Rewind 10 or 15 years from today to look at the shape and size of the Pakistani film industry, rather hilariously named as Lollywood, and you will not be able to help but wonder – how on earth did they come such a long way? From the days of dancing actresses trying to seduce their lovers in green fields to ground breaking movies like Bol, Waar, Na Maloom Afraad, Dukhtar, Zinda Bhaag and the likes – the progress and escalation of Lollywood in the right direction is very apparent. There’s a clear improvement in the scripts, the screenplay, direction and every aspect of the movie you would once laugh at if it were a Lollywood movie. That is now changing. There’s no doubt that they still have a long way to go but there’s also no doubt that they have finally embarked upon the right journey. Progress has been phenomenal and evidencing this is the latest addition to the list of achievements of the Pakistani film industry – Sharmeen Obaid Chinoy’s 3 Bahadur. 3 Bahadur is going to be Pakistan’s first ever feature length animated film. The film has been produced by Waadi Animations in association with ARY Films and is yet another reason to be proud of our budding film industry. [embed width="620"]http://www.dailymotion.com/video/x2d93sm_3-bahadur-trailer-pakistani-first-full-animated-movie-pakistani-full-animated-movie-2014_shortfilms[/embed] The project, one which seemed overly ambitious and unrealistic when it was initially announced, is all set for release this summer. [caption id="" align="alignnone" width="541"] Photo: Screenshot[/caption] 3 Bahadur is a 3D animated film, following the adventures of three friends who set out on an epic journey to save their town from the evils that plague it. Equipped with courage and super powers, Amna, Saadi and Kamil (the main characters of the film), battle against the odds to restore peace and harmony to their neighbourhoods. [caption id="" align="alignnone" width="600"] Photo: Screenshot[/caption] Having attended the launch event of the movie and I was lucky enough to hear Chinoy share her thoughts on the project. A very gleeful Chinoy, the proud CEO of Waadi Animations, said:

“Almost three years ago, I had an intense desire to create an animated feature in Pakistan which would appeal to both children and adults alike. I have to admit, venturing into the realm of animation was unchartered territory for me and my team, but everyone quickly warmed up to the idea and we began learning the ropes and assembling a team of some of the best animators in the country to work with us. We are proud to announce and share the fruit of our hard work and efforts; Pakistan’s first animated feature film!”

Good Morning Karachi, for Pakistani cinema, is amongst the few unconventional, path-breaking movies that we’ve come across in recent years. The reason is very simple; Good Morning Karachi is a female-oriented film with a female protagonist. Unfortunately, except for this bit, there is little else that is extraordinary about this film. [embed width="620"]http://www.dailymotion.com/video/x2dm09w_good-morning-karachi-pakistani-movie-by-rafina-official-trailer_fun#from=embediframe[/embed] So far, the movie has received mixed responses based on different factors. Perhaps an exploration of this movie is required. Before we begin, however, let me clarify that this film is not the Pakistani version of Bollywood’s Priyanka Chopra-starrer Fashion (as many may insinuate). The entire movie is based on Rafina (Amna Ilyas), who belongs to a lower-middle class family and wants to become a fashion model. How she accomplishes her ultimate goal is what the movie is all about. [caption id="" align="alignnone" width="600"] Photo: Good Morning Karachi Official Facebook Page[/caption] The movie has its highs and lows. For instance, keeping the fashion world of Pakistan in mind, the dresses and wardrobes selected for the movie are disappointingly below-average. Even the Lux Style Awards showcases celebrities in some truly amazing outfits compared to the wardrobes presented in this particular movie. The relationship depicted between Amna and Yasir Aqueel comes off as kind of forced; it does not provide any justification to the plot. Why would a man be interested in marrying a woman who lives and breathes to become a celebrity, whereas he, himself, can’t bear to stand the idea of it? The characters don’t have the psychological edge that most other Pakistani movies do. [caption id="" align="alignnone" width="299"] Photo: Good Morning Karachi Official Facebook Page[/caption] The only support system in Rafina’s life is Rosie (Beo Raana Zafar) and her character, in my opinion, has just not been developed properly; I think perhaps had she been given a few more scenes, the treatment of her character would seem more logical in the film. Saba Hameed (who plays Ammi), on the contrary, is actually a talent wasted in such a role – any other average female actress could have carried off this role. Performance wise, Amna excels and boasts one of her finest performances, undoubtedly. She acts naturally, without making it complicated. Whether it is her sweet-girl avatar or the rising-model-in-the-industry persona, she carries it off flawlessly. [caption id="" align="alignnone" width="312"] Photo: Good Morning Karachi Official Facebook Page[/caption] There are a few surprise appearances as well, but I won’t disclose names; watch the film to find out. The music of the movie is nothing special. Had Sabiha Sumar spent a little more time building her characters, I believe the movie could have done very well. Many sequences in the movie could have been dealt with better, in terms of direction and execution. If you are looking for a true depiction of the fashion world in Pakistan, don’t watch Good Morning Karachi. As a supporter of the revival of Pakistani cinema, the movie is a good watch.  Yes, it had some great performances but remained unsurprising overall. I do not feel the need to give it more than 2.5/5.

Lollywood gets an unreasonable amount of flak for being the stepsister of Bollywood; the one that was sent to the village as a child, and says her ‘o’s as ‘a’s – McDonalds becomes ‘MaacdAnalds’ and Ostrich becomes ‘Asstrij’. However, these people fail to realise the deep philosophical ideas expressed by Lollywood songs. Here are some examples of why Lollywood is on par with the greatest philosophers the world has ever seen. 1. Cartesian doubt Philosophical version:

The Cartesian doubt is a method of questioning one’s own beliefs; of being sceptical about all that you hold to be true.

“Sanu Nehar walay pull tay bula kar sohnay mahi kithon reh gaya?” – Noor Jehan (Where did you get caught up after calling me to the bridge on the river?)

A subject learns to respond in a desired manner to an activity which the subject was previously neutral to; through conditioning this neutral stimulus has been associated with an unconditioned stimulus to elicit a desired response – Pavlov’s dogs salivating after listening to the bell – associating the sound with the food.

“Thand paway gee kailajay dildaar, Pyaar dee gandheri chup lay” – Naseebo Lal (You will feel cold inside after slurping on the bamboo of love)

Behaviourism rejects the dualism of the mind and body, hypothesising that love is both observable and quantifiable.

“Cheekhain marta badan mera tu jis walay neeray yaara, jadu maim aahi tay neeray ho manji de vich dhaang pherda” – Naseebo Lal (My body shouts when you are nearby, whenever I am near you the bed makes a noise.)

