Its All About Lollywood Films

Wednesday, 30 September 2015

‘Jawani Phir Nahi Ani’ breaks record of ‘Furious 7′, earns Rs 14 crores in first week of release

LAHORE (Staff Report) – Pakistan’s latest movie ‘Jawani Phir Nahi Ani’ has proven to be a real blockbuster as it broke the record of Hollywood movie ‘Furious 7′ to make highest business in first week of release by crossing Rs 14 crores mark on Wednesday.
Furious 7 had earned Rs 12.3 crore in first seven days of screening in Pakistan.
According to figures released by Box Office Pakistan, the drama adventure movie is successful enough to enter into second week of release with average business of Rs 1.9 crores per day. The movie is expected to reach Rs 20 crores mark by the end of second of release.
Earlier the movie first broke the record of ‘Waar’ in terms of earnings on first day of screening then it became the fastest movie to cross Rs 10 crores mark in just five days.
Moreover the movie has earned a 7.9 rating at IMDb.
Jawani Phir Nahi Ani is being screened in 85 cinemas in all large cities of Pakistan including Lahore, Karachi, Islamabad and Rawalpindi.
“Jawani Phir Nahi Ani” is said to be an adventure comedy film. Leading cast of the movie includes Hamza Ali Abbasi, Hamayun Saeed, Ahmad Butt, Vasay Chaudhry, Javed Shaikh, Ismail Tara, Mehwish Hayat, Sarwat Gillani, Sohai Ali Abro and Ayesha Khan. 
 

Tuesday, 29 September 2015

‘Jawani Phir Nahi Ani’ becomes fastest to cross Rs 10 crore mark in just five days

LAHORE (Staff Report) – “Jawani Phir Nahi Ani” is all set to become Pakistan’s biggest hit ever as the movie has crossed business mark of Rs 10 crore in just first five days of its release.
Previously two movies had earned Rs 10 crore in their opening week however the comedy adventure film has been seen above Rs 11 crore on its fifth day.
According to Box Office Pakistan, the movie has been earning more than Rs 2 crore per day and is expected to stay steady in coming days as well.
If the film keeps following the same momentum it may become Pakistan’s first homemade movie to earn Rs 15 crore and it could also beat “Furious 7″ which made business of Rs 12.5 crore in first week of release.
Jawani Phir Nahi Ani is being screened in 85 cinemas in all large cities of Pakistan including Lahore, Karachi, Islamabad and Rawalpindi.
“Jawani Phir Nahi Ani” is said to be an adventure comedy film. Leading cast of the movie includes Hamza Ali Abbasi, Hamayun Saeed, Ahmad Butt, Vasay Chaudhry, Javed Shaikh, Ismail Tara, Mehwish Hayat, Sarwat Gillani, Sohai Ali Abro and Ayesha Khan.
 

Monday, 28 September 2015

‘Jawani Phir Nahi Ani’ makes record Rs 7.73 crore business in just three days

LAHORE (Staff Report) – ‘Jawani Phir Nahi Ani’ which attracted a record crowd on first day of its release is still going strong as the movie has crossed Rs 7.73 crore business in just three days.
According Box Office Pakistan the movie is all set to set new trends in Pakistani film industry. it would be the first ever film since revival of the local industry that can be termed as a “Blockbuster”.
The movie has seen a record 100% increase in its revenue on third day and it earned Rs 2.85 crore in early hours only.
The movie is being screened in 85 cinemas in all large cities of Pakistan including Lahore, Karachi, Islamabad and Rawalpindi.
“Jawani Phir Nahi Ani” is said to be an adventure comedy film. Leading cast of the movie includes Hamza Ali Abbasi, Hamayun Saeed, Ahmad Butt, Vasay Chaudhry, Javed Shaikh, Ismail Tara, Mehwish Hayat, Sarwat Gillani, Sohai Ali Abro and Ayesha Khan.
The movie initially received criticism from Pakistani viewers on release of trailer which showed several actresses in Bikinis and short skirts.
Responding to criticism Hamza Ali Abbasi, the leading actor, had also announced that he will not be promoting the movie and that he does not support the content of movie.
However the mounting business of Jawani Phir Nahi Ani has rebutted all such criticism.
Moreover the Pakistani movie has also earned appreciation from across the border. Indian producer Mahesh Bhatt has termed the film as a blockbuster in his tweets.      

