Having taken a plunge during much of the past two decades. The Pakistani cinema industry has witnessed a revival after suffering a steep decline during the 1980s. Since 2012, The movies produced by the Pakistani cinema have received wide acclamation and positive reviews in the realm of entertainment and documentary films from domestic and foreign audience. Filmmaker Sharmeen Obaid Chinoy won two Academy Awards (Oscar) for her two documentary films. Entitled Saving Face and A Girl in the River: The Price of Forgiveness, produced in 2012 and 2016 respectively. Similarly, entertainment movies like Khuda Kay Liye, Bol, WAAR, 3 Bahadur, Wrong No., Actor in Law, Bin Roye, Punjab Nahi Jaungi, Na Maloom Afraad, and lately Ali Zafar’s Teefa in Trouble bagged PKR 300 million on the box office. With these cumulative developments a new wave is rising in the Pakistani film industry.
History of Pakistani cinema
The history of pakistani cinema in Pakistan is a continuation from the undivided India under the British rule (1857-1947). After establishment in 1947, there was a time when Pakistan produced an average of 80-100 movies annually. Which started to witness a decline during the decade of 1980s. A major shortcoming of the cinema industry during the 1980s was the stereotypical projection of folk Punjabi and Pashtun cultures, coupled with poor scripts, dramatic acting and use of inferior technology in production.
Similarly, social taboos and religious conservatism discouraged talented youth to opt for the cinema industry in Pakistan. The subsequent decline in the production as well as viewership of Pakistani cinema during the 1980s. Constrained many cinema owners to demolish their cinemas and replace them with alternative income sources. Such as commercial plaza, residential apartments etc.There are numerous reasons to explain this revival. For example, the scripts of the recently produced movies have improved considerably. Apart from being less glamorous, as witness in the case of Bollywood movies. The recent Pakistani movies are tailor for family entertainment.
Revitalizing Pakistani Cinema: Policies and Prospects
Moreover, there has been a revolution in terms of hiring of the cast of the newly produced movies, where highly educated and groomed people are joining the film industry. Similarly, film scripts revolve around stories which mainly portray the reflection of the society. Taking cognisance of the recent growth in the Pakistani cinema, the former federal government announced the country’s first ever Film Policy in February 2018 which offered unprecedented incentives to the filmmakers. Some salient points of the policy include offering 70 percent rebate in taxes to filmmakers for shooting in Pakistan.
Emption of import duty on film equipment and sales tax on the films; and establishment of Film Finance Fund to the tune of PKR 5 Billion for the filmmakers. Another wise decision was to encourage the screening of Pakistani films and dramas in China, which can fetch handsome returns. Given prospects for revenue generation by the Pakistani cinema industry, the country needs to take certain important steps to realise its full potential.
Growth and Inclusivity of Pakistani Cinema
The government should incentivise and woo local investors to construct cinemas with modern day amenities. Government in major cities needs to offer support for construction of cineplexes. Such a development will increase the number of screens in Pakistan. Consequently, film makers will upscale their productions of films. It will also help in generating financial surpluses for film makers, which will help ameliorate the technical and production prowess of Pakistani film industry. However, the growing industry will also need to ensure that its rise comes by creating conducive environment for artists and creators, irrespective of gender, ethnicity, religion and creed. Taking lessons from the #MeeToo movement, the industry will need to put in place a strong professional ethical culture for men, women and trans-people in the industry.
Along with these efforts international outreach needs a revitalised focus. Two developments, which may have remained under appreciated by film makers at Pakistan, is that in last few months two Indian movies in China surpassed revenues generated at their home market (India). The first is Secret Superstar and Hindi Medium. So far, the latter has generated nearly Indian Rupees (INR) 200 crores ($23.82 million) out performing its performance at the domestic box-office of about INR 70 crores and whereas Secret Superstar earned an unprecedented amount of US$119 million.
