How to make the homeland shine 101

Lessons we can learn from China after the opening ceremony of the Beijing Olympics
As Beijing welcomed the world to the opening of the prestigious Olympics ceremony, it proved once again why the East matters. And here’s why Pakistan needs to learn from its neighbour

By Maheen Sabeeh

When the Olympics first began in 1896, no Asian country was invited.

Flash forward to 2008, an Asian country, China, stunned the world.

On August 8, 2008 as Beijing welcomed the world to the opening of the prestigious Olympics ceremony, it proved once again why East matters.

With Chinese filmmaker Zhang Yimou (director of films like Hero and House of Flying Daggers) at the helm of production, the opening ceremony included 4000 years of Chinese history and tradition, all compacted in 50 minutes.

It included the achievements of the Chinese people, of inventions like gun powder, papermaking, printing and the compass, the vibrant and richly choreographed night featured everything from the Great Wall of China to astronauts, pianists, children, opera puppets and more.

2000 drummers pounded hypnotic beats, dancers performed exquisite steps, 29,000 fireworks lit up the gorgeous skyline, papermaking was shown in unique manner as paintings were projected onto a huge canvas and actors wrote out Chinese characters with their twisting, ink-laden bodies in whimsical movements.

It was China’s night. The entire ceremony fell into place with such precision and the Chinese performed moved in such grace that they included everyone who was watching, whether at the event itself, or on their television screens. They moved so beautifully that one was mesmerized.

Olympics are indeed about sports but that night was about the rich culture of China and its people.
It was as if China had been preparing for this moment of glory since its inception.

And this nation, surprisingly, came into its own independence two years after Pakistan. It was in 1949 when the People Republic of China arrived on the map, not long after Pakistan.

And yet we’ve fallen behind China. Forget the technological advancements but just the difference between their representation of arts and ours is in itself to make one envious and disappointed.

For instance, Asim Yar Tiwana, based in Islamabad, has managed to land some of the most prolific events such as the one held in honour of American President George Bush at the Presidency, the Taj Mahal premiere in Lahore as well as shows taking Pakistan abroad like Kuala Lumpur, Malaysia and Dubai in recent times.

Reputed fashion critics argue that neither does he gave fair representation to fashion nor does he do justice to the traditional arts of Pakistan and quite often manages to create a “variety” show.

This fact was confirmed when Nomi Ansari commented on the KL show by Asim Yar Tiwana (while speaking with Instep): “Asim’s shows are cheap and tacky. They are more about tableaus and qawwalis than appreciating or promoting fashion. You see the drama, you see the girls but you just don’t see the clothes. The show I did with him was the worst show of my career.”

HSY generously commented that he had “seen worse shows in his life”.

Why doesn’t the government of Pakistan opt for people who are more credible?

These cultural shows are one example. Pakistan needs representation the way Pakistan Day Parade was held in London last July. And every event should be done with such style. It’s a country that is being represented, a country of millions of people.

Then there are the gifted writers and poets long forgotten.

How are our writers and poets remembered? Do we know where Faiz Ahmed Faiz, Saadat Hasan Manto, Baba Bulley Shah or Habib Jalib are buried? Why are there no monuments for these men?

Take a turn around the world. Take London for instance. Westminster Abbey has an entire poet’s corner. Britain’s most distinguished poets, Tennyson, Browning, Dryden are buried there.

Others who are not buried at Westminster Abbey have received at least a memorial there, and they include Shakespeare and Milton as well as poets like Blake, Keats, Shelley, Wordsworth, and Burns. And then there are the giants of the 20th century like TS Eliot and WH Auden, and Laureate John Betjeman.

Poets’ Corner also includes not just poets but all sorts of writers who are buried there. Charles Dickens reportedly gets a fresh wreath on his death anniversary every year. One will find monuments for Hardy, Jane Austen, and the Brontes among countless others.

If there are monuments anywhere hidden away in Pakistan, has the government made efforts to shed light on them?
In the last few years, media has boomed and the music industry has thrived. Till his resignation, musicians continued to support the regime of President Pervez Musharraf because he was a liberal man. Indeed he was.

But giving media freedom is one thing, giving the music industry support is another. And when one speaks of support, it means more than attending concerts or inviting musicians to perform on August 14.
It means making sure that men like Ustaad Hussain Bux Gullo, Ustaad Naseeruddin Sami and Mehdi Hasan do not end up like Pathanay Khan.

It goes way beyond handing artists Presidential Awards.

“Do you realize how old some of our artists are? They are our real heroes, some of whom are still living in dire conditions. They are renowned world over for their performances but here there is not even a proper record of our great musicians,” commented music producer Faisal Rafi to Instep while speaking about our classical greats.

