Sunday, May 3, 2009

13B Bollywood Movie Review


HORROR films pretty much follow a similar format. Everyone is happy initially. Then, a series of bizarre, scary events traumatise one character thanks to which s/he digs up the past. Finally, the restless souls get their revenge and are at peace. The protagonist gets back to his/her normal life. And all’s well that ends well.


And so it is in 13B, that Manohar (R Madhavan) moves into flat, number 13B, at a posh building with his huge family, including wife Priya (Neetu Chandra), and his serial-loving mother (Poonam Dhillon). Soon, strange things start happening to him -- the elevator doesn’t work only for him; somehow they can’t complete setting up the puja room; the milk gets spoilt every morning; the television switches on by itself at 1300 hours, on channel number 13, to a serial called Sab Khairiyat. A closer look at Sab Khairiyat shows many similarities between the TV family and Manohar’s own. Coincidence forces him to realise this, until he gradually starts depending on the serial to see what happens next in his life.


He realises the serial plays only in his house, and that it is trying to tell him something. With his inspector friend (Murli Sharma) and family doctor Balram Shinde (Sachin Khedekar), Manohar figures out what the people in the serial are trying to tell him. This helps him save his family from being massacred.13B is scary. Goosebumps are guaranteed along the ride. The sound effects and background score by Tubby and Parik up the scare factor.


As does the cinematography by PC Sriram and H Laxminarayan, which is full of close-ups. The film is bathed in a dull, grey hue throughout; there are no bright colours, adding to the eerie feel. Madhavan carries the film ably on his shoulders. Neetu Chandra is good in her simple role. Poonam Dhillion acts her part effortlessly.


Murli Sharma does well as Madhavan’s friend. Sachin Khedekar makes an impact, too.The climax is long-winded and the film could have been cut short by at least half an hour. Thrillers need to be taut. You can predict certain portions in the film, but the climax is rather hard to guess. The film has that going for it.Shankar-Ehsaan-Loy’s score falls below the mark.

Little Zizou Bollywood Movie Review


Xerxes or Zizou (Jahan) wants to meet his idol, Zinedine Zidane. So he talks to his deceased mother’s picture, conveying all his wishes. His elder brother Art (Imaad) makes wonderful graphics and he and his friends are designing a cockpit simulator.


Art’s father Khodaiji is fanatic and fraud, completely against interracial marriages. Problems arise when Zizou and Art get friendly to Boman Pressvala’s (Boman Irani) family. Art loves Zenobia (Dilshad Patel) and Zizou is close to Mrs. Roxy Pressvala (Zenobia Shroff). He wants to become friends with animal lover Liana (Iyanah Baltivala).


All hell breaks loose when Mr. Pressvala runs a negative article against Khodaiji in his publication.Little Zizou is a delightful and very funny film, depicting the way of life of the Parsis. The performances by one and all are excellent. Jahan is so cute and adorable. He expresses his bereavement so well that your heart goes out to him.


Iyanah Baltivala is very expressive as the smart and clever Liana.. John Abraham looks super hot in the two scenes he has. Zenobia Shroff as Roxy, the concerned wife is wonderful. Boman Irani is brilliant as always. It is amazing how he gets into the skin of the character each time. Shernaz Patel as Khodaiji’s stressed secretary is lovely too. Sourabh Ardeshir plays his part as the religious fraud so well that you hate him. Mahabanoo Mody Kotwal has just two scenes, but she makes an impact with her colourful and interesting character.


She is the only untidy Parsi in the movie. Imaad Shah plays his part sensitively.There are many memorable moments in the film, like the scenes with Cyrus Broacha and John Abraham, the speech that Liana makes in the end, the scene where Zizou confronts his elder brother about their mother’s death, when Zizou breaks the ice with Liana.


You wonder what took Sooni Taraporewala so long to make her directorial debut because she has made a very enetertaining and heartwarming film about Parsis and their inter-personal relationships. It doesn’t look like a debut film. We cannot wait to see what she comes up with next.All in all, Little Zizou is a sweet, feel good film that you must see. It will stay with you long after it is over.


Jai Veeru Bollywood Movie Review


Even before I was ten minutes into this movie, I knew it was going to be a long (read bad) one. As a part of my job, I had to stick it out till the very end.


But let me tell you what others were doing during the filming. First and foremost there were a handful of couples who were least bothered about the proceedings in the movie. Then I spotted a guy who was reading a newspaper with the help of the light from his phone in the pitch dark theatre, as the movie failed to interest him.


Now if you still want to know what Jai Verru is all about, here goes: Veeru (Kunal Khemu) is a small time thief who becomes best friends with undercover cop Jai (Fardeen Khan). Obviously he doesn’t know about Jai’s true identity. Veeru is working for dangerous don Tejpal Yadav (Arbaaz Khan). While on a holiday, he falls in love with Divya (Anjana Sukhani) He tries to set up Jai with him, so that his friend can also make some extra cash.


Jai, the cop, along with his superior, Ranbir Singh (Govind Namdeo), grabs this opportunity to arrest Yadav but the plan goes awfully wrong. Veeru shoots Jai by mistake and runs away to Bangkok. Jai recovers and wants nothing more than killing than Veeru. He also finds a romantic partner in his nurse, Anna (Dia Mirza). He then goes about getting revenge as a cop and acquiring Yadav's little black book of contacts.


So is it worth a dekko?For starters, these movies went out with the nineties. The dialogues are silly and forgettable. Anjana Sukhani should stop acting because she can’t. Her entry has her emerging from the sea to send the hero’s heart into a tizzy. Hasn’t she seen how slim Kareena Kapoor., Esha Deol and Bipasha Basu, even Neha Dhupia have looked in similar scenes? Anjana has bulges and nothing about her is eye popping.


We don’t know what Kunal Khemu liked about her. The action has a very Dhoom 1 and 2 feel to it. So there is nothing new there. Some scenes have been flicked from M: I 2. Even the background score is jarring and ‘inspired’ from Hollywood action flicks. The other songs are alright. The song between Fardeen and Dia was totally unnecessary.


Why did the producer waste so much money on it, I wonder.Kunal Khemu isn’t hero material but he has decent acting skills and comic timing. Fardeen Khan should learn something from him. I guess his Hindi isn’t very good so most of his dialogues are in English. Arbaaz Khan can’t act and is unconvincing as the dangerous Don. Dia Mirza looks pretty and does action sequences well.Jai Veeru is just a waste of time. Please stay away.

Lottery Bollywood Movie Review


Rohit Avasti (Abhijeet Sawant) is a junior accountant with a leading fashion magazine. And while he may not be brilliant in his job, he loves being there as he gets to spend time with his Simran (Manisha Kelkar) whom he loves a lot.


That’s besides the point that she couldn’t care less for him in real life. But since she knows that he has a decent position in the office, she uses him for her gain. One day Soha (Rucha Gujrati) is introduced to Rohit and can’t help but fall for him. She is well aware of his feelings for Simran but that doesn’t stop her. She has her own emotional baggage and believes that Rohit is her knight in shining armour.


Now while Rohit believes that Simran is the one for him, he also begins depending on Soha for help. Every time he is in a spot of bother, he turns to Soha. And slowly but surely the two get together exactly as how Soha wished and hoped for. But just when things are going fine for Rohit, he finds himself in the midst of bet with which he had nothing to do. Rohit is told that a pregnant lady whom he does not know is about to deliver a baby.


If she delivers a baby girl Rohit stands to win rupees 3 lakhs in cash and if in case she delivers a baby boy Rohit will get nothing. Now the lure of making that much money and standing nothing to lose, Rohit bets on a girl being born and lucky for him he wins the bet. Now egged on by the first win, he enters into a second bet – this time worth 7 lakhs. However, sadly for him the last bet for one crore rupees turns ugly and Rohit is framed for a murder, which he did not commit. Will Rohit be able to save himself?The film thoroughly disappoints.


Abhijeet Sawant who makes his Bollywood debut in this film needs to stick to singing. There is a reason why he has been given a great voice – can he first make it completely in that sphere before he decides to turn to acting. And if he does want to act, can he learn how the art works first? Rucha Gujrati comes across as those teenage girls who dream of being an actress in Bollywood and will take any role that comes their way.


That is a well thought of, good or even worth their while is completely forgotten. Let’s not even get into the remaining cast.Hemant Prabhu needs to go back to the first draft of his script that he may have got years back. Please compare that script with what he has served us on screen. If it is exactly the same, I want to know why that script wasn’t burned. And if it isn’t, then please tell us why!All in this entire lottery isn’t going to work for anyone. And least of all you and me!


Aalo Chat Bollywood Movie Review

Aloo Chaat is the age old film that revolves around parents trying to fix an arranged marriage for their son while he has his eyes on another girl. Nikhil (Aftab Shivdasani) is trying to deal with his narrow minded parents who are all set to get him married with a Punjabi girl of their choice.

He on the other hand is in love with Aamna (Aamna Sharif) but is not able to disclose that to his family. And so he uses his father’s friend to help convince his father that Aamna is the girl for Nikhil. Will he succeed? Aloo Chaat disappoints you at many levels. Aftab’s acting is very mediocre. Aamna is even worse.

And I don’t think it’s the actors who need to be blamed for it. The screenplay is so clichéd and so mediocre that anyone would be bored of the script.As a part of the audience, I yawned through most of the film and was so restless all through out. I actually knew the end even before we got there because the script was so filled with the same situations that we have seen on so many occasions in so many movies that this film felt more like a hot pot of all those films.Robby Grewal’s direction is nothing spectacular either.