Plato’s allegory of the cave suggests that people in caves only exposed to the shadows of the light from the sun have never seen the sun and take the shadows to be the complete truth, even though they are mere reflections.

“Kal jab dekha mai nay chand jharokay mai, usko kiya salaam tumharay dhokay mai” – Waris Baig (Yesterday when I looked at the moon, I said hello to it thinking it was you)

“I have a dream that one day, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.”

“Kameez teri kali tay sohnay phoola wali” – Ataulllah Esa Khelvi (Your shirt is black, full of flowers.)

The paradox based on the scenario of a cat, which may be both dead and alive.

“Adhi raat sottay meri laat hilli, lagta hai jiway koi billy shilly hai” (My leg moved while sleeping at night, it felt like there was a cat there.)

In the doctrine of virtue, Kant shows how humanity ought to behave.

“Ama dekh aah dekh tera munda bigra jaye” – Munda Bigra Jaye (Look mother, your son is losing all morals.)

Hegel’s discussion of self-consciousness focuses on how the subjects view other subjects also as objects; the dialectic of the spirit is between this self-consciousness and the need for self-recognition.

“Manji ek tay jawaniyan do… teri lataan day vich pair mu phasana paiya” – Guddu Badmaash (The bed is one but teenagers two, I have no option but to put my foot with your legs.)

The ID is the part of Sigmund Freud’s philosophy that is the compulsive psyche that operates on the pleasure principle.

“Sexy meri shirt, sexy meri pant, mujh ko rakh lay permanent.” (My shirt is sexy, my pants are sexy, you should keep me forever.)

The system of governance based on common ownership where there is no social class, and everyone is equal.

“Tumharay aur meray ghar kay beech mai Larri Ada, yahan sunay ga nahee koi pukaar ye hai larri ada larri ada larri ada” (There is a bus station in between our houses, nobody listens to anyone here this is the bus station.)

Ringing in the New Year with a resolution to become healthy? Try not to be like the 85% of people who do no more than make a couple of gym visits every January. Trying to get fit is both smart and fashionable – ‘skinny’ just doesn’t cut it anymore. Crash diets are a bad idea because they stifle your metabolism and eventually you end up actually gaining weight. It’s important to make changes in your lifestyle to embrace a healthier, happier you. Apart from just eating healthy, regular exercise and training are required as well. We’ve noticed the ‘fit’ trend picking up in Karachi with more and more restaurants, gyms and fitness programmes opening up for the health conscious. There are now quite a few healthy eating options around town. Here we’ve tried to make your life a little easier by listing the top five gyms in Karachi that you should seek to make your second home. If you’re not a gym buff, there are loads of classes out there from Bollywood dancing to Pilates, as well as various sports teams. Check out some of the top gyms in Karachi: 1. Studio X One of the first, quality gyms to open up in Karachi, Studio X brings with it a team of highly trained fitness instructors that schedule a variety of different fitness classes. A membership at Studio X makes it easily possible to start aerobics, Pilates, kickboxing and boot camp all under one roof. [caption id="" align="alignnone" width="600"] Photo: Studio X Facebook page[/caption]  2. Structure Health and Fitness At Structure, you will find spa massage therapy, a sauna and a jacuzzi, making it a relaxing place to detox and recuperate after an intense workout. [caption id="" align="alignnone" width="600"] Photo: Structure website[/caption] 3. Shapes Ideal for the residents of Clifton and Korangi, Shapes provides convenient access to a state-of-the-art fitness centre. Complete with a swimming pool and jogging track, the calming environment of Shapes is the best getaway after a long day’s work. With new avails and discounts through a credit card membership, becoming a member and using the gym is now as easy as swiping a card. [caption id="" align="alignnone" width="600"] Photo: Shapes website[/caption] 4. Core The latest gym to open up its second branch in town at Ocean Mall is Core. It has a cycling studio and a boxing ring! The much awaited opening is bound to increase traffic to the mall. [caption id="" align="alignnone" width="600"] Photo: Core Facebook page[/caption] 5. Lifestyle Having two branches in Defence, Lifestyle has stuck around the last 14 years as the go-to gym for many in Karachi. If you're looking for individual attention, you'll find some of the best fitness trainers here. [caption id="" align="alignnone" width="600"] Photo: Lifestyle Facebook page[/caption] So stop postponing your fitness plans and hit one of these gyms as soon as you can. Start the new year with a new you, as the cliché goes. This post originally appeared here.

“Classes can wait. Love can’t.”

Although New Delhi’s legislative assembly elections are just round the corner and the city that has been the helm of power in the subcontinent for centuries will choose between its ‘aam aadmis’ and ‘khaas aadmis’, the fulcrum of debate instead is a comedy show uploaded to YouTube, a video-sharing website, that many Pakistanis wouldn’t know of, on January 28, 2015. It is fascinating how one chooses to become a comedian in a part of the world where something funny is going on all the time. A few years back a group of witty comedians, comprising Tanmay Bhat, Gursimran Khamba, Rohan Joshi and Ashish Shakya, formed the AIB – an online comedy collective. While the Pakistani underground is still busy with White versus Brown themes, and more importantly its struggle against radical thought, AIB garnered an identity of its own in India. Mushtaq Ahmad Yousufi, one of the greatest humour writers from our part of the world, once wrote,

“The day we understand why we laugh, we won’t laugh again”.

