Re-birth of lollywood

Our film industry was deservingly waiting for the renaissance after its collapse at the beginning of the new millennium. Due to the ubiquitous presence and readily availability of Hollywood and Bollywood movies on digital platforms, Lollywood movies face existential threats.
The second decade of this century has witnessed a number of Lollywood blockbusters which are quite at par with their counterparts across the border. The need is to lend time and space, and a little willing suspension of disbelief, to let them thrive in the entertainment world. It is incumbent upon us to quote a few instances to prove the worth and rebirth of our movies in present times. The Donkey King, Teefa in Trouble, Load Wedding, Punjab Nahi Jaungi, Actor in Law, Na Maloom Afraad are just a few examples that would never let down their viewers, and that would irresistibly change their opinion regarding Lollywood movies. These movies by any yardstick can befittingly be placed on an equal pedestal to the world’s top movies.
Artistic diligence and creative input are easily visible in our cinematic outpourings. Perfectionism is being targeted now. We shouldn’t let ourselves down by disoriented comparison between our movies and those of the world as the former is gearing up for its promising start while the latter has culminated to its highest attitude. The Donkey King, the movie being an animation, is outwardly meant for children, the maturity of the script, witty dialogues, sharp quips and puns along with political and satirical innuendos amply make it a worthy watch for the elders as well. Its music and lyrics of songs are the icings on the cake. The taste of the pudding is in the eating! The canvas is expanding, and the subject is branching out. Teefa in Trouble is a real entertainment piece. Load Wedding and Actor in Law are thesis movies on social evils. Punjab Nahi Jaungi is a cultural flix. However, the only area which hasn’t been tapped into yet, is our education system. It must be made the focus of our film productions. The Bollywood flicks like Taaray Zameen Pr, Three Idiots and Hichki, caused a stir in the education sector, and wrought a paradigm shift in policy making and pedagogy.
All these movies and others of their ilk herald the renaissance of Pakistani cinema. They also falsify the retrogressive views of some nihilistic art critics who toll the bell for artistic productions here in our part of the world. They live in a fool’s paradise when they crow that art has already scaled its apogee, and classics be born no more. Current silver screen creative renderings can successfully make them disillusioned. Respected editor, these views are not of a movie critic, nor taken vicariously, but rather of a layman who was once quite vociferous exponent of world movies and is now an avid viewer of Pakistani movies, and who has judged Lollywood movies objectively. What is aimed, is our movies of present times be given a chance once! It can be claimed positively that our indigenous silver screen productions can certainly glue the attention of the viewers, and have the potential to bring about a volte-face in their bigoted critics.
NADEEM NADIR,
Kasur