Dev D***

*ing: Abhay Deol, Mahi Gill and Kalki Koechlin
Directed by Anurag Kashyap

Anurag Kashyap (Black Friday, No Smoking fame) is not the first filmmaker to make a movie on Sarat Chandra Chattopadhyay’s famous novel Devdas. But he is certainly the only one who has literally turned the book on its head.

The basic storyline is driven from original Devdas but the characters are shaped quite differently. Imagine Devdas in the new age with emails, cell phones and girls who choose to live their lives on their own terms.
The protagonist is Dev (Abhay Deol), an egoistical, self-destructive and self-loathing man whose idea of life is as bizarre and harrowing as the lyrics of Kurt Cobain and Thom Yorke.

Dev may not be writing love letters to Paro (Mahi Gill) but they are in touch via email. The return of Dev to Chandigarh after years in London is unlike anything one has seen in Hindi films. The object of his desire is Paro (Mahi Gill). But unlike most onscreen couples who tip toe around each other and may indulge in poetic love songs atop lush hills or mammoth hawelis, theirs is a far more twisted and intimate relationship.

Physical desire plays a huge role in this film and in the life of Dev and Paro who openly discuss sex and indulge in it despite societal constraints. Their clandestine trysts in the fields are humourous.

Paro and Dev are not legendary lovers, the kind one has seen in the previous Devdas films. They are more realistic and roll with the times. The fact that Paro is a strong character, one who will not walk away from adventurism makes Dev D even more interesting. But of course, the split between Paro and Dev is inevitable. The reason is again Kashyap’s take on the situation and will surely surprise you.

Fast forward to Chanda (Kalki Koechlin), the new age prostitute who doesn’t dance around in super gaudy clothes while men shower her with money. She dresses up as characters from American porn. Don’t think Madhuri Dixit… think schoolgirl with a blonde wig instead. It sounds vulgar but it’s actually one of the funniest bits in the film. And so the triangle between Paro-Dev-Chanda continues.

There is a lot of shock value to this film. Some of the scenes are explicit. But Dev D has a very clear message to it. Devdas maybe at the heart of the story but it is a reflection on a new generation that is disconnected from the real world and is struggling between tradition and modernity. Abhay Deol’s Dev is a case in point. Anurag Kashyap doesn’t sugarcoat and keeps him real. As Dev spirals down with alcohol and drugs, it comes across as believable. And that makes the film all the more interesting. It is fascinating purely because it is filmi yet not completely over-the-top.

Abhay Deol is hugely responsible for making this film stand out. He is brilliant as Dev D and pulls off the disconnected rebel effortlessly. Abhay Deol is improving with every film. After films like Manorama Six Feet Under and Oye Lucky! Lucky Oye!, the young Deol has delivered a solid performance once again.

Complimenting him in this film is Kalki Koechlin, who plays Chanda. In just her debut film, Kalki does an astounding job. Complex, broken and wicked, Kalki makes Chanda quite memorable. In comparison, Mahi Gill as Paro is adequate. She just doesn’t have enough screen presence to keep one glued and is quickly overshadowed by the more complex nature of Kalki Koechlin’s Chanda.

The film, however, is not without flaws. There are 18 songs in the film. Music director Amir Travedi has given this film a very unconventional soundtrack. And most tunes are excellent, but there are far too many of them. As a consequence, they leave you exhausted and drained. The editing could’ve been tighter.

That said, Dev D is a bold film, one that traditional Bollywood buffs will not be able to digest.But Bollywood is changing. And Anurag Kashyap’s Dev D is riding on that wave. For an exceptional effort in blending the ethos of East-West and bringing out a fresh (if slightly warped perspective) on love and loss, Dev D should be seen.