In Bollywood, it’s hard to find movies where the protagonist is speech-impaired; only a few movies come to mind of such sort, including Koshish, Khamoshi and Iqbal. R Balki’s Shamitabh revolves around the story of a speech-impaired boy, named Daanish, and his struggles to realise his dreams. His strong desire to become an actor takes him to Mumbai and once there, he starts his journey to become the “future king” of Bollywood. But his progress is slow and the journey is quite perilous; after all, who would sign a film with a mute actor in a lead role? [embed width="620"]http://vimeo.com/116146788[/embed] After seeing his struggles, the audience is then introduced to Akshara Pandey (played by Akshara Haasan), who is an assistant director, who notices the passion, zeal and volcanic expressions that Daanish has in his acting. She takes Daanish to her uncle (who is a doctor by profession) to see if there is anything that he can do to help him. The uncle reveals that there is, indeed, a certain treatment which might help him speak. But for it to work, they’ll need a voice-box, one that suits Daanish. [caption id="" align="alignnone" width="311"] Photo: Shamitabh Official Facebook Page[/caption] Here begins their search for the “right voice”, until they bump into Amitabh Sinha (Amitabh Bachchan). Amitabh is a drunkard who lives in a graveyard as a tenant. They find his voice appealing and decide to ask for his help. But why would he help Daanish? Will there be a clash of egos? Will Daanish make it to the silver screen? Will the world ever get to know about Daanish’s speech-impairment? This is essentially the storyline of Shamitabh. To get the answers, you need to watch the movie. [caption id="" align="alignnone" width="450"] Photo: Shamitabh Official Facebook Page[/caption] Mr Bachchan outdoes himself once again and gives a phenomenal performance. He excels in a role that he never had any difficulty performing; his frustrated, angry and comic scenes while he’s drunk – they truly evidence his excellence. To date, he is the best on-screen drunkard ever seen in Bollywood movies. That’s why he played the lead in the 80’s Sharaabi. In recent years, this movie is Amitabh’s most promising work, hands down. [caption id="" align="alignnone" width="600"] Photo: Shamitabh Official Facebook Page[/caption] Dhanush, the Kollywood actor who plays the role of Daanish, was appreciated by the masses in his last venture Raanjhana (his Bollywood debut). In Shamitabh, he has managed to enthral our hearts once again. It’s almost impossible for new actor to get noticed in scenes where an actor like Mr Bachchan shares screen-time with them but Dhanush not only surpasses that, he also makes the audience eager to see more of him in every other act. His emotional scenes, unspoken anger and outbursts are the highlight. He is undoubtedly the next big thing in Bollywood – he just has to select the right roles. [caption id="" align="alignnone" width="450"] Photo: Shamitabh Official Facebook Page[/caption] Akshara’s performance was average – it could have been a lot better. Her acting reminded me of a younger Aishwariya and Sareeka (her mother), but I saw very little of her own self. [caption id="" align="alignnone" width="600"] Photo: Shamitabh Official Facebook Page[/caption] Shamitabh stands at par with R Balki’s last two excellent instalments Paa and Cheeni Kum. He has the talent of beautifully portraying difficult and complicated emotions with gusto. If you are an Amitabh Bachchan fan, or fell in love with Dhanush in Raanjhanaa, then Shamitabh is a must watch. But if you are looking for a dhishoom-dhamaaka, senseless comedy or a total masala flick then skip it. Shamitabh caters to a particular taste; you either love it, or hate it. Nothing in between. I would rate it an easy 3.5 out of five.

Sometimes a movie is advertised and marketed with a promise to deliver an all-in-one production – but in reality, it is nothing more than amateur work at best. Roy is one such movie. What do you expect when you have a cast which includes a pure entertainer like Ranbir Kapoor, a dependable actor like Arjun Rampal and a gorgeous beauty like Jacqueline Fernandez? A blockbuster movie. Yet, Roy is nothing more than one big enigma. Audiences everywhere were anxiously looking forward to watching the two talented hunks share screen presence, but sadly, that too couldn’t save the boat from sinking. [caption id="" align="alignnone" width="595"] Photo: Roy Official Facebook page[/caption] Roy mainly revolves around the story of Kabir Grewal (Arjun), who is a famous, arrogant and heady filmmaker suffering from writer’s block, his love interest, Ayesha Aamir (Jacqueline), and a professional art thief named Roy (Ranbir) who has successfully stolen artifacts from museums in France, China, and India. Inspired by Roy’s coups, Kabir pens down a script around Roy’s life, and that is when the story unfolds. Throw in a love angle, sprinkled with confused betrayal and a dash of thrill (well that’s what they called it, not me). The outcome is a conundrum wrapped in mystery, and not the intriguing kind [embed width="620"]http://www.dailymotion.com/video/x2cql99_exclusive-roy-trailer-ranbir-kapoor-arjun-rampal-jacqueline-fernandez-t-series_shortfilms[/embed] That’s what happens when one man tries to wear all the hats, just because he is obsessed with his self-proclaimed talent. Vikramjit Singh, script writer-cum-director, is below average when it comes to direction, as is evident by the way he portrays the scenes, and his art of storytelling is simply confusing and repetitive. All in all, in terms of direction and vision, it was a complete disappointment. [caption id="" align="alignnone" width="595"] Photo: Roy Official Facebook page[/caption] Performance wise, both Arjun and Ranbir are supremely talented actors who also have a decent fan following. However, neither could not do much to save the movie as the script and the dialogues did not give them enough room to display their talent. From beginning to end, all we see is dialogues with straight faces without any depth or emotions. After movies like Satyagraha, D-Day, Chakravyuh and Heroine, Arjun fans were expecting a lot more bang and boom and a more performance-oriented role from him. Similarly for Ranbir, after his performance in Rockstar, he should not have settled as an extended cameo and hence should have been wise enough to select roles and movies that do justice to his talent. [caption id="" align="alignnone" width="626"] Photo: Roy Official Facebook page[/caption] Jacqueline is fairly new to the world of Bollywood, but truth be told, the only reason she gets noticed in her movie is because of her looks, as she lacks immensely in terms of talent and her diction needs improvement. Similarly, in Roy, she looks cute and elegant but that’s about it. [caption id="" align="alignnone" width="595"] Photo: Roy Official Facebook page[/caption] Anupam Kher, as always, is terrific. Even though he has a very short-lived role, he portrays it strongly. In my opinion, this is because he is one of those actors who don’t require dialogues to convey their emotions per se. [caption id="" align="alignnone" width="595"] Photo: Roy Official Facebook page[/caption] In terms of songs, only a few grabbed my attention, namely Chittiyaan Kalaiyaan, Boond and Yaara Re. http://www.dailymotion.com/video/x2e6har_chittiyaan-kalaiyaan-hd-video-song-roy-2015_music http://www.dailymotion.com/video/x2eup5v_boond-boond-hd-video-song-roy-2015_music http://www.dailymotion.com/video/x2ecnpa_yaara-re-roy-full-audio-song-hd-k-k_music Many people from the hall were more interested in taking loo breaks and eating popcorn, apart from those who simply left the theatre half way through. [caption id="" align="alignnone" width="595"] Photo: Roy Official Facebook page[/caption] On the whole, Roy is a sheer disappointment. It’s slow-paced and at times, it made me wonder if Singh had made this movie the same way his protagonist wrote the script – without properly thinking the film through. The only thing going for Roy is its “tarka” of famous names and star power. It’s the perfect example of great branding which falls short on merit. I would rate the move a 1.5 out of five, and that too just because of its cast.

