Shiraz Hassan: Cinema

Showing posts with label Cinema. Show all posts

Thursday, July 17, 2014

Dina... Waiting for Gulzar

Gulzar at Dina Railway Station. Picture Courtesy: Mirza Baig

About a hundred kilometers from the capital city of Islamabad in Pakistan, by the G.T.Road, in district Jhelum, sits the historic town of Dina.

The same Dina, on whom Gulzar penned his immortal lines:

Zikr Jhelum ka, baat ho Dine ki.
Chand Pukhraj ka, raat Pashminey ki

Dina is the birthplace of renowned south Asian poet Sampooran Singh Kalra. Popularly known as Gulzar, he was born in Kurla, a village some 3 kilometers away from Dina, on the 18th of August in the year 1936. Gulzar’s father Makkhan Singh, set up his business and home in the main market of Dina and settled here with his family.

The house where Gulzar spent most of his childhood and the shop attached to it still stands as a witness to history. Here in Dina, the square on which Gulzar’s home is located and once called Purana Dakkhana Chowk, is known today as Pakistani Chowk.

The Return Home

Gulzar was born in Dina, of Jhelum, Pakistan

Last year, when Gulzar returned to visit his birthplace, for the first time after the Partition, he could not hold back his tears on seeing the home he had left many years ago, and broke down. The ancestral home of Gulzar now belongs to one Sheikh family and the members of this family say that they were tenants of the Kalra’s before Partition and was allotted the house post Partition.

An elderly member of the Sheikh family, advocate Sheikh Abdul Qayum, who is of the same age as the poet was Gulzar’s childhood friend as well. He reminisces, “our homes stood side by side and we went to the same school”. Sheikh Abdul Qayum further adds “when Gulzar came down here, I suggested this lane be named as Gulzar Street, to which Gulzar responded that it would be really great if that did happen!”

According to Sheikh Abdul Qayum, this lane has remained unchanged for the last seventy years and a part of the Kalras’ house still remained in its original condition. This is where Gulzar’s father Makkhan Singh had once set up his textile shop.

This is where Gulzar started his primary education. The school has a block named after him too.

The ancestral home is located in a lane about 4 feet wide. In the other part of this house, new buildings have been constructed. Residents of Dina comment that when Gulzar came visiting, there was a suggestion to buy this building and turn it into a library, but in the long run, nothing could be done about it. However, after his visit, this street is addressed as Gulzar Street nowadays.

The government run high school, where Gulzar received his primary education is located in Miyan Mohallah of Dina. Unfortunately, his classroom no longer exists! Javed Ahmed, the current headmaster of the school informs that the part of the old structure which housed Gulzar’s classroom no longer exists. However, he adds that there is a new school block built on what was earlier(during the time Gulzar studied here) the school playground and has been named Gulzar Kalra Block.

He says “we wish Gulzar to visit again and spend more time with us at the school.” Stating that the school is proud that a student from this institution has won such accolades all over South Asia, Javed goes on to add “the academic records of this school have always been superb but at the same time students from the school have also excelled in the fields of Literature, Art and Sports at the district level.”

The Good Old School Days

This lane, the location of Gulzar’s ancestral home, is now known as Gulzar Street

The Government High School of Dina had initially started off as a primary school in 1921. It was later converted into a middle school in 1941. It was during this time that Gulzar studied here. Finally, in 1989, the school was awarded the status of a high school.

Sheikh Abdul fondly remembers that during his Pakistan Yatra(tour), while Gulzar went visiting his alma mater with some of his friends, he was in very high spirits and led the way. To Abdul Qayum, he seemed almost like a little boy happily trotting off to his school. Qayum quipped “ I told him you forgot to carry something, and when Gulzar asked “what?” I replied “your satchel”, to which he smiled ”

The relation between Gulzar and Dina is a well-known fact today. But it is also equally true that the literary heritage of Dina and the district Jhelum goes a long way back in history. Speaking of the literary scholars, poet Shahzad Qamar from Dina told me that this area had gifted us with some of the most amazingly talented writers and the specialty of these authors lied in the literature of resistance.

