IT HAPPENED IN THE EAST
A True Story:

In the first half of the 20th century, The warring Pathans of the North West of India turned more aggressive against the ruling Britain. The Fakir of Ippy (A 60 year’s old mystic) was already a living legend before he started a war that was fought over the love of a romantic couple that knew no bounds of religion, cast, color or language.
The story starts in the twenties of the 20th Century in the un-divided British ruled India. A 17 years old rich Hindu girl named Ram Kori alias Chand Bibi runs from her home with a Pathan boy Noor Ali Khan and reaches a mystic Muslim leader "The Fakir of IPPY" (to embrace Islam and marry the boy of her dreams).

The Fakir gets the boy and the girl married after the girl accepts Islam (her new name is Islam Bibi).

The influential and rich Hindus of the area reach the British Court run by an English Political Agent who combines in himself both the executive and the judiciary. The Political Agent is really against the warring Pathans and is all out to teach them a lesson.

In the court, the Political Agent decides the case against the loving couple. Legally since Islam Bibi had become a Muslim she was to be tried under Mohammedan Law (where a girl of fourteen years is adult and can choose her husband), but according to the Political Agent's decision, since under the English Law a girl is considered minor till she reaches the age of eighteen, both her acceptance of Islam as well as her marriage were void.

The Muslim lawyers representing Islam Bibi, insisted that the court also decree that the girl will not be taken away from Bannu, it was granted. However, in due course the girl was secretly taken away to Hoshiar Pur. The boy at the behest of the faqir went to Hoshiar Pur. After exchange of hot words with Islam Bibi's family, Noor Ali stabbed a man and was arrested. He eventually broke the jail, picked up Islam Bibi and reached Waziristan. The Britishers after a failed dialogue attacked the village.

The Fakir unhappy with the attack wages a holy war against the English. Backed by the German aid in Arms, etc. he starts a Gorilla War against the British's. What happened afterwards will be seen on the big screen.
A Pre-Partition tale of the British Rule in India.

In Dil Totey... the stars are Veena Malik, a new face, Aamir Kaifi, Karachi's mirth masala, Soniya Malik, Lahore's self styled Lucky, Tabinda, Ali Sher, Afshan Qureishi, Masood Khwaja, Tariq Shah and Shahid, apart from many other young faces. Full of hit songs from folk and film playbacks, the film seems the right recipe for a young and wild generation. Music has been given by Ishfaq Ali, (son of Mushtaq Ali, the famous music director), Umar Riaz and Ahmed Abdullah. The writer of the film is a well known person, Saleem Murad, the camera is in the able hands of Hanif Bhatti and the editor is Zulfiqar Babbu. The songs have been written by Altaf Bajwa and Nasir Ali Nasir, and sung by Naseebo Lal's younger sister, Nooran Lal, Naghmana Jafri, Saleem Lodhi, Shama Ali, Zahid Butt and Farah Ejaz. So, the team has retained the same principle of new voices in the film, along with new faces in the lead.

Buddha Gujjar shows the strength of injustice, where a simple farmer is pushed by the c behavior of the landlords to a situation demanding powerful retaliation from the worker at fields. Of course, Syed Noor begins to unfold his story with a very different hue than mast d others in the game, and keeps his individuality in place, despite strong influences of the commercial Punjabi cinema. It is the mastery and vision of Syed Noor that has made Buddha Gujjar create an impact not possible for other violent actioners like the hits from Sangeeta or Parvez Ran even Masood Butt. They fade away in memory because they have no everlasting images, ant made just to earn quick money by exploiting the emotional potential of the oppressed masses; Syed Noor makes Punjabi films, which will always hold sway. The cast of the film is the usual of a Syed Noor's movie, including Saima, Shaan, Resham, Tariq Shah, and Shafqat Cheema. Only Yousuf Khan, who plays the title, is an added attraction.