He does an average job and sadly for him the results at the box office will also be average – if that!This is one chaat that will only give you indigestion and so our advice is to stay far away from it!

Firaaq Bollywood Movie Review


I went to see Firaaq with really high expectations after all the stunning reviews it had got at various festivals. Although the film was a tad moving, it wasn’t as great as I expected it to be. But one thing is for sure that although you may not like it immediately after you see it but some images of it will remain with you long after.


The story is set a month after the communal riots in Gujarat, depicting how everyone’s lives continue to be haunted by the riot. Deepti Naval, a Gujarati housewife punishes herself for not giving shelter to a Muslim girl during the riots; Sanjay Suri is scared to death because he is a Muslim; his wife Anuradha, played by Tisca Chopra, is a Hindu. Shahana Goswami, is a Muslim mehendiwali who thinks her Hindu best friend might just be responsible for setting her house on fire. Mohsin aka Mohan, played by Mohammed Samad, is a Muslim boy orphaned in the riots. Naseeruddin Shah is a musician who cannot accept the reality of the riots and Raghubir Yadav provides him company.


Just how each of these individuals deal with the impact of the riots in their lives is what Firaaq is all about.The performances are excellent to say the least. Sanjay Suri expresses his fear well and Tisca complements him perfectly. Deepti Naval as the suppressed housewife is wonderful. Shahana Goswami, delivers another brilliant performance. It is amazing how she fits into any role. Naseeruddin Shah is perfectly natural; he IS the character.


Ditto for Paresh Rawal who is absolutely flawless and makes you hate his Gujarati MCP lecherous character.The production design is flawless. It has been shot in Hyderabad but you will think it is Ahmedabad through and through. There is attention to detail in every frame. The mixed languages: English, Hindi and Gujarati lend authenticity to the film. You feel the fear and helplessness of the characters. It moves you in that way.However, what goes against the film is that it is awfully slow paced. It is less than two hours long but feels much longer. Also, it ends rather abruptly with none of the ends tying up like they should.


There is no proper closure to the stories and you don’t expect the movie to end when it does. It is abstract. But maybe that is the point Nandita Das is trying to make - that riots and violence do not make any sense and they leave us with many questions unanswered. The loss cannot be measured.Nandita Das has an interesting voice and vision and extracts impeccable performances from her stellar cast to tell a personal story. If you can be patient while watching a film, go and see Firaaq.

Barah Aana Bollywood Movie Review


Barah Aana is a story that revolves around the friendship between a driver called Shukla (Naseeruddin Shah), a watchman Yadav (Vijay Raaz) and a waiter Aman (Arjun Mathur).


Naseeruddin brings with him the maturity and dependency that you can expect from a man of his age. Raaz on the other hand is lazy and mischievous man who prefers life that is easy and laid back. And finally there is the young Arjun who is simply brimming with ambition and wants to make it in life.But what happens when one of them gets involved in the world of crime and how it impacts the other two is what Barah Aana is all about.


Raja Menon’s Barah Aana is a refreshing film because it gives you a light comedy coupled with some serious moments and why it works is because it is tightly held together and is filled with brilliant performances.Naseeruddin Shah does yet another fantastic job. It is always a treat to watch Shah on screen because time and again he impresses and never once does he let you down. Vijay Raaz, one of Bollywood’s most under utilized actors, shines as well as Shah in almost every frame.Newcomers Arjun Mathur and Tannishtha surprise us with a strong presence on screen. Both of these are talents to watch out for! But most credit for the film should go to the director Raja Menon who has ensured the script has been fleshed out perfectly and more importantly it has been executed very well.


Sure there are some flaws but that can be expected from a film that is tight on budget but having said that none of them are glaringly obvious.The film is definite recommendation for this weekend especially for all the Naseer fans!


Aa Daikhain Zara Bollywood Movie Review


Ray Acharya (Neil Nitin Mukesh) is a freelance photographer barely able to meet his expenses. One day he gets the news that his grandfather has died leaving him a note behind. Ray heads to his childhood home to bid a final goodbye to him and also take some remaining items of his grandfather. One such item is a boat that growing up his grandfather had told him was not a ‘sadharan’ boat. Twiddling with it, he discovers a key and a photo of a safe.


Ray reaches the safe and discovers that his grandfather has left him an old looking camera with magical powers. The magical powers being that it can take pictures of the future. Confused? Well if Ray takes a photo of a man today at 4pm, then the photograph develops to show what will happen to that man tomorrow at the exact same time.And so the hard up for cash Ray begins to use this camera to his advantage. By looking into the future he starts winning lotteries, betting on horses and on cricket matches. As a result very quickly he gets himself the money, house and car. On the other hand his girlfriend Simi (Bipasha Basu) can’t seem to understand what is happening to her simple boyfriend and how he is becoming rich overnight.


One day Ray finds himself facing the same camera and when he develops the picture he gets back a completely black picture that is dated few days into the future. A black picture means only one thing – death isn’t very far for the person in question.Thus begins Ray’s countdown to his death and he makes every attempt to avoid his end. Will he succeed?


That’s what the rest of the film is all about.A tightly written script that moves very quickly makes Aa Dekhen Zara a decent watch. Credit must be given to director Jehangir Surti for holding the script and not letting it go at any point in the two hours. Sure there are some flaws but which Bollywood film doesn’t? For example you have to deal with Bipasha the DJ dancing on the top of the DJ console or her scantily clad breaking into a peppy number just when she and Neil are running from the police.


Neil Nitin Mukesh has done a good job and will definitely put to rest a lot of his critics. Rahul Dev who is back on our screens after a while pulls off the contract killer role well. Sophie Chaudhry looks hot on screen but her acting as an agent in disguise is more laughable and can’t really be taken seriously. However, considering the other two extremely mediocre films this weekend, it surely looks like ADZ is your safest bet!

Videsh Bollywood Movie Review

Preity Zinta plays the young village belle Chand. She arrives in Canada to be married to a man she has never met Rocky (Vansh Bhardwaj) with just one suitcase to call her own leaving her parents and brother back home in India.Her husband on the other hand is a short tempered young man who is dealing with his own pressures within the family. His mother still wants to have a hold on him, his father has no say in the house and with his sister, brother-in-law and their kids moving in the house is already bursting at its seams when Chand arrives.

To make matters worse, he is solely responsible for earning enough money so he can arrange for the immigration for the rest of his siblings to Canada as well.Chand on the other hand is educated and comes from a family where she is loved and pampered. Here in a foreign land, she tries to find comfort in her husband only to be mistreated and physically abused by him. While working in a factory, Chand meets a Jamaican woman who sees the bruise marks on Chand and gives her a magical root that she says will help turn her husband around.

However, the root has no effect on her husband and she only finds herself falling further into the trap of being at the mercy of her husband and his family. But that’s till she finds herself in the middle of an old Indian fable that suddenly gives her an understanding and loving husband. Confused how he suddenly changes during the day and then at night, Chand finds her sanity in imagining her loving husband in the face of a King Cobra – the old Indian fable of the icchadari naag.Videsh: Heaven on Earth disappoints you at every level.

The script is ridiculous and the acting even worse. Vandh Bhardwaj flies off the handle for no apparent reason. Yes he maybe short tempered and yes domestic abuse doesn’t ever have any logic, but the way here he is made to start beating his wife is ridiculous. The mother in law is equally annoying and actually reminds you of one of Ekta Kapoor’s numerous vamps who are obsessed with their sons! Don’t get him married if you want him tied to yourself – it’s really as simple as that.Coming to Preity in the film, the Bollywood actress plays the abused wife who is trying to please her husband well; but her character is so badly written that she couldn’t have saved the film no matter how hard she tried.

The differing shades of excitement, confusion and then helplessness are portrayed very well by Zinta but sadly a whole film cannot ride on it – no matter how short it is.Deepa Mehta who has given us brilliant award winning films disappoints with Videsh: Heaven on Earth.

While I agree with the concept of her film – young girl goes from a village, is married abroad only to find herself in a dead end and dealing with domestic abuse – I find that the film lacked enough meat. While we waited for the big deliveries to arrive, every time you had to settle for Zinta singing couplets to make herself oblivious to what she was going through.All in all Videsh doesn’t offer you any Heaven in your cinema, let along on Earth!

Ek "The Power of One" Review


Cast :
Bobby Deol, Nana Patekar, Shriya Saran, Chunkey Pandey
Director :
Sangeeth Sivan
Producer :
K. Sera Sera Production
Genre :
Not available
Release Date :
27-3-2009
Synopsis :
Ek - The Power of One staring Bobby Deol, Nana Patekar, Shriya Saran and Chunkey
Bobby Deol, Nana Patekar, Shriya Saran, Chunkey Pandey


Nandu (Bobby Deol) is an orphan. At a very young age, he joins a gang of thugs and commits his first murder. Along with him is Shekhar (Pradeep Kharab) who is as young as Nandu and being an orphan has also joined this group of criminals to survive. Nandu grows up to become a cold blooded assassin and Shekhar the getaway specialist. However, one contract job goes haywire for Nandu. During his getaway not only does Shekhar die but Nandu is also on the run from the cops.


In his escape from the police, another man called Puran whom he meets on the train dies when the police aim a shot at Nandu. Nandu heads to Puran’s home and starts living his family a Puran. There he experiences the feeling of living in a real home – something he had never done before. He becomes protective of his grandfather (Kulbhushan Kharbanda), his sisters and also begins to fall in love with Preet (Shriya Saran). Nandu is ready to forget about his past and continue to live here like Puran – but that’s till CBI Inspector Rane (Nana Patekar) arrives on the scene. Convinced that Puran is Nandu; Rane is hot on the heels of Puran.