Sunday, 27 September 2015

Jawani Phir Nahi Ani Creates Multiple Records In Less Than A Weekend

Film has not even reached end of it's Weekend and it already has created multiple records.. Film released on Thursday night in around 50 shows and collected more 30lacs which maximum numbers collected in previews ever in Pakistan.. On Friday film got 190 shows and performed exceedingly well despite Eid Obligations and Friday prayers.. Film had 4 other releases also and holdover like Manto yet film broke opening Day record set by Furious 7 earlier this year.. 

Saturday saw around 210 shows and film performed 100% with every show in every circuit went houseful.. Few shows saw extra seats installed and film collected 2.68cr creating single day record in the History of cinema overtaking 2.5cr approx figures of Furious 7..

Film crossed 5cr commutative total on Saturday becoming fastest 5cr grosser in the history of cinema.. Earlier four films had crossed 5cr mark in 3 days i.e. Furious 7, Dhoom 3, KICK and Welcome Back whereas Jawani Phir Nahi Ani has done it in just 2 Days..

 Film has seen average occupancies of 1.3lacs per show on Saturday which is highest ever for any release ever in Pakistan.. Earlier films like Dhoom 3 and Welcome Back had registered around 1lacs per show whereas Wrong No. had seen 95k per show..

Below are records made by Jawani Phir Nahi Ani At Boxoffice so far..

Highest Thursday Previews.. 30+lacs

Highest Day One.. 2.07cr

Highest Single Day Collections.. 2.68cr

Fastest To 5cr.. 2 Days (incl. Previews) Highest Average Per Show.. 1.3lacs

These are the records made in just two days and film will create few more records on Sunday.

Saturday, 26 September 2015

Jawani Phir Nahi Ani sets new box office record in Pakistan

KARACHI: ARY Films and Six Sigma Plus’ joint venture “Jawani Phir Nahi Ani” (JPNA) has set a new box office record in Pakistan as the film earned more than Rs. 20.7 million on its opening day of release, ARY News reported.

People in large numbers are still heading towards the theatres to watch the film and the cinemas are house full. The plot of the movie circles around four friends who are dissatisfied with their married life and go to Bangkok to enjoy life without their wives. The flick is directed by Nadeem Baig. The cast of the film includes Humayun Saeed, Vasay Chaudhry, Ahmad Butt, Hamza Ali Abbasi, Ismail Tara, Javed Sheikh, Sarwat Gilani, Mehwish Hayat, Uzma Khan, Ayesha Khan and Bushra Ansari.

 

Jawani Phir Nahi Ani smashes opening day record of Waar with Rs. 1.50 crore

The chemistry of Hamza Ali Abbasi, Ahmed Ali Butt and Humayun Saeed is going well on the cinemas’ screen. The production of ARY Films has successfully smashed the opening day record of Waar by collecting between Rs. 1.45 to 1.50 crore against 1.14 crore of Waar.

Jawani Phir Nahi Aani was released on September 25, 2015 in over 85 cinemas of the country that is itself a record. Jawani Phir Nahi Aani is receiving lot of appraises from the viewers. Internet Movie Database has given the film 9.2 points out of 10. Rafay Mahmood of The Express Tribune rated the film 3 out of 5 stars.
Asim Malik of Daily Times said, “This flick is a complete package and every one made sure that the details are covered.” The reviews of Salima Feerasta of DAWN were as: “Despite the flaws, Jawani Phir Nahi Aani is an out-and-out entertainer. An engaging blend of slapstick, spoofs and wit, the film is easy on the eye and an undemanding crowd-leaser. Definitely worth the price of admission.”

Naveen Qazi of Siddy Says rated the film 4.5 out of 5 stars. Momin Ali Munshi of Galaxy Lollywood rated 3.8 out of 5.

Meanwhile, Bollwood director and producer Mahesh Bhutt is in love with JPNA.

Jawani Phir Nahi Aani Official Trailer
Jawani Phir Nahi Ani - Trailer 2

The 2nd theatrical trailer of Jawani Phir Nahi Ani, Lollywood adventure comedy film directed by Nadeem Baig and co-produced by Humayun Saeed, Salman Iqbal, Shahzad Nasib & Jarjees Seja under production banner Six Sigma Releasing on Eid Ul Azha Across Cinemas in Pakistan, UK, USA & UAE !!!

Posted by Lollywood Online on Friday, September 18, 2015
 

Thursday, 24 September 2015

Two big films for comedy enthusiasts this Eidul Azha

LAHORE: The comedy enthusiasts have much to be excited about this Eidul Azha, as two full comedy films are set to hit cinemas on Friday (tomorrow).

Nadeem Baig directorial ‘Jawani Phir Nahi Ani’ and Karman Akbar Khan’s ‘Halla Gulla’ are set to release on Eidul Azha.

‘Jawani Phir Nahi Ani’ features a starry cast including Humayun Saeed, Hamza Ali Abbasi, Vasay Chaudhry, Ahmad Ali Butt, Javed Sheikh, Mehwish Hayat, Sohai Ali Abro, Sarwat Gillani, Ayesha Khan, Bushra Ansari and Ismail Tara. ‘Halla Gulla’ cast has Sheikh, Tara, Ghazala Javed, Sidra Batool, Asim Mehmood, Ashraf Khan, Zara Gul, Jasmeen, Adil Wadia, Maryam Ansari, Hina Rizvi and Hunain Maniar.

Wednesday, 23 September 2015

Will Jawani Phir Nahi Ani hit the 300m mark

KARACHI: 
The past few holiday weekends have seen an abundance of Pakistani and Bollywood movie releases going toe-to-toe with one another. Eidul Azha last year saw Na Maloom Afraad (NMA), Operation 021 andBang Bang! square off against each other and the trend seemed to have repeated on Eidul Fitr this year when Bin Roye and Wrong No locked horns with Salman Khan’s Bajrangi Bhaijaan. All of which eventually peaked with the Independence Day weekend, when for the first time in several decades, three Pakistani films were released simultaneously.
Surprisingly, there seems to be an awful lot of calm and decorum heading into Eidul Azha this year with not many local or international movies jousting for the crown. For the first time in over a year, a Pakistani movie would head into its weekend assured of its fate. It is the multi-starrer comedy Jawani Phir Nahi Ani (JPNA) that seems to be in pole position as the movie nears its release date.
Keeping this thought in mind, chief executive officer (CEO) of ARY Digital, Jerjees Seja, whose company Ary Films has produced and distributed the movie, said they were aiming for a weekend in excess of Rs40 to Rs50 million at the local box office. The figure seems to be meagre considering how ARY Films’s previous release Wrong Nomanaged to earn Rs25 million during its opening three days despite facing stiff competition from Bin Roye and Bajrangi Bhaijaan.
Wrong No had the advantage of having a few shows before Eid, whereasJPNA will release directly on Eidul Azha,” explained Seja.
But the real point of interest is that the producers of the film are actually aiming to set a box-office record by the time the film finishes its run on cinema screens. “The total box-office collections we have set for the film is over Rs300 million. If this film doesn’t cross this mark, then I don’t know what film will,” stated Seja.
If the movie does end up crossing that tally, it would become Pakistan’s highest-grossing film, breaking Waar’s record of Rs230 million. EvenWaar’s writer and producer Hassan Waqas Rana has thrown his weight behind the film, saying, “When I watched the movie, I told Humayun it would cross the Rs300 million mark.”
Exhibitors have also shown confidence in the movie terming it as an ideal Eid release as the film would translate well with both multiplex and single-screen cinemagoers, similar to another comedy released on Eidul Azha in 2014 — Na Maloom Afraad.
JPNA has already managed to capture the attention of audiences in Lahore with Khorem Goltasab, general manager of Super Cinemas, noting how there is a growing demand for the film in terms of advance booking. “Not only is the movie a thorough entertainer with the performances par excellence, it is a film that will do well in both multiplexes and single-screen cinemas.”
JPNA has received a boost heading into its release as the film, which was premiered in various cities worldwide, has already begun to benefit from strong word-of-mouth. With the movie appearing as a heavyweight in front of other local and international releases, such as Hulla Gulla, Katti Batti and Everest, it would be asking too much of these three films to stop the JPNA juggernaut.
Despite the lack of competition, Seja is not getting too carried away with the film’s chances and is wary of the threat that the other movies pose. “All these films, such as Hulla Gulla, Katti Batti and Everest, are quality films. Even Manto is still being screened in cinemas, so I wouldn’t say there is a lack of competition. These films are still tough competition.”
JPNA is expected to release on nearly 80 screens across the country on Eidul Azha. The movie features an ensemble cast, including Humayun Saeed, Hamza Ali Abbasi, Vasay Chaudhry, Ahmed Ali Butt, Javed Sheikh, Ismail Tara, Ayesha Khan and Bushra Ansari.

Sunday, 20 September 2015

JPNA title song: Finally found the missing piece of the puzzle

KARACHI: If you think upcoming Pakistani film Jawani Phir Nahi Ani(JPNA) is a Bollywood rip-off, you are mistaken.
We can see how the film’s first promo could have led you to that assumption. But the recently released title track of the film is certainly the missing piece of the puzzle we have all been looking for. Directed bySadqe Tumhare actor Adnan Malik, the video is definitely a sight for sore eyes.
It begins with a surprise cameo appearance by renowned actor and TV host Fahad Mustafa. His dialogue Abhi Khatam Nahi Hui Kahani serves its purpose — the best is yet to come.
Behind the curtain, Ahmed Ali Butt — who has written as well as sung the track alongside Faiza Mujahid — looks dapper while doing what he does the best. The ex-member of EP, along with Ismail Tara and Vasay Chaudhry, will take you back to the days of popular sitcom Rubber Band.
It is this kind of originality that we expect from the three and they definitely lived up to our expectations.
You are bound to groove to the catchy beat of the song while the addition of Madam Noor Jahan’s Mundeya is the cherry on the top.
Before you don your critic hat and start bashing Hamza Ali Abbasi, Humayun Saeed, Vasay Chaudhry and Javed Sheikh for asking the girls to “Nach Ke Dekha”…
 …wait till you watch Mehwish Hayat and Sohai Ali Abro doing the same:
 Bushra Ansari is the queen of comedy and she proves herself time and again. We are really looking forward to seeing her in a newly-adopted pixie hair cut:
 Overall, this visual treat leaves you wanting for more and will definitely pull you to the cinema this Eidul Azha.