Music producers Faisal Rafi and Shahi Hasan are recording tracks with a variety of classical musicians under the Indus World Project but the funding hasn’t come from the government. Although it should have.
Music critics grill popular commercial musicians for selling out. Ali Azmat remains at the brunt of this criticism because he is a rock icon and he shouldn’t sell out. In other words, an endorsement like McDonalds is beneath him. But considering the lack of support, why shouldn’t he sell burgers if it means he can make millions and invest it in his music, videos and his life?

Pick any section from the arts, whether fashion – which governments worldwide facilitate but ours doesn’t because they can’t possibly understand how designers can uplift Pakistan’s image – or the film industry, that was allowed to rot in isolation for so long that we hardly had any cinema culture left till Khuda Kay Liye came along or the music industry that is in the doldrums. Our pop artists are flourishing thanks to corporate sponsorship while senior classical and folk musicians live in poverty. This lack of support is disappointing.

A country is always represented by its art.

If one looks at sports, the situation is somewhat similar. The plight of Pakistan Cricket for the last year or so, lack of discipline, personal egos, lack of training – or look at the lack of support for football, which is the game of the masses at the grassroots level, it is all crumbling downwards. There is no proper system in place. In India, Bollywood has been granted “industry” status and right now Shah Rukh Khan is in talks with Indian government to exempt films from entertainment tax.

Pakistan is the land of the pure. It has four regional languages and provinces, each with a unique set of traditions, history and backgrounds.

Not only do we need to preserve but also a platform for it to survive. What China pulled off at the opening ceremony was not done overnight. It has managed to retain its historical traditions and it is time Pakistan learns from its neighbors.

LSAs give music a night to remember

It was a night when music was the winner at large. It was a night when Atif Aslam and Ali Zafar performed LIVE, a first for the LSAs. That night marked Naheed Akhtar’s revival as she brought her biggest hits back to life. That night, fashion’s runways were rocked by the most popular acts of 2007 like Abbas Ali Khan, Mekaal Hassan Band and Overload. The 6th annual Lux Style Awards were dominated by music and the show belonged to pop icons Atif Aslam and Ali Zafar.

By Maheen Sabeeh

It was the mega finale that followed the grand finale. Naheed Akhter and Meera had already created magic but when Atif Aslam stepped up to perform live for the very first time at the Lux Style Awards, it was historical. The magic of live music, the riffs from an electric guitar, that thumping bass and that high voltage drumming… with Atif Aslam crooning his first mega hit ‘Aadat’, it was one of the most unforgettable moments LSA can boast of.
Atif Aslam brought the house down with his live energy and that signature raw charisma . He followed ‘Aadat’ with ‘Mahi Vey’ ending with the phenomenal hit ‘Tere Bin’. He would finish one song and then shout out “More?” and the girls in the gallery would go wild in anticipation. He would hold up his arms and they would scream at the top of their lungs and when he ran up the auditorium, they held out their arms hoping for contact. Atif showed off his skills superbly… not just as a singer but also as a performer. Atif was the star that night and by recreating music’s magical moments of 2006, the LSAs truly arrived like never before.
The hidden talent of dancing… If you think Atif is a great singer, wait till you see him dance. He created electric chemistry with the stunning Aaminah Haq after he flew down from a flying carpet onto the stage like a fairytale Prince reincarnated rockstar. From the slow ‘Kuch Iss Tarah’ where Atif flirted his way around with dancers to the plethora of remixes that came one after the other from ‘Tere Bin’ to ‘Doorie’, Atif moved comfortably and most importantly naturally. His confidence level was palpable in the way he and Aaminah moved together, in sync penetrating into the hundreds of eyes on them. There wasn’t a single glitch.
And here it must be said that Aaminah Haq was really phenomenal. She matched Atif’s star power with equal grace… oozing oomph as she went along. What a stellar performance!There was no doubt in anyone’s mind that Atif would pick up the Best Music Album award for Doorie, which is tsill selling across Pakistan. Where Atif does lose marks out on originality, one has to give him his due for attempting something that no other musician has done before – make a full-fledged remix album with pumping beats. And when the country is dancing to it, dare we complain? If Atif created rock magic, Ali Zafar strummed out acoustic charm. As Ali walked onto the stage with his guitar, stood before the mike and belted out ‘Sajania’ in those unfathomable vocals, that impish smile and boyish charisma that only he holds, Ali Zafar proved why he is the other pop prince this nation loves and cherishes. When Ali launched into ‘Sun Re Sajania/Tere Sung Dunya’, claps resonated and people sang along and Ali gave them his version of raw live magic. Between Ali Zafar and Atif Aslam, the bigger crowd puller was undoubtedly Atif. That said, if there was any other musician who came close to matching his performance, it was Ali.And as far as dancing goes, Ali moved in Masty. Throughout his career as a musician, he has charmed the ladies and even the men because of his ability to create stage drama. That night, he came out of a huge guitar, rode a bicycle with Reema, one of his co-stars from his new video, ‘Dekha’ and took the Lollywood diva in his arms, held her close and danced. If he showed off style in ‘Sajania’, he enacted a romantic tiff with Reema on ‘Dekha’ and with ‘Masty’, Ali Zafar was all live wire energy. In that black ganji (vest), Ali Zafar looked like a true star, flanked by dancers all around. Even though, his performance was not as spectacular as Atif’s but it was enjoyable and entertaining nonetheless. He is the youth icon… Ali Zafar may not have won Best Music Album for his album Masty, but he did pick up the newly introduced Youth Icon award. One wonders whether the Lux Awards Office looks for nominees for various categories or develops categories to suit certain people. Last year Wasim Akram was given the Most Stylish Sportsman Award probably for being the face of Rexona and the same seems to apply to Ali Zafar who is the new face of Lux. He hasn’t really done anything else to merit this award. ‘Youth Icon’ is a title that sinks deeper than album sales and with musicians like Abrar ul Haq and Shahzad Roy handling massive philanthropic concerns, they set better examples for the youth than Ali. Most Stylish Sportsman was a one night stand that wasn’t repeated this year and one wonders if there will be another Youth Icon to rejoice next year too. Did this award ensure Ali’s presence and performance? After all, it’s no secret that many stars refuse to attend shows unless promised an award.