Nandu also realizes that if he wants to live a life in peace, he will have to prove his innocence in the contract job.And it is in this mission to fin out the truth, Nandu discovers the biggest lie of his life. Will he be able to prove his innocence, that’s what Ek – the Power of One is all about.


So is it worth a trek to your local cinema? In short the answer is NO.Bobby Deol is probably a good choice for an assassin. Like Arnold Schwarzenegger, he can produce all of two and half facial expressions and that’s all he does in this film too. Shriya Saran looks like she just saw a hundred Asha Parekh movies before she took a shot for the film and the rest of the cast don’t even deserve a mention.


Nana Patekar is so disgusting in the film that he makes you want to throw up (just a warning – don’t chew on anything every time he comes on screen else you will choke on his atrocious English!)When Sangeeth Sivan would have begun writing the script of this film, I am sure it was good. No body really sets out to make a bad film. (Or do they?)


The concept of the story is not bad. But what happened once the execution began is something that I want an answer to. Does anyone have a number for Mr. Sivan?

8x10 Tasveer Review

Cast :
Akshay Kumar, Ayesha Takia, Sharmila Tagore, Javed Jaffrey, Girish Karnad
Director :
Nagesh Kukunoor
Producer :
Nagesh Kukunoor
Genre :
Mystery
Release Date :
3-4-2009

Within the first 10 minutes of this Akshay Kumar pseudo-supernatural flick, our daredevil hero attempts a jaw-dropping stunt that will be another proud addition to his super impressive action resume. Merely to get some incriminating evidence against a forest poacher, our hero Akshay (Jai Puri) speeds through dense Canadian foliage, the camera following him with equal frenzy and swishing past difficult terrain, till he finally reaches the edge of 100 feet high cliff.
Without batting an eyelid, Jai jumps off the cliff in to the river below, with the adept camera capturing his descent in numerous angles in slow motion. In his brilliant free-fall, he sways, his arms wildly as if holding on to thin air. When he nears the end, his stance changes into that of the perfect dive -- arms by his side, his body ramrod straight, as he crashes into the water. After four minutes, he emerges, like a sea-warrior, with the evidence -- a bear trap which the poacher had injudiciously chucked, victorious that he has done well to bring those pesky poachers to justice.

That pretty much sums up the most thrilling moment you might hope to catch in this thriller in its entire two-plus hours span (hence the elaborate description). For director Nagesh Kukunoor’s first attempt at big budget extravaganza has neither the speed or tautness of a good thriller nor does it involve the audience in any interesting character play with the ones on screen. What is dished out is a laborious wannabe-whodunit with an impossibly naïve resolution.
8 x 10 Tasveer has Akshay playing a forest ranger in Canada living in with his fiancée Sheila (Ayesha Takia Azmi). When he is not attempting daredevil stunts for the sake of duty, Jai helps fellow civilians trace their missing sons and husbands with his special power: he can travel back into anybody’s past. All he needs is a photograph taken of the subject and, voila, he can see all that happened to the person before the photograph was taken, played out in his head.

Like we have come to know with most superpowers, this, too, comes with a ‘Conditions Apply’ tag: More than one minute into this photographic time travel will cause a serious health hazard to our gifted hero. So when his millionaire father dies in a mysterious yacht accident surrounded by close family and business associates, Jai decides to travel back in time through a photograph taken moments before the accident, to figure out who really is responsible for his daddy’s death. This is easier said than done, given the fact that there are multiple suspects, all with possible motives, which means multiple time travels, upping the health risk quotient.

To be fair, the film does have an interesting premise to start off on. But Kukunoor’s way of unravelling the suspense is ridden by inconsistencies and a laborious pace. For the first couple of times when Jai travels back through the photograph, seeing the events play out from different perspectives, you are mildly interested. But when this little time-trip is played out one after the other, it lapses into repetitiveness.

The director has no clever narrative format up his sleeve which would make this re-telling through multiple perspectives interesting. Instead, he resorts to convenient creative licenses and illogical jumps. And we are saddled with a story that prods on and on. When the long drawn out climax is eventually played out, revealing the twist in the tale, Kukunoor falls backs to an old favourite trick of Hindi cinema. The back story revealed is so unconvincing and so stupid that you are tempted to roll your eyes and just burst out, “All this tamasha for this? No, Really?”

Among the cast, Akshay Kumar tries to give his character some solidity, but comes off as trying too hard. He goes through the motions in an almost methodical fashion and there is little he can work on, given that he has to do this time-travel once too many times for his comfort. Of the supporting actors, stalwarts such as Girish Karnad and Sharmila Tagore are wasted in nothing roles, while the chubby-cheeked Ayesha fails to leave much of an impression.

The fact that they are saddled with uninspiring and clunky dialogue doesn’t help matters either. Also propping up almost irritatingly in regular intervals is a bumbling Obsessive Compulsive Disorder-ridden detective Happi (Javed Jafferi), clearly inspired from television's much more nuanced Tony Shalhoub as Monk. He is neither genuinely funny nor is the character given any agency to be of any consequence in the flow of the narrative.

At the end, 8 x10 Tasveer comes off as a wasted opportunity, a film that could have been so much more, but ends up sadly as uninspiring and hardly thrilling. There is a point in the film where Akshay looks in the camera and says in utmost seriousness, “I have a secret” (much like that famous line from The Sixth Sense, “I see dead people”). Well, we wish we could have taken this film just as seriously!

Junaid Jamshed - Pakistani Pop Icon

By Ambareen Imran

Junaid Jamshed is a Pakistani pop icon who makes cheerful, infectious music. Along with Rohail and Shahzad. Junaid has reached out to Pakistanis across the board, and touched them with his Vital Signs, and their message of hope for peace, progress, and prosperity.

Born on September 3, 1964 at the Pakistan Air Force Base Masroor, Junaid comes from a privileged background, which has imbued him with a strong sense of patriotism and the need for enterprise. A mechanical engineer from the University of Engineering and Technology in Lahore, Junaid demonstrated his entrepreneurial spirit by abandoning a tried and tested profession in preference to sailing in uncharted, often icy waters as a professional musician. Ten years down the road he has absolutely no regrets. Junaid is happily married with three children, and possesses all the trappings of a successful professional.

Recently Junaid seemed to have shifted from the world of lights to spiritualism. Has Junaid found any contradiction, any conflict between his chosen profession and the tenets of Islam?
“There is still confusion in my mind on that score,” says Junaid. “Nobody has come right out and stopped me. When I was in Raiwind I met a learned elder who asked me what I did for a living. I kept quiet. My friend told him that I was a well-known musician. He smiled at me, and said that a Muslim’s distinction is that he rises to the top of whatever profession he chooses. The tension and apprehension that had been developing inside me disappeared after hearing that, and I really felt good.” He admits that when he returned from Raiwind there was a serious debate within him as to whether he should give up music, or continue with it. “Then Imran Bhai (former cricket captain turned crusader) called me: “Don’t alienate your friends and fans by making too radical a move which they can’t relate to”, he said. He told me about how his good intentions and patriotic feelings towards the shalwar-kameez had brought on wholly unreasonable censor. He said if I went public with my new convictions I might actually impact the public negatively.”

Junaid has thought long and hard about all the contradictions in his life, and he admits that he is a long way from reconciling them to his satisfaction. Has he had problems handling his success?“Most definitely,” says he. “The first two years of my marriage were pretty tense, to put it mildly. Success brings with it conflict, and conflict invariably gives rise to conflict resolutions. I managed to ride out the early storms in my career. Not to say that it has been a smooth ride since.”

Does his life now have a new objective, a new direction?“In very general terms, yes. It revolves around how I can favorably impact my immediate environment and society. That, in a nutshell, I feel is the essence of Islam.” His group leader would emphasize a few points repeatedly, he says. One of them was that if you see something bad about a person, immediately look to your own shortcomings. So, before criticizing somebody else set your own self-right. The second point was that if somebody offends you in any way, forgive him immediately. The third point was to lend a helping hand to those in need. “Raiwind was a priceless exercise in self-empowerment. You try and better your own self. You don’t try and change the world overnight.”

Does this new awareness alienate him from society, considering that society in general is in such bad shape? Junaid appears to have his priorities right. “All I know is that on the Day of Judgement I will be answerable for my own actions. Allah will not forgive me for doing wrong just because everyone else was doing wrong.” As a role model does he not feel that it should be part of his agenda to change the world for the better? “First I must change myself before I can even begin to think in terms of changing the world. Having said that, I am very aware of my responsibilities as a role model. In my ten years of public life with the band, my colleagues and I have not done anything to disarray the minds of our fans. That is also true of the entire pop industry in Pakistan. Nothing about our personal conduct has had a detrimental effect upon the minds of the kids.”

And how does he view the Prime Minister’s assault upon the very roots of his profession?“When I returned from Raiwind I was told that the Prime Minister had said that he would personally like to cut the hair of the person who had sung Dil dil Pakistan. At that time, as it is, I had short-cropped hair! What’s wrong with long hair anyway? Long hair is sunnat. I was also told that I had endorsed the PM’s ban on pop music! I was simply stunned. I had said no such thing.”
Junaid is saddened by the thought that his many years of loyalty and patriotism should result in this. Sometimes the entire exercise appears pointless and futile to him. “It appears to be our fate to sing patriotic songs and pump up the public’s emotions. It appears to be the public’s fate to listen to our patriotic songs and continue to make sacrifices. And it appears to be our leaders’ job to rob and loot the public while it is seized with patriotic fervor. In spite of this realization and cynicism I have continued making patriotic songs because I feel very strongly about this country.” It surprises him that the PM could have said something like this. In fact he does not believe that Mian Sahib could have said something like this. It is just a warped trial balloon attributed to him. But the PM has not denied it either. “He has not denied it because there is nobody, who has challenged what he has said,” says Junaid, convinced that the PM’s viewpoint has been misrepresented.

