Cinema of Pakistan

Source: Wikipedia, the free encyclopedia.

Cinema of Pakistan
No. of screens150 (2022)[1]
Main distributorsARY Films
Hum Films
Geo Films
Urdu 1 Pictures
Six Sigma Plus
Eveready Pictures
One Films
A-Plus Films
Dawn Films
Produced feature films (2023)[2]
Total100+
Number of admissions
Total250,000,000
Cinema of Pakistan
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The

motion pictures, has had a large effect on Pakistani society and culture since the nation's independence. Pakistani cinema is made up of various sub-industries, including Lollywood, which makes motion pictures in Urdu and Punjabi. Lollywood is one of the biggest film industries in the country.[3]

Pakistani cinema includes films made in various Pakistani languages, which reflects the linguistic diversity of the country itself. The largest language-based film industries in the country include Punjabi, Urdu, Pashto, Sindhi and Balochi cinema.

Pakistani cinema has played an important part in the country's culture. In recent years, it has begun flourishing again after years of decline, catering to audiences in

expatriates
abroad. Several film industries are based in Pakistan, which tend to be regional and niche in nature.

In 2022, Joyland became the first Pakistani film to be screened at the Cannes Film Festival. It was also selected as the nation's entry for Best International Feature Film at the 95th Academy Awards.[4]

Over 14,000

Teri Yaad, directed by Daud Chand in 1948.[5]

Between 1947 and 2007, Pakistani cinema was predominantly based in Lahore, home to the nation's largest film industry (nicknamed Lollywood).[6] Pakistani films during this period attracted large audiences and had a strong cult following. They were a part of the mainstream culture, and were widely available and imitated by the masses. During the early 1970s, Pakistan was the world's fourth-largest producer of feature films.[7]

However,

laws
, and lowered quality-standards meant that the second half of this time period, between 1977 and 2007, saw a decline in the industry's output and impact. Throughout the 1980s and 1990s, the film industry went through several periods of ups and downs, a reflection of its dependency on state funding and incentives. By 2000, the film industry in Lahore had collapsed and saw a gradual shift of Pakistani actors, actresses, producers and filmmakers from Lahore to Karachi.

By 2007, the wounds of Pakistan's collapsed film industry began to heal and Karachi had cemented itself as the new center of Pakistani cinema. Over the subsequent years, a new generation of producers entered the industry, bringing developments such as novel storylines, shorter films, and new technology. This led to the popularity of an alternative form of Pakistani cinema. The shift has been seen by many as the leading cause for what has been referred to as the "resurgence of Pakistani cinema".[8] Despite the crisis starting in the mid-1970s, Pakistani films have retained much of their distinctive identity, and since the shift to Karachi, they have regained their following.[9][10]

History

Silent Era (1929–1946)

The history of cinema in Pakistan began in 1929, when

tangas and even lost equipment once while traveling on the bumpy roads on the horse-drawn carriage.[11]

However basic and crude their working conditions were, Kardar believed in his work and in 1929 he produced the first silent film in Lahore under his studio's banner, Husn Ka Daku (Mysterious Eagle).[12][13] The film was only mildly successful at cinemas, but it managed to establish Lahore as a functioning center of a film industry. Kardar then decided to focus on direction, not acting.[11] Immediately afterwards, the studio released the film Sarfarosh (Brave Heart) in 1930; in 1931, the films Farebi Daku (Mysterious Bandit) and Khooni Katar (The Bloody Dagger) were released. All three of these starred Gul Hamid in the lead role, and had similar supporting casts. None of the films was able to stir much noise about the Lahore film industry; in the 1930s, as the nascent Urdu-language industry was forming, many Hindi and Punjabi language films were also being screened in the area.

Another early producer was Roop K. Shorey, who, upon hearing of Lahore's growing film industry, returned to his hometown and produced Qismat Ke Haer Pher (Life After Death) in 1932.

Multan Road. The following year, Eveready Pictures was established by J.C. Anand
, which would go on to become the largest film production and distribution company in Pakistan.

Independence and growth (1947–1959)

Ahmed Rushdi, an award-winning playback singer

Teri Yaad was released on 7 August 1948,[15] and premiered at the Parbat Theatre in Lahore.[16]

It was in the 1950s that the industry's fortunes changed. In earlier years, Pakistani films had been met with lukewarm reception and failed to perform well at box offices. This changed with the release of Do Ansoo on 7 April 1950, which became the nation's first film to attain a 25-week viewing and silver jubilee status. Noor Jehan's directorial debut Chanway was released on April 29, 1951, and was also commercially successful. This was the first Pakistani film directed by a woman.[17][18] In the second half of the decade, higher-budget films began to be made, a trend begun by the producer Faqir Ahmad Shah in 1955 and continued by his film Jagga in 1958, directed by his son Saqlain Rizvi. The film remained mediocre in the cinema.