The Literature of Resistance

Starting from the revolutionary poet and trade union leader Darshan Singh Awara to contemporary poets like Tanveer Sapra, Iqbal Kausar and other writers, the literary style is that of resistance. Through their works, they had always raised their voices against all forms of injustice.

In Qamar’s view, even today, many a poet and writer from Dina are still related to the literature of resistance. When asked about Gulzar’s popularity in Dina, poet Siddique Suraj replied that though everybody knew about Gulzar, his connection to Dina has came into light only after his recent visit to the town.

In naming a school block and a street after her famous son, Dina and her people express their love for Gulzar. The people of Dina look forward to another trip from the poet, sometime soon. With hope in their hearts and a fervent wish, they eagerly wait for Gulzar!

This article was originally published in BBC Hindi and BBC Urdu

Sunday, September 2, 2012

Exclusive Interview: Onir sees good times ahead for Indian parallel cinema

Onir sees good times ahead for Indian parallel cinema

Director and writer of My Brother... Nikhil talks exclusively to The Rationale

[This interview was originally published in The Rationale, August 2012 Issue]

Photo Source: Onir's Facebook page

Onir is a rising star in the world of parallel cinema in India. Bollywood, which is full of glamour and a galaxy of shimmering stars, he decided to make his career in the art films, which is passing through a critical phase in India and all over the world.

Wikipedia says Onir was born as Anirban Dhar in Thimphu, Bhutan. His father Aparesh Dhar and mother Manjushree are of Bengali origin. Onir spent much of his childhood going to the cinema. In 1986 his family left Bhutan after the government made “driglam namzha”, the Bhutanese national dress and etiquette code, as mandatory. Onir revealed in an interview that, “I didn't want to be a second class Bhutanese citizen; I preferred to be Indian citizen.”

In Kolkata, Onir studied comparative literature and took a few film classes at Chitrabani Film School. He graduated from Jadavpur University in 1989, but left before getting his post-graduate degree when he received a scholarship to study films in Berlin. He later returned to India and worked as an editor, scriptwriter, art director, music album producer and song/music video director. He also served as an assistant to Kalpana Lajmion on Daman: A Victim of Marital Violence (2001) where he had his first experience directing a full-length feature film.

Recently Onir visited Karachi, Pakistan to attend India Pakistan Social Media Conference 2012, where this scribe talked to Onir about his career, filmmaking and new trends in India and world cinema.

Q. When did you realise that filmmaking could be your career?

Onir: My parents were teachers in Bhutan. I grew up watching lots of movies as my mother Manjushree was a film fan. My parents exposed me to both mainstream and art house cinema at an early age. By the time I was in eighth grade, I was in love with films of Shyam Benegal and Satyajit Ray and knew this would be my world.

Poster of film 'I Am'

Q. How has Indian audience received “I Am”. What is the future of short films in India?

Onir: The film was one of the most highly rated films of 2011 and went on to win the National Award as the Best Hindi Feature Film and National Award for Best Lyrics. That is unique for a film with four taboo or unspoken stories. Theatrically the business was not great because of the subject but it did good business on DVDs—even through piracy (laughter).

Q. Do you think that parallel cinema in India has the potential to bring profit?

Onir: Parallel cinema is going through a major crisis in India and many parts of the world. That is partly because of the lack of exhibition and distribution support. Unlike Europe, we do not have a chain of theatres that show only indie films. So competing with studio-backed multi-star films with huge publicity money in multiplexes is difficult. But, having said that, I will also add that slowly and surely there is a growing audience for this new Indian cinema in India and worldwide. But it will take a little time and it will surely make some economic sense too. I am positive.

Parallel cinema is going through a major crisis in India and many parts of the world... Unlike Europe, we do not have a chain of theaters that show only indie films. So competing with studio-backed multi-star films with huge publicity money in multiplexes is difficult. But... surely there is a growing audience for this new Indian cinema in India and worldwide - Onir

Q. Digital technology has become very popular nowadays. What is its future?

Onir:. I think it will make cinema more accessible to the masses. In terms of making and distribution it will reduce costs and hence become very important medium for indie films.

Q. Do you think that digital technology can replace the traditional format?

Onir: Thought the traditionalists refuse to accept but negative is on its way out and soon digital will catch up in terms of quality.

Q. Do you think that India is ready to openly talk about controversial issues that you have raised in your films?

Onir: Well, the fact that I am being able to make my films and survive in India shows that there is an audience and the society is ready to look into its darkness. I think when you accept the darkness within, then that is the first step towards light. The problem is that the Diaspora Indian audience which forms an important part of the revenue for Indian films only watches big stars’ mainstream films. Because of their nostalgia of “home” and “culture” they very often do not want to see the darker side of our society. That is why indie films are rarely released overseas.

Q. What is your stance on the current trend of adopting Western trends like rapping and skimpy dressing by Bollywood?

Onir: I do not think it is a recent phenomenon. What I do not like is when bodies are turned into commodity by the lenses and women are shot and portrayed in a way to feed the male gaze. Otherwise, we always had actresses like Nargis and Sharmila Tagore who carried a swim suit with grace. I think the word “skimpy” is relative. I feel if a scene needs an actress to be swimming we should see her in a swimsuit. And I think just like we men have the right to wear shorts and jeans women have the right to choose how they want their bodies dressed up and seen.

Similarly, I feel that a cinema prospers as it embraces other cultures. India is an amalgamation of cultures. What is termed as “Western” is as much a part of our culture as the Taj Mahal. For me, greetings such as Aslaam-o-Alaikum, Namaste and good morning—are all part of my culture.

Q. Do you plan to continue to highlight social issues in your films?

Onir: Well, I believe in telling stories that touch me. All my films are not what is traditionally called message-oriented. Neither will they be. But whatever I do, I will not have any regressive messaging there. For me that is important.

Film Poster: My Brother...Nikhil [Image Source: mybrothernikhil.com]

Q. What about your upcoming projects? What’s your focus now?

Onir: I am working on a couple of films. I am producing a few films with a company named Sanjay Suri and under the banner Anticlock Films. They are Chauranga, Coach Kameena,

Chauranga is a story about a 14-year-old Dalhit boy who falls in love with an upper class 16-year-old girl and what follows in a racially charged society. It is based on a real even that occurred in 2008. We started shooting that film in September with debutant Director Bikas Mishra.

Then there is Coach Kameena. This is a story of a 16-year-old boy’s love for sports and the pressure on him to perform well in academics from school and family. This will be directed by Ashwini Malik.

Apart from these, we have two of my films under pre-production. SHAB is a love story with a twist and the other is an adaptation of Hamlet. I also look forwarding to casting some Pakistani actors in my next films.

Onir has directed films such as Tiger's Nest (1991), Fallen Hero (1992), My Brother Nikhil (2005), Bas Ek Pal (2006), Sorry Bhai! (2008), I Am (2011) and The Face (2011). He also wrote the scripts for My Brother. Nikhil, Bas Ek Pal and I Am. Apart from these, he has also been editor and producer for a number of film projects.

Q. Do you think that Bollywood is successful in creating its own school of thought and style in the world of filmmaking?

Onir: Bollywood has a distinct identity and definitely a language that is recognised world over. I have travelled a lot and it feels good that wherever you go, you find someone who hums a familiar tune to you or knows names such as Raj Kapoor, Amitabh Bacchan or Shah Rukh Khan.

Q. What is the importance of parallel cinema and why is it needed in the first place?

Onir: You might ask: What’s the need to breathe. I may be exaggerating but yes…It is like asking why you need literature or painting or sculpture. Cinema is also a form of art and can be a very important tool for change. It provides a window for the mind to look at the world with a different perspective. It encourages the mind to question things. That is what parallel cinema does.

Q. What do you say about Indo-Pak collaboration in cinema? Do you have any plan to take this initiative?

Onir: We already have many Pakistani actors and musicians working in the Indian film industry. I think we need to open up our TV and Film worlds to each other. It will be great for both the countries. But you should have what we need. You need to protect Pakistani cinema by making sure that multiplexes will always have enough screen time and space from your own films and have cheaper tickets for them while allowing Indian cinema to come. It is important that it does not drown your own cinema the way it is killing parallel cinema and regional cinema in India.

With Onir at Indo-Pak SOCMM12 in Karachi

Monday, December 19, 2011

Rise and Fall of Pakistani Cinema

Originally Published at WeSpeakNews

In the words of legendary filmmaker Ingmar Bergman “Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.” This citation substantiates the belief that film is the most powerful form of all communication techniques and leaves a profound impact on the psyche of an individual and in turn affects the society. This influential tool is used for portraying the culture, problems and dreams of a society. As the world has turned into a global village, cinema and film-making plays an important role not only in promoting cultural values and bonding different nations but also in providing an alternate way of expression.

Film Poster "Teri Yaad"

Pakistan, has a rich history of filmmaking. The historic city of Lahore was the hub of filmmaking, prior to the partition of India. It is also said, that the film industry in India was born in Lahore. After the partition, most of the industry migrated to the Mumbai. But still, Lahore was home to a significant number of actors, directors and film producers. The 50s and 60s were the peaks of Pakistani film Industry. They were in competition and at par with the Indian films of that time.

After the partition, reconstruction of the film industry in Pakistan was an uphill task but luckily we had a good number of artists here and they played a very crucial role in laying a solid foundation of the film industry in the country. The first Pakistani film Teri Yaad was released in 1948, which was indeed the first joint effort of Pakistani artists, which was successful. The first blockbuster film in the early days of the Pakistani cinema was Do Ansoo, which released in 1950. Do Ansoo became the first film in Pakistan to enjoy a 25-week run at the box office, eventually achieving a silver jubilee status.

The early days of Pakistani cinema also witnessed the directorial debut of its first woman film director in the legendary singer and actress Noor Jahan. Released in 1951, the Punjabi film Chanwey, was directed by her.

As film viewership increased exponentially in the country during this time, Sassi,(1954) went on to become the first Pakistani film to reach golden jubilee status by playing 50-weeks on theaters.

Around the same time, the first ever Sindhi language film Umar Marvi was released in 1956.

Film Poster "Aaina"

The Pakistani film industry is also known for producing many remarkable and renowned actors, directors, producers, writers and playback singers. Era between 1956-66 is known to be the golden era of Pakistani film industry. During this period, many classical films were made and produced in Pakistan. As of today, Aaina is considered to be the most successful and popular Pakistani film that was ever made. Released on 18 March 1977, it remains a distinct symbol which stands on the threshold between the Zulfikar Ali Bhutto years and the increasingly conservative and revolutionary Muhammad Zia-ul-Haq regime. The film stayed in the cinemas for over 400 weeks.

Armaan, Bandish, Shaheed, Baji, Koel, Amrao Jaan Ada and Baharo Phool Barsao are considered to be the most successful films made during this golden age of the Pakistani cinema. It was during this time that legends like Mehdi Hasan, Salim Raza, Ahmad Rushdi , Noor Jahan, Santoosh Kumar, Darpan, Munawar Zareef, Aslam Pervez, Syed Kamal, Nayyar Sultana, Neelo, Waheed Murad, Mohammad Ali, Nadeem, Sabiha Khanum, Shamim Ara and many others became household names.

Not many in Pakistan know the fact that since the birth of cinema in Pakistan, only two Pakistani films had been submitted for the Oscar Awards, Foreign Language Film Awards category. Both submissions were musical-dramas in Urdu. Pakistan's first Oscar submission was Jago Hua Swera (The Day Shall Dawn, 1959). The movie was filmed in Dhaka, East Pakistan (contemporary Bangladesh) by the East Pakistan Film Development Corporation. Based on a novel by Bengali novelist Manik Bandopadhaya, the film’s screenplay was written by Faiz Ahmad Faiz and it was directed by A.J.Kardar. Scripted in the Urdu language. the film’s storyline was about the daily lives of the fishermen of East Pakistan and won a major award at the Moscow International Film Festival.

Pakistan's second and final Oscar submission, Ghoonghat (The Veil, 1963) was about the disappearance of a veiled young bride on the day she is scheduled to be married off to a rich young man. Since 1963, no Pakistani film has been submitted for Oscars.

The quality of films, scripts, music, lyrics, acting and direction were at its best during the golden era of the 50s and 60s. In the major cities of Pakistan, almost every film attracted a large audience to the movie theaters. Sadly, we couldn’t manage to continue with the legacy of the rich culture, and hence began the downfall.

There were several reasons behind the eroding away of the Pakistani film industry. One of the major reasons was the Fall of Dhaka. It came as a rude and destructive jolt to the Pakistani film industry. At the same time, the mid-70s saw the introduction of video cassette recorders in Pakistan and instantly films from all over the world were copied(pirated) onto tapes, and attendance at cinemas dwindled as people preferred to watch Indian films in the comfort of their homes. This ushered in video piracy in Pakistan. Films began to be copied on tapes on the day they hit the cinemas.

Pakistan’s first venture into English filmmaking was “Beyond the Last Mountain”(1976), initiative of Javed Jabbar . However, the film's Urdu version Musafir did not do well at the box-office.

Under the Martial Law of Zia ul Haq, just like the other genres of arts, cinema also fell prey to its numerous dictats. During this period, classic love stories and Urdu films totally vanished from the scene. The new genre of films that were being made were commonly known as “Gandasa Culture”. “Mola Jutt” , which was a huge success fell into this category of films. Sultan Rahi became famous and hundreds of Punjabi films were produced, proudly showcasing violence, bloodshed and a low degree of sensuality. This trend continued well into the 90s , which resulted in disappearance of audiences from the theatres and the Pakistani film industry almost collapsed. Till 1999, the industry went through a lot of ups and downs.

The present and future of the Pakistani film industry appears to be rather gloomy. It seems to be almost non-existent these days with innumerable screenings of Bollywood films across cinema halls in urban Pakistan, especially where families like to go for a movie.

Here’s what Sara Faruqi writes about the Pakistani film Industry

In the ‘golden days’ of Pakistani cinema, the film industry churned out more than 200 films annually, today it’s one-fifth of what it used to be. The Federal Bureau of Statistics shows that once the country boasted of having at least 700 cinemas operating in the country, this number has dwindled down to less than 170 by 2005.

Nowadays, be it in within the green walls of a dhabba, the garish pink paint of a beauty salon or a soft cream-coloured living room in suburbia, the film being played is most likely a Bollywood or Hollywood blockbuster.

Reportedly, the number of movie theaters in the country has declined from 1,100 in 1985 to just 120 today, and the number of films produced locally has shrunk to fewer than a dozen movies per year. The big studios, which defined the history of the Pakistani film industry, have been closing down, one after the other. Property dealers grabbed the vast acres of land where stood once these iconic studios and turned them into housing properties and shopping malls

Film Poster "Mola Jutt"

The cine goers and enthusiasts of Pakistan puts the blame on a variety of reasons for the steady decline of the film industry in the country. They are namely the VCR, cable television, the Islamization of the Pakistani society by ex-President Zia ul-Haq, and finally DVD piracy. While film industries have weathered changes in viewing habits, it appears that government edicts played a big role in the collapse of the industry. The theater owner wants the government to clamp down on DVD piracy while filmmakers insist that government support is needed to provide sophisticated and up-to-date equipments for film-making. Movies from the neighboring India also get the share of its blame as most Bollywood films have much larger budgets for films and its marketing campaigns.

