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The 25 Best Performances Of The Decade

best of the decade

The previous decade saw Pakistani cinema rise from the ashes, and many actors set the silver screen on fire with their scintillating performances, setting a new standard of excellence for the performing arts in the country. Galaxy Lollywood’s editorial panel and writers discussed and voted on the performances from the decade past that stole the limelight, and here we present you with the Best 25 Performances Of The Decade, listed in chronological order.

1.Humaima Malick – Bol (2011)

Humaima Malick was handed over a character that was possibly the strongest ever for a woman in Pakistani cinema’s history, and she truly made it her own, giving the performance of a lifetime. Playing Zainab in the Shoaib Mansoor helmed project, Humaima delivered an intense, power-packed performance that truly brought out the inner conflicts and challenges, and also gave the story its edgy, emotional core. 

2.Manzar Sehbai – Bol (2011)

Manzar Sehbai in Bol is truly an act to remember. Playing Hakeem Shafatullah in Shoaib Mansoor’s gritty take on many social ills, Manzar embodied his character’s innate aggression, misogyny and lack of empathy in a manner that made the audience gasp and grimace in revulsion. This one was a performance of a lifetime that will go down as one of the iconic ones in Pakistani cinema.

3.Sarmad Khoosat – Manto (2015)

Essaying the titular character in the tortured writer’s biopic, Sarmad Khoosat was able to transcend the barrier of make-believe to carve out a performance that was effectively haunting, gut-wrenching and real. This one was truly a spectacular debut from the actor, all the more brilliant as he was also directing the movie.

4.Yasir Hussain – Karachi Se Lahore (2015)

Playing Moti/Mutazalzal in Karachi Se Lahore, Yasir Hussain proved he had the perfect comic timing and screen presence to ensure that his performance would be noticed in a star-studded ensemble cast that starred many established actors. The movie’s laugh-a-minute one-liners were delivered with perfection by Yasir, and by the time the end credits rolled, the audience knew that Pakistani cinema’s next big comic act had arrived.

5.Sohai Ali Abro – Jawani Phir Nahi Ani (2015)

Playing Zoya, Sohai Ali Abro managed to turbo-charge the second half of a film in a way no other actor has possibly managed in recent Pakistani cinema. Without overdoing her act, she brought the right amount of verve, eccentricity, and fierceness to the hilarious role that completely won over the audiences.

6.Fahad Mustafa – Actor In Law (2016)

Fahad Mustafa essayed the character of a struggling actor who ends up posing as a lawyer who fights for the people. He excelled showcasing the film’s quick-witted and socially aware brand of humor in his performance, which will go down as one of the best from the decade. The icing on the cake was his superb chemistry with fellow actor Mehwish Hayat.

7.Nayyer Ejaz – Mehrunnisa V Lub U (2017)

While Nayyer Ejaz has quite a few outstanding performances to his credit over the past decade, his turn as the transgendered villain Marzi in Mehrunnisa V Lub U was particularly memorable for the sheer scale of tongue-in-cheek malevolence it brought to the screen. His performance will rank along with the finest in a negative role in Pakistan’s film history.

8.Mehwish Hayat – Punjab Nahi Jaungi (2017)

Mehwish Hayat essayed the career-defining character of Amal in this 2017 box office extravaganza and captured the hero’s – as well as the audience’s heart – with the natural poise and grace with which she played the role that stands up to a feudal, patriarchal mindset. She convincingly portrayed Amal’s turbulent emotional arc, excelling in the romantic scenes as well as the dramatic and emotional ones.

9.Humayun Saeed – Punjab Nahi Jaungi (2017)

Fawad Khagga will go down in history as one of Pakistani cinema’s most iconic characters, and Humayun Saeed brought just the right Punjabi accent and small-town mannerisms to make his performance a truly memorable one. Whether it was serenading the heroine, shaking a leg to a mehndi number or displaying some traditional Punjabi machismo, Humayun did it all with panache.

10.Shaan Shahid – Arth The Destination (2017)

Shaan Shahid’s turn as a struggling, forgotten musician in Arth The Destination was a class act – the star excelled in channeling the right amount of pathos and hope through a character that was different from anything he had done before. Shaan demonstrated his acting prowess and left us all impressed, once again.

11.Uzma Hassan – Arth The Destination (2017)

Uzma Hassan in Arth The Destination essayed the complex character of a woman on the edge after discovering her husband is having an extra-marital affair. In her debut film role, she displayed solid histrionics and mesmerized the audience by emoting the angst, trauma, and conflict of her character brilliantly.

12.Aamina Sheikh – Cake (2018)

Aamina Sheikh played Zareen in Cake, a 30-something who is veritably her family’s sole caretaker in the absence of her foreign-settled siblings. Aamina quite effortlessly managed to translate the grey character’s inner frustrations, struggles, and conflicts on-screen, managing to give a performance that will stay with us for years.

13.Sanam Saeed – Cake (2018)

In a film with the most realistic portrayal of a dysfunctional family in Pakistani cinema ever, Sanam Saeed did exceedingly well as Zara, a pivotal character in the film who has left Pakistan for mysterious reasons. That she managed to build effortless chemistry on screen with the rest of the cast only added to her performance. 

14.Mohammed Ahmed – Cake (2018)

As the aging Sindhi feudal, Mohammad Ahmad’s performance in Cake was the glue that gelled the talented ensemble cast together. Whether it was drama, irony or humor, the seasoned thespian aced practically all the sequences in the film and made his role one of the most memorable from the decade.

15.Ali Zafar – Teefa In Trouble (2018)

Ali Zafar in Teefa In Trouble’s titular character brought the first truly masala action hero on screen, who can stick-fight with as equal ease as he can serenade his lady love. Teefa will easily go down as one of the more memorable action-comedy figures in Pakistani cinema’s history, and credit has to be given to Ali for doing a brilliant job.

