Sunday, 25 October 2015

Item song alert: Meera appears in a poor man's fantasy for B-town comedy film


Meera seems to be following a new policy of secrecy.
After suddenly disclosing that she's directing a film, for which she's already shot scenes in Paris and New York, another project of hers has come to light.
Meera did an item song for the just released Bollywood comedy Bumper Draw. When did she sneak off to India to shoot that, we wonder!
She did pick up the Best Actress Award for her role in Hotal at the Delhi Film Festival, so maybe the makers of Bumper Draw thought they could cash in on her star power for their otherwise B-grade movie.
The item song, titled 'Lukkhe Baray Aate Hain', has been sung by 'Munni Badnaam Hai' singer Mamta Sharma, and features Meera grooving with comedian Rajpal Yadav. Watch the video here:
In Bumper Draw, Rajpal (as Farooq) befriends Sunderlal (played by Peepli Live actor Omkar Das Manikpuri) under some strange circumstances. Their situation gets complicated by the arrival of an elderly Parsi gentleman, and thus ensues a comedy of errors.
Meera's item song appears to be Rajpal's escape from his his sorry 'poor boy' reality — the song repeatedly draws comparisons between his fantasies about living it up and his actual lifestyle that falls quite short of his pipe dreams. In the end, the skimpily dressed Meera also ends up being a figment of his imagination.
Poor Rajpal! Who wouldn't want someone as wild and unpredictable as Meera to jazz up their life?

Tuesday, 20 October 2015

How Pakistani morning shows are keeping women 'where they belong'

Oh boy, I'm running late, my chai is still brewing on the stove, my stomach is grumbling ... these morning weddings, I tell you, they can create a sense of panic in the attendees.
You see, my favourite celebrity, who got married and didn't invite me, is recreating the events from her shaadi. I will watch with anticipation as she goes through all the rituals and traditions once again, just for the audience, just for me.
Lights, camera, dulhan!
If, at any moment, my level of interest drops, all I have to do is switch the channel ... to another wedding. For the uninitiated, let me explain.
Breakfast television in Pakistan roughly translates to bright blasts of energy with an overjoyed female host at the helm of affairs. She is the wedding planner, counsellor and gossip monger all rolled into one. So effervescent is she that in comparison, your own morning mood and 'moo' will appear as being hungover.
These morning shows cater mostly to housewives, a big part of the population that stays back home to bring up kids and build their identity around family life. They deserve as much respect as any other professional.
It is no mean feat to work tirelessly without much incentive or gratitude. Yet, most of them make for great managers: overlooking everything from birthday parties to funerals for as long as a lifetime.
A different kind of power resides with these women – they are the builders of society, preparing people you and I will have to face tomorrow, both professionally and personally.
However, with a fast-moving world, these women need to be exposed to more discourses of life to broaden their horizon, and television is one school they regularly feed from.
A simple google images search on 'morning shows' throws up visuals of revelry surrounding weddings-all from Pakistan only.
A.M. transmissions in the west tend to talk about traffic updates, community news and such. In Canada, people mostly tune in to watch the weather forecast to decide the kind of jacket they will wear that day.
Many channels and countless nonfictional shows in Pakistan remain religiously focused on keeping women 'where they belong': in front of the dressing table or in the kitchen, as is obvious from the plethora of cooking shows beaming across our screens.
The female audience of these shows has been tricked into believing they are learning something new each day.
The topics are limited and, even if a few programmes have tried to tread off the beaten path, they've all had to resort to doing their 'dulhan week' for the sake of ratings.
This subliminal misogyny by TV producers cannot be overlooked.
Over the years, a need has been created for such content through this method: offer a handful of options repeatedly and the audience will soon become addicted to the one which is the least worse.
The bridal industry generates huge revenues, judging alone from the presence of a parlour at every corner of our streets. The average fee that each of these salons charge for face decoration is pretty hefty too, so much so, that it is advisable that the father of a newborn baby girl open up a separate savings account for her right away, in order to cover the costs of hershaadi 'looks' in time.
And, perhaps, all that is justified too, considering how hard the Pakistani makeup artist has to work towards accomplishing the herculean task of painting a new face over the bride's existing one.
The artist is thus both, a plastic surgeon and a desi avatar of Leonardo Da Vinci. These makeup gurus are invited on TV shows frequently to display their talent. Thanks to the advent of private channels, our average homemaker has also graduated from knowing only Pakistani or desi Chinese dishes a few years ago, to adding Indonesian and Malaysian cuisine (amongst others) to her résumé.
The idea remains the same though: submit to your fate in the kitchen and channelise all effort towards pleasing your 'sasural' (in laws) through swelling their 'tonds' (potbellies).
Maybe, today will be my lucky day. Maybe, by some twist of fate, it will not be raining marriages on morning TV shows and instead, it will be the home remedies day.
A subset of which is weight loss day, which is really a misnomer because the last time I drank a concoction for seven days in a row, I lost nothing but my mind.
Maybe now they'll come up with a new way to feel bad about our bodies. Our hosts have been given the task of keeping women's minds from exploring anything beyond activities perfectly in line with our highly patriarchal society. Yes, they may dedicate a show to talk about the Kasur child molestation case, but only as an afterthought, not as precaution.
Rarely will there be a serious discussion on reproductive health, community service, tolerating the 'other' or human rights.
In a country plagued with as many issues as we have, it is imperative to empower the 'gharwaalis' so they, too, can evolve into independent thinkers, in order to add more value to a society whose foundations are shaky at the moment.
Morning shows get this invaluable two-hour window of opportunity every day, but they are hell-bent on keeping women in a perpetual state of giddiness, mirroring the emotions of a new bride. So, when the aunty from upstairs goes on and on about the new lawn print out in the market and how she will have to resort to robbing her husband's wallet for it, I am reminded of a Jaun Elia couplet:
Kiss liye dekhti ho aaina,
Tum tou khud se bhi khoobsurat ho