What happens when a ‘conventional chocolate boy’ opts for an unconventionally intense and complicated role, contradicting his previous comical high school performances? What makes a filmmaker choose such an actor for a main lead in his movie? How good can revenge sagas be? Well, Badlapur will answer all these questions for you. Varun Dhawan, for the very first time, is seen in a role different from his usual ‘cutesy’ avatar. His performance has been surprising, to say the least. Along with him, we come across Nawazuddin Siddiqui, who, after Kick, has managed to score another meaty role with more screen presence this time. [caption id="" align="alignnone" width="499"] Photo: Badlapur film Facebook page[/caption] At the beginning of the story, Raghav (Varun) is shown as a happily married, young, successful and urban workaholic working for a marketing agency. His life flips 180 degrees when he is informed that his wife Misha (Yami Gautam) and child were killed by a bank robber Layak (Nawaz). Layak eventually gets caught but his accomplice, Harman (Vinay Pathak), manages to flee. Layak is sentenced to 20 years in prison and it is only 15 years after the incident that Raghav finds out about Harman’s escape. Overcome by rage, Raghav vows to avenge the death of his family; how he manages to do that is what Badlapur is all about. [embed width="620"]http://www.dailymotion.com/video/x2bjm47_badlapur-hd-hindi-movie-teaser-trailer-2015-varun-dhawan-nawazuddin-siddiqui-huma-qureshi-yami-gauta_shortfilms[/embed] Performance wise, Nawaz portrays his character with panache and proves yet again that if asked to portray a powerful character, he can take on the challenge effortlessly, and that is precisely why he is one of the finest actors in the industry today. In every scene, Nawaz makes sure he stands out with dominion. Let’s just say, Badlapur would not have been the twisted rollercoaster ride it is without Nawazuddin. [caption id="" align="alignnone" width="499"] Photo: Badlapur film Facebook page[/caption] Varun’s role, as a madman out for revenge, is one he has never before been seen in. His role was complicated and demanded intensity, anger, a sense of hate for almost everyone in the world, coupled with shades of being erratic behaviour and a lot more. And he managed it all beautifully! [caption id="" align="alignnone" width="500"] Photo: Badlapur film Facebook page[/caption] After Dedh Ishqiya, Huma Qureshi manages to impress the audience once again. In her short-lived screen presence, she displays the most apt emotions and expressions – an emblem of a seasoned performer. The role of Jhimli, a young, sultry prostitute was portrayed brilliantly by Huma. [caption id="" align="alignnone" width="500"] Photo: Badlapur film Facebook page[/caption] Vinay is, as usual, perfect, and the same goes for Divya Dutta as well. The scene in which Raghav goes for a “lunch date” with Harman and Shoba (Divya), an activist working for rehabilitation of prisoners, is a masterstroke of performances by all three performers. A special mention of Radhika Apte – who plays the role of Koko, Harman’s wife – is essential; not only did she delicately, and realistically, portray her role, despite her screen presence amounting to hardly three or four scenes, her performance stuck to the audience like glue. She is as natural as one could be. To me, she could easily be called the Tabu of the coming days, provided she is given the ‘right’ opportunities. Yami, as expected, gave an average performance. But the surprise came from Pratima Kazmi, playing the role of Layak’s mother, and Kumud Mishra, as a police officer, both of whom gave some great performances. To add on to the list of strong points, the music and songs are good in general but Jeena Jeena and Jee Karda have the potential to raise crowds. [embed width="620"]http://www.dailymotion.com/video/x2f1k4k[/embed] [embed width="620"]http://www.dailymotion.com/video/x2c3wzi_jee-karda-badlapur-exclusive-full-video-song-ft-varun-dhawan-huma-qureshi-hd-1080p_music[/embed] I would definitely recommend watching Badlapur and guarantee that the twisted revenge saga will keep you hooked throughout. Based on the performances and the overall experience, I would give it an easy 3.5 out of five.

After successfully objectifying women in the ‘100 glorious years of Indian cinema’, Bollywood now recognises its part in influencing commoners, what till now has been ‘a bad influence’. It took Bollywood God knows how many Jyoti Singhs to realise what a mess their sexist approach in cinema has caused in populous India. I feel sorry for them. I feel sorry that our neighbours are in trouble; our fellow women are not safe. But at the moment, I’m more concerned about how all this affects Pakistan. Our cinema is going through an interesting phase of its revival, but the same sexist approach has come to trouble us too. Recent series of item numbers in almost every newly released and upcoming Lollywood movie are examples of this approach. You don’t have to be a conservative to understand why an item number is offensive and insulting to a woman. It offends me because: 1. We, women, are not ‘items’ or ‘objects’; we are as human as any gender. 2. Women are not Munnis or Sheilas or Billis (their Pakistani counterpart). 3. Women are not “gutka (tobacco) available for chewing”. 4. We do not go around flaunting our “jawan (young) bodies”. [embed width="620"]http://www.dailymotion.com/video/x25fdm0_billi-song-mehwish-hayat-na-maloom-afraad_music[/embed] I am a liberal who defended Humaima Malick’s right to do the song Namak Paare – because it fitted the role of a bar dancer – as much as I defended Fawad Khan’s right to do a shirtless scene in Khoobsurat. I love Sonam Kapoor and Vidya Balan for their choice of women-centric films, like Dirty Picture. But the makers of unnecessary item numbers are those ‘hypocrite liberals’ who never consider us women as equal to them and use women as ‘objects’ to attract audiences. Some recent examples are the item songs in Pakistani movies Karachi se Lahore, Jalaibee and the not too old, Na Maloom Afraad. Karachi se Lahore released its teaser on March 21, 2015. What is sad and sickening is that the 14-second teaser only includes glimpses of Ayesha Omar as an item girl and ends with the title poster of the film. [embed width="620"]http://www.dailymotion.com/video/x2k4b69_ayesha-omar-item-song-in-movie-karachi-se-lahore_shortfilms#from=embediframe[/embed] What a great way to tease the crowd… Right? It seems that the purpose of the teaser was to tell the world that Bulbulay’s Khoobsurat has a bellybutton too. Jalaibee, on the other hand, can be defended by the fact that they showed decent clothing in an item song. Recently, Pakistani heartthrob Hamza Ali Abbasi was quoted as saying:

“I am tremendously proud of Zhalay Sarhadi for not taking her clothes off in her performance in the film. Proud of Yasir Jaswal for not going along with the emerging trend of revealing ‘item numbers’ in Pakistan films.”

“Tere aangan mein hi chamke gi meri ye shookh jawani” (Only in your backyard will my enticing youth shine)

“Gutka main hun chaba le, Baaja main hun baja” (Chew me as I am tobacco and blow me as I am a trumpet)

“The choreography is similar across most (item) songs: one semi-clad women getting leered at by several men, being objectified for the consumption of men and talked of as some kind of dish.”