– Maheen Sabeeh
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Rachel Getting Married****

*ing: Anne Hathaway, Rosemarie Dewitt, Bill Irwin and
Debra Winger
Directed by Jonathan Demme

Jonathan Demme’s Rachel Getting Married is cyclonic. It is as maddening and messy as life itself. A-list director Jonathan Demme (Silence of the Lambs) lets loose and dives into the wilderness of dysfunctional family ties and he does it intimately. With the help of documentary-style wobbly camerawork, the film takes you inside the weekend when Rachel (Rosemarie Dewitt) is getting married. The true genius, however, lies in the fact that it doesn’t feel like we’re watching a film. It feels like being an in-house spectator or perhaps a distant relative present at the occasion.

At the heart of the narrative is Kym (Anne Hathaway), a recovering drug addict, out of rehab for the first time for this very important family reunion. Kym is the bad seed in the family. She is always in crisis mode, oscillating between extreme emotions. She is as self-centered as she is self-destructive. Burdened with uncertainty, paranoia and a heavy dose of guilt, Kym comes back home. The family looks forgiving.

Paul, the father of the bride (Bill Irwin) is welcoming, only he is too welcoming. His concern for Kym is genuine but it is also smothering. On a weekend which is about Rachel, watching Paul sway allegiance from one daughter to another is harrowing. Peace is of little use because as the wedding starts to unravel, so does family history with forced emotions covering bitter resentment and deep wounds.

It isn’t just the story but its execution and a series of beautiful performances that makes Rachel Getting Married such an interesting film to watch. The film progresses in a natural manner. The toasts at the rehearsal dinners are not slashed into montages. They go on, much like how weddings go down, hilarious and saddening in a bizarre manner.

Going for a full-fledged rough, rocky and mournful sound, Jonathan Demme brought in musicians – Zafer Tawil and Donald Harrison Jr – who are seen throughout the film as musicians in the background, moving at the same speed as the story. It’s the little details that shine out in this flick. And music is one of them. In between the dances, music and the celebrating, there are a series of blow-ups and it is here where this diverse cast comes together so perfectly.

Rosemarie Dewitt is fantastic as Rachel. Playing the older sister who struggles to hold herself back when the spotlight falls back on Kym like always, Dewitt is crafty and brutal. She is a fabulous actor to watch in this film.

Bill Irwin as the torn father is exceptional. His protective streak towards Kym and lack thereof for Rachel puts him in a difficult spot and his struggles come off as incredibly honest.

Three-time Academy Award nominee, Debra Winger may have a small appearance in the film but it is explosive. The emotional showdown between Debra – who plays the mother of the bride – and Kym is horrid and piercing. In what is the only scene where she goes head to head with her daughter – after a freezing demeanour throughout – it is this scene which gives the film such a ragged edge.

The film, however, belongs to Anne Hathaway. Known for somewhat glamorous, light and fluffy roles (The Devil Wears Prada, Princess Diaries films), Anne Hathaway doesn’t hold back as an actor. She looks the part of a recovering junkie completely and brings credibility to the role. It seems natural to feel compassion for her as she sways between self-loathing and desperate need for love and forgiveness. When provoked, her demons lash out and Anne is just a wonder to watch. It is a moving performance.

Anne’s nomination for Best Actress at the Oscars was bang on target. Kate Winslet won fair and square but had it not been for her, Anne could’ve given Angelina Jolie a run for her money.

In a nutshell, Rachel Getting Married is messy and brutally honest. For its powerful, emotional turbulence and piercing performances, it should be seen.

– Maheen Sabeeh
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

How Bollywood made Oscar go round

As the Filmfare Awards celebrate the young guns of Indian cinema, Instep takes a look at how the world’s fastest growing film industry is finally influencing Hollywood and what we can learn from the two giants.

By Maheen Sabeeh
Young guns blazing!

Last year Bollywood had quite a disastrous run. Big budget flicks like Tashan, Chandni Chowk to China, Ghajini and Rab Ne Bana Di Jodi fell flat. They may have charmed Indian audiences – which is pretty easy these days – but as far as quality cinema goes, these were some of the worst films one has seen in recent years. However, even bad films couldn’t obstruct the spirit behind the Filmfare Awards this year.