Unstoppable momentum

With events like All Pakistan Music Conference, classical music has found a place to showcase itself but it will only survive in the post-modern world if a fusion happens between classical and the new music order!

By Maheen Sabeeh

The nights finally ends… After three rigorous days of truly great music, 14 purely classical and extraordinary performances from some of this country’s finest names in ghazal, qawwali and Eastern classical music, with guest performers border hopping from India, the 4th annual All Pakistan Music Conference wrapped on a high note.Held against the backdrop of the beautiful Hindu Gymkhana, the APMC closing shone as television personalities, music video directors, rare few pop musicians alongside music enthusiasts as well as the ‘cultural’ elite came to support the musical occasion. Of course, this enthusiasm can also be attributed to the fact that the third night of the APMC featured Shubha Mudgal (‘Dholna’, ‘Ali Morey Angna’ fame) who was the biggest crowd puller of the event.
A single word goes a long way There is something mystical about classical music. A single poignant phrase can be used as a backbone of a performance and can be sung in different notes, while tugging one’s heart. Classical music, like wine, doesn’t get older, it only gets better. It is easy to highlight one pop singer in a huge concert but at events like the APMC, it is almost impossible.From the melancholic flute of Ustad Salamat Hussain to the soulful style of Ustaad Naseeruddin Saami, to the verses of Faiz Ahmed Faiz sung by Farida Khanum, it is this music that can truly make one sit for hours on end without feeling the need to leave.
Sitting at such events is also a learning experience. When Farid Ayaz, his brother Abu Mohammad and their companions came onto perform, they don’t just launch into one qawwali after another. They stop in the middle, telling one about Amir Khusro, the meaning of their qawwalis, the language that varies from Persian to Turkish and ends up at Urdu. Captivating, hypnotic and almost surreal, Farid Ayaz Qawwal are a must for all music lovers. And here it must be said that Abu Mohammed has improved tremendously from the last APMC. He really came into his own this year!One can also not forget Ustad Mubarak Ali Khan, who kept everyone riveted through sheer intensity with which he performs.Then of course, there was the finale by Shubha Mudgal. Many know her as the woman from ‘Dholna’ but that night it was raags that she performed. While it was a bit bizarre to see her close the night considering Ustad Fateh Ali Khan (Patiala) is far more senior, she was absolutely brilliant nonetheless. It wasn’t just her top-notch vocals but soul with which she presented each raag, explaining along the way what each raag meant, giving space to her instrumentalists and at the end, receiving a standing ovation. It was Shubha Mudgal who yielded the most response, and she really was worth it.
The irony of the APMC When Shubha Mudgal came to perform, an announcement was made that cameramen should not record more than 10-15 minutes due to copyrights. No such announcement was made during any other performance that took place in the three nights? What about the rights of the rest of them? Do they have no rights? As music producer, Faisal Rafi said, “It is insulting because what about everyone else’s rights? And what copyrights are being spoken about here? Shahi (Hasan) and I recorded everything but just because we are compiling a cd for APMC, we can record? It is hypocritical because we pirate everything. Software, music, films – and here we’re talking about copyrights about a single performance!” As far as classical music goes, perhaps the only thing left to do is give credit to the original composers. How can one copyright a sufic verse or a kaafi that is being sung at Mazaars, concerts, classical nights by various folk singers, classical greats and rock artists? Imagine if Junoon actually had gone to find the descendants of Baba Bulley Shah when they made the song, ‘Bulleya’?

