When watching a flick by film-maker Syed Noor you can at least be sure of one thing — that the storyline will be sensible and coherent. Jhoomar, his latest offering starring Saima (no surprises there) and Moammar Rana may not be a technical stunner with well-packaged glitz and slickly choreographed catchy numbers, but it has a plot that keeps you fairly engaged throughout its running time of three hours. Partly because it is inspired by real-life events, according to the film’s publicity.

The poor girl is eventually kicked out of the house after being blamed falsely of having an affair and in a bid to commit suicide, a devastated Gulaab consequently finds herself on the wrong side of the Wagah Border. She is whisked off to jail after interrogation.

What follows in the second half of the film is the metamorphosis of Saima from a naïve village girl to a defiant and courageous larger-than-life heroine who braves horrific circumstances in prison to eventually redeem herself in the eyes of Shahnawaz, who as it so turns out, is the one suffering from infertility and not her.

In spite of a strong storyline, Jhoomar has its share of technical and conceptual bloopers. For instance, my sensibilities failed to digest the enormous and much-older-looking Saima as a potential love interest for Momey’s athletic-looking army officer. She looked a misfit for Gulaab’s character while twirling her dupatta or biting her finger while acting out the demure village belle.

But her transition in the later half of the film makes you forgive both her and Noor; for it takes the amazonian Saima to fight off the advances of first the jail superintendent (played by Shafqat Cheema, I was waiting for him to make his appearance as the villain) and jail inmate Nandni.

Saima manages to look much more pretty in the later half with minimal make-up. Momey’s six-month-long honeymoon vacation is inexplicable as is his job description — he wears the badge of an army major yet is always seen hanging around the border fence. The camera is extremely jerky around the initial one hour into the film or perhaps one’s eyes get accustomed to the shaky frames afterwards.

Some shots are abrupt and edited poorly leaving one wondering what the connection is. And every time Aleena walks into Shahnawaz’s ancestral haveli, the Indian film Main Hoon Na’s background score that complemented Sushmita Sen’s entry, was played which made it seem rather frivolous and unnecessary. Aleena’s English accent is also quite atrocious: “Theess iz my strutaway insselt,” she says when Momey gives her the cold shoulder.

Saima’s Gulaab calls Momey’s Shahnawaz ‘Jhoomar’ during the entire length of the film after he gifts her a gold jhoomar. It sounds quite awkward if you ask me. When Saima’s in-laws manhandle her and chop off her luxurious hair, she emerges in a dishevelled yet well-cut bob rather than an unkempt mop of hair.

Then there are also the Indian prisoners who converse in fluent Urdu and a Pakistani police truck transporting Saima to an Indian prison! A plastic doll in the garbs of a Hindu deity in prison also comes across as quite absurd and an eyesore. The film-maker, it seems, is not as aware as the audiences of Hindu culture, thanks to the cable TV.

In the last few scenes of the film, the revolver in Saima’s hand miraculously transforms into a mouser in the blink of an eye. The comedy scenes between Irfan Khoosat who plays Saima’s father, and his servant are literally forced into the script.

One also fails to understand the great hullabaloo about Momey having to marry Aleena when he has a younger unmarried brother. The bloodbath in the end is typical of a Pakistani film and a quick way to deal with the baddies and dispense poetic justice.

However, one does note some attention to detail paid by Syed Noor as Saima’s wardrobe is refreshingly stylish. She wears simple clothes when she lives in the village and lovely designer stuff when married. The scenes with violence are well picturised without being sleazy. However, the content may be unsuitable for young viewers.

All extras cast as Indian prisoners are dark complexioned, perhaps Noor’s attempt to bring a mark of distinction. Saima’s chopped-off hair is also shown to take a year to grow back and her histrionics are quite convincing while facing the odds in jail and her fight sequence with the inmate, Nandni. The scene when she returns to her native village after undergoing immense trauma is also quite touching.

The lyrics by Aqeel Ruby and Rukhsana Noor are melodious but forgettable. Shabnam Majeed’s voice sounds beautiful but does not suit Saima. Period. The songs are situational and there are thankfully no item numbers.

Technically speaking, one can’t compare Jhoomar with Khuda Kay Liye or even Mohabbataan Sachiyaan. However, one feels Noor must be commended for using a theme that elevates the status of a woman to a gutsy, spirited individual rather than a licentious tart as espoused in numerous flicks such as Ghundi Run and Wehshi Haseena doing the rounds in the Lahore film circuit.

The audiences that Jhoomar seeks to snare will definitely be educated with a bold theme of male infertility and for them Noor has also packed in ample flavour of rustic simplicity. For instance the dhamaal number filed on Saima was shot superbly.

But it would do Syed Noor and his film viewers tremendous good if he looks beyond Saima for his upcoming ventures and starts investing more money onto the film’s editing, mixing and camera work. After all, talent like Noor’s should make it to broader horizons.

Hash on a new roll

The artiste formerly known as Hash is looking to relaunch himself as Hashim via the release of his first video Loading the cannon, from his currently-unreleased second album. Featuring VJ/model Anisa Shaikh, the video has been directed by Zeeshan Parwez.

The video was shot in Karachi earlier this year and has, according to the director, a very ‘clubby’ theme. “It isn’t really based around a certain concept and it’s perhaps my first ever video which has a bit of commercial element to it — in the sense that it looks glamorous”, says Zeeshan about the video, “and it was my first ever 35mm project”

Continuing about the video, Zeehsan says that “a lot of effort from my side as well that of the DoP’s was on shots, frames and lighting. We experimented with what kind of lens would work on what shot according to the storyboard that I had. I loved working on 35mm and would love to make more videos on it”.

However, his projects with Hashim aren’t over yet. Another video in the making is a remake of Hashim’s (or Hash, as he was known back then) My Moment. The first video for the song had been directed by Aseph and since My Moment happens to be one of Hashim’s most favourite songs from his first album, he’s looking to add a little more to its video. According to Zeeshan, his version of My Moment will be a semi-animated video. “The cast was shot in front of a chroma-screen and then merged into a pre-made 3D environment. After that was done, everything was then digitised into vectors”, he says, talking about the video-making process. On the content, he says that the video has to do with his “fascination with super hero movies. The video has a very comic book feel to it in the sense that it features exaggerated action personalities”. The Zeeshan Parwez directed version of My Moment is expected to hit the tube sometime in December this year. — Madeeha Syed

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Taking the lead

By Madeeha Syed

There are different kinds of storytellers — some prefer to express themselves vocally, by song while others prefer to communicate via the written word. Omar Rahim, on the other hand, chooses to express himself via a medium that isn’t literal in its context and known for the sheer amount of discipline and hard work needed to master it: dance.

Upon meeting Omar the connection between him as a dancer makes sense — motion is deeply entrenched in his being and he tends to carry himself with a pronounced but controlled agility and gracefulness that tends to separate him, although not very starkly, from the rest of the crowd.

His interest in this study of art began at an early age when he was encouraged into gymnastics, discovering that he had an innate love for movement. