A step in the right direction

The film about a young boy from Karachi’s Christian minority highlights the injustices the community faces.

KARACHI:

It's a rare that one stumbles on a present-day Pakistani film that truly offers something fresh and unique to the audience. With most of our superstars entangled in the rom-com web, there's a scarcity of films catering to the content-driven aficionados or those seeking thrilling crime capers. Curiously, the world has witnessed the triumph of action films, yet it seems that Pakistani filmmakers either hesitate to dive into this genre or simply lack the finesse required to craft a realistic and adrenaline-fuelled action thriller. Enters John, a film that defies the norm and dares to tread where few Pakistani films have gone before.

Upon watching the trailer of John, it becomes evident that this film has the potential to captivate the discerning audience who crave content-driven, serious, and authentic cinema. For those ardent fans of this genre, the trailer evokes memories of masterpieces like Bollywood’s Satya, our very own Laal Kabootar, and their ilk. Starring the likes of Saleem Mairaj, Ehteshamuddin, Rashid Farooqui, as well as rising talents such as Aashir Wajahat and Raza Samo, John boasts a decent mix of lineup that adds to the anticipation.

Now, let's delve into what John has in store for its audience and whether it can rise to the expectations of both the masses and the classes. Will it leave movie buffs yearning for more? Will it quench their thirst for gritty realism and high-octane thrills? With its promising trailer, John promises to whisk us away on an electrifying journey, igniting our senses and challenging our perceptions.

With Pakistani cinema in need of such bold and daring ventures, John stands as a beacon of hope. As the film unravels its tale of intrigue and suspense, we eagerly anticipate the visual feast that awaits us. It's time to buckle up, hold our breaths, and allow John to transport us into a world where bullets fly, emotions run high, and the stakes are as gripping as they come.

For those who crave a departure from the status quo, John beckons you. Brace yourselves, fellow movie buffs, as we embark on this rollercoaster ride of cinematic brilliance. Let's embrace the unknown, for John might just be the breath of fresh air that Pakistani cinema desperately needs.

In a world where movies often try to dazzle audiences with complex plots and mind-bending twists, John takes a different route, delivering a refreshing dose of simplicity. The film's story may seem basic, even vanilla, but beneath its unassuming exterior lie a gripping tale that will captivate your senses.

Meet John (Aashir Wajahat), a confused and quiet teenage boy. Dissatisfied with his humble existence as a Christian who wants to do any reputed job but cleaning drains, John yearns for a life of distinction. He embarks on a tumultuous journey, hopping from one job to another, desperately seeking his calling.

Tragedy strikes when John's world is shattered by the sudden loss of his mother in a devastating road accident. But fate has an unexpected turn in store for him. Enter Daud, masterfully portrayed by Saleem Mairaj, a man with a sinister secret. Daud, a serial killer and the trusted right-hand of local gangster Baali, becomes John's unlikely saviour, offering him shelter from the storm.

As John delves deeper into Daud's dark underworld, an intricate bond forms between mentor and mentee. The young boy, reluctant and bewildered, finds himself entangled in a web of deceit and treachery. However, amidst the shadows, love's ethereal glow emerges. John falls head over heels for Maria, played by the radiant and talented (Romaisa Khan), and their love blossoms like a fragile flower.

Their dreams take shape as they exchange vows and eagerly anticipate starting a family. But the idyllic facade quickly crumbles when John resolves to sever ties with Daud. In a twist of fate, their once unbreakable bond becomes a fragile thread on the verge of snapping. The stakes escalate, and John finds himself torn between loyalty and the desire for a better life.

John explores the depths of human relationships, showcasing the complexity of mentorship, reluctant choices, and the blinding allure of love. With each scene, the tension tightens like a coiled spring, keeping audience on the edge of their seat. As the credits roll, audience is left pondering the unpredictable nature of life's intricacies.