The paradox Aristotle once said, “If you want to destroy a nation, alter its music.” He was absolutely right. In Pakistan, there are few public platforms for classical greats.Pop music, be it in the West or right here, isn’t just about music. It is about building up a musician as a brand. Marketing via endorsements, interviews and appearances on television are all a part of the game. But when it comes to Eastern music, it is quite the opposite. The classical masters find it absurd to popularize their art. Add that to the fact that there is no one to protect their rights. Other than the APMC and the Rafi Peer World Performing Arts Festival, where do these people go and showcase their genuine, magic in Jinnah’s land? Therein lies our paradox.One will never find Ustad Naseeruddin Sami appearing on various talk shows boasting about his own vocal dexterity, but one will find this man sit through every performance at the APMC every night. This is his way of respecting the tradition that he, too, is a keeper of. These are the singers who breathe life into the raags, thumris and kaafis written centuries ago. At APMC maestros like Sami sahab give the attendees a chance to trace and explore their musical roots.Ultimately, it is this music that we as a nation can truly call out own. Pop music didn’t find its first footsteps in the subcontinent, neither did the first guitar or the first set of drums.Ironically, it is this music that seems to be in danger of losing itself in our fast changing world. Last year, as Mekaal Hasan Band was performing at the APMC, one could find many pop musicians walking their way around the venue. Shallum Xavier, Gumby, among others had been present. But where were these musicians this year? No one prominent from the local music industry was present except for the band Josh who made an appearance on the second night.On the other hand, Begum Farida Khanum, who is no longer a youngster came all three nights and sat through every performance, munching on sauf, signing autographs for 40-year-olds who have grown up with her music. Given musicians are celebrities and at times can be self-involved but if these musicians endorse classical music, it will find a wider audience. At the very least, these events and by proxy, these artistes need to be respected by the young lot of today’s music.

Times have changed The general perception is classical music is dying in Pakistan. To a certain extent, this is true. But it is the amalgamation of the two sides of music, classical and pop, that will give this music a chance to survive.The APMC opened this year with a performance from Allah Lok Khan, who plays pakhawaj, a North Indian drum. He was mesmerizing to say the least. The beat of his drum moves slowly reaching a gradual crescendo, only to move to a slow note again. He is unknown to many. However, he is now going to be featured in the next Overload album. That is the way his pakhawaj will find an audience in the popular genre of music in Pakistan.Would it be too harsh to say that classical music, all over the world is elitist? Perhaps, but it’s also true. How many can say that they know every symphony of Mozart? But had Mozart done a duet with Madonna, it would’ve been a different answer altogether. The biggest local example is that of Ustad Nusrat Fateh Ali Khan. It was his team-up with Michael Brooks and Peter Gabriel that made him a legend in the West. Take a chanceWhile the majority of the pop/rock music industry is perhaps indifferent to the classical tradition of music, there are a few who have taken substantial steps to restore our cultural heritage, classical music. Mekaal Hasan, through his band is bringing forward the traditional kaafis via his lyrics, fusing it with his jazz-like sound. On the other hand, there are those who have devoted themselves completely to documenting this tradition. Music producers Rohail Hyatt, Shahi Hasan and Faisal Rafi are now working with various Ustaads, signing them up for collaborations, compilations among other things. At the All Pakistan Music Conference, this year, Shahi Hasan and Faisal Rafi sat through three days, bringing bulk of equipment with them to create a compilation cd, recording the live performances as they happened. Speaking to Instep, Faisal Rafi commented, “A proper collection of this sort of music hasn’t been done since the mid ’70s so it is important. Many of these classical greats like Ustad Naseeruddin Sami are doing their last few performances. In a year or two, they won’t be doing it anymore. It needs to be documented. I have been coming to APMC for the last four years and I know that APMC is not profiting through this event. That said, many just don’t care about this music. They come and sit and do the “waah waahs” and go away and are not doing anything for these masters.”What needs to be done The All Pakistan Music Conference is doing the same for Eastern music as Karafilm Festival has done for films and the cinema culture that Pakistan lost many years ago.Every year, the APMC provides a platform to masters of classical music by holding this three-day event. In the last four years, the past two years have been free of cost. APMC gets better every year. This year, as one entered the venue, one could find stalls where cds of Noor Jehan, compilation cds of various Ustads amongst many others were being sold. Further inside, refreshments stands had been set up. It’s a smart idea. APMC goes on till late hours of the morning and many often end up being hungry. Haleem, chips, chaat, tea, and soft drinks – all were made available. Chairs had been set, keeping in mind the elderly who often find sitting on the white chandinis uncomfortable. The sound was impeccable at all three nights without the slightest glitch. The musical performances also start on time unlike the many pop/rock concerts where one often ends up waiting for hours. That said, APMC has to market itself better. Awareness will only come through if people know of the event. Those who attend events such as the APMC are not the elite of Pakistan but the cultural elite. These are the people who know art, poetry, music and culture. It is good to see that their ranks grow every year. It’s not surprising. When you are at the APMC, you realise that this is the music that runs in your blood.

