and unoriginal. But before explaining how, let’s first talk about the fleeting good side of the album… The best song on the album is the excellent ‘Maula’. Its mood is just so different than anything Atif has ever done. It has a Sufic feel to it, with heavy percussion and acoustic guitars forming the music structure. Atif sings with emotions, convincingly as he croons, “Mujh Ko Bata Mera Dar Ha Kaha Maula/Jogi Bana Mein/Firda Rawan.” A fear of lost identity, losing oneself in the fast pace of life are some of the themes ‘Maula’ touches on in a subtle demeanour. Excellent number. Other good pop ditties include the upbeat yet morbid ‘Hum Kis Galli Ja Rahe Hain’ where the drained protagonist asks, “Hum Kis Galli Ja Rahe Hain/Aapna Koi Thekana Nahie” and the moody and melancholic, ‘Kuch Iss Tarah’ that invites the listener into a world of romance with all its hurt and agony included. Then there’s the annoyingly addictive, ‘Doorie’ that effectively portrays the heart of a man missing his love. It’s quite sweet even if it is a tad corny. Anyhow, that was the good side of the album. And now for the disappointments, blunders, errors….
Lost in translationOther ‘original’ numbers on Doorie fall short in one way or the other, especially when compared to the above-mentioned tracks or Atif’s first album Jalpari. One example is ‘Mahiya Ve Soniya’. It begins in a sensual manner with a saxophone playing in the background and a girl singing “Every time, pick a place, I’ll be there.” Excitedly, one wonders what will happen next but the tune changes quickly and soon Atif bursts into the unoriginal, done to death phrase, “Mahiya Ve/Dil Naiyon Lagda.” It’s not the music that destroys the song but the severely filmi lyrics such as, “Pagal Pagal Rehti Hai Meri Tau Har Dhadkan/Bas Teray Deedar Ka Chaya Mujhe Pey Paagalpan.” Move on and one finds ‘O Re Piya’ with its filmi music, thanks to the orchestra running in the background. It really feels like a
Nadeem-Shravan song that is neither here or there. And with this song ends the original material on the album.
‘Tere Bin’ from Bas Ek Pal is also present in the playlist. It’s a fantastic track but again, this song was on Bas Ek Pal’s soundtrack and doesn’t really belong to Doorie.We no fools Remixes take over the album and one would like Atif to explain the difference between a club mix, house mix, euro mix, soul mix, trance mix, energy mix, eternal mix and freaky mix. The only thing freaky is that some of them sound exactly the same as their original songs. It isn’t uncommon for bands to remix their popular songs. The remix of Abbas Ali Khan’s ‘Malal’ took the song to a whole new level with electrifying percussion nuances and beats. Another case is Rungg’s ‘Saath Saath’ that was remixed by the multi-talented Zeeshan Parwez. He turned a pop/rock number into a dance number in a simple, subtle and bouncy way. The point is, it’s all right to do remixes, provided one knows how to do them. It is this reason why random folks don’t turn tables at clubs and parties. There is a reason why we opt for DJs. This is where Doorie disappoints terribly. It turns all the wrong tables as far as remixes are concerned and in doing so, takes away the beauty of the original numbers. Be it the ‘Tere Bin (club mix)’ or ‘Doorie (house mix)’, ‘Kuch Iss Tarah (euro mix)’, ‘Mahi Ve Soniya (soul mix)’, ‘O Re Piya (trance mix)’ or ‘Yakeen (club mix)’ – all remixes are bad. With ‘Tere Bin (club mix)’ and ‘Doorie (house mix)’, the problem is chaos. There is an attempt to achieve too much and as a result, it fails. It sounds like a science project gone wrong. Moving onto ‘Kuch Iss Tarah (euro mix)’ and one finds mediocrity. This is perhaps the only remix that is a little calm in its sound and structure but it’s a sound that anyone from Paul Oakenfold to John Digweed to Sasha could do. There is no originality, not that it’s copied but it is just out there, reminding one of too many things and not being able to stand on its own convincingly. Then there is that awful remix of the already average ‘O Re Piya’. It’s another out there remix with a weird intact beat juggling around from pace to pace, shifting and changing, for no rhyme or reason. But hey, it’s not the worst. That honour must be given to ‘Yakeen (club mix)’ for distorting, destroying and breaking the brilliant original into a sound that is redundant, repetitive and one that fails to build a connection with the melody. It neither matches nor constructs a pathway for itself. Skip it. The final surprise of the album is the ‘Hum Kis Galli Ja Rahe Hain mix’ and ‘Doorie (energy mix)’ – both of whom are the same numbers. The only difference is the addition of words to the titles. Disillusioned…Atif Aslam is an immensely talented singer and composer. He proved his worth with songs like ‘Yakeen’ and ‘Ehsaas’. They were not on Jal’s album and were his original numbers. Lyrically, these songs were absolutely riveting even as they remained simple musically. Atif Aslam through these tracks built up his own identity. Everyone wondered what the second album would be like, and whether Atif would come out with another musical treasure? Atif did steal the nation and he is doing so once again but without the musical genius, lyrical quality, originality and emotions with which he (Or Goher Mumtaz?) penned Jalpari. Sequel albums are always under scrutiny. If one has a monumental success like Jalpari to fall on, he might get scared. But the thing is, only he will get scared who did the actual composing. Going over the inlay of the jacket, one discovers that every song including ‘Doorie’ has been composed by Sachin Gupta and a few tracks have been done by Mithoon. Even the lyrics are not Atif’s own. They have been written by Sameer, Sayeed Quadri, Sachin Paul, Uzma & Shahzad. This is an album composed in every way by a bunch of people while Atif Aslam lends his vocals to their songs. Insiders in the industry claim that Atif has another album on its way and that is the real deal. But if that’s the case, what was Doorie? Some say it was his entry in India but how can it be his entry into India when he released his album there and has been singing tunes for Hindi flicks for a while now? The bottom line is that as a sequel to Jalpari, Doorie disappoints; as an album, it disappoints and as a talented musician, Atif Aslam has disappointed. What more is left to say? ****Classic ****Excellent ***Good **Fair/Average/Mediocre *Poor/Pathetic/etc.

Shades of grey

Instep takes an inside look at the world of photography through the eyes of Amean J – the photographer who likes telling stories through his portraits By Maheen Sabeeh.

The minimalist
Amean J opens the door with a smile and asks if I had a hard time finding his place. He looks picture perfect in a crisp white shirt and black pants. As he guides me to his office, I look around and see a big blown up image of a man standing at a train station in Prague. “It’s a part of my exhibition,” says Amean sheepishly. It’s his first online exhibition and he looks excited at the idea, knowing that people from all over the world will log on, hoping that those who do will realize that it’s a Pakistani man doing it. Yes, Amean is a patriot at heart, even though he has lived in the US for quite sometime. Karachi is his home and he doesn’t want to leave it ever!With a fashionable hint of a beard, Amean looks more like a businessman than a photographer. Photography is his craft, but it is also his bread and butter. It is this approach to photography that really sets him apart. Some of the most prolific photographers have a side business to bank on. Be it Tapu Javeri who has his jewelry business or Ather-Shahzad who are
make-up artists as well. But Amean J is a little different from the lot. He works under the label 18% Grey. “It’s not just a name. 18% Grey is registered as a company, I pay taxes. It is a profession and a business, one that I live on and my clients should now that I work in a professional environment,” he says thoughtfully.His taste is that of a minimalist. His office doors are gray; a glass table is located in the middle of the room with funky ashtrays lying around. Before we talk, Amean goes and brews a hot cup of coffee. Over two steaming mugs, we go back in time as Amean tells his story…
The first steps
Amean J has been around for almost a decade now, working with the likes of stylist par excellence Nabila, designers like Sonya Battla, musicians that range from Rushk to Josh to Overload. But just like everything else in life, this fling with the camera was purely a game of fate.Amean’ stint with the camera began when he was going through a phase of confusion, undecided about what he wanted to do in life. Starting from Indus Valley School of Art and Architecture in 1992, Amean moved from school to school – he joined University of Texas at Arlington with a major in fine arts, then the Rhode Island School of Design and finally finished his degree from Academy of Art University in San Francisco with a major in photography. “Yeah, I was confused. I came from a conservative background but I didn’t want to be a businessman,” he says reminiscently.
In 1998 he landed his first big shoot with cricketer Wasim Akram. From then on, there was no looking back. His inspiration comes from mundane things in life, as he points out, “When was the last time you appreciated how green the grass was?” and further adds, “On the other extreme, I am very interested in politics and decisions that are made by the policy makers.”
While talking, Amean looks straight at the walls, sometimes at the floor with his legs stretched out as he sits on a chair. He has a spontaneous energy inside him that bursts out as we talk about Stanley Kubrick, the filmmaker who began his career as a photographer. Amean comes across as a philosophical man but he’s definitely not boring. He is friendly and quick-witted in a very unpretentious way.As a photographer,Amean is an all-rounder. His work ranges from shoots in various fashion publications to corporate work as well as personal portraits. In Pakistan, photographers don’t specialize in any one form. Those who do commercial photography are often the ones shooting the glamorous world of
fashion. Amean explains this phenomenon and says, “Unlike the west it would not be easy to focus on one area yet, as the industry in Pakistan is still small. In the long run quality will only improve when photographers will start focusing on specialized areas.” Amean is of the opinion that this industry is open to newcomers, provided they have the ability to do diverse projects.
Glitz of the celebrity world
Working in the fashion industry is surely not easy. Everyone has fragile egos and competition is ripe more than ever with Fashion Week around the corner. Now so more than ever as fashion schools such as PSFD and AIFD are gaining precedence. With new blood coming in, be it modeling or being a designer, it is, a cut-throat industry. In such a scenario, how is it operating in the fashion world?Amean takes a pause and says softly, “Initially I had problems but solely because I was not trained or inclined to do fashion photography at all. Perhaps due to the same reasons I ended up breaking into the industry with fresher ideas. I still feel I have a smaller clientele in the fashion industry, because my style of work does not appeal to all and I don’t intend to compromise,” and continues, “Its always a team effort and our models have always been great to work with. The only models I haven’t worked with are the ones who restrict themselves to only few photographers, I feel it hurts them more than anyone else. As for the designers I do sometimes feel that some don’t know what they want, and the miscommunication leads into uncomfortable results, but new school designers are great to work with
because they have the education and the exposure. Some of the senior ones who have the maturity in design also promote contemporary ideas.”
Surprisingly, Amean has not suffered the weight of fashion battles. And that is because he is smart enough to not get involved in the politics of fashion. “I’m known to lay my cards on the table well, leaving minimal room for miscommunication and most appreciate it. It’s very rare that we end up with results that leave a bad taste,” explains Amean.Nowadays, fashion publications have become a trend. In fact, there are so many magazines coming out that one feels lost. This certainly does not mean that the quality is always good. It looks and to a certain extent is more quantitative than qualitative. Amean agrees, “It’s the same situation with the designers, too. There is a new shop opening every week, but that doesn’t mean that there is quality, though there is a lot more activity in the fashion industry and the competition does force people to improve and be on the edge to survive. So in that respect it’s good.”
But how does one change it then? More people don’t always guarantee good work. There has to be a standard, be it designing or being a photographer. Unless a proper standard and a guideline is present, people will continue to churn out mediocre work. As someone who has been a part of this media boom and expansion, Amean does have a view on things. “We need to take our industry more seriously, may be slow down in the rat race a bit and concentrate on quality instead. We as a nation unfortunately tend to think short term. I feel we should look at the larger picture and that too globally instead of living in our little bubbles,” says Amean logically.Amean has a funky taste in fashion. He tells me that he likes what Sonya Battla, Maheen and Maheen Karim does, he likes the classic Rizwan Beyg and the traditional work of Bunto Kazmi. A lot of shoots that Amean does are with Nabila. Some of his best shoots have come out of this team-up. And how does it feel working with the pioneer of styling? “Nabila is extremely quality conscience and I’m a quality freak myself so we get along really well. Her team is extremely professional and sound, which helps me worry less about the look and concentrate more on the shoot itself,” says Amean smilingly.Speaking of fashion, we come to the subject of the two fashion councils. Everyone has a side to pick; the question is where does Amean stand? “I’m neutral. The day photographers start taking sides, it’ll be bad,” he says firmly.
Now what?At 32, Amean is content with life. To him, it’s not about pictures but stories. He finds them everywhere, in faces, known or unknown, famous or obscure, local or international, bankers or singers – it is the love for telling a story with an image that drives him and motivates him.This is a man who realizes how important it is for photography to be taken seriously. In Pakistan, there is not one school that teaches photography at a professional level. Knowing this fact, Amean himself teaches from time, conducting workshops and passing on the knowledge that he attained while studying abroad.A few years ago, he directed his first music video and it was shot with a photographer’s eye. It was an anti-war video, ‘Khuahish’ for the band Rushk. Will he take up video-making anytime soon? “I have to connect conceptually to a song. Rushk’s album was fabulous,” he says retrospectively.These days, Amean is planning to put together a photographer’s club. One wonders if it is going to be on the lines of the fashion council? Amean brushes off the comparison and says, “The idea was suggested to me by Tapu (Javeri) a few months ago. I’m really trying to put it together. It is really unfortunate that in 6 decades we still don’t have a society or a club for professional photographers. There is really a need on a professional level where photographers would be able to exchange notes on a platform and help the newcomers in the industry. For starters I’m working on a yellow pages of photographers in the country, which will be out in the next few months. This will also help international publications and clients to search for the right photographer in Pakistan.” Who knows, someday Amean may even venture into filmmaking or production but just for now, it is the camera and its power that make Amean click!