16.Maya Ali – Teefa In Trouble (2018)

Maya Ali sprung up a pleasant surprise debuting as Anya in Teefa In Trouble, impressing the audience and the critics with the devil-may-care rebellious streak she brought to her role. While occasionally the damsel in distress, Anya proves by the end of the film that she can hold her own fort quite well, and credit has to be given to Maya’s performance that is equal parts spunky as it is charming and endearing.

17.Ahmad Ali Butt – JPNA 2 (2018)

Ahmad Ali Butt truly shined as PP in the second installment of the Jawani Phir Nahi Ani franchise, showing the world that none of his contemporaries could quite match his comic prowess. With his gender-bending act in the latter portions of the film, he literally brought the house down with a performance that was equal parts slapstick as it was surreal.

18.Faiza Hassan – Load Wedding (2018)

Faiza Hassan’s performance as Baby Baaji in Load Wedding kept the audiences hooked as they saw her character develop from one on the sidelines to one that eventually takes the center stage by the time the film’s climax rolls. She was in equal parts funny, manipulative, angry and desperate – in short truly brilliant. 

19.Hajra Yamin – Pinky Memsaab (2018)

In the titular character of Pinky, Hajra brought to life the timid, small-town girl who is hired as the domestic help in UAE, who comes of age through the many tricky twists life throws her way. Hajra fleshed out Pinky’s quiet inner strength and resilience superbly and ended up winning the audience’s heart by the time the end credits roll.

20.Rashid Farooqui – Laal Kabootar (2019)

Playing a bad-cop with his heart in the right place, policing the chaotic streets of Karachi was never going to be an easy job but all credit has to go to Rashid Farooqui for making it all look effortlessly realistic. His earthy, gritty performance managed to hold the audience rapt in attention right till the surreal concluding moments of the film. 

21.Ahmed Ali Akbar – Laal Kabootar (2019)

Ahmed Ali Akbar impressed as the quick-witted, street smart cab-driver who gets tangles himself into a plot that is far more sinister than it initially seems. This was Ahmed’s first lead role in a film and he seems to have made the best of the opportunity, as the usually hard-to-impress critics, as well as the audience, were all singing tall praises.

22.Meera – Baaji (2019)

Let’s just put it this way – no other actor could have pulled off Shameera, the aging, insecure and scandal-ridden screen siren, as well as Meera did. She not only excelled in Baaji’s many dramatic and emotional sequences but also looked glamorous in the movie’s many tastefully shot song and dance sequences. This one was truly a grand return to glory for the actor.

23.Amna Ilyas – Baaji (2019)

In Baaji, Amna Ilyas played the salon masseuse Neha, a somewhat ambitious ingénue who eventually wins over the trust of a former star. The star hit all the right notes in bringing to life the tempestuous journey of her character, imbuing her very controlled performance with the right amount of emotion, poise, and enigma.

24.Mahira Khan – Superstar (2019)

In Superstar’s Noori Mahira Khan got to play a character that showcased the whole wide range of emotions, be it, love, betrayal, anger or grief. With her fine performance, the star proved that she is truly the queen of romantic drama. Add to this the fact that she looked like a million bucks and danced like a dream. It was a performance par excellence, indeed.

25.Sheheryar Munawar – Parey Hut Love (2019)

Sheheryar Munawar essayed his namesake character in Parey Hut Love, a role that required him to showcase the struggles of an up and coming actor who experiences much tumult in his love life. Sheheryar hit all the right notes in bringing out the emotional highs and lows of his character perfectly in his on-screen performance, which will go down as one of the best in the decade.

Why Has The Trailer Of ‘Zindagi Tamasha’ Been Removed From The Internet?

zindagi tamasha

Sarmad Khoosat’s upcoming flick Zindagi Tamasha made waves internationally in October when it premiered at the prestigious Busan International Film Festival, where it was awarded the Kim Ji-Seok Award. The avant-garde arthouse production has high expectations riding given it’s Sarmad’s first cinematic offering since 2015’s Manto and is supposed to offer a soul-stirring narrative that holds up a mirror to our society, per the feedback that has poured in since its world premiere.

 

Interestingly, the trailer for the film which was released a few months back is now nowhere to be found over the internet. Originally uploaded in late September on popular streaming platforms such as YouTube, it received a largely positive response, showcasing content that was both offbeat, current and relevant. That it has been taken down is perplexing especially given that the film has been cleared by the censors for a nationwide release on January 24. The question that immediately comes to mind is that have the film censors raised objection over the clip’s provocative content, which alludes to taboo themes in the society that are usually brushed under the rug? While the federal film oversight body routinely screens content for theaters, pulling the trailer from the internet would require some coordination with PEMRA.

Galaxy Lollywood reached out to Sarmad Khoosat about the development. The Humsafar director was concerned and stated: “I will be holding a press conference tomorrow about Zindagi Tamasha’s trailer being taken down where I will discuss all the pertinent details.”

The roughly minute and a half long clip narrates the story of a naat-khwan named Rahat Khawaja (played by Arif Hassan) and his family who find themselves ostracised when a certain video of Khawaja becomes public. After the video goes viral, even his own daughter, Sadaf (Eman Suleman) is ashamed of him.

With only a few weeks to go before the film hits theater screens, it is crucially important for all its publicity material to be in the public eye. One can only hope that the censors are not having second thoughts about giving the picture a clean chit.

Zindagi Tamasha will one of Sarmad’s two films to release in 2020, the other being Saba Qamar starrer Kamli. It has been co-produced by Khoosat and his sister Kanwal Khoosat and written by Nirmal Bano. The film is bilingual, mostly shot in Punjabi. Along with Arif Hassan and Iman Suleman, the cast includes Ali Qureshi, Samiya Mumtaz, and Imran Khoosat.

We will be watching this story closely for any new development. Stay tuned to Galaxy Lollywood for the latest on Zindagi Tamasha!

 

Shahroz Sabzwari and Sadaf Kanwal Address Rumors Regarding Shahroz-Syra Separation

shahroz syra separation

Social media has been ablaze with speculation and analysis ever since the news of Shahroz Sabzwari being separated from wife Syra Shahroz has gone viral. On one hand, a section of the social media is busy lamenting the split of a seemingly perfect couple, yet there is another section that has given a completely different spin altogether and made the couple’s private business into a messy triangle.

 

There are rumors going around that the reason behind the Shahroz-Syra split was Shahroz allegedly cheating on his wife with supermodel and actress Sadaf Kanwal. After a day’s of silence on the matter, Sadaf Kanwal has stepped up and made an official statement regarding the issue, too. And now, just a while ago, Shahroz took to his Instagram and posted a video to once and for all put all the rumor-mongering to rest.

The clarifications

“Shahroz and I are just friends! We met a month ago!,” stated Sadaf Kanwal clearing the air about her and Shahroz’s relationship. She said she met Shahroz at an event about a month ago where they performed together. By that time Shehroz and Syra had already been split for almost five months.

Her statement corroborated with the one Shahroz had given Galaxy Lollywood earlier. Shahroz had said that his relationship with Sadaf is just friendly and he has only known her for about a month.

https://www.instagram.com/p/B6sZw9DDR2c/

“It’s sad to see the shade that social media has been throwing Sadaf when she has had no involvement in the matter. We met only a month ago. Syra and I have been split for six months; the two matters have no relationship whatsoever,” he stated emphatically.

In the Instagram video that Shahroz posted, he refuted the rumors that he and Syra have been divorced and explained that they have only been separated because of their personal differences. He also mentioned that it was sad to see news floating around claiming that his and Syra’s divorce has been confirmed whereas he or Syra or their families have not given said anything like that.

“We decided to be separated when we realized our personal differences were affecting the atmosphere of the household. So instead of letting the issues create more negativity, we have opted for separation. Whether or not it will turn into anything final, we do not know yet.”

Rumors have provoked a backlash

He also demanded an apology from all media publications giving rise to rumors that Sadaf Kanwal is the reason behind the split and insisted that he had met Sadaf only a month ago that too due to professional commitments. He was displeased at the way his personal issue with his wife has been turned into tabloid gossip which is causing Sadaf to receive a harsh backlash and criticism that she does not deserve.

On the matter of his daughter, Shahroz said that he along with his wife Syra love their daughter and that she is happy living with both of them. He closed the video on the request to not spread rumors further and make a mockery out of this issue by turning it into tabloid gossip as the ethical repercussions of such an act are very high.

‘Making A Film On Your Own Terms Is Difficult In Pakistan,’ Says Sohail Javed

sohail javaid sorry

The director of a movie is like a captain of the ship — the fate of a movie largely lies in the hands of this person. With his vision, he can craft a masterpiece out of a good script. When it comes to commercial cinema, making a profitable film is a dream for any debut director. The most recent to join the list is Sohail Javed. He enjoys a diversified portfolio of creating numerous music videos and TV commercials. Javed spoke to Galaxy Lollywood about his debut film Sorry, why it took him so long to make his cinematic debut, his partnership with Faysal Qureshi, Sonya Hussain’s sudden exit from the production and much more.

 

Cinema is always the ultimate medium for a director. What took you so long in making your cinematic debut?

I’ve been waiting to tell the kind of story I had envisioned. Keeping in view the present business scenario of cinema; making a film in Pakistan is quite difficult. Especially when you are not signed up with a brand or it’s your debut film or you want to make something on your own terms; it’s a very long, painful and lonely road.

Faysal Qureshi is returning to films after 18 years with your first film. It couldn’t get better than that, could it?

I had written three scripts based on different genres i.e. action, comedy, and romance. I met Faysal and he was instantly hooked with this one. I had already spent two years writing it, so it was natural that Sorry had to be done first. I and Faysal go back a long way and have worked on some interesting projects. I really enjoy working with him; he doesn’t stress out the director in fact becomes a partner and that is an interesting trait.

Correct me if I am wrong. Is Sorry a remake or inspired by any other film?

Sorry is not a remake nor inspired by any other film. It’s inspired by real-life and real events.

Is Sorry a commercial potboiler with complete ‘baara masalay’? Tell us about the plot?

Yes! It’s a commercial film, a love story with seven songs. The movie belongs to the family-oriented love story genre we had back in the day. It’s about four people in love with each other; going through their own journeys, facing their painful problems and finding a resolved closure to the issue.

A good film is soulless without a good script. How important is it to tell a good story?

The story and script are everything; having said that, a great story can be badly written or executed. I believe it’s a collaborative effort; you need a good story backed up by a great cast followed by a great DOP. Usually, people don’t focus on having a good DOP on board. I believe DOP is the director’s wife who makes it easier to paint a particular emotion or the story. They aren’t two individuals; the director and DOP are one unit.

Were Amnah Sheikh and Zahid Ahmed the first choices?

Amnah and Zahid were not the first choices. As far as the cast is concerned, you may expect a few more surprises in the months to come.

Was Tich Button the actual reason behind Sonya Hussain’s exit?

Sonya is a good person and a good friend too. She was busy with Tich Button and I was demanding a certain type of procedure since it’s my first film. In the time she had, and the time I required, it was becoming a bit difficult to carry on. Therefore we shook hands, hugged each other and wished best of luck. I have high hopes for Tich Button. With no offense to press and media, this issue was blown out of proportion. I read four different statements of Sonya within a span of just two days.  I want to give my final statement through Galaxy Lollywood’s platform ‘Sonya and I decided that we will not be able to do Sorry the way I wanted. She respected that, I respected her timeline and that’s about it’.

How did Faryal Mehmood come on board?

I had worked with Faryal earlier on a project and we didn’t get along. In fact, we had a fight on social media, but later she apologized. However, during the first spell of Sorry, I fell in love with her professionally. She was so organized, prepared and available for a particular sequence. Everything she did on screen was value addition. I am really looking forward to working with her in the final spell. She’s a sweet and dedicated person. Her energy is infectious, it’s all positive and she just wants to work.

Tell us about the music album?

I am working with seven music producers; we’ve got seven songs; out of which I have written five. Abbas Ali Khan, Ahmed Jahanzeb and Shani Arshad are part of the project. The music palette is designed commercially that offers a shaadi number, a bhangra track, emotional, romantic and tragic songs.

What’s the shooting update?

We will begin filming for the second spell early next year; it’s the biggest chunk of the film and will be shot outside Pakistan. By then the film will be ninety percent complete.

How important are box office numbers for you?

In today’s scenario when cinema is surviving on whatever we produce; box office numbers are everything. Faysal and I approached it with a business point of view yet creatively, making sure that the audience would get to see a good story, dialogues, and music. Box office numbers are important, but you must tell a story as well.

When do you plan to release it? What’s your take on films simultaneously releasing on Eid?

We are aiming for a release next year. We aren’t sure about the Eid release, it will be Faysal’s (the lead producer) and the distributor’s call.  Being the director I want to stay away from the festive release period.

Tell us about your endeavors for 2020.

You can’t really get on with other things if you are in the middle of a film; it becomes very difficult as the focus may shift and affect the process of storytelling. However, I am writing two projects and working on some other stuff in the pipeline. I am also making something interesting for the digital platform.

‘Syra and I Have Been Separated For Six Months,’ Shahroz Sabzwari Talks About The Ordeal

The year 2019 has been celebrated as the year of celebrity unions. The much-loved pairing of Ahad Raza Mir and Sajal Aly went official with their engagement news, Yasir Hussain and Iqra Aziz tied the knot, and Hamza Ali Abbasi and Naimal Khawar Khan broke the internet with their wedding. Additionally, several other unconfirmed news of celebrity link ups made up some of the top trending news of the year.

 

However, this year also brought the news of some sad breakups. One of the industry’s loved and touted as one of the most stable couple Mohib Mirza and Aamina Sheikh ended up parting ways. The news of Sheheryar Munawar getting engaged and the engagement getting called off all within the span of barely six months had gone viral. Then there was this whole debacle of Mohsin Abbas Haider and his wife Fatima Sohail parting ways in the worst kind of ways. And now, with the year ending in just a couple of days, there’s another news of a celebrity couple splitting ways.

The SyRoz breakup

One of the industry’s most adorable pairing of Shahroz Sabzwari and Syra Shahroz have reportedly split ways. There had been hush-hush rumors floating in the industry for a while now that the couple had parted ways or that they were divorced. Well, we have been told by Shahroz himself that him and Syra are officially “separated”.

“We have been separated for six months now. We had some personal irreconcilable differences that led to this,” Shahroz said as his official quote about the separation. This clarification shoots down all the rumors floating around that the reason behind the split was because of the involvement of any third person.

The couple had an on again-off again relationship for years starting in 2006. While shooting for their drama Tanhaiyaan – Naye Silsilay the young couple got together for good and in 2012 tied the knot, much to the delight of their fans. Although the two of them did not do many projects together after getting married, their social media has been full of pictures of their little family that consists of their daughter Nooreh Shahroz.

The two are slated to appear as the leading pair in an upcoming film whose extensive portion has been shot in Bahrain.

Breaking: Jami Finally Names His Alleged Rapist

jami rape

Acclaimed filmmaker Jamshed Mahmood Raza, popularly known as Jami, has finally come out with the name of his alleged rapist. Previously in October, the award-winning filmmaker had created a stir over social media when he took to Twitter to share a harrowing account of being allegedly raped by a “media tycoon.” Jami had mentioned that the incident took place 13 years back in Karachi, at the home of the accused perpetrator.

 

Now, in a tweet posted late Saturday night, Jami stated “Yes HAMEED HAROON Raped me. I’m ready now. Are you ready to print this @dawn_com.”  

Jami posted the incriminating tweet from the @azadjami1 account. From the same account, he also posted tweets saying his original Twitter account, @jamiazaad had been hacked.

For verification purposes, Galaxy Lollywood reached out to Jami, and the Moor director confirmed via text that @azadjami1 was indeed his account and shared a screenshot of the tweet which alleges Dawn’s CEO Hameed Haroon to be the rapist.

A painful ordeal

Earlier in November, Jami mentioned that he had shared the details among his friends about the alleged incident and the perpetrator he held responsible, however, no one stood by his side. “On my buddies from the TV commercial industry — not a single one privately or overtly came out in support. The Gang, the guy gang all vanished. Make-up artists, the directors, the producers, wardrobe icons no one. Only a few who believe in truth came out like Maheen Khan and Mehreen Jabbar,” he lamented.

He further added he only chose to make his ordeal public after the #MeToo movement in the country started to be discredited following the suicide of a university professor facing a rape allegation. After going public, the Operation 021 filmmaker mentioned in several tweets that the journalist community was protecting “its own,” but that he was not going to give up the fight to bring the alleged culprit to the book.

Describing his painful ordeal and how it affected him professionally in an interview, he said “(After the rape) my life was finished. I had been married for just two years. My work was affected. I’d get into fights. I’d start to scream…My brain doesn’t seem to function. It takes so much energy to focus on a film. I can’t focus. It takes me years to finish a film. People make a film in four months. Moor took five years. O21 took three years. Jugnu, a Sindhi film, has already taken two and a half years.”