Saima, Shaan, Momy Rana, Babar Ali and Veena Malik play the lead in this action thriller. In Darinda, Shaan, as usual, is the chief protagonist, while Saima makes people swoon. Having Momy and Shaan come together in any film seems to be the best formula. Most movies with them together, have done well at the box office. On top of it, you have Babar Ali also in confrontation with the other two. Babar is no less of a bankable name than the other too. It seems that this formula will soon fizzle out, considering the sort of rat race that is going on in this context. Veena is fast making her presence felt, largely because of her ability to adjust to the demands of the filmmakers and TV serials alike. In this film, she is looking as glamorous as she looks in real life too. If Veena is able to team the craft of voice manipulation and dialogue delivery, she can well manage to have a grand career in the industry. After Zara Shiekh, she is the current most film sensation in the industry today. She is supposed to be acting in many movies and she will be able to win much more place in the showbiz news once she gets leading roles.

Megha is playing perhaps the most vital role in the film. Amongst the film circles, Shagna Di Mehndi is considered to be a make or break movie for the young actress.

Malik Zafar Ali has produced this Pervaiz Rana's ambitious venture, whereas late Bashir Niaz has penned the script. Legendary Tafu is the music composer and Aqeel Rubi the lyricist.

The complete cast of the film is Shaan, Moammar Rana, Nirma, Megha, Babar Ali, Shafqat Cheema, Tariq Shah, Babar Butt, Nayyar Aijaz, Irfan Khoosat and Azhar Rangeela.

The producer of the film Jeeva Gujjar is Zuifikar Ali Khan. He is also a big shot in the film world. Cine lovers know him through his big hits Sayyoni, Mera Mahiaa and, of course, Barood.

Zulfikar Ali Khan touches only strong stories. Until and unless he finds that the story is fully convincing from all points of view and it will leave a great impact on its viewers, he doesn't even think of any adventure. He started Jeeva Gujjar when he washimself convinced that story was worth a try. He has introduced a new face of Yasra as Nadira in film world. Younus Malik also introduced Neeli and Nadira both aremore now, but both of them dominated the film world.

Zulfikar Ali Khan gives the synopsis of Jeeva Gujjar. It is a story of two youth who put forth the lofty ideals of friendship. One of them is a muslim and lives in Pakistan while the other is Sikh and lives across the border in Bharat. The triangle is completed when a third person, who is also an Indian and Hindu by faith, enters into the story. He detests their friendship and tries to break the ties. He sows the seeds of mistrust. When, one day, Muslim friend goes to Bharat to call on his Sikh friend, the villain works effectively and hence becomes successful in his evil designs. Thats when the story takes a new turn.

Nasir Adib authored the story of Jeeva Guar. Sabir Ali is the music director, and lyrics are of S.M. Sadiq and the singers are Nasibon Lal and Frah Lal. Parvez Khan, Tadveen and Asif are the Cameramen. The cast of the film includes Shan, Saima, Babar Ali, Nadira, Rahila Agha, Rehman, Raza, Nayyara Aijaz, Tariq Shah and Ali Sher.

The same story revolves around Jut Da Vair, which is directed by Parvez Rana, with the story from the pen of one called Miskeen Ali (not so miskeen, it seems, with such violence portrayed!), and dialogues and screenplay from the senior person, Whams Kamal Pasha. The film maker is Haji Muhammad Shafique, a man welt versed in production for along time now. The film has a cast of Shaan, Saud, Momar Rana, Rambo, Saima, Nirma, Megha, Nayyar Ejaz, Raheela Agha and Yusuf Khan, in a vital role. The story is about a peaceful and straightforward villager, Saroo Jut, who tills the land and earns his fining, until the landlords of the area push him so far into the wall, that he throws away his farming went and picks up Kalashnikov to fight injustice. It's an age old story, with no novelty, but the big cast satisfies the filmmaker that it will be a hit.

Late Bashir Niaz gave Iqbal Nimmi a scriptthat was powerful and had the class to inspire a senior artist. So, Nadeem was approached. Nadeem asked to be told story which was the same old yam about a boy's family being butchered and he being intent ups exacting vengeance on the killers.. When the boy runs. away, a dacoit gives him a place to sir. When he grows up to become Nadeem the dacoit tees his daughter with him. Later, be pleads with the hero to change his ways to those of a respectable man. But, as he starts to change, those villains who killed his family were after him, and send him to the jail and bum his house down. So, the vengeance vim deep.

ft's a done to death story but the direction seems potent and looks like diverging into something powerful cinema. Shaan plays Nadeem’s son, and Shaan and Saima playing man and wife. In this connection, it is interesting to note that after quite a while, Nadeem and Shaan are facing each other which wilt breed good cinema. Another positive aspects is that Momy Rana is playing the villain party, which will make sparks fly. Others in the cast are Irfan Khoosat, Naghma Begum Asif Khan, Tariq Shah, Babar Butt, Nayyar Ejaz, Mohsin Khan and Shaqfat Cheema.

The film maker of Kundan is Barber Butt , the music director is Zuffiqar Ali, the song writer is Saeed Gillani, Khwaja Parvez and Iqbal Chudhary, cameraman is Athar Sabir, and the editor is Khalid Bakki. The songs have been sung sweetly by Shazia Manzoor, Saima Jahan and Asad Amanat Ali.

By the way, this is the same film, which became infamous for that fracas between Saud and lqbal Kashmiri. Reportedly, Scud felt cheated, playing an all powerful villain, who is being beaten up by every Tom, Dick and Harry. So, he asked lqbal Kashmiri to sort this out. IK was a bit moody and answered him in rude manner to mind his own business. "Do your own job, and let me do mine," he told Saud. So, Saud beat him black and blue. That made lqbal Kashmiri neela in Manila! Fortunately for them, they sorted out their differences and the film was completed just in time for release on Eid.

Iqbal Kashmiri is well known for his success scores on Eid. Films like Jo Dar Gaya Who Mar Gaya and Ghar Kab Aaoge are top hits of IK on Eid. Manila Ke Jas" is also reportedly a thrilling movie, The story is from Nasir Adesb's prolific pen, while Waqar Bukhari's cinematography is worth, the wait. Three helicopters have been used for this film, and special effects nd trick blasts make this film a nice treat for the viewers. A trio of villains, Scud, Nawaz Khan and Bilal Chaudhry are seen stealing the atomic spare parts, which are then recovered heroically by Shaan, Babar Ali, Sara, Resham, lmran Khan and others. Veena Malik plays a most important role in Manila Ke Jasoos. The way all the girls have exposed themselves, it looks like there was a shortage of fabric in Manila. The music is by ace musician, Zulfiqar Ail, and editing is by Qaiser Zameer. Humaira Chartna, Saira Naseem and Naseebo Lai have swig the songs, while the songs have been written by Riazur Rehrnan Saghar and Khwaja Parvez. Producer of the dim is Sheikh Akram.

Brilliant film artiste, Nadeem, went into hibernation after his film, Chand Grihan dived to a failure in 1997. There was this news in the air that Nadeem was leaving the industry because of Syed Noor's insistence ttat he can replace Nadeem with any of the dtaractetr ar'hsles, because he cost him five lac, which is more than any le hero in Vie industry. Nadeem was not ready to play by the rules of the film world, and tuned towards the TV world. In that context, he was slightly quick to react. Otherwise, the y was not .ready to lose 1. Now, after the senior director, Iqbal Nimmi started a film called Kundan, and approached Nadaem, he listened to the script, as always, and said yes. The biggest surprise came when he visited the Everrnew Studios, and saw that a huge crowd of artistes and film -related people ware waiting to welcome him into the industry. it showed that he was still dearly loved by the industry.

Late Bashir Niaz gave Iqbal Nimmi a scriptthat was powerful and had the class to inspire a senior artist. So, Nadeem was approached. Nadeem asked to be told story which was the same old yam about a boy's family being butchered and he being intent ups exacting vengeance on the killers.. When the boy runs. away, a dacoit gives him a place to sir. When he grows up to become Nadeem the dacoit tees his daughter with him. Later, be pleads with the hero to change his ways to those of a respectable man. But, as he starts to change, those villains who killed his family were after him, and send him to the jail and bum his house down. So, the vengeance vim deep.

ft's a done to death story but the direction seems potent and looks like diverging into something powerful cinema. Shaan plays Nadeem’s son, and Shaan and Saima playing man and wife. In this connection, it is interesting to note that after quite a while, Nadeem and Shaan are facing each other which wilt breed good cinema. Another positive aspects is that Momy Rana is playing the villain party, which will make sparks fly. Others in the cast are Irfan Khoosat, Naghma Begum Asif Khan, Tariq Shah, Babar Butt, Nayyar Ejaz, Mohsin Khan and Shaqfat Cheema.

