MCM304 Mass Media in Pakistan Assignment Solution Fall 2013

Do you think that the recent movies of Pakistan are taking our film Industry towards its revival? Give your stance with the comprehensive arguments that should be supported by themes of these movies. 


THE road map for reviving Pakistani film industry is not only commendable and thought provoking but also very reasonable. Since the inception, Pakistani Film Industry has been facing ups and downs.

Film industry is a very important factor in any nation’s cultural development. In Pakistan where the film industry was almost destroyed by the flood of indian movies, it is very heartening to see that there is still some hope left.

A good number of films produced in Lahore and Karachi every year delighted the film-goers, keeping the film-makers, actors, technicians, distributors and exhibitors prosperous and happy.

The film industry was flourishing and we were able to see some memorable movies like Arman, Do Raha, Naila, Ye Dil Apka Hua, Salakhain, Aina, Bhai Log and a host of other unforgettable films.

When Shoaib Mansoor’s Khuda Ke Liye was released a few years back, it was widely believed that it could mark a revival of the Pakistani cinema. The film was much appreciated at home and abroad and won many laurels. Following its wake, Syed Noor and Reema Khan released their moderately entertaining good films. Yet, revival was not in sight. Shoib Mansoor’s next movie Bol also proved a hit; still the industry couldn’t stage a comeback.

If Pakistani filmmakers release four or five good films in a year and hope for a revival, their hopes would bear no fruits as only quality is not enough. Some other factors like quantity, availability of state-of-the-art studios with quality processing units, strategic promotions and world-wide marketing that need to be considered.

New Pakistani movies which have recently released or going to be released such as Main hoon Shahid Afridi, Chambeli, Josh, Waar, Morqaye and Zinda Bhaag have played a good role in the reviving of Pakistani cinema. Zinda Bhaag has been nominated for Oscar consideration as well after 50 years, which is an honorable mark for Pakistani cinema.

Our cinema owners, in national interest, should not give preference to Indian films when our films are ready for release. It wouldn’t be a bad idea if the government restricts the import of Indian films in order to give Pakistani films unrestricted exhibition time.

It must be expected from Pakistani Film Industry to produce the best movies in the future so that it can beat up with Indian Film Industry.
Write a review of any one latest movie of Pakistan with the inclusive analysis of the content presented in this movie from procedural to production phases.

‘Waar’ presents a new perspective to the war on terror

Pakistan is under siege from within. A retired security agent is called back to duty to save the country.

The plot for ‘Waar’ isn’t novel, mostly because we have witnessed numerous fights against terror in Hollywood and on Indian celluloid, where macho agents indulge in daredevil stunts to fight extremists and save their countries.

So, debutant director Bilal Lashari’s ‘Waar’ (means ‘to strike’ in Urdu) isn’t original in theme, but it garners points for representing Pakistan in a light that’s not clichéd and one that focuses on its own battles against terrorists.

“Not every Pakistani is a terrorist,” vociferously endorses the hero of the action-thriller as he indulges every on-screen moment at gunning down those party to any heinous crime against humanity.

While director Bilal refuses to name any country for instigating such acts, he hints at the neighbouring country by showing the villain slipping into Pakistan from across the Indian border of Kashmir and highlighting a RAW (Indian intelligence) link. There are also references to “international involvement” and Taliban, but none that are fleshed out to leave any clue.

Writer Hassan Waqas Rana refuses to play politics and focuses on the patriotism instead.

At 135-minutes screen-time, however, his efforts do slip on many occasions, diluting the impact this thriller could have created. Numerous pauses, sub-plots, romantic angles and songs puncture the narrative considerably.

‘Waar’, which is mostly in English, captures Pakistani intelligence agents working tirelessly to fight menacing extremists as they scheme to harm their nation.

Retired agent Mujtaba (Shaan Shahid) is called back on duty to lead a battle against the evil Ramal (Shamoon Abbasi).

And, while he’s busy prepping his team of intelligence whiz Javeria (Ayesha Khan) and her trigger-happy brother Ehtesham (Hamza Ali Abbasi), there’s a parallel story that follows a wealthy politico-head Ejaz Khan (Ali Azmat) as he tries to change mindsets and bring about economic progress.

His efforts, however, are sidetracked by socio-activist Zoya (Meesha Shafi), for whom he willing surrenders his heart.

The rest of the screen time is devoted to the run-up to the “big terror plot”, which Mujtaba and his team must detect and defuse.

Barring the sluggish narrative, Bilal’s ‘Waar’ deserves applause for impeccably texturing the tone of the movie, and for colouring action sequences in such incredible strokes. The bloody battle isn’t all gore, but captured aesthetically.

The actors are well trained in handling ammunition, and the action sequences remarkably executed.

Shaan stands out as the husky Mujtaba. He brilliantly captures the pain of an officer who is relentlessly haunted by a bloody past that left him without a family. Shamoon too gives him a good fight, but a little indulgent character sketch for the two men would’ve proved far more impactful.

Ali Azmat is impressive as the ambitious politician. The image of him standing on his balcony and enjoying applause from an imaginary crowd is arresting.

Of the women, Meesha stands out with a far more effective screen-time than the rest. It’s her impromptu ballet-act that throws us off the hook.

While ‘Waar’ might not be the best action film ever, it’s still an interesting watch with some stunning visuals and an impressionable take on the “other side of the story”.