As cinema viewership increased, the industry found more success. The 1954 film Sassi, produced by Eveready Pictures, reached golden jubilee status, and the 1959 film Umar Marvi was the first Pakistani film made in Sindhi. The playback singer Ahmed Rushdi's career also began during this period, after singing his first song in Bander Road Se Kemari.

To celebrate the success of these endeavours, film journalist Ilyas Rashidi launched an annual awarding event on 17 July 1957.[19] Named the Nigar Awards, the event has become Pakistan's most prominent awards event for filmmaking.[20]

The Golden Era (1959–1977)

Further information:
Nadeem Baig (actor)
Waheed Murad, a method actor

The 1960s is often called the golden era of Pakistani cinema, and it was then that the first generation of Pakistani cinema's legends were introduced. As

Mohammad Ali and was premiered by Fatima Jinnah on 9 March 1962 at Nishat Cinema in Karachi
.

In September 1965, following the

war between Pakistan and India, all Indian films were completely banned.[21] Although a light ban had existed since 1952 in West Pakistan and since 1962 in East Pakistan,[22]
this was enforced more strictly in the war's aftermath. Pakistani cinemas did not suffer much from the decision to remove the films and instead received better attendances.

Realising the potential for success in film,

Nadeem Baig, who received instant stardom with his debut film Chakori
in 1967.

Horror films were introduced with the release of

17 October 1969.[27]
It depicted the activities of the organisation.

Towards the late 1960s and early 1970s, political turmoil once again returned with the East Pakistan conflict brewing. Amidst concerns, the film

7 February 1971 and turned out to be the first indigenous Urdu film to complete 101 weeks of success at the box office, making it the first recipient of a diamond jubilee.[28] As political uncertainty took charge of the entertainment industry, filmmakers were asked to consider the socio-political impacts of their films. For instance, the makers of Tehzeeb, released on 20 November 1971, were asked to change the lyrics of a song that might have proved detrimental to the diplomatic relations between Egypt and Pakistan. So vulnerable was the film industry to the changing political landscape that in 1976, an angry mob set fire to a cinema in Quetta just before the release of the first Balochi film, Hammal O Mahganj
.

Javed Jabbar's

2 December 1976, was Pakistan's first venture into English film-making. The Urdu version Musafir did not do well at the box office. Signs of trouble slowly began in the cinema industry as VCRs and piracy
became an issue.

Decline (1977–1990)

Gundasa culture in Lollywood

Pakistani cinema entered into a decline during the regime of

Islamization process across the country. One of the first victims of this sociopolitical change was Pakistani cinema.[29] Imposition of new registration laws for film producers requiring filmmakers to be degree holders, where not many were, led to a steep decline in the workings of the industry. The government forcibly closed most of the cinemas in Lahore.[30] New tax rates were introduced, further decreasing cinema attendances. Other factors such as VCRs and film piracy had a negative effect on the growth of the industry.[31]

18 March 1977, marked a distinct symbolic break between the so-called liberal Zulfikar Ali Bhutto years and the increasingly conservative cum revolutionary Muhammad Zia-ul-Haq regime. The film stayed in cinemas for over 400 weeks,[32] with its last screening at the Scala in Karachi, where it ran for more than four years. It is considered the most popular Pakistan film ever.[32] Films dropped from a total output of 98 in 1979, of which 42 were in Urdu, to only 58 films of which 26 were in Urdu in 1980.[citation needed
].

The film industry by now was on the verge of collapse as people began turning away from cinema. The filmmakers that remained in the industry, produced super hits like

Anjuman became iconic figures of this culture. In Pashto cinema, filmmakers were able to get around the censor policies and filled their films with soft-core pornography to increase viewership. This was done by the backing of powerful politicians.[36]

The once romantic and lovable image of Pakistani cinema in the 1960s and 1970s had transformed into a culture of violence and vulgarity by the 1980s. This ironically came while the government under Zia-ul-Haq's regime was attempting to "Islamise" the country. Being an actress associated with the current crop of productions became an understandable taboo and many middle-class people began shunning these films.[citation needed] Nevertheless, the influx of refugees from Afghanistan, who were denied entertainment in their own country, kept Pashto cinema alive,[37] while Punjabi cinema was fueled by young single men from the rural areas of Punjab.

In 1983, legendary actor Waheed Murad died, which was yet another blow to the cinema industry.

Moscow Film Festival,[41] in Egypt, and in Korea,[41] but was shelved in Pakistan.[41]

Collapse (1990–2002)

At the start of the 1990s, Pakistan's film industry was gripped with certain doom. Of the several dozen studios across the country, only 11 were operational producing around 100 films annually.

Javed Sheikh's Yeh Dil Aap Ka Huwa[48] grossing over Rs200 million rupees
.