Saturday, 19 September 2015

Manto shakes up cinema

Sarmad Sultan Khoosat’s movie opens with a shot of someone getting shock therapy and screaming through it as Javed Bashir’s voice rings in the background and asks the question “Kaun hai yeh gustakh”. The gustakh in question is, of course, one of Urdu’s biggest story writers, Saadat Hasan Manto. The opening sequence sets up very high expectations of the rest of the film, and boy does it deliver.
Khoosat’s Manto is not a biopic; it is a tale of the tales of Manto, and the madness that lies within each writer that compels them to write more and more. Khoosat’s Manto is, at the same time, a portrait of the writer seen through Manto’s own eyes, as well as a study into the prototypical mad writer archetype. Manto is mad, but in his own words, the madness is something imposed on him by the society and the injustices he sees and not an insanity that can be cured through medication. Sarmad’s Manto, the character, embodies the madness wholeheartedly, and balances it with the sanity to give us a perfect blend.
The movie tells us the story of Manto’s stories, so expectedly it uses the struggles of Manto’s later life to frame abridged adaptations of his short stories. These two parts are at the same time intertwined and distinct, both visually and narratively. The story of Manto’s later life is told in a very cinematic way, often compressing incidents and sometimes creating composite characters that are nothing but plot devices. This lets us experience the story with the focus on the main cast, Khoosat as Manto and Sania Saeed as Saffiya, Manto’s devoted wife. They are joined by Saba Qamar’s rather over the top but endearing impression of Noor Jahan and Adnan Jafar as QU Shahab as satellite characters. The acting is superb. Khoosat portrays Manto’s internal anguish perfectly, and for the most part without even saying a word. Sania Saeed, a veteran actress, shines as the eternally devoted wife, who stands by her husband despite all his faults, and supports him. The relationship between the two is not explored much, but the strength and the support there is evident, even in the very briefest of scenes.
An amazing artistic touch was the corporeal manifestation of the inner madness that forced Manto to write his “Fire”. Nimra Bucha effortlessly portrays Manto’s “hamzad”, his alter ego that manifests itself in the form of stories that Manto writes. Her recitation of Manto’s self-portrait “Main Manto” chills you to the bone and grips you by the collar and shakes you awake. My favourite section from the movie is arguably Manto’s dialogue with his alter ego, in the throes of delirium as he is in the hospital, dying but not dead.
One small gripe I have is the portrayal of QU Shahab and Noor Jahan, as fairly bland characters. The actors did their job well, but for someone who has little idea of the literary and film scene of the fifties, the kind of people this film seems to be targeted at, most references will not make sense. It’d take someone who knows who Shahab was, and that he was DG Reallocations at the time, to understand the way Manto was talking to a very dapper civil servant that way. The same goes for Manto and his rapport with Noor Jahan. The whole thing becomes clear once you know their history, from Bombay to Lahore. That said, if this movie sparks an interest into these other staples of our literary and film history, I’d be satisfied that the movie did its job.
The movie adapts some of Manto’s biggest short stories into small short films-within-the-film, and does a really good job of it. The short stories include “Toba Tek Singh”, Madari”, “Khol Do”, “License”, “Peshawar Se Lahore”, “Thanda Gosht”, “Hatak” and “Ooper, Neechay or Darmian”. These short films, in their own right, are works of art and Khoosat weaves them beautifully into the original film, sometimes cutting to them as Manto is reading them in a sitting of Halqa-e-Arbab-e-Zauq or Pak Tea House, or sometimes while he is writing. The transitions are seamless, and in a couple of cases, downright perfect.
In the adaptations such as Madari and Peshawar se Lahore, Khoosat exploits music to create a dialogue-free narrative that tells the story purely through the visuals. ThePeshawar se Lahore adaptation, set to “Kya Ho Ga” tells a rather light-hearted story that deconstructs the rampant love-at-first-sight trope and turns it on its head. Mahira Khan’s acting of the shy girl really sells the part. The same Mahira plays an entirely different role of the madaran, the juggler. She proves that she is as capable on the big screen in extremely challenging roles as she is on the TV playing stereotypical woman roles.
License and Hatak talk about the issues that women faced in that time, and sometimes still face in this day and age. In Hatak, Nadia Afgan plays the role of Suagandhi, a prostitute that gets rejected, for being too old, and “wasting the time” of the “buyer” and in License, the issue of working women in a very restricted society is raised. Hatak’s incredible attention to detail, with the appropriate “ornaments” in the small house that Saugandhi lives in, from the Ganesh idol to the pictures on the wall makes sells the authenticity of the set design. As for License, while the adaptation skips over a lot of the build-up of the story, it does do the climax justice.
Toba Tek Singh and Khol Do, deal with the post-partition struggles. Khol Do, partially acted out and partially read in Manto’s voice, makes the atrocities committed in the name of “volunteers” during one of the most turbulent times in subcontinent history very real for a viewer who probably never saw the real events. Khol Do’s climax, and the way Siraj-ud-Din reacts to his daughter still being alive, even with the implications clear to him, hit home, clearly delivering the message Manto had intended more than half a century ago. Toba Tek Singh, the mentally ill Sikh inmate in the Lahore Mental Hospital, keeps asking the same question that no one answers: Where is Toba Tek Singh, in Pakistan or in India? The portrayal of the mentally ill i
One of the biggest treats was the adaptation of Manto’s short story, Thanda Gosht. Thanda Gosht has suffered obscenity charges and has been reviled by the regressive elements since long, but has withstood the test of times and is arguably one of the best short stories by Manto. As an avid Manto fan, I had given up hope of ever seeing a visual adaptation of the short story, owing to the language, the subject material and the way the moral guardians in Pakistan react even to the tiniest sliver of impropriety. That said, I think Khoosat’s adaptation beautifully sidesteps the issues that were raised for the written story. It does away with the dialogue, opting to turn all the raunchy talk into very unsubtle but appropriate symbolism and filling the background with Shiv Kumar Batalvi’s “Mehram Dilan De Mahi”, beautifully rendered by Meesha Shafi. The symbolism works well, raising very interesting questions for the modern-day crusaders against perceived obscenity. I hope this challenges the moral crusaders of today, just as Manto challenged the ones of his time.
The soundtrack of Manto speaks for itself; it is a perfect cocktail of young singers, brilliant score and classic lyrics from the poets who knew what they were doing. As a whole, the songs were not overdone, as is usually the custom in Bollywood-inspired mush, they were added to appropriate parts and complemented the storytelling, rather than serving as distractions to wake the sleeping audience. Javed Bashir’s rendition of Majeed Amjad’sKaun Hai Yeh Gustakh with its music and his voice, is a treat for the senses.
Over all, the movie is one of the very best movies to come out of Pakistan in a long time. With the efforts to revive Pakistani cinema underway, it bodes well that a movie that distinctly targets adult audiences, literature fans and millennials who want to learn about the history and culture of Pakistan, can be made and do its job well. This movie makes no secret of its subject matter and deals with it honestly and intelligently. Nowhere does it talk down to the audience. It does not teach, it just opens a door and lets you peek into a world that we may have forgotten a long time ago. I wish Sarmad Sultan Khoosat and his team the best of luck, and hope that he keeps making more movies like this. Pakistani Cinema needs them, probably more than your average formulaic love story with item-numbers.

nmate is so true-to life that you have to have a heart of stone to keep yourself from tearing up at the climax.


