Pakistani cinema is seldom showcased to global audiences. Both India and
Pakistan have a shared history and though across news screens both countries
are portrayed as arch rivals at a cultural level the bond is inseparable
indeed. Pakistani sitcoms, singers, actors etc have gained widespread
popularity across India and Bollywood on the other hand has left Pakistani
audiences mesmerized over the years. The last Pakistani film I saw was ‘Khuda
Ke Liye’ (In the name of God) which was packed with some very powerful
performances and a gripping screenplay.
I was recently invited to the premiere show to review Pakistan’s official submission to the 88th Academy Awards called ‘Moor’, by the good guys at VOX Cinemas, UAE. I have personally always been a fan of low budget films which convey poignant messages without being pompous. I am pleased to see that VOX Cinemas is lending their support to such films and giving them a well-deserved platform amidst mainstream commercial flicks.
I was recently invited to the premiere show to review Pakistan’s official submission to the 88th Academy Awards called ‘Moor’, by the good guys at VOX Cinemas, UAE. I have personally always been a fan of low budget films which convey poignant messages without being pompous. I am pleased to see that VOX Cinemas is lending their support to such films and giving them a well-deserved platform amidst mainstream commercial flicks.
Wahidullah, the station expert of Khost railroad station
reluctantly consents to auction the railroad foundation because of political
weight and guaranteed budgetary advantages. Wahidullah’s character is played by
Hameed Sheikh who comes across as a very refined actor and blends into his
Pashtoon character effortlessly.
In any case, as his child Ahsanullah Khan (Shaz Khan) moves to Karachi, he gets himself laced in the quandary of not relinquishing what is inalienably his (the railroads) and grasping the hope for a better tomorrow.
The basic yet insightful execution of this story makes sit glued to your seats till the very end.
In any case, as his child Ahsanullah Khan (Shaz Khan) moves to Karachi, he gets himself laced in the quandary of not relinquishing what is inalienably his (the railroads) and grasping the hope for a better tomorrow.
The basic yet insightful execution of this story makes sit glued to your seats till the very end.
The profound comprehension of the social issue, coupled by capable exhibitions
compensate for the inconveniences as the film advances.
Hameed Sheikh's trip from complete rational soundness to anxiety is not just reflected through his quick maturing post-emergencies, additionally the unpretentious splendor with which his idiosyncrasies turn out to be more hesitant with time. The flashback scenes between him and his late wife attest the moral dilemma that he is confronted with. It’s hard to part away with your memories for money.
Hameed Sheikh's trip from complete rational soundness to anxiety is not just reflected through his quick maturing post-emergencies, additionally the unpretentious splendor with which his idiosyncrasies turn out to be more hesitant with time. The flashback scenes between him and his late wife attest the moral dilemma that he is confronted with. It’s hard to part away with your memories for money.
Shaz Khan adjusts the Pushtoon complement easily while
keeping up his poise. Abdul Qadir as Baggu Baba ends up being the highlight of
the film. Baggu has an extremely ridiculous state of mind towards things yet
doesn't let the viewer mistake him for a comedian. The most extraordinary part
of Qadir's depiction of Baggu is that he really serves as the ethical compass
of the story yet never attests it.
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| A pic of the endearing Baggu |
The supporting cast has done a decent job in playing their respective
roles. Samiya Mumtaz’s acting came out as a bit too spooky for this kind of a
feel good film. The
other lead actress, Sonya Hussain made a sincere attempt to portray her character
and played it well indeed. However at the screenplay level, Sonya Hussain’s multiple
abrupt entries throughout the film as a moral custodian were a bit annoying to
watch and steered the audiences away from the free flowing storyline.
There are a lot of magnificence shots in the film offering
the Pushtoon belt of Balochistan as a conceivable traveler spot for whatever is
left of the world.
The soundtrack of the film when heard in separation
appears to be something out of the Strings' Coke Studio yet gives a spine-chilling
background when collaborated with snowcapped mountains. One of the noteworthy
tracks is ‘Eva’ sung by Meesha Shafi. It’s a very peppy and addictive track
indeed. Talaabgaar song by Javed Bashir is yet another mesmeric track.
All things
considered, Jami figures out how to draw off the incomprehensible with Moor. He
concedes us a genuine Pakistani film sans being grandiose or sermonizing and
makes the much rustic and rural idea of 'affection for your country' moving for
urban groups of onlookers. This stunning passionate excursion highlights the
lost occupation in Balochistan as well as gives us trust that Pakistani silver
screen won't just be taken as an expansion of Bollywood.
Rating- 4.5/5 stars
Recommendation- Must Watch!!
Recommendation- Must Watch!!
Now showing exclusively at VOX Cinemas across the UAE. Click here for show timings.
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