Babel****1/2

*ing: Brad Pitt, Cate Blanchett, Mohammed Akzam, Peter Wight, Harriet Walter and Trevor Martin
Directed by Alejandro Gonzalez Inarritu.

Raw, textured and emotional – Babel is a film that puts its finger on the anguish and disorder surrounding mankind, all over the world. The film takes its cue from the biblical myth, ‘Tower of Babel’ that was built by “united” mankind to reach paradise. God, provoked by this action destroyed this tower and assigned separate languages to the world. Since then, human race has remained divided. Director Alejandro Gonzalez uses this biblical myth as the backbone of the film and spans the miscommunication, chaos and confusion confronted by mankind into the third and final flick in his trilogy of the subject that began with Amores Perros and continued in the Oscar-nominated 21 Grams. But hey, this is not a religious film. Biblical overtones are used in a universal way.Interestingly, all stories are disconnected from one another and yet there is one thing that connects all the characters and it’s a ‘rifle’. Sounds bizarre. It really isn’t.
In a poor Moroccan village, two young boys get their hands on a rifle, thanks to Dad, who gives it to them to protect cattle. In the same area, an American couple is on a vacation, trying to overcome the grief of their dead infant son. The couple’s other children are in America, living with their illegal immigrant nanny who has a wedding to attend in Mexico. And then there is a deaf and mute teenager in Japan, going through a rough time because of her mother’s death and a complicated relationship with her father. These are four different stories from three continents that have been tied together with one thing alone: a gun. You have to see the film to understand what this connection really is…
There is no real big bad ‘evil’ in the film. But the misery goes on through errors and misunderstandings, frustrations, bad luck, media explosion, chaos, communication breakdown and so forth. The point that Alejandro makes here is that human beings don’t necessarily need monumental problems. Relationships these days have become extremely complex in the 21st century.This is a film that showcases the stupidity of the human race unabashedly.
What it must be like for a couple to get over the death of their infant son or what motivates a young boy into shooting on a tourist van for no good reason? These are characteristics pertinent to the times we live and it is one of the reasons why Babel is such a sheer force of dramatic genius.
Just like 21 Grams, which spun from a story to another and moved in different time frames, Babel also does the same thing. The difference is that its much more dramatic, the sentiments are far more convincing and this is a true ensemble effort. The film not only shows different locations but three distinct languages. The other drama that comes to mind after watching Babel is last year’s low-budget Oscar winner Crash and Babel easily surpasses it in every respect.Cinematographically, Babel is a beautiful film. From the rugged terrain of the village in Morocco to the happening streets of Tokyo, it is not only a film that you learn from, but it is also an experience watching it. Some
individual scenes are exceptional. When Brad Pitt calls his kids from the hospital and bursts into tears, it’s a touching moment. The best scene in the film is when the deaf and mute Jap teenager lands into a club with her friends. She sees all her friends and strangers dancing to a sound that is inaudible to her. Here, the director very smartly keeps minimal dialogues. The girl hears no sound and within a split second, the sound is back, only to disappear. It vividly and effectively shows what its like being deaf and how difficult it really is…
The only drawback of the film is it’s editing. In the end, one finds it a tad dragging because there is no real climax. The stories fold and unfold in a seemingly predictable yet riveting manner. After all, we all can relate to the mess-ups because they are universal.Since its release, director Alejandro has picked up Best Director at Cannes and the film has already been nominated at the Golden Globes and Screen Actors Guild Awards. Industry grapevine has it that it may even get an Oscar nomination. Whether Babel wins or not, it is a must-see. It is just a story of different individuals hailing from different creed, cast and societies and how they struggle against ordinary mishaps. Highly recommended! – Maheen Sabeeh *YUCK **WHATEVER ***GOOD ****SUPER *****AWESOME