However, in the last decade, Gen.Pervez Musharaf not only opened the market for independent media houses but also helped in revitalization of the Pakistani film industry by nurturing new talent and encouraging film making. The efforts for the revival of Urdu film industry in Pakistan was also brought into limelight.

In recent years, Shoaib Mansoor played a key role in the reincarnation of Pakistani cinema. His two major hits “Khuda ke Liye” (In the name of God, 2007) and “Bol” (Speak up, 2011) were not only acclaimed in Pakistan but also welcomed across the border. Mehreen Jabbar’s first venture in the form of feature film “Ramchand Pakistani” was also a positive and encouraging step.

Parallely we have also witnessed a substantial progress in the field of independent filmmaking in the country. A new generation of film-makers from Karachi, Lahore and Islamabad is taking a keen interest in film direction. Film and Television as a subject is being taught in several universities these days, which, needless to say, is playing a vital role in producing high quality movies and documentaries. The alumni of these educational institutions have produced films, which have been screened in various International film festivals, including India and Europe.

Sharmeen Ubaidullah Chinoy and Samar Minallah are two brilliant film-directors who have made their mark in the field of Documentary film-making.

A young film-maker Nisar Gojali’s film “Burning Paradise” was awarded special mention jury award at South Asia Film festival in held in Ahmadabad, India in January 2011. The film shows the current situation of the Swat valley and people’s opinion on extremism. Gojali’s opinion on the decline of commercial cinema is that most of the investors are not interested in films because they do not see it as a profitable venture. However, the Pakistani civil society and foreign NGOs are funding different organizations and filmmakers for documenatries and short films, especially the ones that are filmed on various contemporary issues. This is why most of the young filmmakers are focusing on independent films and private productions. Full blown feature films require a huge budget, which they cannot invest on their own. Gojali added that he is optimistic about the revival of Pakistani cinema and despite the financial and economic crises, there are bright chances of a flourishing film industry in Pakistan

But the recent statistics of films released in Pakistan does not make a very heartening graph. We witnessed the year 2010 as being the worst ever year in the history of Pakistan film industry where only seven films managed to release, out of which only one Punjabi movie Wohti Le Key Jani Aay by veteran director Syed Noor was declared successful. It did a business of almost Rs 8 million in just two days.

Film Poster "Bol"

After a disastrous 2010, fans of Pakistani cinema got its first Urdu language film Khamosh Raho, starring Juggan Kazim and Shaan, directed by Altaf Hussain, in 2011. Unfortunately it was a disaster on big screen and bombed at the box-office. Later in June this year, Shoaib Mansoor released his second film Bol as a director. The film, starring Atif Aslam, Humaima Abbasi, Mahira Khan and Iman Ali in lead roles, broke all previous records and became the highest grossing movie of Pakistan. While Bol was receiving an outstanding appreciation and tasting success, two more Urdu language movies Love Mein Ghum and Bhai Log released. Both films were Eid gifts to the whole nation and were welcomed warmly by the Pakistani audience.

This year we also witnessed the release of the controversial film Slackistan. However, the film didn’t hit the theaters in Pakistan as the director refused to make any cuts to the film as requested by the country's Central Board of Film Censors (CBFC). According to The Guardian, the CBFC objected to the movie because it had swear words in English and Urdu, and "contains the words 'Taliban' and 'lesbian'”.

Pakistan film industry is passing through a period of transition, where a whole new generation is replacing the previous one. New faces are emerging in the movie industry, which is a healthy sign. Unique and tabooed issues are being brought into the limelight via the storytelling on silver screen. No doubt it is a positive change and we can hope that within few years young Pakistani filmmakers will totally change the old concepts of filmmaking. It is too early to claim any success but at least it is safe to predict that our film industry is moving in the right direction. Upcoming films like “Gidh”,“Waar”, “The Dusk”, “Freedom Sound” and “Kolachi” can bring in remarkable change to the film industry of Pakistan.