Even as big stars like Amitabh Bachchan, Shahrukh Khan, Aishwarya Rai, Priyanka Chopra, Abhishek Bachchan and Rekha among many others graced India’s most prestigious award ceremony, Filmfare Awards were about the young generation.

Karan Johar led the ceremony as the MC and was joined by fellow director Farhan Akhtar. The real punch came with the new heartthrobs of Bollywood, Imran Khan and Ranbir Kapoor who replaced Shahrukh and Saif as the hosts of the show. The two uber-cool dudes were also joined by Deepika Padukone and Konkana Sen Sharma. And together, the new brat pack of Bollywood stood out. As most new big banner films boast big ensemble casts, Bollywood’s biggest awards show boasted an ensemble line-up of hosts.

However the main players were Imran and Ranbir. And while Imran and Ranbir are still no competition for the pairing of Shahrukh-Saif, they were fantastic as first-time hosts.

From shameless self-promotion to flirting with the leading actresses of Bollywood and even each other as a nod to Dostana, imitating Aamir and Shahrukh Khan’s diverse looks in the films Ghajini and Rab Ne Bana Di Jodi, Imran and Ranbir kept the evening entertaining throughout.

Referring to the trend of autobiographies in Bollywood, the two actors said stars should write biographies that help the young generation out. The suggestions they gave were hilarious.

“Jawaani ka Noor by Anil Kapoor, Safedi Ki Muskaan by Abbas Mustan, Blog Padhe Hindustan by Aamir Khan, Poore Hue Armaan by AR Rahman, Acting se katti, cricket se batti by Shilpa Shetty, Lucky Hai Indian Soil by Danny Boyle and Haseenaon Pe No Reham by John Abraham”.

At times, the humour seemed slightly forced but it was the presence of Imran and Ranbir – who are not just Bollywood’s next big things but also belong to star families – that kept the ball rolling. The fact that Amitabh Bachchan, Shah Rukh Khan, Aishwarya Rai, Sushmita Sen, Preity Zinta, Priyanka Chopra, John Abraham and Bipasha Basu kept cheering them on was a sight for sore eyes.

Even the performances were about the new guard. There were no performances from Shah Rukh, Salman and Saif Ali Khan, Akshay Kumar and Hrithik Roshan. Instead the stage was set for young stars like Neil Nitin Mukesh with Bipasha Basu, Shahid Kapoor, Farhan Akhtar (with Shankar-Ehsaan-Loy), Katrina Kaif and the finale was given to two-time nominee Abhishek Bachchan. Barring Bipasha Basu, all the performances were dull. They just didn’t have the energy and star power that someone like Akshay or Shahrukh or even Kareena Kapoor bring to the stage. But then, award ceremonies can never be about the old guard. Times are changing and Bollywood is keeping up with the trend. The Filmfare Awards were no match for the spectacular Shahrukh hosted show that was put up last year. But what made the show stand out this year were definitely the youngsters.
Jai Ho! Filmfare influences Oscars

Bollywood has been trying to go global for years and their efforts are finally paying off. Western interest in Bollywood has increased enormously in the last decade. India is a huge market and Hollywood studios are following to lead of other global corporations to cash in on it.

Anil Ambani’s Reliance Big Entertainment has signed a 1.2 billion dollars deal with Steven Spielberg’s DreamWorks for 36 movies over six years, with 50 percent control. Last year, it also signed with the production companies of George Clooney, Nicolas Cage, Jim Carrey, Julia Roberts, Brad Pitt and Tom Hanks. Filmmakers Brett Ratner and Chris Columbus were also signed on to fund the development of their scripts and jointly present proposals to studios. Talks are taking place with Universal, Warner Brothers and Lions Gate to distribute the upcoming Hrithik Roshan film Kites. In the last few months, major studios like Warner Brothers and Walt Disney have produced Hindi films.
Despite these deals, India has struggled to reach out to Western audiences and critics. But then came Slumdog Millionaire, changing the Indian perception altogether. With a crew and cast filled with a majority of Indians, the film went onto win eight Academy Awards including Best Picture. AR Rahman made India proud and truly ‘arrived’ on a spectacular note in the United States. If India made huge noise at the Academy Awards earlier last month, the echoes were felt at the Filmfare Awards a week later.