The film maker of Kundan is Barber Butt , the music director is Zuffiqar Ali, the song writer is Saeed Gillani, Khwaja Parvez and Iqbal Chudhary, cameraman is Athar Sabir, and the editor is Khalid Bakki. The songs have been sung sweetly by Shazia Manzoor, Saima Jahan and Asad Amanat Ali.

Let's hope he has learned his lessons wen, and it's not a serpentine wiggle into another big climbdown! Jamshed Sahab has mainly focused on the jungle, rather than the city, which is a trait that puts him parallel to Shamim Ara. It is said, humorously of course, that the hero heroines of these two directors are elephants and chimpanzees. Jamshed Sahab's vital interest in the snakes makes one wonder it he has been a snake charmer or something. In Agar Tum Na Holey, with Zamarnrd playing the dancing nagin, with Faisal (a la Jeetendre and Sri Devi), and now Naag Aur Nagin, he has concentrated on the same topic. During the 1980s and the early 1990s, this could be a back alley out of the jinxed jurisdiction, because there were only two heroines, Babra and Shabnam, who were bearing the load of the industry, in the Urdu film department.

But, later, and now specially, the same formula would not hold. There have been quite a few commercially viable films on the human snake relationship in the past, like Khalil Qaiser's Nagin (1959) with Neelo looking stunning that rote, Shabab Kirarni's Saperan (1961), projecting a sexy Laila in rural setting Raza Mir’s Nag Muni (1972) as Rani comes forth as seductive, and last but not the least, who can forget Hailer Chaudhry's plagiarised but exciting Nachey Nagan (1987), where pretty and petite Nadirs made a one pair with Ismail Shah. In fact, a film by the same name, Nam Aur Nagan was also made by Hasan Tariq, in 1976, which also had Rani opposite Waheed Mural, but it didn't do too well. So, only if you have a proper script and some good handing, a fantasy can hold its own. When one hears that Ruktsana Noor has written the story of this film, one feels more confident about its chances, because she is a very fine writer of scripts, as she has shown with Syed Noor. With Sauna and Veena Malik starring in Naag Aur Nagan, it could be interesting to see who dances more like the Nagin. Moammar Rana and Babar Ali play the leads, white Badar Munir, Tabinda, Irfan Khoosat and Shafqat Cheema are also featured. The music director is M. Ashraf, while Rukhsana Noor, Saeed Gillani and Riazur Rehman Saghar have written the songs. A. Nayyar features is responsible for the musical score after a long time, with Azra Jahan, Ameer Ali, Saira Naseem, Humeira Channa and Waris Baig. The editor is K. D. Mtrza and the cwmeraman is Azhar Burk!.*

Pehla Sajda is one of the most awaited movies of recent times. It's writer/director Pervaiz Kaieem is of the view that this film will prove to be a landmark in the history of Pakistan film industry. He believes that today's filmgoer is not being treated to clean, conventional and meaningful films. So far as casting of the movie goes, Pervaiz says that ideally he would have wanted to have Shaan in playing the lead. But owing to his over committed schedule and occasional tantrums he opted for a new boy.

The couple playing male and female protagonists in Pehla Sajda are two newcomers. Bilal Khan and Alina.. The latter has shown her acting talents in quite a few television plays and PS is her first cineventure.

T, .p rest of the cast includes Nayyar Aijaz, Safeer, Tabinda, Dan=~j, Rashid Mehmood, Pinky, Hassan Khan, Mahvish, Azhar Rangiia and Afshan Qureshi.

Wajahat Alrey has composed the background music for the film.

"I bring thee a change. I bring thee the difference that many promise but never fulfill. I bring thee the quiet revolution. I bring thee this so that I may be rich. Please fatten my wallet for this is no revolution only a slight abandonment of the contemporary" These words were my understanding of the fascinating press briefing delivered by Mister Fahim Burney to a room full of newsmen. The newsmen were circumspect in their observation of the famous television Director.