And what about the PM’s condemnation of the jeans and the jackets in our culture, even though denim originated as a durable, practical working classes dress?“Those who wear jeans and jackets, and appear to ape the West, comprise a fraction of the nation’s population. I am sure that they would go along with the PM if he appealed to their intelligence, and presented worthyshalwar-kameez role models, instead of making arbitrary pronouncements.”

Returning to his brush with spirituality, when and how did he get started in this direction? “This process, if you would like to call it that, began in October 1995. Before then my experience with religion was more or less restricted to the Friday prayer congregation in the mosque.” There Junaid would listen to talk about the Hereafter, and how everyone would leave all their material possessions behind. “I would like to emphasize here that what I am doing is narrating a personal experience,” says Junaid with a fair bit of concern. “It is not my intention to preach and perhaps offend some people. Religion is a very personal matter.”

Junaid has a friend who is a very pious, religious man. He was his schoolmate, and is just like him for all practical purposes, even his name is Junaid. His friend never insisted that he conforms to his viewpoint, but he got him thinking and started him off on a tentative voyage of discovery.
Initially he had problems since people used to recognize him in such gathering in spite of his glasses and beard. Finally he began covering his face, but that only made matters worse since he would be the only one in the congregation with a covered face. He began staying inside the mosque for lengthy spells. The village kids would find out sooner than later, and swarm the mosque, much to his group leader’s irritation. “In those forty days I learnt a great deal. In fact, I would go so far as to say that my entire life’s experiences do not add up to a fraction of what I learnt in those forty days.”

And what of Junaid’s future plans? Making material for Channel V (minus the half-naked dancing girls, naturally), and a determined assault on foreign markets is high on the agenda, along with doing a new album. “It has been almost three years since our last album, and we would like to go with a foreign label this time so as to increase our outreach in the global village. We have a new contract with Pepsi, and we are looking to doing more ‘live’ concerts, both at home and overseas.”

The guitar, the drums, the saxophone, and all the other instruments related to the pop music industry have assumed the proportions of modern day weapons of peacetime warfare in the global village. More power to Junaid and the Vital Signs in their high tech, sophisticated crusade.

Munni Begum: A Symbol of Simplicity

Hum khud tarashtay hain manazil kay raho sungHum wo nahin hain jin ko zamana bana gaya
The above mentioned lyrics (sheir) holds true in the case of Munni Begum. Let us read the real life story of this ghazal singer as narrated by her:


“There are artists who achieve great name and fame, when they are at the pinnacle of their career. As far as I am concerned, all I have been endeavoring to do is just to be like an artist and that is it. An artist of high repute and the height of artistry are a far-fetched idea for me. I had been interested in music and singing since my childhood.Besides, I was the youngest child in my family, hence, apart from being the center of attraction for my parents, I received the maximum love and attention from both my father and mother.


Later, I took some music lessons from the famous singer, Khwaja Ghulam Mustafa Warsi. Moreover, I spent three years in the college of music.After a while, I settled down in Karachi and since then I have been striving to get recognition as an artist. I have been through extremely difficult times and I have faced tremendous hardships. However, I was never discouraged.

Further, by the time I had started my practical life, the entire responsibility of my family had fallen on my shoulders. All I could do was to take one day at a time.

Slowly, but surely, bad times passed over. I feel that what ever I have attained in my life has been made possible because of my father. I consider myself one of the most fortunate daughters in this world. Each and every step that I took to reach my destination was accompanied with the guidance, prayer and co-operation from my dedicated father.Furthermore, I also believe that because of his unconditional love and devotion, I was able to perform in functions. Gradually, I recorded ghazals for the radio and television musical programs. Soon my audio and video cassettes were penetrating the musical industry in Pakistan and then, all over the world.


Today, I stand in front of you. I have been singing ghazals for over two decades. Music lovers are acquainted by the fact that I have chosen an entirely different style of singing, from the beginning. Rather, I have simplified my presentation for the sake of the general public. Take, for instance, these ghazals: “Hua zamana keh us nay hum ko na bhool kar bhi salam bheija”, “Mareez-e-mohabbat unhe ka fasana” (poet: ustaad Qamar Jalalavi)


This is one of those ghazals which took my name the world over. I had recorded the following ghazal for Pakistan television’s music program “Andaaz apna apna”: “Dil ko haal-e-qaraar mein dekha”


Basically, artists feel very pleased to be feted. I wish some one comes to me to say that he likes the way I sing, or that I am a great singer. Once I had been to Dubai for a concert. When I took a cab from the airport, the cab-driver was playing an audio cassette of my ghazals. Out of curiosity, I inquired whether he knows the name of the singer. “Munni Begum, she is a renowned singer, do you like her ghazals,” he replied. I remained silent.


These are some of my favorite ghazals:“Ghaeroan ko bhala sumjhe, aur mujh ko bura jana”“Phir wo andaaz-e-nazar yaad Aaya”“Jis tarhaan chahay karam farmaeye”(poet: Syed Aali Raza, composer: Khaleel Ahmed)
Both the lyrics and the composition are superb.


“Pyar ki mun mein joth jagaye aik zamana beeth gaya” (poet: Adum)“Tum poocho aur mein na bataoon, aisay tou halaat nahi”


At every step of her life, when the odds were most against her, Munni Begum never gave up. Instead, she worked harder. I have tremendous admiration for her fortitude. The trial and tribulation and her eventual triumph proves once again this golden maxim: When there is a will, there is a way.

Ahmed Rushdi: We Miss You

One fine morning in 1954, people were listening a song from radio Pakistan Karachi’s station: The message of the song was unique, the voice was clear and forceful and the lyrics were "Bunder Road say Keamari". Little did the listeners realized that the boy who was singing then, is going to become the part and parcel of the golden era of Pakistan film industry for the next twenty nine years, and in the transaction he would leave two thousand assorted songs. In fact, he wanted to become an actor but ended up as a playback singer.


Ahmed Rushdi was born in 1938 in a middle class, respectable family in Hyderabad Deccan, India. He migrated to Pakistan soon after independence. First he appeared in Radio Pakistan’s "Bacchon ki duniya" in the early 1950"s. The first step in his professional career was a song for Karachi’s film "Karnama" in 1954. He familiarized the public in Karachi with his attractive voice for many years.


In 1959, he was invited to Lahore and few songs were recorded for film "Raaz". One of the songs "Chalak rahi hain mustiyan" a duet with Zubeida Khanum became very popular. What ever the secret (Raaz) was it did opened the doors of the Lahore film industry for Rushdi. After this came "Saperun, in which his memorable song, "Chand sa mukhra, gora badan" (Nigar award) ranked him amongst the three great singers of those times.


In 1960, actor Kamal’s "Jokar" was released and a song by Rushdi "Shauq -e-awargi,aaj is sheher mein" was an instant success. Then came "Mehtab" in 1961 and it brought "Goal guppay wala" (Nigar award). Essentially, Rushdi’s goal guppa reached almost each and every home in Pakistan. In fact, 1964 proved to be a milestone in Rushdi’s career: What happened was that an extremely sad song had to be recorded for the movie "Aanchal", since Saleem Raza was the last word in tragic songs, so the music director Khalil Ahmed was expected to go ahead with the assignment. However, Khalil had selected Rushdi. The producer/director could not afford to take any chances in the realm of the song, therefore, they insisted on Saleem Raza. Khalil, in turn, argued that he knows better whose voice is conducive for his particular music. To cut the long story short, Khalil was given the green signal to go ahead.


The future of two persons were at stake: Khalil’s, as well as Rushdi’s, for, if the song had not clicked, then both of them would have lost their credibility. Khalil, on his part, left no stone unturned regarding the composition of the song, as for Rushdi, he picked every fiber of pathos and pain which his head and heart could muster, which he dipped deeply in Khalil’s music. Result: "Kisi chaman mein raho tum"_ to this day, this song is relegated amongst the three greatest super hits of Rushdi’s twenty nine year singing career.


The 1960’s were the decade of challenges for Rushdi, since apart from Saleem Raza, he was in direct competition with highly talented singer like Mehdi Hasan (who is now considered as one of the greatest playback/ghazal singers of all time),S.B. John, Mujeeb Alam, Masood Rana, Bashir Ahmed and the list goes on and on.


However, with his God-gifted, well balanced, romantic-tragic renditions, he faced all challenges with courage and patience. All most all music directors in general and Sohail Rana in particular reaped Rushdi’s enormous talents for various situations in movies. Rushdi had that amazing quality which made him feel quite snug in a variety of audiences: Here is a man, who is going to bring cheers for millions with "Mil gaye hum ko pyar ki ye manzil (Ik nagina) and tears with "Jab pyar mein" (Armaan")


All film experts are unanimous that Rushdi’s voice best suited on the great Waheed Murad. In fact, Rushdi’s songs had a tremendous impact on the success of those movies. I personally feel that no write -up on Rushdi’s art will ever be considered comprehensive without "Aye abr-e-karam" (Naseeb apna apna). His romantic voice which mixed with the rainy/stormy midnight and the ease with which he sang on top of the thunder storm and lightning shows the true caliber of Rushdi. "Abr-e-karam" brings in my mind the sincere suggestion of Dr.Noor-ul-ain Aqeel , an avid admirer of Rushdi, who asserts that the word ‘dar’ is the theme of this song.