The eccentric storyteller

Instep caught up with Jamil Dehlavi and spoke to him about cinema, Jinnah and the dark side of Pakistan

 By Maheen Sabeeh.

Back again”I’m right at home in both worlds,” says Jamil smilingly in a thick accent when asked which place he prefers – England or Pakistan.Tall, fair and stubborn, he cuts an intriguing figure. He pauses when he speaks, and what comes across is a man who certainly does not like explaining every move he makes. Jamil is a filmmaker who makes what he wants and is one of those filmmakers who don’t like explaining his reasons. Even though there is an audience in his mind, ultimately it is about telling a story in a manner that is a flavour unique to him alone. His latest film, Infinite Justice is “loosely” based on the killing of American journalist, Daniel Pearl in Karachi. Interestingly, another film (A Mighty Heart) is also being made on the same subject except that it is Marianne Pearl’s version. “It’s her version so I think it will be different than my film,” he says.
To the intelligentsia, Jamil Dehlavi is not an unknown name. His 1992 film, Immaculate Conception starring Zia Mohyeddin that showed an American-English couple living in Karachi and visiting a fertility shrine run by eunuchs gave him an opening in Pakistan. A few years later saw Jamil make a film on the founder of this nation, Jinnah and it was this film that made him a recognizable filmmaker in the land of the pure. Because not only was the film Jinnah, it was Jamil’s only film that was dubbed in Urdu and was screened at local cinemas. This year, Karafilm Festival brought Jamil Dehlavi back to town and showcased some of his seen, unseen films. His films say a lot about his personality and show a side of Pakistan that more often than not, we would rather not accept…
Looking backBorn in Pakistan, Jamil spent most of his childhood living in Europe. His father was in the Foreign Service and the job took him all over the world, be it Paris or Rome, Cairo or Moscow. Jamil did his entire schooling at Rugby School in England and went onto study law at Oxford University. “It had more to do with family pressure than personal desire to be a lawyer,” he says reminiscently. He is a qualified barrister but filmmaking attracted him more than law ever could. Jamil then joined Columbia University in New York and studied filmmaking there. He made his first short feature, Towers of Silence in 1975. It was screened at many festivals around the globe.
However, it was the controversial Blood of Hussain that led this director back to Pakistan and ironically, away from it. “Blood of Hussain was derived from Martydom of Prophet Muhammad’s grandson Imam Hussain except that it was based in the modern context,” says Jamil thoughtfully. It was a political film, one that interrogated the power of state in all its sinful glory. But back then, Pakistan was under Zia-ul-Haq’s regime and when you stood up against him, you paid for it, as did Dehlavi. “My passport was impounded by the government for two years, I couldn’t leave the country. I couldn’t even make a film because you needed a license to make a film. After two years I left the country.” It was self-imposed exile but at the same time, he continued making films.
Dark cinemaJinnah was a film that didn’t do too well in Pakistan even though it was also dubbed in Urdu and not to forget the fact that it was a film on Quaid-e-Azam. Perhaps the biggest drawback of the film remains its portrayal of Jinnah. For a man who never explained himself, it was hard to see Christopher Lee walking as the ghost of Jinnah, explaining his actions. It was not the Jinnah one has read about, it was not the man one imagined him to be. “I didn’t want to make a straightforward biopic,” Jamil says unapologetically. It is this trait that sets him apart from other filmmakers. He doesn’t justify and he holds no barriers in admitting it. He explains his point of view but only to the extent that he wants to.