(Why do you stare in the mirror,
You are more beautiful than even yourself).

As for me, I will just let my remote find BabyTv, which still has more value for grownups than the inane circuses underway on our morning shows.

Friday, 9 October 2015

Revenge of the Worthless eyes January release

Tired of waiting for Shaan-starrer Yalghaar to materialise? Then, perhapsRevenge of the Worthless will be able to satisfy your appetite for explosions and sophisticated maar dhaar.
Jamal Shah's action drama has been confirmed for release on January 15, 2016, according to a post on the film's Facebook page.
The veteran actor/first-time director also confirmed the same over the phone to Images:
" Yes, the film will be released nationwide on the 15th of January. The film's plot is based on the days of the 2009 Swat insurgency. We selected some real-life events after some research, upon which the story is loosely based."
ROTW is a film with many plots, one of which is centred around the family of one Zarak Khan (played by Jamal Shah himself), whose family refuses to leave home during the war. Some characters meet a tragic end, so we wonder if the film has been framed as a comment on the consequences of war. The director prefers, however, to see it as a celebration of the heroism of our people:
"The film shows the deep commitment and sacrifices rendered to save our country, land and cultural narrative. The message conveyed by the film is positive."
"The most important thing in art is relevance," he continues, "In our current circumstances, it's this issue that has affected many, many lives and so is most relevant."
A scene from Revenge of the Worthless
Jamal Shah chose to cast himself as one of the main characters in the film, which doubles the difficulty of pulling off his directorial debut. But he puts it down as a financial necessity:
"It's definitely double the challenges of making the film. When when you produce and direct, you are forced to make the film feasible and cut corners. Instead of paying another actor, I decided to do a character I knew I can do justice to."
The cast also features Firdous Jamal, Ayub Khoso, Maira Khan, Imran, Tariq Jamal, Shamyl Khan and Emil Karakose from Turkey, whom Jamal sahabduring his shoot for a Turkish film.
Turkish actress Emil Karakose stars as Jamal Shah's daughter in the film
"She was interested in acting and coming to Pakistan, and there was a place in the cast for my daughter's role, so I cast her in that," he says.
ROTW was shot over a span of 42 days in the Swat valley, with some scenes in Peshawar and Islamabad.
It was initially slated for a May 22 release, but was delayed due to a system crash that caused the team to start the film's post production from scratch.

