Daily Times

With the arrival of colour films in the 1960s, Pakistani Cinema entered a golden age. Over the 70s, cult classics such as Maula Jatt brought the industry into the spotlight. New releases full of potential were always around the corner, and the future seemed bright.

Eventually, however, Pakistani Cinema began falling into complacence. As most films tried to copy the Maula Jatt formula, the quality of the industry’s productions began declining. At the same time, Bollywood started to emerge as a significant worldwide force in itself. Together, it meant that Pakistani Cinema was all but ruined as production – both quantitatively and qualitatively – decreased in the 1990s and 2000s.

Over the next decade, Pakistani Cinema continued stagnant. Although films such as Chup and Saltanat proved their quality, box office performance remained generally lackluster, especially compared to competing Bollywood releases.

All was not lost, however. With a gradual shift to Karachi, films such as Bol and Waar have spearheaded a new era in Pakistani Cinema. In particular, Waar, which was also rightfully the highest grossing Pakistani film at the time of its release, ushered in the Pakistani film industry’s revival. Studios such as ARY Films have helped promote this growth, with Pakistani Cinema now boasting an impressive collection of films from the past decade.

The industry’s willingness to embrace new developments in Cinema has fuelled much of this growth. 3 Bahadur (which has since been succeeded by two additional sequels) was the first 3D computer animated film in Pakistan and was subject to critical acclaim. A significant improvement in this regard has been the breakaway from cliché troupes overly familiar with Pakistani Cinema. Instead, the new era in Pakistani film has chosen to promote genuinely meaningful, relatable stories. Actor in Law helped highlight problems in our justice system, Dukhtar shed light on forced child marriages, and Ho Mann Jahaan brought forth a coming-of-age drama in which we relate with its characters as they navigate life’s challenges.

Pakistani Cinema has also grown to include more than just films. Award shows such as the Lux Style Awards and Hum Awards, marketable celebrities, and advertisements help gather millions of rupees in revenue, further bolstering its effectiveness.

Yet challenges remain. Although new releases are welcomed enthusiastically by Pakistanis, both at home and expatriates everywhere from the Gulf to North America, revenues pale compared to Hollywood and even Bollywood. For reference, Jawani Phir Nahi Ani 2 (Pakistan’s highest grossing film so far) gathered around Rs. 70 crore ($5.75 million). Compare this to its Bollywood and Hollywood counterparts, which grossed $287 million and $2.8 billion, respectively. With no Pakistani film ever winning or being nominated for the coveted ‘Best International Feature Film’ award at the Oscars, international recognition is also lacking.

However, the industry continues to persevere. Dukhtar is a notable example, with shining reviews from international critics leading to a 93% score on the review aggregator Rotten Tomatoes – a feat most films envy. Foreign releases geared towards expatriates also attract other audiences, helping promote Pakistani Cinema worldwide – particularly in North America.

Over the past decade, Pakistani Cinema has undoubtedly persevered against the worst. Saving itself from the brink of collapse, it has transitioned from an industry nearly extinct to one which reminds its audience of its golden age decades ago. With a continually expanding catalogue always around the corner, the industry continues to persevere, reinforced by its audience’s support. If this spirit prevails, a second golden age seems near.

Muhammad Mujtaba Iqbal is a social activist and writes on topics of general public interest without any bias and prejudice.