AR Rahman received a standing ovation while the child stars of Slumdog Millionaire hung out with Shah Rukh Khan onstage and gave their take on going to the Oscars.

Most importantly, with the buzz around Slumdog Millionaire, a growing interest in the world’s largest film industry and unflattering ratings over the last few years, the Oscars took up Indian award shows as an influence.

Hugh Jackman hosted this year’s Oscars and that was just one sign. The fact that Hugh took a swipe at his own film Australia at the show was reminiscent of Shah Rukh Khan whose self-deprecating humour remains unparalleled. Hugh sweeping Anne Hathaway off her feet quite literally and singing with her onstage… it worked. But it was totally filmi and musical, much like Bollywood.
AR Rahman and John Legend singing ‘Jai Ho’ and ‘Down to Earth’ together as the stage was lit up by colourful dancers; Hugh Jackman and Beyonce Knowles with the cast of High School Musical and Mamma Mia! performing a medley of some of the most iconic theme songs – his was all derived tfrom

Filmfare where musical medley, dancing, drama onstage and self-deprecating humour is at its best.

Great films do not make for a great show. Performances, colour, humour make it entertaining. This year, Bollywood’s influence on the otherwise sedate Oscars could be seen clearly and the Academy Awards became all the more glorious, and therefore memorable, for it.

Learnings for the LSAs
Both the Oscars and the Filmfare Awards were highly entertaining this year. The Lux Style Awards can take a few tips from both. Bollywood always goes for high voltage ritz whereas Hollywood can make a show standout with little details.

At the Oscars, the segment where five previous Oscar winners come onstage to announce each nominee for Best Actor et al and add their personal words was touching. It was absolutely brilliant. The joint performance of ‘Jai Ho’ and ‘Down to Earth’ didn’t just look good. It sounded fantastic. Two singers, with such distinct musical sensibilities and songs, came together. It was unison of music in the truest sense. These were moving moments, ones that will be remembered for a long time.

On a vastly different note, watching the Filmfare Awards serve as a platform for the young stars of India was equally thrilling. And this is what one needs to see at the LSAs.

Music at the show has to include newcomers. They will get the ratings if the show is designed in a way that includes the big stars with the newcomers.

Entertainment is changing worldwide. More than Angelina Jolie, it was Anne Hathaway’s heartfelt performance in Rachel Getting Married that made heads turn. The young generation cannot relate with Meryl Streep but it can relate with Anne Hathaway. Her small performance with Hugh onstage was not only enjoyable but it was also a sign of encouragement. In the end, this is what award shows are about – encouraging talent.

And what better way of encouragement than giving the platform to the young actors?

If Hugh Jackman can groove with Anne Hathaway, so can Chicago star Sanam Saeed at the LSAs. The LSAs cannot be about the big stars alone and neither can the show go on without them. But there is life beyond Iman Ali and Shaan and it is up to Pakistan’s biggest awards show to lead the way. As the faces of Lux, we are taking for granted that they will feature prominently at the next Lux Style Awards, but we do hope that they don’t take centre stage all evening. New blood is the lifeline of any industry. This was what the Filmfares and Oscars were about this year. The LSAs should follow their lead.

Aaroh reveal why they have been missing in action for so long and what lies ahead…

“We’re not on television channels all the time because we don’t want to overexpose ourselves.” – Farooq Ahmed of Aaroh

By Maheen Sabeeh

The curious case of the missing act
Ever wonder what happened to Aaroh? Sure, they released the video of ‘Jaane Kyun’ recently but beyond that, where has the band been? Their one-off concerts continue to take place but their presence on television has been restricted. Interviews rarely come by. The quintessential ‘buzz’ that is necessary for any band/artist in this increasingly media-driven environment has been missing. The kind of buzz that Strings created in the four years leading up to their last album, Koi Aanay Wala Hai. Or the kind Atif creates by continuously doing something – even if it is in the shape of poor videos or Bollywood tunes, print and television interviews – is just not visible from Aaroh.