Launch show

Best face forward
The first Pond’s Institute in South Asia has opened in Karachi. Instep gives you the low downBy Maheen Sabeeh

The opening of the first Pond’s Institute in Karachi (also a first in South Asia) had all the rights elements of style. Situated at one of Karachi’s favourite malls, this is a blessing in disguise for the beauty conscious classes that frequent it. A simple straight ramp was located inside the main lobby of The Forum, with two LCD screens located at the sides. Soon, a voiceover was set in motion with the importance of flawless skin being the essential subject. After a few minutes of upbeat techno music, began the real show. One by one, four models, each dressed in a white collared, long gown with a crimson robe, covering their face rode down the elevator and onto the stage. The costumes designed by Deepak Perwani had just the right impact. One saw Nausheen Shah walk on with a blonde wig, followed by Sabina with her hair tied up in a bun, Javeria and finally, the face of Pond’s Pakistan, Tanya Shafi.
The costumes designed by Deepak Perwani epitomized everything Pond’s stands for. What better way to project clear, flawless skin than a simple, well-cut, long sleek white gown? Hair and make-up done by Altaf (Nabila’s) gelled well with the theme of the show. The make-up was light, very subdued and the hair varied from model to model. This short catwalk was followed by a tour of the outlet. And it must be said that the outlet of Pond’s Institute has been designed very tastefully. Glass makes up for the most of the interior with white and red forming the colour palette. Their products range from face wash to scrubs of various types, night creams, lotions and a lot more. There is something for every woman and every girl. The institute also offers various kinds of facials for women, and the price range is also quite affordable. It starts from 800 rupees and goes up to 2300 rupees. Do check this outlet out. The Forum, it seems, is becoming a home to women’s luxury with Pond’s Institute joining the brandwagon that already comprises of La Senza and Body Shop. The show, conceptualized by Frieha Altaf was perfect. It was dramatic, effective and mercifully short, which is exactly how these events should be. We’re glad that the institute is here to stay. Get a facial on a whim while you shop – what could be better!

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.”

Om indeed! Kara closes with Ajay’s arrival

Karafilm pulled off a major coup by bringing in the film and its star. India remains the main attraction at Pakistan’s international film festival and it seems, the festival’s primary focus

 By Maheen Sabeeh.