Wednesday, 16 September 2015

Manto crosses Rs. 1 crore business in 5 days only and going strong

LAHORE (Staff Report) – Manto has been going strong on the box office. The film has managed to collected over Rs. 1 crores within first five days of its release.
According to Box Office Detail, Manto has managed to collect Rs. 1.13 crores in five days, with almost half the business done in Lahore.
“Film is getting full advantage of non performance of Hero and huge falls of Welcome Back,” reported Box Office Detail.
The film has lost Rs 1,200,000 so far due to no release in two cinemas in Islamabad, Cinegold plex and Arena Islamabad.

Monday, 14 September 2015

Check 123: Is Pakistani cinema not sound enough?

KARACHI: 
“The lesson is don’t play the visual, play the emotion.” Sound designer Al Nelson was definitely not addressing Pakistani filmmakers when discussing his approach to audio in motion pictures and even if he was, his advice must have fallen on deaf ears.
With the current spate of Pakistani movies noticing a marked improvement in the visual side of the craft, this development seems to have come with an opportunity. With a focus on enhancing the visual side of the craft, filmmakers seem to have been caught napping when it comes to the sound department.
Even though not many Pakistani films can boast of perfect sound design right now, Na Maloom Afraad (NMA) and Moor — have come close to unlocking this achievement. And it should not come as a surprise that both of them were required to bring in foreign and more qualified experts, at one stage or another, to obtain the desired sound design.
Although Jami only availed the services of a foreign sound crew for the sequences filmed in Muslim Bagh, he believes that the audio approach being adapted by the latest generation of Pakistani filmmakers is fundamentally flawed.
“The biggest problem is that our technical approach is also inspired from Bollywood. And like them we continue to dub our films and are not trying to capture on-location sound. We’re just following suit,” the director told The Express Tribune.
Seconding the music video-turned-feature film director, experienced composer-cum-sound designer Kamran Ismail, colloquially known as Kami, noted that filmmakers in the country were still coming to terms with the phenomenon of sound,  given how fast the technology improves in that discipline.
“When it comes to sound design the technology is improving rapidly and it is imperative to keep ourselves up-to-date otherwise there is always a chance of being left behind,” remarked Kami.
He further added that in order to improve the standard of sound in films it was necessary to ‘educate’ the new lot of sound designers.
Using his own example he narrated an incident about how he faced an uphill task when doing ADR (Automated Dialogue Replacement) for Javed Sheikh’s character in the movie Na Maloom Afraad. “Since his character would stammer I had to keep a count of his stammers in the film so that the dialogues could be synced. That is the sort of attention to detail that is required.”
Aware of the inner workings of the industry filmmakers and sound designers refer to a shortage of time as a major factor at play. Many filmmakers fail to realise the complex nature of a sound designer’s job and are constantly forcing the sound designers to rush through the entire process —  eventually leading to a sub-standard product.
“Ideally a film should be completed at least a month prior to its release but in Pakistan we are working on the audio and finalizing the sound design just days before its premiere,” tells Kami, who has completed the sound design for Jawani Phir Nahin Ani almost a week ahead of its release.
With the new wave of Pakistani films becoming infamous for appearing as an extension of Bollywood, NMA director Nabeel Qureshi was of the opinion that this approach was becoming evident in filmmakers’ over-reliance on OSTs. “Now soundtracks are not just used for the progression of the narrative but directors tend to use them unnecessarily to cover up the shortcomings in sound.”
While the visual side continues to grow with each movie, filmmakers do not seem so optimistic about sound being fixed all of a sudden.
“There are no foley artists or studios [in Pakistan] that can reproduce sound as per our requirements. So, there is still some time before sound can be rectified,” states Qureshi.
Jami on the other hand believes that the only way they can save this aspect of films was if directors drop the Bollywood style of filmmaking. “I’m sorry to say this but at least one or two films will have to fail, or the sound will need to mess up badly, if we are to correct our way of filmmaking otherwise people would continue to rely on dubbing.”