Ishq Khuda: So close, no matter how far from typical Lollywood
The Punjabi film fails to charm audiences at multiplexes thanks to predictable storyline.
The Punjabi film fails to charm audiences at multiplexes thanks to predictable storyline.
LAHORE:
The recently released Punjabi film Ishq Khuda offers an interesting case-study of the irony of film-making in Lollywood and public demand. While the film fails to provide the production quality that is necessary for gaining success at multiplexes, it has all the right ingredients needed to churn out large audience numbers at single screens.
As unfortunate as it is, the film is a typical Lollywood venture – full of clichés, choppy direction, poor acting and a terribly structured script accompanied by an over-the-top, loud presentation. It is also a perfect example of the power of branding and sponsorship as one can clearly witness the recurring use of Tapal Daanedar tea in several scenes.
However, the film is a complete rejection of the jihad-inspired movies from the ’90s that seem to be filling the gap of the gandasa-toting, thug heroes of the ’80s. It promotes sufism as the countervailing force to jihad through moralistic dialogues and the narrative of love and spirituality.
This concept is brought alive by infusing together two incoherent and inter-twined stories. Actor Shaan plays his usual role of the evil Chaudhry by the name of Ruliya. Having reached his saturation point with the exploitation of the poor’s rights and abuse of women, Ruliya comes face to face with a sufi, who makes him question his behaviour on religious and spiritual grounds. Although initially Ruliya is trying to beat the spiritual guide, he is soon inspired by the sufi’s moral values. Ruliya eventually becomes a sufi, too, who confronts his internal and external contradiction of hate that is used as a metaphor to address the broader narrative of extremist thought, after he falls in love with Kalsoom (Wiam Ammar Dahmani), only to be rejected because of his reputation.
At a different end, the movie tries to address the idea of love as it exists. Ahsan (Ahsan Khan) is a young engineer who returns to his ancestral village in the mountains to work on a business project. During his stay, he develops a relationship with Iqra (Meera), who is the daughter of a former Army official and is in search of true love. As fate might have it, she is also best friends with Kalsoom, who then also falls madly in love with Ahsan. However, Ahsan decides to marry Iqra and that is when all hell breaks loose and the movie turns dark and dreary.
Meera, who has promoted the movie heavily and pins her hopes on it to make a comeback, has failed miserably as an actor. She did not fit her character at all and could not manage to convince the audience with her superficially romantic dialogues. Unfortunately, talented actors such as Ahsan Khan were given lesser screen time which could have added a bit of depth to the otherwise hollow storyline. On the other hand, the director did a good job in providing shots of scenery, great music and some enticing dialogues that provide minimal enjoyment but are necessary ingredients for success at single-screen cinemas.
Even though, the film seems to be a failure by global standards, the divide of Pakistani cinema has allowed it to be hit on single screens in the Punjab circuit. While multiplexes thrive on quality content, something Ishq Khuda fails to provide, a larger audience that can only afford a Rs100 ticket enjoys such movies. This is probably why the movie has been loved by the masses.
As Momin Ali Munshi blogs on Galaxy Lollywood, “The film stars Shaan, Saima and Meera (who are hot favorites with Shaan and Saima being legends). Also it has the good-looking Wiam-Ahsan pairing and the icing on the cake is that the film is in Punjabi. What more could a common man want?”
Published in The Express Tribune, August 15th, 2013.
The recently released Punjabi film Ishq Khuda offers an interesting case-study of the irony of film-making in Lollywood and public demand. While the film fails to provide the production quality that is necessary for gaining success at multiplexes, it has all the right ingredients needed to churn out large audience numbers at single screens.
As unfortunate as it is, the film is a typical Lollywood venture – full of clichés, choppy direction, poor acting and a terribly structured script accompanied by an over-the-top, loud presentation. It is also a perfect example of the power of branding and sponsorship as one can clearly witness the recurring use of Tapal Daanedar tea in several scenes.
However, the film is a complete rejection of the jihad-inspired movies from the ’90s that seem to be filling the gap of the gandasa-toting, thug heroes of the ’80s. It promotes sufism as the countervailing force to jihad through moralistic dialogues and the narrative of love and spirituality.
This concept is brought alive by infusing together two incoherent and inter-twined stories. Actor Shaan plays his usual role of the evil Chaudhry by the name of Ruliya. Having reached his saturation point with the exploitation of the poor’s rights and abuse of women, Ruliya comes face to face with a sufi, who makes him question his behaviour on religious and spiritual grounds. Although initially Ruliya is trying to beat the spiritual guide, he is soon inspired by the sufi’s moral values. Ruliya eventually becomes a sufi, too, who confronts his internal and external contradiction of hate that is used as a metaphor to address the broader narrative of extremist thought, after he falls in love with Kalsoom (Wiam Ammar Dahmani), only to be rejected because of his reputation.
At a different end, the movie tries to address the idea of love as it exists. Ahsan (Ahsan Khan) is a young engineer who returns to his ancestral village in the mountains to work on a business project. During his stay, he develops a relationship with Iqra (Meera), who is the daughter of a former Army official and is in search of true love. As fate might have it, she is also best friends with Kalsoom, who then also falls madly in love with Ahsan. However, Ahsan decides to marry Iqra and that is when all hell breaks loose and the movie turns dark and dreary.
Meera, who has promoted the movie heavily and pins her hopes on it to make a comeback, has failed miserably as an actor. She did not fit her character at all and could not manage to convince the audience with her superficially romantic dialogues. Unfortunately, talented actors such as Ahsan Khan were given lesser screen time which could have added a bit of depth to the otherwise hollow storyline. On the other hand, the director did a good job in providing shots of scenery, great music and some enticing dialogues that provide minimal enjoyment but are necessary ingredients for success at single-screen cinemas.
Even though, the film seems to be a failure by global standards, the divide of Pakistani cinema has allowed it to be hit on single screens in the Punjab circuit. While multiplexes thrive on quality content, something Ishq Khuda fails to provide, a larger audience that can only afford a Rs100 ticket enjoys such movies. This is probably why the movie has been loved by the masses.
As Momin Ali Munshi blogs on Galaxy Lollywood, “The film stars Shaan, Saima and Meera (who are hot favorites with Shaan and Saima being legends). Also it has the good-looking Wiam-Ahsan pairing and the icing on the cake is that the film is in Punjabi. What more could a common man want?”
Published in The Express Tribune, August 15th, 2013.