“It (item song) is an unequal sexuality, where one is the subject and the other, the object. The woman is naked, the man fully dressed. There is no mutuality. The woman sells and the man consumes.”

Dear Deepika, I have been a fan of yours ever since you graced us with your presence on the big screen. When you spoke out against a national publication in your country, for misusing an inappropriate picture of you, I was with you. People thought it hypocritical, seeing that you are an actress who has time and again displayed skin as a part of your work in front of the camera. But the reluctant feminist inside me still defended your right to bash the publication. When you came out to the public and admitted to have gone through a phase of depression, I admired your strength and still do. Last week, you did the same in an interview with NDTV and talked about the agony a person goes through because of depression. When you cried, I cried with you, as I’m sure did many others who watched you break down on national television. [fbvideo link="https://www.facebook.com/video.php?v=10153174881635798"][/fbvideo] Skeptics said,

“She’s Deepika Padukone, what does she have to be depressed about?’’

“Take off your bra, it’s your choice and you will be empowered.’’

While you may find many sympathisers for women, who everyone thinks are the only silent prisoners in the Alcatraz of a nuptial knot, there is hardly anyone who ever wants to understand a man’s perspective in a failing relationship. I fail to understand why women are often portrayed as ‘the victim’ in a failing relationship and the men as ‘unjust’. Why are women projected as the weaker link when there is much ado about women’s rights and freedom? Don’t get me wrong here; I am an avid supporter of feminism and women’s empowerment, which I truly believe are two different things. I have always supported good education for women and encouraged career development. But where is that self-confidence, empowerment and the ‘can do’ attitude when you need it for your personal matters? I got married as early as 25 to a woman I thought I loved at the time. I gave her my best for a few years and we have three beautiful daughters together. My job’s lucrative demands required extensive travelling. What could possibly go wrong one must be thinking? Here is where the plot gets a twist. Love is not self-invigorating and this had already become clear in our case. After being in an honest relationship with my wife, I realised I was not getting the attention that was due. I felt my wife was closer to her family – who always lent her a helping hand with our children – than to me. However, I have decided not to take that as an excuse for me to justify my actions. The simple matter of fact is, I fooled around and fell in love. I met a woman online and what initially started out as foolish flirtation, turned into very intellectual conversations on different topics. We exchanged views on languages, culture, and faith. She gave me the much needed attention and love that I had been longing for. We came together like the opposite poles of a magnet. We would take holidays abroad every few months to be together. These moments with her turned out to be the happiest moments of my life and a bouquet of memories that I will cherish for long. To say my wife had no idea on what I had been up to could be equated to me living in a fool’s paradise. Women can sniff these things out even before they happen. There is no shame and excuse required for choosing to love a woman you know you are compatible with. All hell broke loose when I finally decided to tell my wife that I had decided to call it quits with her. The scene that unearthed following my confession could have been aired for a Pakistani drama and the dialogues could have been used for a Bollywood movie. My wife used every trick she could pull from the hat. And in the end, she overwhelmed me with her outburst to the point that I gave up. Just like you cannot sail two boats at one time, you can only ever make one woman happy at one time. My children proved to be the Achilles heels in our case. I unhappily ended my extra-marital affair and sunk rock-bottom into a well of sadness. While ‘cheating’ is a social taboo, getting a ‘divorce’ is a bigger one. What can be a simple separation with shared responsibility of the kids becomes animosity between two parties. Families are brought in, threats are exchanged, pep-talks are given. All the guilt rests on the man’s shoulders and the woman plays the victim in the act. A woman’s fate is thought to be sealed for life if she gains the title of a divorcée. What could very well turn out to be an easy corridor to a happier future relationship for both man and woman, freezes the relationship in its most unstable state. Marriage is not an obligation you must fulfil at the cost of being unhappy. Yes, marriage is sacred, but only when the foundations are strengthened with the pillars of love and affection. It is like a house of cards that can collapse with the whiff of air, and when it does, there is no resurrecting it. One can file for separation and start living the life they want to and hopefully find eternal bliss one day. Or you can stay together with clouds of uncertainty looming above your heads and hoping it rains and clears out one day. For me, I choose to live a pointless life faking a happily ever after.

Twelve years after winning the junior Wimbledon doubles title, Sania Mirza, 28, became the first Indian woman to be ranked world number one  in women’s doubles tennis. Mirza’s career highlights include one Women’s Tennis Association (WTA) singles title, 14 International Tennis Federation (ITF) singles titles, 26 WTA doubles titles, four ITF doubles titles and three mixed-doubles grand slams. [caption id="" align="alignnone" width="595"] Photo: AFP[/caption] Recently, Mirza paired with Swiss legend Martina Hingis, and won the Family Circle Cup. But above all, the win marked the fulfilment of a childhood dream for Mirza. From a talented junior tennis player to the world’s top ranked doubles player, the journey has not been easy. [caption id="" align="alignnone" width="596"] Photo: AFP[/caption] Many dream, but only a few achieve. Talent is nothing without an enormous amount of hard work behind it. Mirza started playing tennis at the mere age of six. At the age of 16, she lifted the Junior Wimbledon doubles trophy, and in 2007, she reached her highest singles ranking of World number 27. Continuous injuries and on court movement restricted her from climbing higher in the singles ranking. But the fact that she made it to the World’s top 30 was a huge achievement in itself. In a country where Bollywood stars and cricketers steal the limelight, a young tennis sensation became the sole representative of India at the top level of women’s tennis. Before Sania, India hardly had any female tennis players in the world’s top 100 ranking. Fighting stereotypes and so-called cultural barriers that exist for women in South Asian countries, Mirza stood firm in her battle to make it to the top. Yet, she has received undue and absurd criticism. Her tennis outfit drew criticism from Hindu and Muslim fundamentalists in India, and during the 2008 Hopman Cup, she was pictured resting her feet towards an Indian flag while watching Rohan Boppana’s match. This was enough to ignite another controversy in India. [caption id="" align="alignnone" width="583"] Photo: AFP[/caption] [caption id="" align="alignnone" width="470"] Photo: AFP[/caption] Citing the series of controversies, in 2008, Mirza announced that she would stop participating in tournaments held in India. However, she returned to India to compete in the Common Wealth games in 2010. After being appointed as the brand ambassador of Telangana state, Mirza was referred to as ‘Pakistan’s bahu (daughter- in-law)’ and was deemed unfit for Indian representation. The remarks made her break out into tears while defending herself during a television show. [embed width="620"]http://www.dailymotion.com/video/x224pdh_indian-tennis-star-sania-mirza-crying-first-time-in-a-live-interview_news[/embed] Today, as the world’s top ranked doubles tennis player, she is an inspiration for girls, not only in India but also in Pakistan. Both countries face pretty much the same social and cultural pressures. Her success story will indeed motivate girls in this region to pursue not just tennis but their dreams and aspirations in any field. No doubt Mirza’s parents played an important role in her success as well, especially considering the fact that she was initially coached by her father. Mirza became the first Asian woman to be appointed as a Goodwill ambassador by the United Nations. In 2013, Mirza started the Sania Mirza Tennis Academy, which aims to provide world class tennis facilities to Indian youngsters. Mirza has enjoyed great support and love from Pakistan throughout her career. In Pakistan, she’s commonly referred as Sania ‘bhabi.’ Her rise to world number one made headlines in all Pakistani news channels and newspapers, and the news was celebrated with great fervour all around the country. It is amazing how tennis brings the two countries on the same page. The doubles team of Aisamul Haq and Bopanna also received mutual support from both countries. [caption id="" align="alignnone" width="600"] Photo: AFP[/caption] What Mirza has achieved for India truly demands admiration and respect, and it can be hoped that many young girls will see her feat as a ray of hope. It will also make many parents in India and Pakistan realise that our girls, if given enough opportunities, can do wonders. We wish Sania bhabi good luck with her future endeavours and we hope that she will retain the number one spot for as long as possible. Pakistan has, is, and always will support Mirza in her efforts. A big congrats to Sania Mirza from Pakistan!