The 1970’s brought new faces like Alamgir, Mohammed Ali Shayki, Asad Amanat, Ghulam Abbas, A.Nayyar etc. Thanks to Rushdi’s flexibility, he survived. The 1980’s happened to be the period of tragedies for Rushdi. He had not been feeling well, the tide had turned against him. Intelligent enough, he soon realized that the time was running out for him. Hence, at the first flickering of ill-health and before the final fretful moments he wanted to fulfil his ardent desire, which was to present his farewell distinctive gift to his myriad lovers: The greatest favor an artist can do to the society. He unleashed all his faculties and came out in flying colors with "Aanay walo suno"(Not recorded for film). His last recorded song was a duet with Mehnaz for "Badalti rahein".


He had suffered two heart attacks which left him very weak. Doctors had advised him to abstain from singing. On the night of April 11,1983, he suffered a third heart attack which took his life. He was 45. The journey which Rushdi had started from Mehdi Zaheer’s "Bunder Road" in 1954 had ended at Azar Hafiz’s "Aanay walo suno" in 1983. The wistful voice of Rushdi, which had mesmerized millions for two generations is silenced for ever. Ahmed Rushdi is gone. As for his memory, it is like the blowing wind, that will touch and shake the strings of our hearts to keep us awake for years to come.

In Memory of Nusrat Fateh Ali Khan

It’s hard to believe it was eleven years ago when Nusrat Fateh Ali Khan, the world-renowned Qawwal, left us to meet his Maker. The date was August 16, 1997.


Regarded by PakistaniMusic.com to be “Pakistan’s greatest export”, Khan redefined how Pakistan and Qawwali was viewed across the world. Trained in the art of qawwali, as had been the Khan family tradition for over 600 years, he transformed what was previously a quaint Sufi tradition into its present modern form.


In the mid 1990’s, Nusrat Fateh Ali Khan began his march Westward, collaborating with music personalities such as Michael Brook, Eddie Vedder (of Pearl Jam) and Peter Gabriel. In the East, he performed several tracks for Indian films further consolidating his fan base. Before long, Nusrat Fateh Ali Khan’s music had millions of followers across the globe, with his form of qawwali played everywhere from weddings in Lahore to cafes in Paris to nightclubs across Europe. The Shahenshah-e-Qawwali had arrived.


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Unfortunately, he wasn’t destined to stay with us for long. Although at the height of his career and international stardom, he was physically a weakened man. He fell ill with kidney and liver failure on August 11, 1997 and died of a sudden cardiac arrest at age 48.


It’s been eleven years, but we still miss Nusrat Fateh Ali Khan. For those of my generation, he represented something magical. Something powerful. His music was inspirational. To see him perform, awe-inspiring. It is tragic that someone with so much talent and potential left us so soon. Yet, his music lives on, with tracks such as Halka Halka Suroor, Ali Maula, and Dam Mast Qalander continuing to inspire.

Atiqa Odho: As I Know Her


Luckily, there are many examples of people in show business who appreciate and recognize the virtues of hard work and ingenuity. A quick example is Atiqa Odho, who is amply endowed with numerous qualities, including the aforementioned hard work and ingenuity.



Born to an enlightened family, she received the best possible education and upbringing in the U.S.A. Though initially she seemed an ordinary child, her zeal set her apart from her peers.
Additionally, the vivacious and vital Atiqa had her own position from her earlier days. Atiqa was persuaded by Pakistani television in 1990 to work for a drama serial. Her immediate response was that she was neither interested in entertainment, nor did she fluently speak the Urdu language, which was a pre-requisite for the Urdu play.



Long story short, the television crew took the responsibility to groom Atiqa for her role in the television play and Atiqa agreed to do it. Thus, Atiqa debuted from the Pakistani television drama serial, ‘Sitara aur Mehrun Nisa’, in 1991, for which she was eminently suitable.



Moreover, Atiqa was heralded as a star of dazzling luminosity and rightly so. It sounds preposterous that she was labeled such so quickly, but it is true. Her acting appealed to the masses. One can easily remember and savor her great performances.



Atiqa, who is revered for her versatile acting, offered a convincing performance in the television drama serial ‘Dasht’. The cast included Atiqa Odho, Fazila Qazi, Noman Ejaz and Abid Ali. Her interest was to create entertainment, in the transaction; she attained fame beyond her wildest imagination.



Atiqa achieved legendary stature as a television artist. She was highly successful in modeling as well. After nearly a decade, Atiqa grew too tired of travel between U.S. and Pakistan. Hence, she decided to make Pakistan her permanent abode. She has a fervent desire to provide a congenial atmosphere to her two children, and her husband, Javaid, in Pakistan.



Reverting to her show business career, one good thing about Atiqa is that she can tunnel into different roles, which are offered to her from time to time.



In the past thirteen years, 1991- 2004, Atiqa has made her presence felt forcefully in Pakistani television, film, theater, modeling and radio. Through her serene subtle and sometimes heartbreaking performance, she often steals the show.



The Pakistani television play, ‘Nijaat’, is a case in point, in which Atiqa’s acting is laudable. Atiqa, who has brown hair and green eyes, is renowned for her artistic qualities. She enchants the Pakistani community all over the world.



Atiqa gave a superb performance in the film ‘Mujhay chand chahiye’, in 2001, directed by Shan. Stars included Atiqa Odho and Javed Sheikh. She made mediocre movies good and good movies great. Now she is poised to reap awards and gather encomiums from the public.



As time passed by, Atiqa’s emergence as a prominent artist created ripples on and off the screen. Atiqa, a promising artist then, and an accomplished artist now, worked even harder for her role in the film ‘Jo dar gaya wo mar gaya’, in 1995.



We need wisdom to understand, to predict and seize opportunities. Atiqa is good in those venues. The play ‘Talaash’ is a great example of Atiqa’s foresightedness, which was wisely directed by her.



In real life, Atiqa’s face usually wears a radiant smile, and she has a devoted international following. Atiqa, who is renowned for the virtual inclusion of finer feelings, gave one of the most memorable performances of her career in the thirteen episodes, very expensive drama serial, ‘Chahatain.’



Brimming with romantic tunes and powerful script, ‘Chahatain’ apparently delivers the goods. This mega hit drama serial was pictured at twenty- eight different locations in Malaysia, including Kuala Lumpur, and Jandabai jungle. Writer, Seema Ghazal, director, Ahsan Ali Zaidi The cast included Atiqa Odho, Humayun Saeed and Uzma Geelani.



Most importantly, ‘Chahatain’ was a group effort. No one artist could have done all that alone.
‘The Pakistani public wants to see me in the entertainment business’, said Atiqa, ‘and that is a lot to live up to.’



It seems that the dialogues she speaks are more heartfelt than what the viewers could visualize on the screen. Put it this way, Atiqa offers a performance that goes beyond characterization. What could be a better example of her involvement with character other than the television comedy drama ‘Tum he to ho’, in which Atiqa was dubbed as Saira. Writer, Mohammad Ahmed, director, Marina Khan, producer, Humayun Saeed.



Most of all, Atiqa learned early in her life that one need to exist in the moment and attempt to be emotionally and physically resonating with a given situation in the play. She brings out her emotion in the story ‘Umrao Jan Ada’. Writer, Zehra Nigah, director, Rana Sheikh, produced by GEO television. The cast included Atiqa Odho, Amina Banu, Shakeel and Bushra Ansari.
Likewise, Atiqa came out with a big plan to host a television talk show. With this intention, she booked celebrities like Amir Khan, who hopefully will grace the show with their presence.


In fact, Atiqa stepped into her working life as a make- up artist and acquired training in England. Later, she moved to Pakistan and practiced her profession as a beautician. In times due course, she started her own beauty parlor and appropriately named it ‘Cuts and cappuccino.’
Thinking young is great feeling healthy is even better. In spite of her hectic schedule, Atiqa manages to keep herself young, active and healthy. Atiqa most definitely intends to make the years to come the best ones of her life.


Junoon "A Detailed Look"

Salman Ahmad
Water. Restless, moody, flowing. Ustad Ashiq Ali Mir says “Salman jo kehta hai woh kar ke dikhata hai.” While growing up, this ex-cricketer, ex-doc was all over London, Virginia, Kuwait, NY. Good he gave up medicine. Imagine him doing to patients what he does to the guitar!
A song you’d like everyone to know: “Imagine”. It speaks a universal message: Imagine there’s no country… You may say I’m a dreamer… I think we’re all dreamers, deep down. I am. I dream of one world, without countries, boundaries, passports, religions.


A song that symbolises you: “Mein Kaun Hoon.” Hamara hi hai. In order to find out who you are, you have to search your own conscience, right?


About cricket: I played in an exhibition match against the South African team when they were touring Pakistan scored 42 not out. Jonty Rhodes, who was fielding at point, goes “Hey man, drop the guitar, you gotta pick up the bat.” If there was another junoon in my life, besides music, it was cricket.


On evolution as a musician/ songwriter: As an artiste, you feel like a child every time you pick up your instrument or write a song though I’ve written 40 to 50. For me, soulfulness is a top priority and virtuosity doesn’t interest me that much. You can get the most happening sound out of playing very simply, so I try to push myself in directions where I don’t worry about how technically proficient I am but how I am able to express myself on the guitar.