Urges others to speak out

The filmmaker, being a staunch supporter of the #MeToo movement, also urged others like him to come out and share their stories.”Got (to) know that THERE ARE MORE SURVIVORS OUT THERE! Whoever is silent is part of the assault,” he said in a tweet, insinuating that the alleged rapist had targetted many more victims, who he was now imploring to come out publicly and talk about their horrific experiences.

Final word

Whether Jami’s public disclosure about the alleged perpetrator will bring forward stories of more rape survivors is something we are likely to find out in the coming few days. However, for now, the country needs to do some serious soul searching how to deal with horrific incidents of rape in a way that holds the culprits accountable and protects the victims.

2019 In Drama: Recapping The Year That Went By

2019 Pakistani dramas

2019 was quite an exciting year for the Pakistani drama industry. Not only dramas made new records of popularity but they also broke from the conventional stories to explore new topics. This gave the directors, script-writers, and actors the opportunities to try out new things and pushed the boundaries of what it means to be a Pakistani TV actor in today’s time. While some shows turned out to be unexpected hits, others that were deemed to be major successes failed to impress the audience. Needless to say, 2019 in dramas was full of surprises and proved to be a generally pathbreaking year for the country’s biggest entertainment industry.

 

In this article, we will be looking at the year 2019 in dramas and summarize what topics were the favorite ones with viewers, talk about some of the breakout performances by the actors, as well as take a look at which dramas made the most impact on the viewers.

Note: We will only be considering dramas that were either completely aired in 2019 or have had a considerable amount of episodes aired by the time the new year starts. Dramas that have just started airing or only had few of their last episodes aired in 2019 will not be considered in this article.

The trending topics

Television serials based on social issues were a favorite amongst the drama makers and the audience this year with many social causes highlighted. There is a wide array of social evils the writers picked and based their stories on. Be it the prevalent issue of acid-throwing (Surkh Chandni), the struggle of a rape survivor (Ruswai), or the importance of consent (Inkaar) – Pakistani dramas went all out in highlighting these issues and were generally favored by the audience. Aside from these obvious social issues the dramas also turned towards the less spoken about but equally important evil of domestic abuse, both physical (Kaisa Hai Naseeban) and mental (Khaas).

A welcome change in the topics that trended this year was the inclusion of mental health. Dramas like Ranjha Ranjha Kardi, Ishq Zahe Naseeb, and Ye Dil Mera have characters with some form of mental illness and their scripts have treated the respective illnesses with the attention and complexity that they deserve. Mental health is such an undiscussed topic in Pakistani society so it was definitely a refreshing change to see our dramas stepping up and addressing the topic head-on. A special mention goes to Ranjha Ranjha Kardi which served as a conversation starter for many “taboo” topics like the importance of acknowledging a person’s mental health and providing them the right medical treatment as well as the horrific reality of marital rape which is almost always brushed under the rug in our society.

Of course, the usual family melodramas were made their presence known throughout the year. High ratings that such dramas garnered are proof enough of the Pakistani drama viewing audience’s sensibilities who still favor the mazloom bechari trope. Yaariyan, Dil e Gumshuda, Anaa, Bharosa Pyaar Tera, Thoda Sa Haq gained high ratings but played it safe as far as their stories go.

Ye Dil Mera, Cheekh, Ishq Zahenaseeb with their suspense/thriller elements showed that the audience is ready to accept stories that challenge them mentally instead of spoon-feeding them all the information. On the other hand, Do Bol and Anaa with their romance elements proved that romance, when done right, will always be a fan favorite.

A sad trend for the year, however, was that of killing off positive male leads. The deaths of actually supportive, respectful and loving spouses in Cheekh and Khaas for nothing more than shock value just gave off the message that the female protagonists in Pakistani dramas just do not deserve to have spouses who would actually love them unconditionally and without putting them through some kind of trauma first.

Most discussed dramas

2019 definitely redefined what it means for a TV serial to be successful. Dramas Do Bol and Mere Paas Tum Ho were the show stealers of 2019. Do Bol gave the audience a new pairing to root for and made its leads Affan Waheed and Hira Mani into overnight stars. Mere Paas Tum Ho has achieved a must-see status in the country with the drama trending every week and all of its developments becoming a topic of drawing room conversations.

Cheekh started with the promise of being a murder mystery and when the drama stayed true to that promise, it had the audience completely hooked. Although ultimately it ended up taking a different route altogether, the audience was much invested in the story’s conclusion thanks to the powerful performances by the actors. Inkaar was yet another social-drama that tackled the issue of consent and what it means for a single woman when she decides to turn to the country’s law to get justice for her plight. The show’s realistic portrayal of the trials and tribulations a woman faces when fighting for her rights were worth discussing at length.

Alif with its question of the material world versus the spiritual is not a drama that is easy to digest for all viewers. However, the drama does pose important questions about morality and its place in the entertainment industry as well as the idea of whether a person can pursue spirituality while being deeply immersed in a career that focuses so much on the material. Khaas brought forth the reality of mismatched marriages by showing a self-centered, narcissist husband who leaves no chance of putting down his wife. The reality of such marriages where the wife has to suffer mental abuse and attacks on her self worth is not an uncommon sight in our society and Khaas gave many people the chance to talk about their own personal experiences. Of course, the interest in seeing the downfall of the said narcissist husband was very much real and was celebrated widely once it happened.

ISPR production Ehd-e-Wafa started with a bang with the audience excited about the prospect of getting this generation’s Alpha Bravo Charlie, however, unfortunately, the drama has lost most of its spunk with a storyline that is still a big question mark. The sequel to last year’s blockbuster drama Suno Chanda aired all through Ramzan and while it stayed true to almost all the elements that made the first season a hit, there was considerably lesser excitement about the season on social media as the episodes progressed. The reason being the focus being taken away from the show’s central leads towards new characters. The loyal audience of the show’s first season was left disappointed in the turns the sequel took as they cried that this was not what they had wanted when they had demanded a sequel.