Shrouded in mystery, Aaroh’s evasiveness has created the same kind of ambiguity one associated with Noori earlier last year when they fell off the grid a few months after releasing their sophomore record, Peeli Patti Aur Raja Jaani Ki Gol Dunya.

Hallelujah! The band is alive and kicking. As it turns out, they have consciously strayed away from the limelight. Speaking with Instep, Aaroh front man Farooq Ahmed declared, “We’re working on something big so we’re laying low.”

But what about their fragile standing in the music industry?
“In the weeks after Raag Neela released, we did many concerts. We played everywhere,” stated Farooq Ahmed.

Khalid Khan, bass guitarist of Aaroh, voiced a similar opinion.

“We’ve done countless shows and we’re still doing concerts. But in the last few months, in fact it’s been over a year since musical activity has been low. Who is doing any massive shows?”
Aaroh men maintain that their presence on television or lack thereof is pure choice.
“We’re not on television channels all the time because we don’t want to overexpose ourselves. It has happened with bands before and we don’t want to do that. We’ve been approached my many channels to come for interviews. And we’ve done shows that have aired on television. But right now, we’re taking it easy because we need the break. Another factor is the unstable situation in the country. People are not watching music channels, they are clued into the news,” said Farooq Ahmed.

The sun comes up slowly
It’s true that Aaroh may have had a relatively easy beginning but they are still fighting for that much-needed success.

Aaroh, which currently comprises of Farooq Ahmed (vocals), Khalid Khan (bass), Haider Hashimi (guitars) and Jason Anthony (drums) consolidated forces after Nabeel Chishty (lead guitarist) and Kamran Khan (keyboards) departed from the same band soon after they debuted on the scene in 2003 with Sawal. Luck was on their side when this emerging act won Battle of the Bands in 2001. But Aaroh developed differences as a band and separated. It was a nasty and brawling break up with blame game from both sides. There was a tug of war on the name ‘Aaroh’. Critics were convinced that Aaroh was finished. Split any band down its middle and it’s hard to comeback. It isn’t easy. Even someone like Ali Azmat, with so much experience behind him, found it a challenge to be a soloist when he recorded and released Social Circus.

But Aaroh’s trump card was and still is its front man Farooq Ahmed. He remains the integral force in Aaroh along with veterans Khalid Khan and Jason Anthony with Haider Hashimi as the new addition. And the vocalist is where the attention always is. Shafqat Amanat Ali Khan, Atif Aslam, Ali Azmat – all three hail from bands but as soloists, they have left their prior acts behind. Fuzon, Jal and Salman Ahmed’s revamped Junoon are not a patch on their former counterparts.

And that is what happened with Aaroh. Farooq was still heralding the band. While Kamran Khan and Nabeel Chishty disappeared from the limelight, Aaroh continued with their concerts and then an album. Not only did they comeback but they managed to charm fans and critics alike in 2006 with the schizophrenic and highly entertaining Raag Neela. They proved that as a unit they could still cast a musical spell.

Ready to rise?
Aaroh can’t be written off just yet. They are hell bent on making a comeback. Farooq has confirmed that a video is in the works from Raag Neela and the band is planning a third album. “We’ve done some demos. We’re not in a rush to release an album but we have started working on new material.”
Like Karavan and Shiraz Uppal, Aaroh remain underrated, mostly because they haven’t marketed themselves well. Known for highly-energetic performances onstage and a melodic and enjoyable pop-rock sound that is often a throwback to the ’70s, only less psychedelic, Aaroh have still not managed to climb the success ladder even though they are one of the strongest rock acts around.