Revival and resurgence (2003–2011)

By 2003, young filmmakers in Karachi began experimenting with film and released low budget films to demonstrate that high quality content could be produced in Pakistan using limited resources.

Khuda Ke Liye - it became a surprise instant success at the box office and brought the middle class back to the cinemas due to its controversial theme of addressing Pakistan's social problems. The film was also released internationally, including India, where it became the first Pakistani film released there after four decades.[52] The release of Khuda Kay Liye is seen by many as the revival of cinema in Pakistan and the cementing of Karachi as the Pakistani film and showbiz capital. Despite optimism of a solid revival, progress continued to be slow. Alongside Geo Films, the "Pakistan New Cinema Movement" was launched in 2009 with around 1400 members which facilitated networking to stimulate newer film productions. Several films were released after Khuda Kay Liye which saw limited success including Shaan Shahid's directorial project Chup, Syed Noor's Price of Honor, Iqbal Kashmiri's Devdas, Son of Pakistan, Syed Faisal Bukhari's Saltanat, Reema Khan's Love Mein Ghum.,[53] 'Bhai Log' and Mehreen Jabbar's Ramchand Pakistani. However it was Shoaib Mansoor to the rescue again with his 2011 film Bol which broke box office records in Pakistan.[54]

New wave (2011–present)

Shoaib Mansoor's

highest grossing Pakistani films; Waar followed by Main Hoon Shahid Afridi
.

Shoaib Mansoor's Khuda Kay Liye (2007) and Bol (2011) seemed to have ushered in the revival of Pakistani cinema. By 2013, several Pakistani films were theatrically released - the first time in over a decade. It led commentators to speculate whether it was time to announce the heralding of a 'new wave'[31] of Pakistani cinema.[55]

Shehzad Sheikh also played important roles in the film, whilst Shahid Afridi[66] and Ayesha Omar made special appearances.[67] The film earned Rs. 22 million (US$76,000) in its first week of release.[68] However, as some commentators cautioned, declaring a film a 'hit' or a 'flop' is determined by the relationship of the budget spent and box office returns of a film and therefore several of the top-grossing films of Pakistan were technically not a 'hit'.[69] Nonetheless, the lack of box office returns of a Pakistani film has less to do with the film itself but more to do with the severely limited number of screens in Pakistan.[70] Zinda Bhaag (Run For Your Life) has been critically acclaimed with reviewers calling it 'the best film to have come out of modern-day Pakistani cinema'[71] and a "new metaphor for Pakistani cinema"[72] that "bode(d) well for the possibility of noteworthy Pakistani imports in years to come".[73] Zinda Bhaag went on to be Pakistan's official submission to the Oscars,[74] the first after a gap of fifty years[75] but did not make the final shortlist nominees.[76] The resurgence of new Pakistani film productions centres around the use of digital equipment and makes use of cheaper distribution with DCP compliant cinemas which started to convert around 2011, increasing rapidly to 2014 with around 30 cinemas nationwide.[77]

Javed Sheikh, Fahad Mustafa, Mohsin Abbas Haider with supporting cast of Urwa Hocane, Kubra Khan and Salman Shahid.[79] The story follows Shakeel (Sheikh), Farhaan (Mustafa) and Moon (Haider), three poor struggling individuals who chase every possible means of becoming rich, all getting into trouble as they struggle to fulfill their desires and ambitions through questionably moral ways.[80] Other films released in 2014 included Tamanna directed by Steven Moore, Sultanat directed by Syed Faisal Bukhari, Dukhtar directed by Afia Nathaniel, and O21 directed by Jami.[citation needed
]

Eid-ul-Fitr.[114][115] Bin Roye was praised by the critics.[116][117] It broke all records on international markets becoming one of the highest grossing Pakistani films. The film Bin Roye was later adapted into a television series with the same name, that premiered on Hum TV on October 2, 2016.[118] Its success was followed by Jawani Phir Nahi Ani which became the highest-grossing film of 2015 and breaking all box office records on domestic markets. The year saw some of the most critically acclaimed Pakistani films, including Moor and Manto
. These films raised the standards for Pakistani films.

Adeel Hussain, Mahira Khan, Sheheryar Munawar, and Sonya Jehan, along with veteran Bushra Ansari.[119] The film opened to a highly successful box office weekend and went on to run for several weeks, making it the third-highest-grossing film of 2016, earning Rs.22.50 crores in total.[120] Janaan and Actor In Law both opened on Eid weekend, becoming the highest and second-highest-grossing films of 2016, respectively, earning Rs.24 crores and Rs.17.5 crores at the local box office and Rs.30 crores at the international box office.[121][122]

Cinema by language

Main article: Lists of Pakistani films by language

Film festivals

Awards

See also

References

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Further reading

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