The press conference was held fashionably late much to the fault of fellow journalists. A thin pamphlet along with a dozen stills from the film was distributed freely and what was inside the supine pamphlet was of vested interest. The pamphlet was precise. Pertaining to "We know why you stopped going to cinemas." All the reasons mentioned in the pamphlet were justified. Along the lines of "you don't go anymore because the dialogue & dance is unsuitable for family viewing." "That the stories are plagiarized" etc. There was also serious opposition to the "Gundasa" Culture to be found in the pamphlet. The pamphlet also described of the coming of this film as a "quiet revolution." This was all heart warming. The writing in the pamphlet was rather elementary and the ideas posed and discussed were interesting to any one interested in the Pakistani Film situation. But it tried it's best to bog down the spiritual revolution and optimism it could've sparked. Which is just personal scrutiny in case you’re wondering? Returning to the "controversial" pamphlet, it also spoke of PHPM being the bringer of this revolution and the change the cinema's filthy marsh like condition. All these, I'd say, were promises of just what everybody currently in opposition of the current state, desires. What we all really desire is the fulfillment of such oaths. What the pamphlet forgot to mention was the hideous state of Cinema Houses and the general opinion on their condition. Those who haven't visited the theatres in years are convinced that the theatres are dilapidated beyond easy or inexpensive salvation. Though I won't jump to obvious conclusions yet, please note the pamphlets and its distributors' refusal to alleviate the fears and assumptions about the state of Cinema Halls.

Right before beginning we were shown a couple of songs from the film that served as background to scenes both of dance and drama. Burney after a few well timed jokes proceeded to illustrate in great detail the extensive usage of foreign equipment, crew, and locations for the film. He spoke of how the film was processed where Hollywood films such as "Pearl Harbor", "Jurassic Park" and such others were processed. The stress applied here begs me to report that a friend of mine is in part of the launch of the DVD of a local cult film (see http://bubonicfilms.com) and he told me that the DVD Box Stickers were to be made in some Asian Country where most companies that need to save money send their films. If he had bragged that particular detail it would be a direct analogy to what Burney did.

One of the highlights of Gurney's conference was Change. He wanted Change. And by change he meant ...1) Original and well scripted stories. 2) New Faces (Reema's regular performance at music shows destroyed the credibility of her ability to play an innocent young sister in a film). 3) New This, New That (equipment, general atmosphere on the set etc).

Burney also spoke of how "vulgar", crass and crude the local films have become.

Here he did not elaborate on the sexual nature of the films since his film wouldn't be sexually lite and wouldn't be about the romance without a few songs and love scenes. I knew this after seeing the promos. The audience that is anti sexual suggestion/nature in films would find these dance numbers no different. Gurney sounded passionate about his war on vulgarity but no real change regarding the clothes and romance scenes was evident in the promos.
Perhaps the nature of physical romance would be 'refined' to the standards of some but be assured Ladies and Gentlemen that refinery of sex is not something found in the dictionaries of the audience he was calling out to. At the end of Burney's conference he took some time to acknowledge the questions the journalists may have had. The interesting ones of these were...

Since the film will be shown in England, Will you subtitle the film?
. No. Because I think the Pakistanis abroad will be enough to make this a successful international release.
But wouldn't you want the foreigners to see this film?
Yes. But I think that the expressions of our actors are so good that the foreigners wouldn't need to understand the dialogue exactly.
(It is permissible to laugh now).

What Gurney explained later that PHPM wouldn't be shown throughout the UK but only in London? This seems like a foolish strategy to me since there are more Pakistanis who are potential audience everywhere else rather than in London. Unless it's an one night only event. Burney also displayed spite for the “Gujar" Culture in Pakistani Films and subtly hinted at being the hand of doom the Punjabi Film Culture. He also explained that he was best at making stories that have triangular love relationships.

Now there were several things that Burney didn't realize or purposely over looked, either way it doesn't really matter since these were ignored.