Looking back at his work, one realizes that some of his films set Pakistan’s imagery in a gruesome light. One example is Immaculate Conception. As gripping as the film was, it was highly disturbing. More disturbing is the fact that it was drawn from reality. “I went to Multan to do a documentary on shrines but when I went there, it triggered a story in my head. Channel 4 was funding this documentary. I went back and had a script with me and told them that I wanted to make this film instead.” A young male keep of the eunuchs rapes a Jewish-American woman, daughter of an American Senator to impregnate her – they very idea can send a shiver through one’s spine. One criticism for this film remains the darkness with which it was made. Immaculate Conception could have been a little sensitive.The question remains, why are Jamil Dehlavi films showcasing Pakistan in a dark light? Yes, this country has problems and as a filmmaker, Jamil can raise issue but there is a level of sensitivity required. “It is not about propaganda, it is about raising issues,” Jamil says matter-of-factly. He is someone who is indifferent to criticism, making films that he wants to make, not necessarily those that people want to see. His approach is to leave the film open for interpretation. There is a free spirit in him that simply doesn’t give a damn.There is also a certain level of surrealism attached to Dehlavi’s films. It is not in your face but hidden underneath the reality with which the story has been penned down. Jamil agrees, “Yes, you could say that. My films are realistic yet there is that element.” What lies ahead?Dehlavi’s latest film, Infinite Justice that according to him is “loosely” based on the killing of American journalist Daniel Pearl was an eye opener. Instead of showing a mullah against the journalist, one sees a young guy, raised in UK, asking him all the questions. It’s an interesting way of showing Muslim fundamentalism and the American psyche. Strangely, it’s a film that makes it hard for one to decide which side to pick.It is this kind of a film that should be screened at local cinemas. But unfortunately, Jamil has no plans of doing so. According to him, “My films are more for the international audience.” Considering the lack of investment in cinema in Pakistan, it is no wonder he feels this way. One filmmaker alone cannot change the cinema scene in Pakistan. That being said, it will never change unless someone takes an initiative. The question is: will Jamil Dehlavi be that filmmaker? “Why should I bring a revolution?” he asks, clarifying when sees a quizzical look: “It’s not like I don’t want to but it’s not simple. If someone asks me to make a film, I will but I would need finance. Every film that I make has its own crew; I’ve worked with Spanish crew as well as American. It’s not as if I’m looking to make millions but at the end of the day, you need to pay off your crew and make some sort of profit.” But how does one change it then? “You need people to start investing in cinema. Once finance comes in, it might bring in new, raw talent and they will be the ones who might be able to change a few things around.” The one thing that Jamil does like is the Karafilm Festival. For someone who has seen film festivals all over the world, he realizes its importance. “Film festivals are opening for filmmakers whose work doesn’t necessarily get seen otherwise. It is about meeting different people, networking and attaining reasonable success. Karafilm is therefore, a great step,” he says happily. Jamil does not write his films in Urdu. In fact, he had not even seen Jinnah after it was dubbed. Sounds strange? It’s not because his Urdu isn’t good but because he makes films for international audiences and he is honest enough to admit to it. Will this filmmaker take a stand and revive the dying cinema of this country? Highly unlikely but one thing is for sure, as long as Dehlavi is around the corner, the educated man will always have a film to watch. Whether he likes it or not will remain irrelevant because as Jamil puts it, “I make films for myself first and an audience later.”

In retrospect: a year in videos

2006 was a showcase of videos that were inspired, innovative, edgy, surreal and simply rocking! They say a lot about how far this medium of art has evolved in Pakistan. Instep takes a look at ten best videos of the year…

By Maheen Sabeeh.