Another drama discussed for not-so-positive reasons was Aangan, a period drama that was anticipated by the audience for almost a year. But the drama’s delay in airing, as well as its unavailability on any digital platform, did not work in its favor. After the initial excitement, Aangan fizzled out and failed to deliver upon the expectations that were built for it. The only thing the show did end up proving was the importance of releasing the dramas digitally because the shift in the audience’s viewing choices means that diligently watching a drama on television is now a thing of the past.

The stars of the year

2019 made stars out of some actors and cemented the stardom of some veterans. On one hand, veterans like Humayun Saeed and Adnan Siddiqui trended this year due to their impeccable performances and proved that despite their seniority, they still have what it takes to rule the hearts of the audience. Then, on the other hand, actors like Imran Ashraf and Iqra Aziz proved their worth with their spellbinding performances in complex roles and showed that they really are the future of this industry.

Imran Ashraf definitely deserves a special mention. His performance as Bhola in Ranjha Ranjha Kardi made him the superstar of 2019. The courage and conviction with which he played a risky character like Bhola made him an inspiration for many actors to take on more challenging roles. Not only his peers but the audience also saw Imran in a new light and crowned him their hero. With the play, Imran’s career shot to new heights of success where every project of his is now anticipated keenly.

Another star of the year was Ayeza Khan. Ayeza is not new to the industry but 2019 was the year where she definitely ruled the most. Not only did all her dramas garner huge ratings and trended at top spots on Youtube week after week, but she also took on diverse roles in all her performances. Be it the insecure, scheming Zobia in Yaariyan, the materialistic Mehwish in Mere Paas Tum Ho, or the innocent and naive Seher in Thoda Sa Haq; Ayeza proved her versatility as well as her star power by making all the projects she featured in as certified hits.

Saba Qamar continuously shone in Cheekh and definitely rose above the script by delivering an A-list performance throughout the show. Sajal Aly with her versatile performance in Aangan, Alif, and Ye Dil Mera once again proved why she is one of the top-rated actresses of the industry and a favorite of both the audience and her industry peers. Yumna Zaidi has always been a great actor and it is great to see her finally be acknowledged as such on a wider scale. Her performance in Inkaar, Dil Kya Karay, and especially in Ishq Zahe Naseeb has made everyone take notice of this powerhouse of talent and respect her for her craft and versatility.

Affan Waheed emerged as the audience’s new romantic hero with Do Bol. On the other hand, Cheekh gave Bilal Abbas an image makeover and he went from chocolate hero to an evil antagonist. Zahid Ahmed broke the boundaries of being a conventional hero with his role as Sameer/Sameera in Ishq Zahenaseeb and has set new standards of being a TV actor in Pakistan. Ahad Raza Mir makes sure to never get stuck in a rut by continuing to take on diverse characters and excelling at them with ease. Be it a character from the pre-partition era, a young PMA cadet, or a charismatic man with deep, dark secrets; Ahad’s consistency in performing well has yet to experience a hiccup.

Final word

And there you have it. This was our summary of the year 2019 in dramas. With all the hits and some misses, the year gave the audience some new kind of shows to enjoy and the drama makers some valuable lessons of what it means to make a serial in this digital age. As evident from the trending topics and the breakout performances, the audience is ready to watch dramas that do not follow a formulaic method of storytelling. There is more to Pakistani dramas than the bechari aurat and it is high time the drama makers realize that. Dramas need compelling narratives to draw the audience in and the tendency of selling sadistic melodrama for the sake of high ratings would only ultimately result in an alienated viewership.

However, we are hopeful that the current year has laid the foundation for that much-needed change in drama topics. The new year in dramas would, hopefully, have more diversity in content and would have more dramas in the sadly neglected genre of family-friendly light-hearted entertainment. Oh, and we hope more focus would be on the positive characters instead of glorifying the negative ones.

Here’s to wishing 2020 would be an even better year for dramas!

2019 In Cinema: Recapping The Year That Went By

pakistani cinema 2019

The last few years have seen Pakistani cinema mature after its resurgence nearly half a decade back. The process of trial and error for relatively new filmmakers resulted in a healthy variety of experimental and mainstream cinema, being similarly met with a range of reactions, from enthusiastic acceptance to downright rejection. Following the weeding out stage, this new crop of filmmakers must now face another daunting challenge: That of being able to provide content that continues to engage an audience that in the past was willing to give them a free pass, but which now demands high-quality content at par with global norms.

Pakistani cinema in the spotlight

This new reality was abundantly clear this year, especially in the face of restriction of content from across the border. Late February saw an unofficial ban imposed from the Indian side to block Bollywood content from being screened in Pakistani theaters, which resulted in a tit for tat response from the Pakistan Film Producers’ Association. This amounted to a windfall opportunity for local cinema which now had less competition to contend with, other than from Hollywood and the Far East. So, to what extent was Pakistani cinema able to capitalize on this scenario? The year provides an interesting snapshot of the nascent film industry’s endeavors to evolve and develop, with mixed results.

Mixed offerings in spring

Starting the year on a dull note was Gumm, an experimental film starring Sami Khan and Shamoon Abbasi as the leads that released on January 11. The Ammar Lasani and Kanza Zia helmed project was actually a half-decent thriller with the requisite elements of romance and music, derivative as it might have been. However, it failed to strike a chord with the local audience and after an anemic opening didn’t survive past a two-week run. Per unofficial estimates, the film ended its run at under 10 lacs, a disappointment given the accolades it had supposedly been honored with at the international festival circuit.