One, I explained it before. The sad state of Cinema Halls. Two, when he said original stories he meant no plagiarism I'm sure. Someone in the audience whispered, "That's taken from Mohabatein" when a scene of the leads dancing near a fire was projected. You figure out what means. Three, love stories e not the messiah. Making only love stories won't save the cinema and bring revival and he desperately wants. Four, by bashing the current culture and promising change he is indirectly insulting the audience that is currently supporting cinema. This is unwise because in commercial cinema you are not supposed to alienate any sort of audience but then what do I know about marketing anyway. Now the funny thing is, that the product he presents' isn't an evolutionary" one. He hasn't directed (as much as I hate to refer to it in such situation) the next "Citizen Kane." What he's done is made a film that seems be an inbred film that imitates the look of Indian films to success.

What's he done is made a film along the lines of "Yeh Dil Aap Ka Hua" (he aims he started way before Javed Shaikh had the idea for YDAKH). Making such films won't be salvation. It will certainly improve the landscape consider] the current situation. But this is no revolution. The revolution will come yen some of the independent Pakistani directors of today are given reasonable budgets and next to no studio interference. But that's an essay for another time. This essay isn't meant to attack the filmmaker or the film. It's meant to make things clearer for those who may have understood things differently rough the magic of gimmickry and dishonest or unintelligent journalism. I would like to conclude by saying that if you like Indian Films fine and wonder why our Films can’t be like this?" then you will probably enjoy PHPM. But if w have other reasons I hope you'll consider what I have explained today. I'm half hoping that this film rolls in the green for a long time perhaps so that the basic "change" philosophy is appreciated and producers may sanction dangerous experiments in Cinema. But then again this may mean a string of imitations and copycat litter. If I were you, I wouldn't bet on this horse for a creative zenith in Pakistani Cinema. The Indian directors may spark a revolution any revival ...but NO ...a Pakistan commercial film emulating Bollywood will not the Cinema.

The film is about a girl, who is a perpetual dreamer, says director Pervaiz Rana. All her life she's quite oblivious of love. But axe she finds out that there's someone who has taken a shine to her, her attitude toward life goes through a. sea change.

It might surprise a lot of readers to know that svelte Resham has played second fiddle to Meera in Raqqasa. Those who have been to the sets of the movie believe that Resham has tried her level test not to appear the female 'sidekick.' And there was a conspicuous rivalry going on between the two leading ladies of Lollywood.

Muhammad Kamal Pasha, who has scripted many a hit movie, writes Raqqasa. The cast of the film is Shaan, Meera, Moammar Rana, Resham, Saud, Laila, Jan Rambo, Qazi Wajid. Napa gum and Raheela Agha.

One is unsure whether it was poor advertising that was responsible for the pathetically low turnout initially. In any case, had people bothered to show up, they would have been in for a shock - for Shararat is a far cry from the bold, well-directed and sensible movie that Inteha was. Meant to be a light comedy, in fact a spoof of Punjabi films and with a multi-star cast, the film fails to draw any laughs and frequently becomes quite trying on one's nerves. The disappointment is even greater knowing that it is the work of someone who is capable of better work.

The plot, if there is one, is really quite simple but made out to be complicated by eliminating little details of relationships that sort themselves out as the movie draws to a close. Neha (Reema), her half-witted brother and their cousin Mickey (Babar) live for some unknown reason with their grandmother, Nagma in a mansion in Lahore. Zarro (Mehar Hassan), yet another grandchild based in the US, arrives for a holiday to celebrate Basant and promptly becomes the target of Mickey's ardent love and Sardar Omer Daraz Khan's (Usman Peerzada) lecherous yearnings, simultaneously.

Meanwhile Lachhi (Nirma) is a village girl in love with Yawar (Moammer Rana), while Jogi (Shaan) is enamoured by her. Yawar comes to stay with his uncle who is a gardener in the mansion and Zarro and he fall in love. You have to watch the three-hour movie if you wish to find out who ends up with who, and more importantly, how, and whether the villainous Sardar gets away with his villainy.With hardly a plot to boast of, the film required an extremely strong script in order to win the audience's interest. Instead, what is amazing is the senseless banter and ridiculous dialogues that most of the stars indulge in for the better part of the movie. Void of humour, they fail to amuse and the only witty dialogue that comes to mind is when a gay offers himself to Sardar Omer saying, "I'm homeopathic you know, if I am of no value, I won't be harmful either." The one or two quick repartees during the climax scene, when Zarro is kidnapped and her allies are trying to rescue her, are the rare moments when one is exposed to some wit.