Artist: Strings Video: ‘Beirut’ Director: Omair-Shehryar Subdued, subtle and straight from the heart, ‘Beirut’ is a video that will always stand out because it is the one video that we all identify with. The prime focus remains on images from the very recent war in Lebanon and places like Iraq and Palestine and taglines that tell one what the real cost of war is. Even as you hum this beautiful melody, you also think and that makes this a video to remember.
Artist: Ali Azmat Video: ‘Teri Parchaiyaan ‘Director: Zeeshan Parwez. ‘Teri Parchaiyaan’ was one of the most captivating videos to come out in recent times. A drowning city, a young boy riding dolphins, and flying on an eagle – these were some of the symbols in the video. Shot in animation, it was a video that gave one hope. Intense, edgy and surreal and thought-provoking, what more does one want from a video?
Artist: Noori Video: ‘Meray Log ‘Director: Mandana Zaidi If you want to see the real Pakistan, hamaray log from all walks of life, just the way they really are, ‘Meray Log’ is the video to watch. The faces are random, from school going kids to the average man on the street to families. It is just a very sensitive and natural video. What a winner it really is!
Artist: Hadiqa Kiani and Aamir Zaki Video: ‘Iss Baar Milo ‘Director: Jami ‘Iss Baar Milo’ is a great example of how a dark concept can be weaved into a video and add power to a song. This video shows Hadiqa in an asylum, she hallucinates Humayun Saeed and ends being medicated for it, which is, not being able to see him or talk to him. No doubt the concept was dark but the attention given to detail was phenomenal. Zaki smoking a cigarette and playing guitars, the teal-gray colour effect and Hadiqa’s acting – it was all top notch.
Artist: Arieb Azhar Video: ‘Husn-i-Haqiqi ‘Director: Zaman Hazir. Simply shot and amplified by a kaleidoscope effect, ‘Husn-i-Haqiqi’ was a moving video, literally. A reflection of faces in the streets of Lahore, images that merged and disseminated with the pace of this Sufic track, it was a fabulous video to see. A definite see for all.
Artist: Ali Zafar Video: ‘Masty ‘Director: Shiraz Bhattacharya ‘Masty’ is the epitome of what an Ali Zafar concert usually looks like. A performance-based video but just the way it has been shot and the energy that penetrates out of it makes it a cutting-edge video. The concept compliments the song and watching Ali Zafar fly over 200 hundred screaming girls is just a lot of fun to watch.
Artist: Aaroh Video: ‘Raag Neela ‘Director: Jalal-Amir ‘Raag Neela’ is a perfect example of a great performance-based video. Aaroh looked like a rock band for the first time in any video. The backdrop that changed from red to blue, the bar on top of which all of them performed, the attitude and style with which each member carried himself – all these made ‘Raag Neela’ the best Aaroh video to date.
Artist: Coven Video: ‘Sailing Fast’ Director: Uns Mufti. Shot in the happening streets of Tokyo and a Pakistani village, ‘Sailing Fast’ was such a funky video to mark the debut of Coven. One witnesses a complete role reversal in the concept; an English song (excellent by the way) being sung by dehatis (as shown in the video). The three Coven men also work in fields to save up money to send to a chick in Tokyo. It remains inexplicable to date and that’s why it is so interesting.
Artist: Salman Ahmed Video: ‘Al-Vida’ Director: Ruhi Hamid. Based on a true story, ‘Al-Vida’ remains a groundbreaking video, not just for Pakistan but also for all Muslim nations. The message it brought was that AIDS victims should not be discriminated against. Nadia Jamil played the protagonist who contracted AIDS from her husband and despite facing discrimination from society, she did what was needed, that is create awareness for others. Just for that feat alone, it deserves to be lauded.
Artist: Manjeet Singh Video: ‘Ishq’ Director: Sohail Javed ‘Ishq’ is the kind of video that touches your heart. Romantically morbid, this video remains a cut above all other sappy love videos because of the treatment given to it. Burning cigarettes, thick smoke, spilling red wine, movement of the camera and emotions that remain visible throughout – this was a great video to watch. Everything gelled – the mood of the video with the heartbreaking song, the acting from Sanam Agha and Moammar Rana, the expressions they carried and the way it was shot. Fantastic!