Social media is full of news of Game of Thrones being adapted as an Indian television show. Am I the only one who thinks that the plot lends itself perfectly for a Bollywood movie instead of a TV show? I would pay good money to see a Karan Johar production titled ‘Kabhi Games, Kabhi Thrones’. The story would begin with Ned Stark and Robert Baratheon riding together on a motorbike merrily singing a song together. The evil sautayli ma (step-mother) would ask Jon Snow to be banished from the kingdom, and the Stark jayedaad (inheritance). Snow’s storyline would become even more contentious in a Bollywood setting with the word ‘bastard’ repeated multiple times with the echo sound effect. Lord Varys losing his manhood would be a much more dramatic sequence. This famous Salman Khan dialogue from the movie Wanted might just have a completely different context in the Game of Thrones world. The dialogue would then prompt a bad ass response from Tywin Lannister. Brevity and Bollywood do not get along too well, the tagline Valar Morghulis will need to change. As will Hodor’s lines, unless they cast Tusshar Kapoor and ask him to equate dumb with retarded. Stannis might have an easier job proving he is the one true king of Westeros. Whether he later decides to become bread ka badshah aur omelet ka raja Bajaj, humara Bajaj (king of bread and prince of omelet Bajaj), is up for debate. Poor Sir Jorah Mormont, the embodiment of the word ‘friend-zone’, he still believes that ‘pyar dosti hay’ (love is friendship). Tyrion’s trial will not be as simple as demanding a trial by combat. If anybody deserves a song encapsulating her existential dilemmas in the comforting arms of Naseeruddin Shah, it is Arya Stark. Especially after all that the Starks have suffered at the hands of the Lannisters. But hey, at least we have the mother of dragons! All photos: Shehzad Ghias

Recently, a 12-year-old Indian Muslim girl named Maryam won a contest by answering all the questions asked in the Bhagwad Gita. This is the first time in India’s history that a Muslim girl has broken such a record. The news of the young Muslim girl went viral on social networking portals and sparked numerous debates on news channel. While some highlighted the politics behind it, others praised the young girl’s efforts. Maryam has set a fine example for people who divide masses using religious bigotry. India boasts of diversity, given the existence of various religions, but within its internal system, people are bifurcated on the basis of religion. Maryam has managed to prove a point to individuals who divide people on the basis of caste, creed and colour – that racism can never be as strong as collectivism. She has set a great example by showing how tolerance can be practised, even at such a young age. Her actions are a response to Indian political parties who are running campaigns on the lines of ‘Muslim-free India’. Furthermore, Maryam proved that Muslims can grasp knowledge about any religion without adapting to it and that a child has the basic knowledge to differentiate between right and wrong. Since Narendra Modi and his Bharatiya Janata Party (BJP) has come to power, I have not come across an ‘acha din’ (good day) as yet – something which the honourable PM Modi spoke about and promised his people during his election campaign. My hopes were further trampled upon when the union minister, Sadhvi Niranjan Jyoti, and BJP minister, Giriraj Singh, passed offensive and abusive comments towards Muslims. Such immature remarks by these ministers highlight Maryam’s maturity. In India, we have witnessed how religious bigotry is being used by politicians to divide vote banks in their favour. They use religious slogans to differentiate Hindus from followers of other religions. The Gujrat genocide and the Kashmir genocide are examples of how the politicians have massacred common people for the sake of their vote banks. If we dig into the history of it, we will find thousands of people slaughtered by these political parties for their own gains and their ministerial chairs. In the past, attacks on Muslims were carried out by Vishva Hindu Parisah (VHP) and Rashtriya Swayamsevak Sangh (RSS). From campaigns such as ‘Love jihad’ and ‘Ghar wapsi muhim’ to forced conversions, each attack is meant to malign the image of Muslims in India and is done in order to create a split between Muslims and Hindus. In India, Muslims have tirelessly contributed towards every sector of its formation. For instance, the early contributions made towards society, by Dr Allama Iqbal and Dr Avul Pakir Jainulabdeen Kalam, have helped India develop a lot. From science to technology to Bollywood, each segment has Indian Muslims contributing to it. The contributions of Muslims have proven that India belongs to Muslims as much as it belongs to Hindus. For some, Maryam is India’s Malala Yousafzai. Malala fought against the Taliban while this young Indian girl fought against religious bigotry. She spread the message of brotherhood and gave reason to thousands of Indians to unite under the banner of religious harmony and shed religious differences aside, which have been plaguing us since time immemorial. Maryam has given India a new reason to build itself. We should not wait on the government to take steps or make hollow promises. Rather, we should come forward like Maryam and build a new nation which will allow Muslims to live without fear in a country they call their own. Now is the time to eliminate discrimination based on religion, caste, creed and colour.