The butterfly effectAfter ten rigorous days of hard work and screenings of some 170 films, the 6th Annual Karafilm Festival wrapped up on Sunday night with some wonderful musical performances, well-deserving wins and speeches that were warm, visionary as well as hilarious.Held at the PAF Museum, Karafilm closing shone as television personalities, fashion photographers, socialites came dressed for the occasion to show their support. In form of government support, Federal Minister of Culture, GG Jamal was also present. It seemed a token presence after President Musharraf’s appearance at last year’s Karafilm ceremony.
The stage looked vibrant with Kara’s logo symbol on one end and abstract colourful boxes on the other. The slated time was eight, but the ceremony finally began at ten when Ajay Devgan arrived. As people nibbled on hors d’oeuvres and sipped on juice, excitement permeated the cold air that night. After all, Ajay Devgan was attending. He is by far the most prolific celebrity Karafilm has managed to bring to Pakistan, this convoluted land of the pure where Indian films are banned yet followed religiously. Devgan is one of the bigger names of Indian cinema and has mass public appeal. The intelligentsia also likes him because he is known to do cerebral cinema like Company and Raincoat. Omkara is his most cerebral film yet.Adnan Malik and ZQ were the hosts that evening and they were quite a mismatch. At times, ZQ seemed a little too cheeky, but Adnan more than made up for her. Hasan Zaidi gave his opening speech and he truly spoke from his heart. He mentioned that their was a time when the censorship board wanted to shut Kara down and six years later, members of the censor board were sitting in the audience. Hasan then decided to name every volunteer of Kara to the audience. It was his way of acknowledging their help. He thanked the friends of Kara, foreign delegates and people from within and outside Pakistan who came out to see the festival. It was a reminder that things don’t happen on their own, you have to make them happen. It was a perfect beginning…
Ajay Devgan speaksPeople wanted to hear Ajay Devgan speak; he was the star of the evening but Ajay it seems is a man of few words. He has a calmness to him: the way he speaks – softly, carefully and thoughtfully – the way he looks and that slow smile. That was one night when he kept smiling as people surrounded him constantly. When invited on stage, Ajay waved to everyone in the audience and looked ruggedly dashing and charismatic in a black suit and a crisp collared black shirt.Adnan Malik and ZQ persuaded him to stay back and being
the sport that he is Ajay agreed to answer all their questions. When Adnan asked him how he felt being in Karachi, he thoughtfully said, “The love and affection we’ve been given, it cannot be expressed. It has been great. We were expecting good things but all I can say, it is just not easy to express myself.”
The question that runs in most Hindi film buffs’ mind is that does Ajay prefer intense films? Some of his most prolific work has been in the drama/crime genre. Ajay explained his approach and said, “Whatever script convinces you.” To him, the bottom line is doing different roles, be it comedy or drama, crime or suspense or a thriller. Everyone has a favourite film but for an actor of Ajay’s calibre, it is hard even for a fan to decide which has been his best film to date. Ajay is one of those few actors who have delivered some exceptional performances (Zakhm, Company, The Legend of Bhagat Singh, Hum Dil De Chuke
Sanam, Omkara) in the past few years. To this question Ajay responded very casually, “You work as hard in every character. You learn from your mistakes,” and then said, “When I did Zakhm, I told Mr Mahesh Bhatt on the sets that I won’t act, can I just feel what I’m feeling?”Even though he is not the most articulate of actors but the audience loved every minute of Ajay was on stage. He may not say much but there is a sincerity to him that is apparent. For example, unlike the opening ceremony where almost everyone had left when the Mekaal Hasan Band came to perform, it was delightful to see Ajay stay back and see the entire night through. It was a basic courtesy that he extended to the musicians who performed, the nominees who were honoured, the people who had invited him and to Pakistan. Ajay the person, like Ajay the actor is definitely a class act.
Bright momentsThe festival introduced three new categories this year; Accomplishment in Music Video, Best Film Critic and the Karafilm Society Award. Saqib Malik picked up a nod for his video of Ali Azmat’s ‘Na Re Na’ and gave a short but effective speech. He took the award and spoke for all his colleagues and was grateful to Kara for recognizing this medium of art. Best Film Critic Award went to Khusro Mumtaz (he wasn’t present) and the Karafilm Society Award went to Mahesh Bhatt. The award was presented to him for the support he has provided to Kara in the last few years.Mahesh warmly spoke of the time when he received a call from Hasan back in the days when Kara wasn’t as high profile as today. “Who says miracles are not possible. In redemption of Pakistani cinema is the redemption of Bollywood and of the world.” While Mahesh was warm, the last comment seemed a little illogical considering Bollywood has improved tremendously over the past decade and the world will take its own course. Perish forbid the day that the fate of the world is ever linked to Lollywood!