Deepak wows Malaysia!

Deepak Perwani has had a busy year. From China to India and Malaysia, this roaring designer has been traveling all over the place. He was the only one from Pakistan to show at the Islamic Fashion Week, a part of Malaysia International Fashion week. Instep caught up with this young designer to find out more on MIFW, Fashion Pakistan and what lies ahead in the year 2007 for fashion.

Instep: Tell us about the collection you showed at the Islamic Fashion Week in Malaysia? Deepak Perwani: I was going to show my prêt line (Ethno Funk) at the Malaysia International Fashion Week. But they wanted me to show in the Islamic Fashion Week category, which is also a part of MIFW. I changed the line I was showing. Instead of showing ‘Ethno Funk’, I showed ‘Back to the Raj’. It’s more towards couture than prêt but it was fun and I got a great response. Instep: What was the inspiration behind it? DP: 15th century motif designs, Islamic calligraphy, I’ ve used beads and Swarovski crystals. I’ve also revived the used of thread work (dhaga) that has been missing from the fashion scene for quite some time.
Instep: Earlier this year, Iran also held an Islamic Fashion Week but there was a strict guideline to follow. Now it’s Malaysia following suit. What is your take on this initiative and what does it say about fashion? DP: As far as MIFW is concerned, there were no restrictions or strict rules on what you can show or can’t. Malaysia and Indonesia are liberal Muslim nations and this initiative will help bring Muslim countries on one platform, even if it is just for fashion. It will build bridges. I mean, we can be sexy and flamboyant while being covered too. You don’t have to shed clothes to make a mark. It is a dynamic market. Versace designed burqas for Arabs too! Fashion is such a strong force. So, I think this was a fabulous idea. It’s exciting and rather interesting.
Instep: Is this collection available at your shops? DP: I sold most of the collection! Instep: A word on the project you’re involved in with the government? DP: It is called Craft Revival. We have women from Thar, Sukkur and other parts of Sindh working with us. It’s an attempt to revive the crafts, rilli, toys etc. It’s been four months and we will get more people soon. I’m training them and it’s been great working with all of them. Instep: You also introduced accessories sometime back. What is new on that front? DP: We’ve come up with a new range of funky bags, belts, wristbands as well as necklaces.
Instep: After Amir Adnan stepped away from Fashion Pakistan, you took over as a director. What is next on the council’s agenda? DP: I put my name up just like everyone else and I was chosen as a director. There is a lot that we’re doing. Firstly, everyone is working on their fashion week collections. Fashion Weeks are global now. Pakistan, Bangladesh, Iran – everyone is coming out with a fashion week. But not everyone or every designer will be able to sell or get picked up by a buyer. Competition is stiff, starting from India to all over the world. It is a cut throat business. Keeping
all of it mind, we have signed an agreement at Fashion Pakistan than if any designer gets picked up by a buyer and needs to produce in bulk, the rest of us will facilitate him/her and all of us will open doors to our factories to this designer to help with production etc.
Instep: Are you working on more lines? DP: I’m exhausted (laughs). I actually shelved the ‘Ethno Funk’ collection but now through an agent, I plan to sell it abroad, in particular to buyers in London. It is quintessentially Pakistani but with a funky twist. Instep: Any shows lined up in the future? DP: I have a show in Dubai in February 2007 and then I’m moving to London for two months. I’m taking a course. It’s a future fabric that I will be learning about. Instep: What trends will be in store for 2007? DP: I hopefully hope that Pakistan Fashion Week takes place in March because that will define the trends for 2007. The new age of fashion is about pret, couture is slowly but surely going away. Most designers do gharara/sharara and not many have ventured into pret. You give a client a gharara and then what? I mean, how much kaam, dabka will go on? Pret is the only way fashion will go forward and I hope that if a fashion week takes place in March, it will redefine the year ahead. –Deepak Perwani was talking to Maheen Sabeeh