February saw no local offering make it to the theater screens, with the situation being further complicated by regional tensions that unfolded in the latter part of the month. Finally in March, two long-awaited films, Laal Kabootar and Sherdil released on the Pakistan day weekend. ARY Films’ Sherdil benefitted greatly from a sharp upsurge in patriotism and interest for PAF following the aerial conflict with India. The Mikaal Zulfiqar and Armeena Khan starrer opened to a terrific response, especially in Islamabad-Rawalpindi, earning an unexpectedly strong 4.15 crores over its opening weekend. The film ended its box office run with a healthy figure of about 13 crores, emerging the first success for star Mikaal Zulfiqar.

laal kabootar sherdilLaal Kabootar, which released alongside Sherdil, was a Karachi set crime-thriller targeted more towards a niche audience. Featuring Ahmed Ali Akbar and Mansha Pasha, the film received an unprecedented near-unanimous critical appreciation and carried excellent trade reports. However, it was unable to translate that to a strong initial, earning a lukewarm figure of around 80 lacs over its opening weekend. The positive word of mouth resulted in the film sustaining at low numbers in subsequent weeks, and Laal Kabootar managed a final box office tally of around 3 crores.

The long-delayed Project Ghazi finally made its way to the theaters on March 29, however, much was not expected from the film, its cast of A-listers Humayun Saeed, Shehryar Munawar and Syra Shehroze notwithstanding. The film received harsh critical mauling, despite bringing forth sci-fi content that was unique and novel for local cinema. Project Ghazi earned a less than spectacular 75 lacs over its opening weekend and ended its run with a paltry 1.5 crores.

Activity picks up in summer

April saw no release barring the non-descript Junoon-e-Ishq which opened to predictably disastrous figures. Following the Ramadan lull, activity returned in a big way to the movie circuit over Eid-ul-Fitr, with Hum Films’ Chhalawa and IMGC’s Wrong No. 2 sending the cash registers buzzing across the country. Both the films were commercial crowd-pleasers that delivered mass-oriented entertainment with some success. In their first two weeks, Chhalawa and Wrong No. 2 earned 14.8 crores and 15.6 crores respectively, although the bulk of these numbers were hauled over the holiday period. The films were in the running till Eid-ul-Azha, with Chhalawa managing to earn 16.1 crores and Wrong No. 2 grossing 21.1 crores over its lifetime.

Next up was horror fare Kataksha on June 21 which expectedly didn’t find much audience favor. Saqib Malik’s long-awaited Baaji followed on June 28, opening to decent numbers of around 3 crores over the weekend. The Meera, Amna Ilyas, and Osman Khalid Butt thriller was re-released on December 6 and ended its run at an estimated 12.5 crores, a solid result given its niche genre and a non-mainstream cast.

July saw long in development projects Ready Steady No, Tevar and Sirf Tum Hi Tou Ho hit the screens to low numbers, although Hum films’ comedy Ready Steady No did see some audience interest and ended up being the highest-earning of the three, with a final tally of about 1.5 crores.

The summer release season ended with Parey Hut Love, Superstar and Heer Maan Ja vying for box-office gold over the lucrative Eid-ul-Azha period. They were backed by three of the most prestigious studios in the country, with M&D Productions’ Superstar and ARY Films’ Parey Hut Love having the edge owing to strong pre-release hype given their popular music and star value. Superstar and Parey Hut Love went almost neck to neck, not just locally but also in the overseas market, with the latter having a slight lead. By the end of its run, the Shehryar Munawar and Maya Ali starrer earned a very good 24 crores, whereas Bilal Ashraf and Mahira Khan’s Superstar hauled an estimated 23.4 crores. Playing at third place was IRK films’ Heer Maan Ja with lifetime numbers of 10.5 crores. Overall, these were strong numbers, albeit not as spectacular as 2018’s Eid-ul-Azha when Parwaaz Hai Junoon, Jawani Phir Nahi Ani and Load Wedding set the box office on fire.

The fall lull

October brought three local ventures Daal Chawal, Durj and Kaaf Kangana to the screens, however, none of these films was able to make a mark critically or commercially, to put things politely. The Shamoon Abbasi helmed Durj was an indie-flavored niche film that grossed about 60 lacs, whereas much was expected from Kaaf Kangana, especially given its theme of cross border romance, however, the Khalil-ur-Rehman Qamar helmed project could not deliver. Starring Sami Khan-Eshal Fayyaz as leads, Kaaf Kangana bombed with estimated lifetime numbers of less than 1.5 crores.

Indie fare Talash followed on November 15 with little trade expectations or any kind of buzz, however, it surprised at the ticket counters, generating numbers similar to Kaaf Kangana over its lifetime. The year ended on a tepid note with Hum Films’ Sacch, released on December 20. The Scotland shot film has not delivered any respite to the box office, unsurprising given lack of any pre-release hype or a positive word of mouth.

Trends: Eid successes continue

Overall, the year saw two notable non-Eid successes in Sherdil and Baaji, while Laal Kabootar didn’t fare too badly either. The remaining five major earners opened over the two Eid periods, which presents a worrying picture. The stakeholders from the exhibition, production, and distribution sectors need to urgently work in tandem to devise a strategy for sustaining audience interest beyond the major festive periods. Given the current scenario, every major filmmaker is vying for an Eid release in the coming year, and with about 40 or so productions in the pipeline, this presents a troubling scenario.

Women at the forefront

2019 also saw women return with vengeance to the center stage of Pakistani cinema. Chhalawa mainly worked on Tamgha-e-Imtiaz winner Mehwish Hayat’s star power, and the star was also prominently featured in a performance number from Baaji that was extensively promoted before the film’s release. The Gangster Guria proved that she had the mojo to deliver at the box office, irrespective of the male lead. Meanwhile, Mahira Khan too built much positive buzz for Superstar and shined as bright as her male co-star Bilal Ashraf in the film. Parey Hut Love and Laal Kabootar too featured strong female leads in Maya Ali and Mansha Pasha, respectively, whereas Baaji almost entirely relied on the performances of Meera and Amna Ilyas to deliver a box office success.