Teenage idol: Imran Khan.
Most valuable possession: My music.
On Pakistan: I like the warmth and hospitality of the people. What I don’t like about it is the lack of tolerance.
Your guitar: A really beaten-up ebony rosewood Ibanez, six strings, electric. I have another favourite one: a double-necked Gibson la Jimmy Page.
Influences: Hindi film music, Nusrat Fateh Ali Khan, The Beatles, Led Zeppelin, Jimi Hendrix.
In songwriting: John Lennon, R. D. Burman.


Brian O’ ConnellEarth.
Solid, stable, you know, all there! Brian met Salman in NY when they were both 13, went to the same high school, and played in their band, Eclipse. He studied music and worked with developmentally disabled people. In ‘92 Salman invited him to join Junoon.


Your guitar: The one I play with Junoon is a Washburn, five strings, it has a low B string (most bass guitars have four), so it goes lower. On Azadi I used a lot of the lower notes; the deeper you go the better it sounds.


On music education: Music is an art and you don’t need the education to put out good music. If a person can speak the language, they can write poetry; but if you know the language, you can write better poetry. By having education in music, you understand music, the technicalities and how it all fits together much more.


On being a session guitarist: That does really require a music education background. Because you go to a session studio, somebody hands you a piece of music you’ve never heard or played before. That was a challenge.


On teaching music: I taught in high school, college and junior high school (an absolute nightmare!). The last thing you want to do in your teens is pay attention to studies. Hormones get in the way, life in general gets in the way. You spend your whole time trying to discipline the class. I like teaching, but I found it was robbing me of my musical creativity.


A song you’d like everyone to know: “Amazing Grace”. How sweet the sound/that saved a wretch like me/I once was lost but now I’m found/was blind but now I see… It’s a very hopeful song, it’s about faith and the guiding light.


A song that symbolizes you: I am always discovering who I am as time passes. I’ll write a song about it!


Teenage idol: My only idol is Jesus Christ and He is a tough act to follow. You need a connection with God and realize that there is one God.


On the move to Pakistan: I’ve a sense of adventure and at that point, aside of my job, I had very little responsibility. I was single, and still young enough to take a crazy adventure. So I did.
On Pakistan: My favourite things in Pakistan are my wife Ayeshah, my daughters, my band Junoon, and the common man. And not just in Pakistan. In India, I find so much similarity between the cultures. You’ve shared a culture for thousands and thousands of years. It has only been 50 years of separation. I think if there’s any separation, that’s taken place on a political level. What I’d like to see with both countries is to break down the walls. Those walls were put up by people who really do not have a vision of peace, love and hope.


Most valuable possession: My wife Ayeshah (’Gift of God’ and she is!) How crazy is it to think of someone with a steady job and the securities of the US to uproot and come here. I’ve had many relationships but I truly believe it was God’s will that I come here and meet her.


Influences: As a child, mostly guitarists Eric Clapton, Jimmy Page, Jimi Hendrix. Later, Steven Morris, Larry Coryell. Nowadays, Salman… I’m a very big fan of Salman!


Ali Azmat
Fire. Bright, hot, ballistic. Salman calls him tota, the original mimic, for his unusual Lahore meets Australia meets Texas accent. He worked in a bank for a week, has acted in TV serials, writes poetry and music, but his deepest unfulfilled ambition is to play guitar - he makes do with the air guitar! Unbelievably, Ali has had no training in singing. The guy who said he would teach him guitar just handed him the mike!


On evolution as a singer: There are so many different kinds of music you listen to that you end up taking with you. You venture out this way or that way and there always will be ways. You do things that you haven’t done before. You just go up there and do it, and try to reach that level. More than anything, you don’t worry about doing this garari (you know, the a-a-a-a-a!); you just emote. It’s all emotions. It’s like acting. Every song is like a script and you just read that script accordingly and that is the more important thing. In “Sayonee”, I don’t think I’m singing perfectly. I’m always like, I should have done that note, taken it there. You look at your work critically, but the emotion is there. That’s what reaches the people more.


A song you’d like everyone to know: Any song from Dave Mathews. The music is so so positive. It’s happy and sad at the same time. Musically it’s so much there. Lyrics, composition, voice, guitars, drum, bass.
On singing a capella in any place in the world: The bathroom. Great echo! I go to a friend’s place it has a staircase that has the greatest echo in the world and I go there and try to sing as loud as I can. It’s great.
A song that symbolises you: I said my head is a closet/ I am stuck inside/ Can’t see the light/ I and my head is in a nice house in the sky/ Got central heating/ And I’m around/We’ve been standing here for a long long time/I find sometimes it’s easy to be myself/And sometimes easy to be somebody else. It’s one of my favourite songs. I think it explains a lot of things.
Teenage idol: Pearl Jam, Freddie Mercury, Steven Tyler, A-ha, Robert Plant.
Guitarists: Jimmy Page, Joe Satriani.
On Pakistan: The thing I both love and hate about Pakistan is the people. The reason I am there is that I love the simplicity of the people, the kind of people who live there. At the same time, I am a very non-conformist person and I hate that the people their fake values and their lousy traditions.

Barbara Sharif "Stamp of Success"


"Life is a movie and you are the star. Give it a happy ending"



Presumably, the first time Pakistanis came across Barbara was in the early 1970s. She made her presence felt in a ‘Jet’ washing powder commercial and came to be known as ‘Jet’ powder girl. Fair-haired, attractive and intelligent, Barbara soon became a house- hold word.



Her appearance in the ‘Lux’ advertisement with the message, ‘Aakhir loag hamara chehra he to deiktay hain’, took her fame to the top. After a while, she appeared in Mohsin Shirazi’s television play, which was telecast from Karachi television station. Barbara was smartly dubbed as Nadia in Anwar Maqsood’s Pakistan television comedy play, ‘Nadaan Nadia’. Cast, Talat Husain, Qurban Jilani, Latif Kapadia, Durdana Butt.



Born to a middle class family in 1954, Barbara took considerable interest in show business as she grew up. Confident of her acting potential, Shamim Ara signed her for the film ‘Bhool’ in 1974. ‘Bhool’ was scheduled to be directed by S.Sulaiman. Prior to ‘Bhool’, S.Sulaiman had already signed Barbara for his film ‘Intezaar’. Incidentally, ‘Intizaar’ was released before ‘Bhool’. Hence, Barbara debuted in the film ‘Intezaar’ as supporting actress in 1974. To set the record straight, both ‘Intezaar’ and ‘Bhool’ were released in 1974.



Barbara’s innocent face distinguished her from other actresses of her time. Despite her hard work in the above two films, Barbara had to look for more opportunities in movies, which did not came immediately. In 1975, she appeared as supporting actress, in director Masood Pervez’s film ‘Mera naa patay khan’. Neelo and Shahid played the lead roles.



Her efforts took on a new intensity and she proved her worth in the Pakistani cinema. She worked in director Iqbal Kashmiri’s film ‘Shareef Budmaash.’ In director Ali Sufyan Aafaqi’s film ‘Ajnabi’. In director Nazar Shabab’s film ‘Naukar’.



An undeterred Barbara, dressed to perform, played the lead role opposite Ghulam Mohyedin, in director Wazeer Ali’s film ‘Masoom’. In her movies, even ordinary things capture tranquility. Her most memorable role came in the super hit film ‘Mera naam hai mohabbat’, directed by Shabab Kiranvi. Barbara and Ghulam Mohyedin played the lead roles. Her fame sky- rocketed soon after the theatrical release of ‘Mera naam hai mohabbat’.



In reality, Barbara became the most sought after actress from 1976 onwards. Moreover, the year 1976 was most definitely the best year for her films as well. In 1976, she worked in director Pervez Malik’s film ‘Talaash’. In director Shabab Kiranvi’s film ‘Dewar’. In director Ali Sufyan Aafaqi’s film ‘Aag aur Aansoo’. Foremost was her sweeping 1976 movie, ‘Shabana’, directed by Zafar Shabab. The film successfully completed golden jubilee, by winning performances turned in by Barbara, Waheed Murad and Shahid.



In her twenty- three- year film career, 1974-1997, Barbara worked in more or less one hundred fifty films. Her auspicious performance in ‘Shabana’, led to more successful movies. Below are six such films: ‘Pyar ka wada’, ‘Manzil’, ‘Teray bina kya jeena’, ‘Daman’, ‘La jawab’, ‘Ye zamana aur hai’.



At the pinnacle of her movie career, Barbara married actor Shahid. Unfortunately, the marriage did not last long. It resulted in their separation. The success of the above films-bolstered by later movies like ‘Sungdil’, ‘Wafa’ and ‘Ka’ainaat’, made Barbara a very busy actress. After more than two decades of acting, her name was greater than ever. Below are six instances of her highly dramatic caliber: The films ‘Aik din bahu ka’, ‘Maazi haal mustaqbil’, ‘Kis naam say pukaroon’, ‘Shehzada’, ‘Aj dee taza khabar’ ‘Haq mehar’.



Admirers had much more faith in her artistic talents than they had in her earlier movies. We have plenty of films to back that up. Below are three such movies:



‘Khuda aur mohabbat’, directed by Iqbal Yusuf. This beautifully produced film completed golden jubilee. Starring, Barbara, Waheed Murad, Mohammad Ali.



Director Iqbal Yusuf’s silver jubilee film ‘Budnaam’, released in 1980. Cast, Barbara, Waheed Murad, Rani, Mohammad Ali.