Pakistani Cinema and International Markets
Previously, Amir Khan’s Dangal earned $205 million in China. Taking a lesson from this, Pakistani film makers can benefit from Bollywood’s penetration. This is for three reasons; firstly, the cultural nuances between the two South Asian countries are quite similar, this also stands true for dramatic expression, humor, and music. Thus, relating with films from Pakistan will not be much of a challenge. Secondly, China is a huge market with nearly 8000 screens spread across the country, at the operational level. This creates a huge potential for generating surplus market revenue. Thirdly, the ongoing collaboration needs scope for cultural exchange. And taking Chinese distributors on board for screening quality Pakistani films for film industry’s revival at home and abroad and exposure of Pakistani films in China. Lastly, as part of its international outreach India also needs to be convinced to reciprocally allow Pakistani films to be screened in India.
Pakistan cinema and Indian Market
Since, Indian movies are screened in Pakistan such an exchange will allow Pakistani film makers to benefit from the Indian market also. To this end, the latest news of Fahad Mustafa and Om Puri’s film Actor in Law being screen in India is a welcome development. Along with these efforts international outreach needs a revitalised focus. Two developments, which may have remained under appreciated by film makers at Pakistan. In last few months two Indian movies in China surpassed revenues generated at their home market (India). The first is Secret Superstar and Hindi Medium. So far, the latter has generated nearly Indian Rupees (INR) 200 crores ($23.82 million) out performing its performance at the domestic box-office of about INR 70 crores. And whereas Secret Superstar earned an unprecedented amount of US.
Taking a lesson from this, Pakistani film makers can benefit from Bollywood’s penetration. This is for three reasons; Along with these efforts international outreach needs a revitalised focus. Two developments, which may have remained under appreciated by film makers at Pakistan, is that in last few months two Indian movies in China surpassed revenues generated at their home market (India). The first is Secret Superstar and Hindi Medium. performance at the domestic box-office of about INR 70 crores and whereas Secret Superstar earned an unprecedented amount of US.
Challenges and Transformation of Pakistani Cinema
However, to turn film industry’s current small success into meaningful ones, it is now up to those that are already part of it. And also those considering joining it to turn Pakistan film industry’s potential into a sustainable success. But pakistani industry less successful than indian the reason is stories, dressing, acting. And so on everything was liberal and as many conservatives would say “unholy and vulgar”. Movies like Society Girl and Dillagi discussed love, lust, prostitution, non-muslims and so on openly. Many Pakistani films were based on the lives of non muslims. We even had famous non muslim stars ruling the Urdu Cinema like Shabnam, a hindu woman from Bangladesh.
To stop this spread of liberalism and “vulgarity” and to create a country “filled with god” to attack the “godless” soviets. Urdu cinema was but under extreme pressures. Actors/Actresses stoped their work, producers stoped funds. Even the money which the government use to provide as grants to people seeking various artistic events, films, and etc was cut off. This was the major reason for the decline of our cinema, persecution. The only reason Punjabi cinema was publicize and allow to run so much was because it had a focus of religion. And also stayed away from what the conservatives considered “vulgar”, and Zia enjoyed it. Thus Punjabi cinema replaced our national urdu cinema from the 70’s to about the late 90’s. Slowly in the 2000’s Urdu cinema began to reemerge.
Resilience and Achievements of Pakistani Cinema
The reason our cinema hasn’t been able to get back on its feet is not because we cannot accept new ideas, not because we are not open minded or anything. We had a dull period of almost 10 years where we had little to no films. Our cinemas decreased, and now only about 30–40 cinemas remain of the original 500 in the region. This gives Pakistani films little leeway to actually make much profit in such ventures, and who works without earning. We all have to feed ourselves at the end of the day. Slowly the number of cinemas has begun rising again as new films pour out.
Also i want to note that although our film industry is small as compare to India. Do not believe that to mean it isn’t strong. Two Pakistani movies had been taken by top schools in the US, Yale and Harvard, to be studied by their students. These movies were released in 2015. They were Moor and Manto. Pakistani films have even beaten indian films, sometimes, in movie screening awards on indian land. Pakistani films have fought over to Pakistan the likes of Nandita Das, Kieron Kher and many other names from India. Just as Bollywood has called a number of Pakistani singers/actors to its industry as well. The newest movies coming out from Pakistan is also being co produce by Barbra Streisand an American Emmy Winner. And even Sharmeen Obeid Chinoy has won two oscars for her documentaries.