If the film was meant to be a spoof, and one could well believe that since every grave matter is dealt with in a ridiculous fashion, it should have been a lot more action-oriented. Movies that poke fun at serious issues, in this case kidnapping and an unsought impending marriage, need to have crisp dialogues throughout and fast movements, otherwise the impact is lost.

Samina's astute direction is also missing in the film and there are some scenes that simply do not do her credit. For instance, take the scene in which Yawar attacks the thugs giving Zarro a hard time in a bangle shop. All the spectators are already standing waiting in anticipation for the fight, as if they had received some premonition, and the shopkeeper instead of offering some resistance, just stands around trying to conceal a smirk. Shaan's fight sequence is highly unrealistic too, with each gangster attacking him one at a time instead of taking him on together.

Having said that, one must concede that the film has its strengths too, for whatever they are worth. The acting is by and large up to the mark, although Reema does hover on the brink of over-acting. Mehar Hassan comes off the best among the female actors, and is quite natural in her role. The costumes are pleasing to the eye and the cinematography vastly improved from the days of Inteha. While the musical score is not exceptional, there are a couple of numbers such as Tara ban kay with reasonably good lyrics. One does feel, though, that not as much effort has been put in the picturization of the songs as in her debut production, so much so that in the final song and dance sequence, one can swear that eunuchs have been used as the veiled extras.

Editing too leaves a lot to be desired, particularly in the latter part of the movie. Make-up, particularly of Nirma, is not up to the mark and looks very caked, while Shaan's wig and moustache look ridiculously fake. It is time our moviemakers realized that what makes a film tick is not commercial masala put together without any heed, but a simple, interesting storyline presented in slick packaging.

As making a film with a bunch of new kids on the block was surely not every one’s choice.
Piyar Hi Piyar, his debut in the silver screen is fast been shot and again he sticks to his statements, “to give a fresh appeal to the silver screen”. That is the very reason, the whole cast consists of new comers including Ashal, Aanchal, Nesha, Wasif Butt and Waseem Sohail providing a fresh outlook on the screen.

Faheem Burney told that like always he is trying to provide something different than the routine stuff. “That is why I am using new faces as people are fed up of seeing the repeated faces again and again”.

No doubt, the songs that have been shot up till now provide an entirely fresh look to the screen and Faheem attribute all this to the latest equipment that he is using.

They were really marvelous, the screen provided a fresh look and it look totally different. “That is because of the latest equipment that I have brought from abroad”. When asked about the presence of Meera in the movie, the director has to say, “I have put Meera just to add some standard to the box office sizzle and pull, she has performed in an item number in which she has really put a lot of hard work and given her very best. I am really impressed by her performance”.

The dance sequences and the music is quite new and novel idea than the other lollywood stuff. No doubt the film is making headlines among many quarters and it will attract a lot of masses from the visible star studded charms when it would be released, but the problem is today that unlike the other tube directors who entered in the film dome, Faheem Burney is not been taken seriously and that may be good for Faheem.

Similarly, Aaliya, whose vivacity and charm was second to none in her heyday during the 1960s and 1970s, is back with a certain flair. She does feel that the role she has in this film could have been much more detailed, but once she is back in the industry, it will be for the better. Aaliya was also probably seen last during the mid and late 1980s, in light hearted or comedy movies with Ali Ejaz and Nannha. Her last important films that people remember are perhaps Maula Jut and Sher Khan. But, her return bodes well for Lollywood, which is in dire need of good character actors to boost its own morale and business.

Momy Rana, Nirma, Nisha, Saud, Imran Khan and Veena Malik are the young and leading stars of Aatish, while Raza, Baba Prince, Rashid Mehmood and' Shafqat Cheema are the blackguards who take up crime to oppose the good men and women. Nadeem and Aaliya add maturity and caliber to the screen. The film makers of Aatish are Chaudhry Mohammad Munir and Tariq Mehmood, with music from M. Arshad, lyrics from the senior song writer, Saeed Gillani, which are sung by Humara Channa and Saira Naseem. Shabbir Haider Shah handles the camera and the editor is Qaiser Zameer.