Blaming Sunny Leone: When politicians give green signals to rape

On a TV show discussing if child marriages are kosher, I realised I should not have been there in the first place. It was like discussing if waterboarding, maiming or beheadings were a laudable method of bringing societal change.
There can be no discussion when one party justifies violence of any kind using any stretch of excuses or beliefs; child marriages are violence.
Things quickly got worse, as they inevitably do on talk shows. A political party representative, a man, brought up Pakistani film actor Meera, and said he didn’t want a country where women like Meera defined standards of morality.
The speed at which men of politics mudsling women in the entertainment industry on any topic easily beats the time between food announcements at Pakistani weddings and what happens to the trays of korma and biryaninanoseconds later.
This is an increasingly recurring phenomenon in South Asia. One that recently resonated in the statement of a Communist Party of India (CPI) leader, who has blamed a Bollywood actor, Sunny Leone and her new contraceptives advertisement for the rising rape cases in India.
This is also a kind of devouring, an indulgence; the repercussions of which are dire for women everywhere.
For a country with massive overpopulation and under-poverty line existence problem for millions, it could possibly not be the condom ad he wanted an end to. For Atul Kumar Anjan, the target was Sunny Leone. Let us examine why.
Women who have complete command over their sexuality horrify men who make it their business to govern the general construct of society. Where men call the shots, make decisions on political and familial scales that have no input from women.
A sexually liberated woman is the embodiment of a vulnerable heterosexual male – it undoes false machismo, masculinity and above all, power. In his attempt to keep a second-to-none facade, his empire tends to crumble at the sight of her. It becomes a threat to the concept of a state and its social order.
Rape signifies a mala fide attack on the very concept of women’s sexuality; a putting in place so to speak. A tool used by men over centuries to settle feuds, wars, disputes and petty grievances.
It is criminal, if not absurd, to say that with advertisements like the one Sunny Leone appeared in, there is no bar on how many rapes happen as a consequence. This is like blaming the gas pedal for head-on collisions.
This downright refusal to acknowledge that there is a space between a stimulus and a reaction is the very basis on which civilisation after civilisation has built bloody empires.
This war on women needs to stop. This attempt to single out a woman, be it Meera or Sunny Leone, needs to be rejected in its entirety.
It is the very essence of a woman’s choice that is under attack, today it is sexuality and tomorrow, under its garb, it will be child marriage, divorce, inheritance, education and mobility.
Oppression is oppression under any new or shortened name. Tempting as it is to strike at the softest target, it is not measured, only disgraceful.
Even more so because the horror of the Delhi bus rape case has not washed off our memory. Nor have we forgotten the sexism it exposed in South Asian society when victim-blaming poured in about how she was asking for it for staying out late.
One would think the brutality of that rape would unfreeze any putrid rot of sexism from society, instead it only refined it, through politicians who tell people how to think.
No amount of perceived or deliberate provocation from a woman can absolve a man for a breach of consent in the act of rape. None. Ever.
This concept is difficult for many in South Asia to wrap their heads around but we can and should start by calling out politicians that deliberately flame the rape culture and glorify the crime itself by shifting the blame from the perpetrator to the victim.
It is the very passivity against these reckless statements that trivialises the dehumanisation of women.
Every girl child is coached to slouch, hide under covers, ignore gropes and eve-teasers and beware of the passions of men, who will after all, be men.
Well, it is time to expect men to be more than just invertebrates. Let us demand those that are not, to grow a spine.