Mr X is an Indian sci-fi thriller directed by Vikram Bhatt, starring Emraan Hashmi in the leading role as an anti-terrorist inspector named Raghu. The movie defies logic as to why anyone would want to pursue this particular genre which revolves around movies like The Invisible Man – it has simply been overdone. Mr X, all in all, is a poor amalgamation of gimmicky execution and a rehash of movies such as Hollow Man and Mr India. [embed width="620"]http://www.dailymotion.com/video/x2ipono[/embed] Adding insult to the injury is the below par and amateurish CGI animation which is a far cry from the advanced animation we have grown accustomed to. It is ironic that the medium, something which is so pivotal in the story and genre, is so poorly executed. One wonders whether this has been done intentionally or the director stopped caring. [caption id="" align="alignnone" width="590"] Photo: IMDb[/caption] [caption id="" align="alignnone" width="595"] Photo: Official Facebook page[/caption] The plot is uneven, and the only redeeming factor is Hashmi, who lends some semblance in terms of acting capability in an otherwise dull and mind-numbing feature film.  Moreover, in terms of music, it is again a muffled affair; Bhatt’s movies usually have melodious tracks and memorable songs to hum to, but there isn’t a single track worth remembering.  The worst song in the movie is “You can call me X” which enhances the mediocrity of the movie. Other songs such as “Tu jo hai” are average songs. [embed width="620"]http://www.dailymotion.com/video/x2ksqdg[/embed] [embed width="620"]http://www.dailymotion.com/video/x2k0cc5[/embed] Other actors in the movie have put up an average performance. The damsel in distress, Siya Verma played by Amrya Dastur, Hashmi’s love interest cum fiancé and fellow inspector in ATD, puts forth a painstaking performance. It’s obvious that Bhatt chose the female lead in terms of eye candy rather than acting skills. Dastur’s dialogue delivery, convoluted and confusing sense of morality and ethics in the movie confuses the audience. In one of the scenes, she is hell bent on protecting the nemesis because of her strong sense of duty and justice, and a few random kisses later from her invisible fiancé, she’s seen swooning over him and falls head over heels in love with the protagonist. This love-hate chemistry dilutes the already insipid and bland movie plot. [caption id="" align="alignnone" width="594"] Photo: IMDb[/caption] [caption id="" align="alignnone" width="590"] Photo: IMDb[/caption] The cinematography is adequate. Unfortunately, exotic and scenic foreign locations and crystal clear beaches are merely not enough to save this disaster of a movie. Without delving deeper into the story and the plot of the movie, it is safe to say that it is a run-of-the-mill movie. With clichés in abundance and no story to back itself, it is a spineless and a spectacular sinking ship, rivalling the likes of Titanic. [caption id="" align="alignnone" width="590"] Photo: IMDb[/caption] You would want your time and money back after watching Mr X. While I was watching the movie, half of the audience left before the climax, proving how boring the movie is. Take my advice, stay as far away from Mr X as you can. Bollywood is a master artisan when it comes to making masala and romantic dramas but when it comes to sci-fi, it fails stupendously, struggling to merge science fiction and religion. You would be better off watching Avengers 2 releasing this weekend, as opposed to Mr X.

Indian law is not blind; it is a slave of the rich. The events that have unfolded in the last few days have exposed the age-old vices tormenting our country – favouritism and nepotism. It has been a disgrace and a mockery to the rule of law in India as the world carefully observed and laughed at the emerging superpower. One tweet read,

“If Hitler had appealed to the Bombay High Court, he would have been a free man, free of all charges.”

Bombay Velvet is a noir crime drama set during the 50s-60s era. It is directed by Anurag Kashyap, the man behind movies which have evolved into cult classics, such as Gangs of Wasseypur, Ugly, Dev D and Black Friday. [embed width="620"]http://www.dailymotion.com/video/x2jxhug[/embed] Bombay Velvet’s protagonist is Johnny Balraj (Ranbir Kapoor), an ambitious street hustler-cum-boxer, fighting in the pits for the adrenaline rush. The major part of the movie pivots around the rise and fall of Balraj, from the obscure mediocrity of street hustling to becoming a manager of the most happening club in town, of course known as Bombay Velvet. How he traverses that journey should be seen by the audience themselves. [caption id="" align="alignnone" width="365"] Photo: IMDb[/caption] Rosie (Anushka Sharma) is an inspiring singer with a tumultuous and disturbed upbringing from Goa seeking refuge in Bombay. She does so in order to seek a glorious career but rather finds herself embroiled in gritty and unforgiving realities and gets restricted to becoming a mistress, during which the paths of Balraj and Rosie align and they fall madly in love with each other. However, Rosie has something up her sleeves, a hidden agenda which should not be divulged for the sake of keeping all sorts of spoilers at bay. [caption id="" align="alignnone" width="547"] Photo: Bombay Velvet Facebook Page[/caption] [caption id="" align="alignnone" width="540"] Photo: Bombay Velvet Facebook Page[/caption] Playing the role of an antagonist is the director-turned-actor Karan Johar as Kaizad Khambatta, a shrewd, conniving and suave businessman-cum-criminal, coupled with questionable sexual orientation and effeminate sensibilities. I guess it’s just me, but after watching several episodes of Koffee with Karan, he just does not come off as villain-esque; he tries so hard but fails spectacularly, and as a result, he looks more like a henchman than a full-fledged villain. [caption id="" align="alignnone" width="547"] Photo: Bombay Velvet Facebook page[/caption] It is sad and disappointing in equal measures to note the fact that Bombay Velvet has faltered to a great extent in terms of delivering a quality movie-going experience. Suffice to say that it has imploded under the high expectation audiences had from this particular movie and I feel it failed to deliver. However, what this movie has in abundance is style, panache and a befitting representation of the biggest metropolis of India during the 50-60s. Ranging from the look and feel of the movie as a whole, to dresses, cars, and even depicting Bombay in all of its moralistically flawed and vice but beguiling magnificence, which is a far cry from the high rise corporate Mumbai of today. [caption id="" align="alignnone" width="540"] Photo: Bombay Velvet Facebook Page[/caption] One thing that stays apparent throughout the entirety of the movie is the inspiration, or you can say homage, paid to different Hollywood movies, be it Goodfellas, The Great Gatsby or the popular HBO drama series, Boardwalk Empire. It is glaringly obvious to the point of being emulated at some instances. One would hope and think that Mr Kashyap would recreate a visceral and bourgeoning city, like he did in his previous works such as Gangs of Wasseypur, one which is raw and exposes the wild underbelly beneath the glitz and glamour of the city, but he has failed and only managed to exhibit the glamour and chic. At times, it is out rightly evident that the movie is all style and no substance, so much so that it starts to become a hollow affair, devoid of a structured story. Speaking of story and movie, it stretches longer than necessary, two and a half hours or so, the pace is uneven, coupled with failed attempts at humour and dialogues which are instantly forgettable. The music, on the other hand, is upbeat and melodious, paying tribute to the music of the 60s, especially with songs like Fifi. All in all, the songs are a stark opposite in comparison to the movie and they stand out as one of the few good things in Bombay Velvet. The music composer has done a good job interlining the plot of the movie within the lyrics of different songs. [embed width="620"]http://www.dailymotion.com/video/x2mmkn5[/embed] In terms of acting skills, Kapoor fails to deliver a commanding performance; he shines in a few scenes, but during the rest of the movie, he is at best run-of-the-mill and average. One just cannot see him as a crass street thug no matter how hard he tries to don the character of Johnny Balraj. The failed accent of a street thug and those horrible curls he sports do him no justice. [caption id="" align="alignnone" width="397"] Photo: Bombay Velvet Facebook Page[/caption] Sharma has not put forth her A-game either; only God knows where her depth in acting went, which was recently delivered by a potent performance in NH10. All the other actors, such as Kay Kay Menon, are passable in their limited roles. [caption id="" align="alignnone" width="525"] Photo: Bombay Velvet Facebook Page[/caption] To sum it all up, this is Kashyap’s failed transition from the independent movies to big mainstream Bollywood movies. Bombay Velvet is a movie which can only be tolerated once and that too with some patience involved. Watch it only for the spectacular period setting, the sets and the fancy wardrobes shown throughout the movie.  Bombay Velvet is like a malignant tumour which becomes inoperable by the second half of the movie. Simply put, avoiding it at all cost will be the best option. I would rate it 0.5 out of 10.