But before one dwells on the film itself, a bit of advice for the contemplation of the government: Could they please do away with the archaic law of playing the national anthem at the beginning of every show? Nowhere in the world is this practice still in vogue, and for good reason. It is highly disrespectful to the flag as a considerable percentage of the audience refuses to budge from their seats, while a good many who show up late continue to speak and move about locating their seats with complete disregard for the anthem.

Coming back to the movie, as credits rolled on the screen, one couldn't help noticing that no attention had been paid to proof reading. With spellings like 'dubing' and 'nagitives,' it didn't exactly create a great impression on the audience.

The plot, though interesting and certainly a change from the norm which tends to be either slapdash comedy or highly predictable stuff, is perhaps too radical for the digestion of our still largely conservative public. And to boot, largely unknown faces, a couple of which often wear deadpan expressions, expounded the problem.

The opening scene is impressive enough with a well-executed dance-tableau performance of The story of life by students of an art academy. Sara (Anchal) and Ashal (Ashal) are partners in the academy and in love with each other. Ashal has dreams of striking it rich before settling down to marital bliss and fate brings him face-to-face with the one person that is determined to make his dreams become a reality - Nisha (Nisha).

Nisha, enamoured by Ashal, sweeps him off to Dubai to establish a branch of the academy there. Ashal gets involved with her, although he still loves Sara, and Nisha manages to create enough hurdles between them to make Sara marry a loving business tycoon, Akhter. Meera makes a guest appearance as a dancer. Ashal spots her dancing at a nightclub and begins to pursue her. And all this before the interval!

After a couple of dance sequences, Ashal discovers that the woman he has been pursuing is not Sara, but her twin sister Anchal. Before he can think of starting with her where he had left off with Sara, he discovers she has a fiance, Sameer. He brings her to Pakistan, fiance in tow, to reunite with her mother and sister and discovers that Sara has become a widow. She gives birth to a son and her step mother-in-law gets her kidnapped to coerce her to marry her younger son, so as to keep the wealth in the family.

To find out what ensues, one must watch the film. Suffice to say, enough happens in the movie to seem like a long television play or a short serial. Some of the developments that take place are totally unnecessary and one is left wondering why they were incorporated to begin with, except perhaps to give the required footage to the film. For instance, the sole reason for Anchal's presence seems to be an excuse to choreograph two glamorous songs on the twin sister, since they couldn't possibly be depicted on her as a widow. The presence of a villain, Grenwich, also appears to be superfluous, for he arrives and disappears without making any difference to the plot.

Other than the fact that there is simply too much happening, the one aspect that detracts from the film is that some of the concepts introduced are largely unacceptable. Nisha could well have played the role of 'the other woman' without having to resort to drinking, smoking and sleeping with the hero, or for that matter, kidnapping him, brief as it may have lasted. And similarly, there were no justifiable reasons for Ashal to be drinking and sleeping around - other than the fact that he didn't have to strive hard for either.

While it is heartening to see new and attractive faces finally gracing the silver screen, and Nisha and Sameer definitely have talent, both Ashal and Anchal need to be groomed further. Anchal has a tendency to speak with her eyes shut and both of them have frequently delivered their lines sans expression. Anchal's make-up, especially as Sara, is horrendous, while she looks considerably better in her role as the twin sister.

The costumes are pleasing to the eye and the only grouse one has is Anchal's insistence on wearing heavy walking shoes under most of her slinky, sexy outfits. The songs are well choreographed and have catchy lyrics, especially Dharak dharak keh kehta hai dil and the cinematography is slick. One does wonder why there was such hype about leading film stars for a guest role, as Faheem Burney stated. A dance sequence in the film that eventually went to Meera, though it was an enjoyable number, didn't strike one as anything particularly spectacular.

On the whole, one feels that the basic fault with Fahim Burney's direction lies in his treatment of the film as a bold television play. Otherwise, the film is packaged well and other than the one time when Ashal and Nisha are shown as speaking on stage without mikes, he has been quite meticulous about details and logical sequencing of events. Maybe he'll be wiser the next time round.