Raag Neela released in 2006. Since then, things have changed within the industry. Economic recession has led to a decrease in corporate sponsorship. In the wake of Mumbai attacks, India is longer a viable option for musicians. With younger and promising bands on the verge of breaking onto the scene – Kaavish, Mauj, Laal, Siege to name a few – alongside the existing names, Aaroh must up their game. It is crucial that an act like Aaroh starts making a concentrated effort. And videos are the most effective tool for any band at this stage. Their videos have to improve. ‘Raag Neela’ remains their shine-out video but one video isn’t enough. Consistency is important. It is time Aaroh picks up this trick for success in the long haul.

Personal Effects***1/2

*ing: Michelle Pfeiffer, Ashton Kutcher and Kathy Bates
Directed by David Hollander
Tagline: The space between loss and love

“Death exists, not as the opposite but as a part of life.”

These words by Japanese author Haruki Murakami ring true when it comes to the film that is Personal Effects.

Uniting on the big screen for the first time ever, three-time Academy Award nominee, Michelle Pfeiffer and Punk’D star Ashton Kutcher, both have put explosive performances. Personal Effects deals with the lives of both these individuals and the connection they share in the wake of irreversible loss.

Ashton Kutcher plays Walter, a 24-year-old wrestler who comes home to find his sister murdered. Living with his mother and 5-year-old niece, Walter stays home to watch his sister’s murderer go to trial. He barely talks. He is no longer a wrestler. Instead he is a chicken – one of those men dressed in a chicken suit outside a burger joint – and it destroys him.

At his mother’s group therapy session, Walter meets Linda (Michelle Pfeiffer) whose husband gets murdered by his friend after a drunken spat. Like Walter, Linda also hangs out at the courthouse to see her husband’s case through. And it is here where these two connect. She has a 17-year-old son Clay (Spencer Hudson) who is deaf and mute. Clay gets into rows, fights with others and is a danger to everyone including himself. Linda’s life is basically a mess. It has been a series of tragedies until she meets Walter. This is where things start getting complicated. How these three individuals deal with their loss and support each other is what Personal Effects is all about.

David Hollander has developed a story of three individuals dealing with death and how they move forward eventually. The storyline is simple. There are no props in the film and it’s nothing spectacular in terms of cinematography. But director David Hollander makes it work to the film’s advantage. His focus remains on individual scenes and that makes this film incredibly strong. Coupled with a great soundtrack and fantastic performances, Personal Effects remains one of this year’s finest films.

Michelle Pfeiffer delivers a stellar performance again. As the widowed wife with a troubled son, she is superb. She plays sexy and wounded with equal grace and that is no easy feat. This is a role where Michelle commands attention and acting comes naturally to her. To add to the drama, the chemistry between Michelle and Ashton is pure fireworks.

Over the years, Michelle Pfieffer has cut down on work. With Personal Effects, it is proof that despite having had fewer roles in the last few years, Michelle knows her craft well.

Meanwhile young hunk Ashton Kutcher makes a strong impact with his intense, volatile performance. He is mostly seen in romantic comedies but they just don’t do justice to him as an actor. After his spectacular performance in The Butterfly Effect (2004), Ashton has finally picked a film that gives him room to perform.

Spencer Hudson as the rebellious teenager is a class act. He has no dialogues in the film but his gestures, the movement of his eyes and the conviction with which he plays this role is unparalleled.

Personal Effects is a dark and intense drama with little humour in it. In these testing times, Personal Effects is a film that must be seen. Human beings bond in strange ways and form connections that go beyond normal relationships. And Personal Effects plays on this fact surprisingly well. For that, it makes for a fabulous watch.

– Maheen Sabeeh
*YUCK
**WHATEVER
***GOOD
****SUPER
*****AWESOME

Touching base with Strings

By Maheen Sabeeh

For the record, Strings remain pop’s most reliable and melodic torchbearers. Their comeback album, Koi Aanay Wala Hai, which released last year, has done extremely well for itself and for the band, epitomizing them to new heights of stardom.

And rightly so. Koi Aanay Wala Hai was experimental and edgy, scorching at times and intensely beautiful at others. The balladry of Faisal Kapadia and punkness of Bilal Maqsood was spread in equal measure throughout this record.