Right from the very first scene, those who understand and appreciate content-centric cinema can foresee that the film will have something of grit, rawness and exclusive to offer. The frame, the scene and the execution topped with a qawwali that actually sets the mood of the film is no less than a tribute to cinema that Vishal Bhardwaj has created. And for a debutant director, the ability to offer a film that falls in the parallel lines to Vishal Bharadwaj’s creativity is a huge feat. Babar Ali, the director builds up the characters decently, he gives a backstory to the leading cast gradually unwrapping traits of their characters. There are scenes that might remind you of Dhobi Ghat (aka Mumbai Diaries), Maqbool and Omkara. These scenes are aesthetically and poetically shot. The frames are captivating and very much unlikely to what you get to see in Pakistani cinema. As a writer and director, Babar Ali commendably carries the entire film on his able shoulders. From the locations to treatment, the film engages and involves its audience. But for those who don’t connect with the film from the beginning might not be able to connect with it in the next two hours. This is not commercial cinema, but definitely a kind of genre that Pakistani cinema should explore more often. Hats off to Babar Ali for creating a movie like this.

The other gem in the crown hands down is Saleem Mairaj. As Daud, he portrays a character that fits him like a glove. His performance is first rate, in fact one of the fewest ones where the actor of his caliber is not only given a meatier role, but also utilised perfectly. In many scenes, Saleem Mairaj takes the lead and impresses his audience. There are shades in his role which are brilliantly written and amazingly performed by him. There is a scene where he teaches John how to ride a bike then there is a scene where he dances with Fazal and then where he says ‘har jaanwar paaltu nahin hota’ [not every animal is a pet]. There are more such scenes under Mairaj’s sleeves in the movie where he outdoes his co-actors. The relationship that he creates with John is not new, but it is handled and executed with maturity.

Raza Samo is the surprise package of the movie, despite his short-lived character as Fazal, but he makes it interesting, memorable and impactful. His dialogue delivery is his USP and he is a gifted and natural actor who should consider doing more films that can do justice to his talent. Romaisa Khan is cute and justifies her character with her earnest performance. Rashid Farooqui and Ehteshamuddin are impactful and memorable in their cameos. It would have been a more interesting if a few more scenes were given to Rashid Farooqui since the film has the relevance for his character.

Aashir Wajahat is featured as the titular character, but in all his scenes he looks a tad lost and unconvincing. There are scenes where he performs well, but being blessed with a character that oozes various emotions, expressions and shades, unfortunately the young boy delivers few hits and misses. His argument with his wife looks super forced, ditto for the scenes where he shares space with Saleem Mairaj. The result would have been electrifying between the two actors if Aashir had upped his performance game. In the first half of the movie there are scenes where Aashir loses the grip of his diction, in fact other actors who are shown from the same localities perform better with respect to diction and dialogue delivery. John is a powerful platform to feature the talent of Aashir Wajahat, but it’s not as effective as it could have been.

The music of John is praiseworthy and it stays with you once you are out of the cinema. The way songs are placed in the film is clever. The music helps the movie proceed. There are some scenes which look a little stretched and dragged and one also feels that there could have been a few more scenes to complement the other scenes and arcs of characters. For instance, what happens to Kainat’s son shouldn’t have been left the way it is. Moreover, the climax looked a little hurried and a lot more predictable than it should have been. For a film like John, the climax is the key, and it would have had far more impact with a twist. The audience today has access to a huge range of content from local and international market and can easily figure what’s going to happen next. Making that difference is the key to creating the ‘wow’ element.

John is a decent effort, and the right step in the right direction, but the film could have been powerful provided the main character had been a seasoned actor with a strong performance and demeanour, that is so particularly important for the big scree. I rate this movie 3.5 out of 5 stars. Watch it if you are a sucker for good performances, gripping direction and something unusual to come out of Pakistani cinema.

 

Shafiq Ul Hasan Siddiqui is an avid movie buff, and film and drama critic and a digital inbound marketer. He tweets as www.twitter.com/shafiqulhasan81. All information and facts are the responsibility of the writer