Our film industry was deservingly waiting for the renaissance after its collapse at the beginning of the new millennium. Due to ubiquitous presence and ready availability of Hollywood and Bollywood movies on digital platforms, Lollywood movies faced existential threats. As the history of the nation suggests, it bounces back after a brief hiatus, and the same was true of the tinsel town.
The second decade of this century has witnessed a number of Lollywood blockbusters that are on a par with their counterparts across the border. The need is to give time and space to the newcomers in order 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 recent times. Movies like The Donkey King, Teefa in Trouble, Load Wedding, Punjab Nahi Jaungi, Actor in Law, Na Maloom Afraad are just a few examples of the resilience of our producers and actors who seem to have vowed never to let down the audiences.
Done consistently, such an attitude would change everyone’s opinion about Lollywood movies. These movies are good by any yardstick.
Artistic diligence and creative input are easily visible in our cinematic outpourings. Perfectionism is being targeted now. We should not let ourselves down by disoriented comparison between our movies and those of the other countries as the former is gearing up for its promising start, while the latter has achieved its peak.
Let us see a swatch. The Donkey King, being an animation movie outwardly meant for children, showed maturity of script, had witty dialogues, sharp quips and puns along with political and satirical commen-tary that made it a worthy watch for the elders as well. Its sound tracks and lyrics were the icing on the proverbial cake.
The canvas is expanding, and the subject is branching out. Teefa in Trouble was a real entertainment piece. Load Wedding and Actor in Law were thesis movies on social evils. Punjab Nahi Jaungi was a cultural movie. However, the only area that has not been tapped into yet is our education system.
It must be made the focus of our film productions. Movies made on such subjects caused a stir in the education sector of their respective countries, and brought about a paradigm shift in policy-making and pedagogy. We should also try such subjects.
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 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 should not be expected anymore. The current silver screen creative renderings can successfully make them disillusioned.
These views are not of a movie critic, rather of a layman who was once quite vociferous exponent of world movies and now an avid viewer of Pakistani movies, and who has judged local movies objectively.
Our movies should be given a fair chance. It can be claimed positively that our indigenous silver screen productions can certainly attract and sustain the attention of the viewers, and have the potential to bring about a change in the thinking of even their hardline critics.
NADEEM NADIR
KASUR