Best Actor in a Feature Film was picked up by Ahmad Razvi for Man Push Cart and Saif Ali Khan for Omkara. Ajay picked it up on his behalf and said, “I’m sure Saif will be thrilled.” Ahmad Razvi who was thankfully present was genuinely surprised and said, “I’m shaking. This is the first time I’ve acted. I began with Venice Film Festival and now I’m here.” He thanked a special someone who pushed him as well as his director. SB John and Talat Hussain – both received Lifetime Achievement Awards and both seemed men genuinely thanked Karafilm for awarding them. Vishal Bhardwaj picked a nod for Best Musical Score (Omkara) and he came prepared with a Gulzar poem for Pakistan. It was a long poem but the last couplet received “Wah Wah” from everyone as Vishal said, “Tum Wahin Key Ho/Main Wahan Sey Hoon.”The speech given by Federal Minster for Culture, GG Jamal was also quite supportive as he said, “There is no dearth of artists. I request private investors to come forward and help these talented artists. The government is here to support you.” Of course, apart from letting Karafilm happen and issuing visas to attending delegates it is still unclear what the government is doing for film in the country at large. There has been no change in government policy that will boost the cinema.
Music steals the showSurprisingly, Karafilm Festival managed to pull off some excellent live musical performances. French band, the Caravan Jazz Quartet played a back-to-back set of four tracks, out of which three were, instrumentals. The guitar playing in particular reminded one of Spanish music. Fresh, catchy and full of energy, it was this performance that charged up the audience that was otherwise, gazing here and there, trying to see what was going on in the front rows.
Sajid and Zeeshan’s performance was unknown to many but once they came on, everyone was simply rocking. They began with ‘Freestyle Dive’, moved onto ‘Free and Underestimated’, ‘Have To Let Go Sometime’ and a fast-paced version of ‘King of Self’ that the duo dedicated “to all those who have made Karafilm Festival possible.” Zeeshan had his laptop on one hand and keyboards on the other and with perfect ease, he juggled between the two while Sajid sang superbly, track after track. Their live rendition of ‘King of Self’ was even better than the original. Here’s hoping they do more gigs in Karachi, playing at invitees only awards shows doesn’t qualify as a gig in this city.The biggest act of the night was Strings, who opened with a slightly upbeat, improvised version of ‘Duur’, went onto ‘Najaane Kyun’, their signature track, ‘Sar Kiye Yeh Pahar’ and finally, ‘Zinda Hoon’. The sound was impeccable, Faisal sang superbly and surprisingly Bilal pulled off the last solo of ‘Zinda Hoon’ with stunning precision. Strings were absolutely brilliant.
Kara’s irony is Pakistan’s ironyAs a nation, we’re used to watching Bollywood more than anything else. Consequently, Indian actors receive more attention than anyone else, through no fault of their own. By default, we tend to ignore others. But when this ignorance comes from your government dignitaries, it is not only not fair, but it is downright laughable. After all, it is the government that continues to stand by the ban on Indian films in the country. So it is ironical that when Minister GG Jamal came to give his speech, he took the names of Ajay Devgan and Mahesh Bhatt and said, “these are the only two names I know.” Yes, it is easy to remember these names
since we (including our esteemed government officials) illegally see Indian films on cable and DVD. Other filmmakers at the ceremony should have been acknowledged at the very least. The spotlight was on Jamil Dehlavi’s work and yet, the Minister did not name him. This blunder was repeated by Begum Nawazish Ali – who thanked the Indian “jaanis” – and actor Faisal Qureshi who again thanked the Indian contingent. Their lapse of memory can perhaps be laughed away as a lack of depth, but the Karafilm organizers who have always claimed that they are putting up ‘an international film festival’ should not be so totally India centric.
Kara’s dilemmaThe purpose of a film festival is to promote films. Eventually, a film festival is where business happens. Yes, Karafilm is groundbreaking for film starved Pakistan but it has to become more than a place where film lovers go to watch cinema. It has to be a place where films find an outlet into a wider market, where talent is picked up for bigger better projects. Granted that in a country where cinema is dying and the government is making no serious effort to revive it, it is impossible to become a vibrant hub. Yes, Karachiites now get to see films like Goodbye Lenin, Dayerah, Ontorjatra andInfinite Justice on the big screen and see stars like Ajay
Devgan in person, but what’s next? Talks of collaboration with Mahesh Bhatt have been going on for sometime but nothing concrete has happened yet apart from Meera’s rather unfortunate foray into Bollywood with Soni Razdan’s cock-eyed Nazar. However, the buzz that generated was a high point as was Mahesh Bhatt picking up Atif Aslam’s songs for India, riding on the coat tails of which Jal also made it big there. It was possibly the strangest way for talent to reach a bigger market. In a nation where official policy is twisted, talent often follows a crooked path.
Don’t lose the remoteWhen Panahi’s The White Balloon was being screened, the subtitles were in French. Later one discovered that the DVD player had the remote missing and as a result subtitles couldn’t be changed. Considering Kara’s sponsorship that has increased with every passing year, these things should not happen. It has to be efficient at the very least. Investing in a couple of remotes might be a good idea.