Director Iqbal Yusuf’s silver jubilee film ‘Gun man’, 1981. Starring, Barbara- Waheed Murad- Mohammad Ali.



Over the years, she worked her magic throughout Pakistan. Her past accomplishments conveys the tremendous talents of this woman. Her fame was greater than ever with the release of the six movies below:



The film ‘Hero’, directed by Iqbal Yusuf. Cast,Barbara, Waheed Murad- Mumtaz.



The films ‘Paas baan’, ‘Miss Bangkok’, ‘Son of undaata’, ‘Aangan’.



Director Iqbal Yusuf’s film ‘Raaz’.



As the years passed, she kept working in movies. The 1974 golden jubilee film ‘Shama’ was, indeed, her big strike. Directed by Nazar Shabab. Starring, Barbara, Waheed Murad- Deeba- Mohammad Ali- Nadeem. The 1974 silver jubilee film ‘Haqeeqat’, exemplifies her absolute dedication to her role. Director, Nazar-ul-Islam Dada. Cast, Barbara- Waheed Murad- Mohammad Ali. Barbara’s confidence and exuberance are all the more evident in the 1976 silver jubilee film ‘Zubeida’, director, Aslam Daar. Starring, Barbara- Waheed Murad- Nisho- Rangeela.



All her fans that I have come across so far echoed Barbara’s sentiments. During her association with show business, she was considered the life of the parties. Director Zafar Shabab cast her in the 1976 silver jubilee film, ‘Waqt’. Cast, Barbara- Waheed Murad- Kavita- Shamim Ara. Barbara teamed up with Shahid and Waheed Murad in the 1981 silver jubilee film ‘Dil nay phir yaad kya’, directed by Iqbal Akhtar.



Likewise, she joined hands with director Iqbal Akhtar in the 1980 film ‘Chotay Nawab’. Stars, Barbara Waheed Murad- Shahid- Neelo. Barbara appropriately captured the transporting power of love and gentility in her movies. The heart-felt lyricism also played a decisive role in her following six movies: ‘Deewanay Do’, ‘Chakkar’, ‘Khahish’, ‘Deikha jaaye ga’, ‘Jawani Deewani’, ‘Mausum hai Aashiqana’.



She worked with the movie crew as conceptual artists in all of her films. Quite a few of Barbara’s movies are shrouded in a melancholy tone that suffuses the whole performance. Audiences applauded her effort in the six movies below: ‘Aladin’, ‘Maa bani dulhan’, ‘Kaali’, ‘Insaan’, ‘Do Dil’, ‘Qudrat da intiqaam’.



Barbara’s sister, Fakhira, also associated herself in show business. However, she could not click. As for Barbara, she took more challenging roles in her later movies and captured the spotlight with her roles in the seven movies below: ‘Aik chehra do roop’, Mehak’, ‘Saathi’, ‘Baaghi haseena’, ‘Ishq da roag’, ‘Baarish’, ‘Duniya.’



Barbara’s movies also dealt with individual sensibilities. People of uncommon craft directed such films. Her popularity soared even higher with the release of the four movies below:‘Aasmaan’, ‘Aik he raasta’, ‘Jaan-e-mun’, ‘Garebaan.’



After a lapse in her career, Barbara re-appeared for the location shooting of director Sangeeta’s film ‘Samaaj’. However, due to unavoidable reasons, she had to give up her character in ‘Samaaj’. Barbara’s last film was ‘Ghayal’, in which she worked opposite Izhar Qazi. Directed by Hasnain and released in 1997.She received the Nigar Award eight times in her movie career. Below are the details:



Barbara won the Nigar Award for best actress in the film ‘Mera Naam hai Mohabbat’ in 1975.
Barbara won the Nigar Award for best actress in the film ‘Shabana’ in 1976.
Barbara won the Nigar Award for best actress in the film ‘Sungdil’ in 1982.
Barbara won the Nigar Award for best actress in the film ‘Miss Colombo’ in 1984.
Barbara won the Nigar Award for best actress in the film ‘Miss Bangkok’ in 1986.
Barbara won the Nigar Award for best actress in the film ‘Kundan’ in 1987.
Barbara won the Nigar Award for best actress in the film ‘Mukhra’ in 1988.
Barbara won the Nigar Award for best actress in the film ‘Gori deyaan jhan jharan’ in 1990;



She not only saw and felt the difference her personality made in others lives, she is still living out that difference after her retirement from the entertainment industry. Barbara is not in the public eye any longer. Nevertheless, her influence will not likely abate in the coming years.


Tribute to Nazia Hassan

The news of the death of pop star Nazia Hassan on Sunday, August 13, 2000, spread like wildfire. Within seconds, the Internet, newspapers and the rest of the news media around the globe were flashing news of her final journey.

Amidst the sobs and tears, almost every one had one thing in mind, i.e., “God Almighty had showered Nazia with all the bounties, except length of age.”

One could easily rank her as the first and foremost pop singer of Asia, generally and the Indo-pak subcontinent in particular. Born in a well to do, highly enlightened family in 1965, she had shown an aptitude for music from her earlier days.As a young child, she frequently appeared in Pakistan television’s music program for children, called “Sang Sang”. Sohail Rana was the lead person of that show. Her father Baseer and her mother Muneeza took great interest in the upbringing and education of Nazia and her younger brother, Zohaib. Both of these gifted kids were admitted to school in London, where they received education as well as lessons in music.

In 1978, in England, thirteen year old Nazia recorded a song “Aap jaisa koi meri zindigi mein Aaye, tou baath bun jaaye” (film: Qurbani, music:Biddu, lyrics: Indeevar, picturised on Zeenat Aman). “Aap jaisa koi” is considered the first pop song of the Indo-Pak Subcontinent, the greatest achievement of Nazia, hence, a milestone in her music career.

In 1979, both Nazia and Zohaib came out with their first music album “Disco Deewanay”, which happened to be a record breaking collection of pop songs. She became the heart-throb of teenagers with songs like:

Komal Palkain
Bojhal Boom Boom
Dum Dum
Dee Dee
Aaona Pyar Karain,
and many more.

Nazia was married to an enterpreneur, Ishtiaq Beig, in 1995, with whom she had a son, Areez, in 1997. She had been battling against cancer since 1996 and eventually succumed to it on Sunday morning. She was only 35 years old.

An admirer of Nazia had confided in me the other day: “How could this happen to such a decent girl, with a sweet voice, who had brought happiness to the lives of millions of music lovers around the world. Oh God, why Nazia?”

“Nazia had, indeed, walked all the steps, which had been ordained for her by an authority, which is greater than any human agency”, I answered calmly.

Klashinfolk "Ali Azmat's New Album" Review


It was only two years ago when we were touting Ali Azmat’s debut album, Social Circus. No stranger to the Pakistani music scene, his debut album was special because it was Ali going solo - separate from Junoon, the band that made him famous the world over as an accomplished and talented lead singer.


So 2008 sees Klashinfolk arrive on the scene, Ali’s second album. Pop it into the player, and you immediately recognize this to be classic Ali. Each track wild, eclectic but positively Ali Azmat. A 39 second Klashinfolk Intro starts us off leading to Gallan, the Na Re Na equivalent of this album. Highly memorable, the video for which has been dominating the airwaves in recent months. After listening to the song you’ll know why it was chosen for a video.


Track 3 treats you to sing-along special, Mera Khuda. A feel-good song heavily influenced by the mix of acoustic and electric guitars, falls just short of what you expect from Ali after all these years. Maybe it’s us, but after listening to Ali Azmat blow us away with every Junoon album, you expect nothing less. Tanha Hai Kyon starts with a retro vibe at track 4 - slow, steady yet something you’d skip by the next time you listen to the album.


Enter track 5, Yeh Kya Hua takes you back to Junoon circa 1999. But it isn’t until track 6, Naina, that Ali reasserts himself. You know immediately that this isn’t Junoon. This really is a new voice; very refreshing. Naina has a classical, yellow-mellow feel to it: “Taarey tootey hooey hain, apnay rootay hoeey hain”. This one’s a keeper - don’t say we didn’t warn you when you find yourself returning to PakistaniMusic.com to keep playing it again and again.


Tera Mera is another Ali Azmat track - more closer to the tunes Junoon was coming out with in the 2005-2007 time period. A fast drumbeat accompanying Ali’s recognizable stick-the-mic-into-your-face-and-sing-like-there’s-no-tomorrow vocals. Ley Sumbhal, another mellow-yellow track, stands out as one of the stronger candidates on the album: lyrically powerful, you can’t escape the urge to decipher what Ali’s trying to say here. Ditto for Shukria. This track has an eerie feel to it, with more vocal gymnastics - a complete 180 from the world-at-your-feet feel to Gallan.


Ay Mere Saathi at track 10 is the return of the escapist. The chorus is addictive - just the sort of thing you expect Ali to sing when warming up a crowd at a Klashinfolk concert tour. You Are at track 11 is something you’d rather Ali not attempt again - but you know that’s probably not likely. Sung in English, it mirrors the undertones which influence the rest of the album. While the chorus is certainly addictive, something appears to be missing. Track 12, Sawal, closes the album. A strong track that sounds forboading, it’s a sign of the times we live in. An unfortunate way to round up the album, not because the track hasn’t been composed well, because it has, but you can’t help but be left with a sinking feeling as the song winds down at the 5:26 mark. Or perhaps it’s meant to empower the listener.