Strong debuts and comebacks

Among the debutantes, directors Kamal Khan (Laal Kabootar) and Saqib Malik (Baaji) made a strong impact with their first cinematic offerings. Laal Kabootar was possibly the strongest indie-flavored film from the new wave of Pakistani cinema and was also selected as Pakistan’s nomination for the Best Foreign Picture category for the Academy Awards. On the other hand, with Baaji, Saqib Malik managed to set the theater screens on fire with a crowd-pleasing mixture of glamor, drama and innumerable references to Pakistan’s golden film era of yore. When it comes to performances, first-timer Zara Noor Abbas lit up the screens in both Chhalawa and Parey Hut Love and ended up being the discovery of the year. Meera too impressed with her turn as an aging screen siren in Baaji, a strong comeback performance for the star after a gap of nearly two decades.

Popular music

On the music front, the year was dominated by three films: Superstar, Parey Hut Love and Baaji. Azan Sami Khan scored the compositions for the first two, whereas an assortment of composers handled Baaji. Two songs, Haye Dil from Parey Hut Love and Bekaraan Ishq Mein from Superstar became hot audience favorites and earned the highest number of views online, while Baaji’s Yeh Aaj Mujh Ko and Khilti Kali resurrected vintage era hits with a modern twist, gelling well with the film’s narrative. Indeed, the year saw popular film music back in the spotlight after a long time.

Final word

All in all, 2019 will be seen as another successful step forward in the evolution of mainstream Pakistani cinema. The need of the hour is for the major players from the film industry, the government and the electronic media to work out a coordinated strategy for effective, across-the-platform film promotions to cultivate audience interest in all local offerings, including the indie-flavored ones. 2020 will see a bevy of big-budget productions such as Zarrar, The Legend of Maula Jatt, Money Back Guarantee and London Nahi Jaunga, however, it is important for the long term survival of the industry that such big-ticket ventures not crowd out the smaller independent fares. Here’s hoping the coming year will bring in good tidings for the film industry!

Note: All box office figures are estimates, courtesy EntertainmentPk

Neelam Muneer Reveals All About Struggling In Showbiz Since 9th Grade

neelam muneer

2018 was the year when Neelam Muneer made waves as a television actress, performing in plays such as Dil Moam Ka Diya, and it seems this year the starlet has conquered filmdom too with the box-office smash Wrong No. 2, where she was noted for her comic timing and was also able to make her presence felt in an ensemble cast that featured many big guns of the industry. All of this was not quite handed over on a silver platter to the actress, however, and appearing in an interview, she spoke at length about her struggles, travails and finally breaking into the big league.

Starting young

“I have been working since my late teenage years, and I have never given importance to anyone or anything else in my life,” disclosed the Kahin Deep Jalay star, in response to a query pertaining to her life experiences during her formative years. “Even when I encountered different choices in life, I always gave priority to my work above all else.” So what exactly was it that kept Neelam occupied throughout her younger years? “I was in class nine when I did my first commercial,” she revealed. And there were tragic circumstances behind her stepping into the world of arclights. Neelam’s father passed away when she was three, and it was left to her and her mother to take care of the youngfamily. Eventually, she stepped into the drama serial industry with a play by renowned director Kazim Pasha for PTV titled Thora Sa Aasmaan, and there has been no looking back.

Finally making it

Now that the actress has finally made it into the showbusiness’s big league, she is enjoying the fruits of stardom and success. “I have done a lot for myself, and now I am blessed with all the comforts that I have always wished for.” The actress owns her own house and has made it by any barometer of success. “Looking back, I have come a long way and achieved far greater than what I had ever expected, something which I am very grateful to God for.”

With films such as Chuppan Chuppai and Wrong No. 2 to her credit, the actress also has appeared in quite a few successful plays and has indeed achieved everything on the sheer dint of her hard work and ambition. Neelam also mentioned that she would prefer to continue working after marriage, but is open to the possibility of leaving showbiz after marriage as well.

Final word

Born in Mardan to a family that includes three other sisters, Neelam has proved to the world that a woman too can achieve her dreams with the right work ethic and intentions. While we look forward to seeing her in more productions, we are sure she will not disappoint her numerous fans given the painstaking effort she puts into each of her performances and selecting the right scripts. Here’s wishing her all the best!

 

 

Resham Upset With Fake News About Her Age And Alleged Marriage

resham

Making her presence felt through the quality of work she has delivered over the years, Resham is one star from the Lahore film industry who has managed to stay very much with the times. The actress was recently in the spotlight for hosting the team of Meray Paas Tum Ho, including star Humayun Saeed and director Nadeem Baig over for dinner, and now she is very much in the news again, this time courtesy certain news about her supposed marriage that has been making rounds in the blogosphere.

 

Speaking to Galaxy Lollywood, the Man-o-Salwa star did not sound happy at all with the incorrect rumors at all and refuted the story categorically. “There is absolutely no way I am getting married, and I have no clue why such stories are being concocted,” she said emphatically, adding that the articles in question also put her age incorrectly to be 51 years. It is worth mentioning that the actress, who debuted in filmdom in 1995 during her later teens, is actually far younger and has always been known to be candid about the details of her personal life. “I have never attempted to conceal anything from my fans — whether it is my age or my marital status, and there is no way I would do so now!” she exclaimed.

Well, that should put the vicious rumors regarding the Ghungat star’s marriage and age to rest. While interviewing last year with Galaxy Lollywood’s Momin Ali Munshi for OneTake, many viewers appreciated Resham for her candor and lack of pretentiousness. We are certain that whenever she does decide on her life partner, she will be sharing the good news with us and her fans. Here’s wishing her all the best!

Stay tuned to Galaxy Lollywood for the latest on Pakistani showbiz.