Brilliant art direction, exceptional storyline, unconventional relationships and very subtle performances come together to make Piku an enjoyable and unforgettable family drama with a harsh reality. [embed width="620"]http://www.dailymotion.com/video/x2ioebh[/embed] It is an informal, witty and emotional anecdote about the convoluted rapport between an educated daughter and her inflexible elderly father. The movie focuses on daily tribulations in a cheerful and carefree manner which effortlessly speaks to the audience. Directed by Shoojit Sircar, the movie relates the story of a 70-year-old retired Bengali man, Bhashkor Banerjee (Amitabh Bachchan), who lives in Delhi with his daughter, a working woman, Piku Banerjee (Deepika Padukone). [caption id="" align="alignnone" width="595"] Photo: Facebook page[/caption] [caption id="" align="alignnone" width="587"] Photo: Facebook page[/caption] Piku is seen as always trying her best to look after her widowed and hypochondriac father who has unidentified age-related health issues, including constipation. The small Banerjee family discuss bowel movements during their breakfast or dinner time with such ease that it seems like they are talking about extremely serious issues. Bhashkor is seen updating Piku about his frustrating toilet experiences during her office hours. In these circumstances, Piku gets awfully irritated with her father’s persistent self-indulgent and odd behaviour. Though a self-reliant career woman, she is still waiting for his permission to get married. On the other hand, Bhashkor has always admired career-oriented women who choose to remain unmarried throughout their lives. He considers married women as creatures with low levels of IQ. In fact, he dislikes the idea of his daughter getting married and shedding her own identity. [caption id="" align="alignnone" width="594"] Photo: Facebook page[/caption] During an outlandish road trip from Delhi to Kolkata, grumpy Bhashkor’s non-stop complaints and short-tempered Piku’s crankiness with a reluctant driver, Rana Chaudhary (Irrfan Khan), paints the strange lives of a freaky father and a caring daughter. The road trip and their eccentricity keep the audience mesmerised for the rest of the plot. [caption id="" align="alignnone" width="591"] Photo: Facebook page[/caption] [caption id="" align="alignnone" width="595"] Photo: Facebook page[/caption] Sircar’s Piku does not require a romantic Bollywood set-up, sensational scenes and meddling songs and dances. Instead, it’s an endearing story with an emotional stance about the deep attachment of a father–daughter bond – all presented in a very subtle manner with lots of scatological wit. The basic reason why I felt Piku is relevant is because of its strong and moving theme. In many households, families have stubborn ageing elders who are dominating, yet they provide a warm and loving atmosphere for the entire family. People, and especially single daughters, who cope with Bhashkor-style fathers or parents and their irksome tantrums is something which a lot of individuals can relate to – it is a reflection of reality. It would be easy to identify oneself with Piku or Bhaskhor. Sircar and screen writer Juhi Chaturvedi, who previously enticed moviegoers with Vicky Donor in 2012, once again picked a common story and proved that a wacky, avant-garde subject can perform well at the box office and garner praise from critics. Padukone and Khan have shown remarkable acting skills by turning their respective characters into congenial and factual figures. Both are idiosyncratic and tuned in with their own thoughts. However, they do not allow those idiosyncrasies to engulf them. [caption id="" align="alignnone" width="595"] Photo: Facebook page[/caption] Arguably, it is the wonderful Big B who steals the show. The ways in which he portrays himself as an unremorsefully selfish, bad-tempered old man and delivers his witty lines with cynical looks is a sign of his commendable acting skills. He is entirely convincing with his wide-eyed innocence and the tone and expressions of Big B are extremely memorable. Piku is a plain and simple movie. But despite its simplicity, it manages to keep the audience engrossed and entertained for two hours. There are no larger-than-life characters, dramatic arts or a happy-ever-after ending, yet the movie is like a much-needed breath of fresh air. Nevertheless, it is magical because of the humorous and quaint remarks by the characters, further supporting their insular stereotypes. The story delivers a significant message about old age, something which we all can learn from. I would definitely recommend all moviegoers to watch this movie. I assure you that the emotional and insightful script, as well as the memorable performances by Khan, Padukone and Bachchan will keep you captivated throughout. Overall, I would rate Piku a 4 out of 5.

The orange of the flame trees was so vivid that I felt it would come off on my finger if I were to touch it. The colour of the flame trees stands out in my memory when I think about Zanzibar, with its white beaches and dreamlike turquoise waters. Zanzibar, an island off of Tanzania, is a beautiful place to escape to. The brilliant green of the trees is unfettered by billboards, tiny shacks with metal roofs crowd the roadsides, selling bright red, yellow and blue football jerseys, t-shirts and flip-flops. The locals are predominantly Muslim, the women are dressed in colourful flowing clothes and matching headscarves, and there is a smattering of tourists but not in an overwhelming-the-residents kind of way, in contrast to Thailand. There are mosques and there are bars and everyone goes to their preferred building without judgmental glances at the other. [caption id="" align="alignnone" width="594"] Photo: Aisha Iqbal[/caption] Our first stop was Stone Town, the main port centre of the island. You could walk around the city in a day, or in a half if you really want to stroll slowly. Our friends had been politely curious about our choice of destination but the immigration officer at the Karachi airport was evidently unimpressed.

“Why would you go there?”