All in all, Klashinfolk is evidence that Ali Azmat’s talent is still alive and well. Just when you think you’ve got his vocal style figured out, you find him pushing the boundaries of Pakistani music further. While not the album that will elevate him to solo stardom, no Ali Azmat junkie should be caught without this album in their collection.


Overall Rating: 3 stars

Saturday, May 2, 2009

Prefuse 73


Guillermo Scott Herren, as Prefuse 73 is known to his mum, is most certainly his own man. Half-Catalan, half-Irish/Cuban, he forsook a burgeoning career as a Dirty South rap producer to branch out on his own under the pseudonym Delarosa and Asora. That was 12 years ago, and Herren is now releasing the fifth full-length album under his Prefuse 73 monicker. As ever, it's a tricky - if not impossible - task to pin him to a genre, but here's a taster: glitch hop, IDM, psychedelic, and his own term, "machine funk".



The implications for Ampexian ring true enough. Here is a 29-track collection of cuts ranging from 13 seconds to four minutes; from dreamy choral samples to dub loops and back again. He's nothing if not prolific, as his rich back catalogue suggests.



The more surprising aspect is just how well the LP works as a whole. Rather than jarring from style to style, the procession through moods, genres and methods is handled with care, and while successive tracks can be utterly fresh, they're never reached illogically.



It's a quality evident largely because of Herren's decision to renounce straight digital recording and instead imprint to analogue Ampex tape - an altogether more intensive method, apparently. The result, however, is one of cohesion, warmth and timelessness among all the electronic gubbins.



Of the eight tracks lasting longer than two minutes, DEC Machine Funk revives early Cornelius material, Regato juxtaposes an irresistible clockwork beat with picked guitar, and Simple Loop Choir fulfils its titular promise, doing away with percussion in favour of an ethereal vocal progression.



Its successor, No Lights Still Rock, generously re-applies glitch hop stylings before Digan Lo, the album's most fully developed track, raises the bar further still with the kind enduring, wistful trip-hop Air made their own with Moon Safari.



Of the sub-two minutes tracks - and there are some 21 of them - Herren exhibits, arranges and toys with any number of samples, loops and effects. A measure of the man, it's practically impossible to decipher which he dug up and which he's fashioned from scratch, but the entire affair remains spookily linear.



Ampexian, though far from conventional, is a thoroughly enjoyable listen, and that, surely, was the aim of Prefuse 73 - the myriad of sounds are a pleasure in and of themselves, and the task of sourcing and patching them together sounds as if it were undertaken lovingly; no need to throw shapes or select only a few tracks for repeat spins.



Another feather safely and securely in his cap, Lord only knows what's next for Herren. His legacy already assured in his field (or fields, perhaps) with no apparent signs of slowing down, this is further evidence of the enduring, glitchy charm of Prefuse 73, and another compelling reason to seek him out.


Great Northern


If Remind Me Where the Light Is is any indication, in the battle between sonic ambition and career ambition, Great Northern has taken sides with the latter camp. The L.A.-based four-piece’s LP is filled with brand-new songs that you’ll vaguely recognize. And that’s the problem: It’s hard to identify exactly what’s special about an album that sounds so uncannily like so much other music.

There’s something to be said for giving the people what they want -- or at least, what they already know. Great Northern does that here without wholly buffing down all their edges. The disc’s opener, "Story," is slightly dreamy, with Rachel Stolte’s lovely vocals alternately moving from urgent to soaring against a lush backdrop of bells and guitars. "Fingers" begins as a sparse, hushed, noir lament and builds to a catchy, and very nearly orchestral, variant on pop. "Stop," softly sung by guitarist/vocalist Solon Bixler, is a cross between a lullaby and dirge. "Mountain," meanwhile, feels and sounds epic and expansive in every single way, with drummer Davey Latter and bassist Ashley Dzerigian contributing heavily to the song’s wall of sound. Clearly, this is a band of talented musicians with the skills to write grandiose songs.

But this is an album that’s extremely clean -- the spic-and-span sonics might be the work of producer Michael Patterson (Beck, Puff Daddy, She Wants Revenge). Even if it might help Great Northern achieve some broader success, all that cleansing has buffed away much of the band’s character. Add to that the radio-friendly songwriting and Remind Me Where the Light Is starts to seem like an album designed not to offend or even surprise.

The Crocodiles Review


Even without "Neon Jesus" — the single that garnered Crocodiles quite a bit of web attention just before this release — Summer of Hate stands strong as a tremendous debut: one that pays heavy tribute to its influences while never seeming overly derivative. Crocodiles' band name, which references Echo & the Bunnyman's 1980 album, is a telling clue that Charles Rowell and Brandon Welchez are well versed in neo-psychedelia, British post-punk, and noise pop.


The crunchy guitars bring to mind Spacemen 3, the tremolo keyboards and drum machines show reflections of Suicide, and the production-style of cavernous vocals masked by sheets of white noise comes straight out of the Jesus and Mary Chain handbook.


While many other bands out there have attempted to rehash the scummy sounds of yesteryear (Black Rebel Motorcycle Club comes to mind), rarely does anyone take it to another level so successfully.


Summer of Hate manages to simultaneously revitalize the old and be relevant amidst modern trends with the duo bookmarking themselves neatly into the increasingly popular lo-fi/noise resurgence alongside similar-minded bands Crystal Stilts, Vivian Girls, and their labelmates Wavves, whose album was released on Fat Possum several weeks before Summer of Hate.


Hipster appeal notwithstanding, Crocodiles are more than just a band with the right sound at the right time. Under their raw demeanor, they're surprisingly adept at creating sweet melodies, with the "Just Like Honey" of the album, "I Want to Kill" grinding nihilistically over a sugary pop hook that recalls the Crystals, and wild swirling feedback propelling the mesmerizing seven-minute wash of "Summer of Hate."

The Edge of Love

Plot

London, World War II. Welsh poet Dylan Thomas (Rhys) is in love with both his wife Caitlin (Miller) and his childhood friend Vera (Knightley), now married to the devoted William (Murphy).

But Dylan’s refusal to commit to one woman could destroy the lives of all of them...
VerdictThe cast is strong and the first act has an intriguingly dreamy quality, but it gives way to a soggy ending.

Last House on The Left Review

The strategy behind the remake of "The Last House on the Left" is clear. It grinds our bones to make its bread.

I'm sort of astonished that it works, just as it's astonishing Wes Craven, the writer-director-editor of the determinedly "ugly" (Craven's description) 1972 original, went on to create such rich cinematic nightmares as the first "Nightmare on Elm Street." The old "Last House" was pure unstable trash, a grindhouse item provoking all sorts of protests and cuts regarding the content. Its most appalling cruelties—urination, castration, exposed intestines (portrayed by condoms stuffed with peanut butter and jelly) and a nihilistic late-Vietnam War era tone—were made somehow more disturbing by the film's misjudgments. The comic relief and chipper bluegrass musical score didn't just belong to another movie; they belonged to another galaxy.

Craven borrowed his rape-revenge narrative from an unlikely source: "The Virgin Spring," Ingmar Bergman's 1960 allegory in turn based on a 13th Century Swedish ballad. Now comes the blunt, unusually well-acted remake of "Last House," produced by Craven and his old crony Sean S. Cunningham (who begat the "Friday the 13th" franchise). They've overseen a horror remake—more of a thriller by definition, and a grueling one—that doesn't amp up the grisly extravagances of the original, or even pay much attention to what the kids have been going for lately, in the realm of the "Hostel" or "Saw" charnel houses. This film, the first in English directed by Greek native Dennis Iliadis ("Hardcore"), is what it is: a stark story of bloodthirstiness quenched, first by the obvious antagonists, then by sympathetic, civilized characters who avenge the atrocities that have come before.

As in '72, the pursuit of marijuana sets the victims on a path to hell. Mari (Sara Paxton), teenage daughter of John (Tony Goldwyn) and Emma (Monica Potter), leaves her folks at the lake home while she and her weed-minded pal (Martha MacIsaac) go into town and get to know a sweet, strange young guy (Spencer Treat Clark) who has the stuff they're looking for back at a pretty rough-looking motel. When his relatives show up at the motel—father Krug (Garret Dillahunt) chief among them, a recent prison escapee and heartless sociopath—the girls' lives get much worse very quickly.

"The Last House on the Left" hinges on humiliation and vengeance, which makes it like most other modern horror titles. Its focus on sexual assault, however, puts it in a different, more primal league. The way director Iliadis shapes the key misery-inducing sequence, there's no hype or slickness or attempt to make the rape palatable or visually "dynamic." For that you have to go see " Watchmen."

The second half of the film offers a more reassuring comfort zone for the audience, pitting the Manson-type family against the parents of Mari. Two sequences point to the remake's strengths and weaknesses. When John and Emma realize who's in their house, the kitchen scene (crimson shades of "Rolling Thunder") satisfies the audience's need for Old Testament justice; it's pretty dazzling in its suspense as well as its homey domestic sadism. This is followed by a far less interesting cat-and-mouse slaughter, capped by an epilogue that's basically a sight gag belonging to a far more jokey pulp universe.

Such aspects of the screenplay by Adam Alleca and Carl Ellsworth are there because they've been there in so many previous, financially lucrative franchise items.

The writing's better than that as a whole, though. "Last House" proceeds with a grim sense of purpose, its actors portraying characters approximating real people and plausible behavior, amid plausible tension, borne of a terrible situation. Is it pointless? It is, actually. Does that kill it? No, actually. I wouldn't call it a good time, but I would call it an unexpectedly good genre film.