Kamran Jawaid | This review is the unedited copy of version published in Dawn Icon on Sunday, July 9 2017
From the moment we first meet Mehrunisa (Sana Javed), you know things aren’t going to get any better for her.
Jolting up from a nightmare where she runs from three badly-dressed ghouls (actually, three men in uncut black fabric), Mehru is your token gentle girl-next-door who lives with dear old dad (Arshad Mehmood) on a mountainside cabin somewhere in Northern Pakistan.
In the past, she may have innocently said “I Lub U” to a boy from Karachi.
That could be the reason for her bad dreams, because the sod, now grown up as Danish Taimoor, comes back to ask her hand in marriage. And his family will not take no for an answer.
Childhood promises have dire repercussions.
Continue reading “Review | Mehrunisa V Lub U… Really, We Do (We Do, Don’t We?)”
Kamran Jawaid | The post is the unedited copy of the feature published in DAWN’s ICON on 30th April 2017, which can be read here with jpegs of the print copy at the end
“What would make my film different. How would it stand out from the rest of the pack?!” asks a worried little voice inside a filmmaker’s head. The most obvious answer, and logically also the most effective one, is to use a “Cold Open” as the very first scene of the film.
Cold opens are a devious storytelling tool: they often use a dramatic scene from the middle or end of the film, and if need be, explain its relevance through a narrator.
Right now, these openings are notoriously popular with Pakistani filmmakers. Take for example the one in WAAR, which introduces Shaan Shahid’s gung-ho character in a good-cop bad-cop scene (there was no good cop in that room, by the way). Or the one in Jawani Phir Nahin Aani where a pre-intermission suicide scene is used as a ploy to heighten the film’s tension. Or the one in Bachana, Wrong No. and Dance Kahani.
The list is finite, but only because we have a limited number of motion pictures to count off.
Continue reading “Review | Chalay Thay Saath – But To Where, and Why?!”
Kamran Jawaid | The post is the unedited copy of the feature published in DAWN’s ICON on 16th April 2017, which can be read here with jpegs of the print copy at the end.
Studio logos that appear in movie titles may feel rudimentary, but they tell a story of their own. Take, for example, The Great Wall – a monster-movie starring Matt Damon set in the past when the world had yet to discover gun-powder.
Before the first frame fades-in we see four logos: Le Vision, Legendary East, Atlas Entertainment and the China Film Group. Three out of these four film companies are Chinese – and their partnership makes The Great Wall one of the most evident, big budget Hollywood-China co-productions in the last few years.
Continue reading “DAWN ICON | The Chinese Connection”