The sixth step forward and still a long way to go

Between Indian celebrities, the Sindh Government and the who’s who of Pakistan’s media scene, the opening night of the 6th Karafilm Festival gave everyone plenty to talk about.

By Maheen Sabeeh and Rahma Muhammad.

As an event, the opening of the 6th Karafilm Festival was a step up from last year. Set against the backdrop of the beautifully lit Mohatta Palace, the cold moonlit Karachi evening was star-studded. From models to actors to television personalities and directors – the entertainment fraternity had come in large numbers to support the cause of cinema. So had the government representatives – the Governor of Sindh, Ishrat-ul-Ibad was there along with a bevy of officials including Minister of Culture Rauf Siddiqi, City Nazim Mustafa Kamal and the Naib Nazima Nasreen Jalil and Home Advisor Wasim Akhtar. Bent on giving out the “soft image” of Pakistan, the entire top brass of the province was there taking President Musharraf’s vision a step further. This sort of official interest was hardly unexpected as the President himself was present at the closing ceremony last year. Official patronage never hurts – in fact it is working brilliantly for the Festival in particular and promoting arts in general.
As one walked in to the grounds of the beautiful palace, it was hard to miss celebrities huddled together interacting or giving sound bites for television. It seemed like a big get together for the entertainment industry, where Indian movers and shakers mingled with the who’s who of Pakistani entertainment. A number of foreign delegates could also be seen among the crowd but as usual and unfortunately the spotlight was on the Indian delegation. Our unfortunate obsession with everything Indian came into play when from the four Indians present two were asked to address the audience. Mahesh Bhatt spoke of how Karafilm had revived alternative cinema in Pakistan and South Asia and the fact that he saw Karachi as a glamourous city, and that his love for it had only grown with every visit, exactly what he said last year and the year before. Yawn.
Even though both Gulshan Grover and Mahesh Bhatt were engaging one wished to hear Jafar Panahi and Jamil Dehlavi speak instead – considering the spotlight this year is on their work.
Gulshan Grover, the ultimate “bad man” of Bollywood, admitted that he came because Mahesh Bhatt asked him to and he is happy to be here. However, it was quite amusing to hear yet another Indian claim his ancestry to Pakistan when Gulshan Grover told stories of how his mother missed Rawalpindi and how excited he was to be here amidst all the Pakistani love. His presence at the opening was made interesting when Umar Sharif invited him on stage to share a few laughs on Nini’s expense. Nini (who was hosting the show) with all her refined nuances stood no chance against the King of Sleaze, who made one crackling remark after another leaving the audience in fits of laughter. Even Gulshan Grover couldn’t hold his ground against the mighty Sharif. But the best joke of the night was on
Mahesh Bhatt’s expense. What with his regular featuring at Karafilm, Umar joked that “Mahesh Baba” soon will have his own Urs here. Hear, hear!
After lightening up everyone’s mood Umar Sharif actually made some very valid points about the hot issues of the night. A director himself, he understands the issues faced by Pakistani cinema well. With strong Indian connections thanks to his stage plays’ popularity across the border, Umar Sharif insisted on furthering collaborations, especially in technical support from India.As Umar Sharif stepped down, the Governor of Sindh Ishrat-ul-Ibad came on to give his address. He seemed very happy to be amongst a mass of celebrities as he called out by name all the ones who he could recognize. It really does seem that our
leadership is becoming more and more star struck day by day. That being said, the attention given to the media these days is indeed welcome – the Governor also very kindly offered Karafilm Society to be a part of the Media City, that is being planned. However, it must be pointed out here that it was rather
unbecoming of a man in his position to comment that Umar Sharif was a “Mardon ki Meera” in his speech. Since no one laughed it was simply in bad taste. It was a faux pas that doesn’t suit a man in his position. Governors have to maintain a certain decorum, even their humour should be dignified.That was not the only thing that left a sour taste in one’s mouth that night. It was equally disconcerting when the celebrities – who were seated right in the front – started leaving as soon as the addresses were made and Mekaal Hasan Band came on stage to close the night with a live performance. And they just
didn’t leave immediately. They mingled and said their goodbyes right in front of the stage and the mere mortals seated at the back. It was not only disrespectful for other people who couldn’t see but also for the fellow performers who were doing their best amidst the confusion. It is pertinent that one points out that a
similar thing happened last year when people walked out on Farid Ayaz Qawwal’s performance. Mingling is no crime but it should not be done at a performer’s expense. And considering that most of the people in attending were media people, they should know better.In fact mingling is a very important part of media dynamics. Film festivals world over are opportunities for possible collaborations and tangible exchange of talent. Exchange is an important element here. So far at Karafilm, the exchange has been one sided. The Indians have been coming here since the first
festival, showing their movies and taking back cheap talent – whether it’s an actress or musicians for a pittance. In return the Pakistani film industry has not benefited at all, making all the collaboration talk
seem like mere lip service. This point was intelligently raised by Syed Noor, when in his speech he said something very humbling for a top Pakistani film director. He asked Mahesh Bhatt in particular and the Indian film industry in general to take this collaboration a step further and provide and share technical expertise that we lack here. Syed Noor lamented the fact that even though there are enough talented people to come up with brilliant scripts, act to perfection and direct outstanding cinema, our production value is especially poor. The fact that the most successful filmmaker in Pakistan attended the opening ceremony and stood by the festival is a healthy sign. Most of
Pakistan’s filmwallahs have chosen to stay away or worse are vehemently against the Kara effort.
Syed Noor’s point was also raised by Hasan Zaidi in his address, which focused on Karafilm’s vision for the future of reviving cinema in Pakistan. The Karafilm Society hopes to set up a film academy, which will provide budding and established directors with the technical expertise and assistance needed to give a boost to Pakistani cinema. Apart from setting up an academy and a custom built screening auditorium, Hasan Zaidi’s vision for Karafilm and Pakistani cinema’s future goes beyond logistics and is headed towards encouraging a culture of arts. Ultimately one wonders how the Indians are going to help us achieve this. The effort will be Pakistani and any technical expertise will have to be bought.
Karafilm has taken the initiative to build bridges, now it remains to be seen whether it takes as much initiative when it comes to building the industry. Getting Bollywood celebrities here has brought the spotlight onto Kara and now it can stand on its own. One doubts that Kara would ever reach the abysmal point that it did in its second year when Michael Heath, a director from New Zealand was the only person around. The Indian presence has been crucial for Karafilm to establish itself. Now it has. Last year, Indian films like Main Ne Gandhi Ko Nahin Mara and Iqbal showed to a packed house but so did the German masterpiece Goodbye Lenin. Karafilm has become a much looked forward to festival for both aspiring filmmakers and lovers of film. The question the festival needs to ask itself is “Now what?”
Karafilm’s seventh step towards desire must be even bigger.