Friday, 2 October 2015

Art mart: Other mixed media interventions

In the current climate of social and political chaos, negotiating states of fear, anxiety and suppression is common fare amongst artists. Injured, angst-ridden, brash or defiant, their art scores if artists bring singular aesthetic definition to their expressive responses. The recent three-artist exhibition at the Canvas Gallery, Karachi, “The Fine Line” affirms that singularity and novelty piques interest and attracts viewership even if the issues being investigated are familiar and have been addressed by countless artists as many times.
Of the three participants, Cyra Ali and Fatima Munir, both Indus Valley graduates, incorporate embroidery as a communicative element in their art. In a country with an intensive and extensive needlecraft history the term ‘embroidery’ immediately brings to mind the wealth of Kashmiri, Sindhi and Balochi stitch craft still widely practised today. But as a mixed media addition in cross disciplinary contemporary art practice embroidery, both machine and hand stitch, gains another life altogether.
Ali mixes needlepoint with acrylic as a feminine artistic device to illustrate her rebellion against conventional norms that inhibit women’s personal freedom. Her compositions, figurative or fantasy oriented are motif-based. She takes inspiration from the design / motif typical to print fabric and is partial to floral bouquet effects or repeat patterns. From afar the appearance of her canvases is that of patterned print fabric but up-close the motifs often reveal themselves as sinister, scandalous objects like arrowheads, scissors, etc, which speak of injury and pain as well as struggle, resistance and confrontation.

A three-artist exhibition explores deep psychological conflicts


Attractive and celebratory, her piece ‘Dil Bagh Bagh Hua’ is subtly underscored with a grasping voracious streak where tiny, lithe but menacingly rapacious fish swim in a sea adorned with multi-hued floral blooms and water jets. The imaginary garden tapestry ‘Sada Khush Raho’ painted and embroidered with thought-provoking motifs like scales of justice, minarets, garlands, garden path, religious mother figure, bridal couple and toddler pram is a satirical ode to blessings parents shower on newlyweds.
Critique by contrived deception — enacted through veiled differences in the macro and micro image — is a common contemporary art ploy, and Ali perks this strategy with her cheeky mixed media stylisations. Her raw and garish embroidered / painted portraits, ‘Heroine and Raat ki Rani’, bear the traits of personality profiles. There is originality in this approach towards portraiture and the artist should consider developing it further. Munir an artist, a mother and concerned citizen, counters the anxiety and insecurity associated with violence and instability by recreating images (ink jet print on canvas) of blown-up sites, wreckages, grieving humanity, ambulances and portraits of martyrs and saviours and then overlaying them with embroidery. Likenesses of Sabeen Mahmud and Parveen Rehman on canvas immediately connect the viewer with activism in a politically volatile environment. The artist valourises them with by surrounding their images with brightly coloured embroidered floral wreaths. By embroidering a wing next to the image of Abdus Sattar Edhi Munir portrays him as an angel of mercy.
Visuals of destruction are similarly treated with a light tracery of embroidered motifs. In traditional South Asian households needlework was once considered an important skill for young girls to acquire and Munir was trained in the craft at an early age. She associates needlework with the steadiness, peace and tranquility of those earlier years. By incorporating it into her art she spreads a veneer of calm and stability on an otherwise devastating image.
An NCA graduate / sculptor Umar Nawaz’s handiwork, an iron metal cylinder splintered with fractures and fissures, illustrates the magnitude or intensity of ‘pressure’ applied to rupture an otherwise inflexible surface. Likewise a metallic sheet of silver steel crumpled like paper is again a show of physical strength or forceful application whereby it is deformed from a smooth to a furrowed or wrinkled state. Such surface manipulations speak of physical sculptural treatments. Conceptually creation of material distress can also allude to imposition of mental anguish.
As a show it is artistry with mixed media interventions in “The Fine Line” that initially catch the eye but it is the deeper psychological conflicts hidden in the artworks that hint at the thin line between what the artist feels should or should not be.
Published in Dawn, Sunday Magazine, September 20th, 2015