The fact, however, remains that despite a successful comeback; Strings have been unable to begin a massive tour of Pakistan.

“With so much uncertainty and instability in the country, concerts have decreased. And we ourselves weren’t in the frame of mind,” says front man Faisal Kapadia.

And Strings aren’t the only ones who have been unable to hold massive concerts. The past year has seen album releases from Shafqat Amanat Ali Khan, Ali Azmat, Strings, Rahat Fateh Ali Khan, Zeb and Haniya and Shehzad Roy. Yet concerts have been minimal.

“Every time one plans a show, something happens in the country and there is a delay,” voices Faisal. This is a view that stretches throughout the music industry. All artists voice the same concerns and attribute lack of shows to political and economic uncertainty.

Strings, though, don’t give up that easily.

“Muharram has just finished. We’re getting our motivation back. So we definitely want to do a Koi Aanay Wala Hai tour. We want to do simultaneous concerts all over Pakistan. We don’t want to do just one-off shows but a full-fledged tour.” And in the meantime, Strings have thrown their weight behind Hamara Karachi Festival ‘09. They recently performed at North Nazimabad as part of the festival and are performing again at Sea View on March 8.

Both Bilal Maqsood and Faisal Kapadia realize that without consistent concerts and an environment where news channels remain the focal point of everyone, music videos are the strongest and most effective mode of communication with fans.

And when it comes to videos, Strings are pros. Since the release of their album Duur in 2001, they have delivered some of the most iconic videos of the decade. With Koi Aanay Wala Hai, Strings are continuing on their spree of music videos.

Videos for the singles ‘Koi Aanay Wala Hai’, ‘Humsafar’, ‘Jago’, ‘Aakhri Alvida’ and ‘Yeh Hai Meri Kahani’ have been out for a while and each video instantly grabs attention. It is easy to catch the band on airwaves.

Now Strings are planning two more videos.

“We’re planning to shoot two videos – ‘Keh Do’ and ‘Titliyan’ – and we’re talking to Umar Anwar and Soheb Akhtar,” explains Faisal Kapadia.

The India connection

In the wake of the Mumbai attacks, bands/artists across Pakistan are rethinking strategy. India is no longer a viable option, at least for the time being.

Strings understand this fact and the trickle-down effect on the industry.

“We were in fact going to India in November but when the Mumbai attacks happened we didn’t go. The aftermath of the Mumbai attacks has had an impact on the cultural exchange between the two countries,” explains Faisal.

No artist understands the importance of India better than Strings. Other than Junoon and Nusrat Fateh Ali Khan, Strings were one of the first few artists to venture across the border. Over the years, Strings have built a loyal stable of fans, which includes Indian actors Sanjay Dutt and John Abraham.

Not only is it a much bigger venue for performance, it is also a space where Strings have, over the years, signed on projects that solidify their position with fans in India and beyond.

In 2004, ‘Najaane Kyun’ featured on the soundtrack of Spider-Man 2. Soon after Strings composed ‘Yeh Hai Meri Kahani’ for the Sanjay Dutt-John Abraham starrer Zinda. Both actors featured in the music video. In 2007, Strings once again worked with Sanjay Dutt for ‘Aakhri Alvida’ which was featured on the soundtrack of Shootout at Lokhandwala. Their comeback single in 2008, ‘Koi Aanay Wala Hai’ featured John Abraham in the video.

“We’ve been going to India to perform for years and we’ve always been welcomed there. But I was watching some Indian news channel after the attacks and it was just disappointing. It was aggravating and it was affecting the viewpoint of the Indian people. Post-Kargil, it has taken seven to eight years for cultural exchange to thrive between India and Pakistan. Perhaps now we will have to retrace our steps and restart again,” says Faisal. And until that happens, Strings will continue with the rest of the world as their stage. “We’re planning a tour of the US. After that, UK and other European countries will follow,” concludes Faisal.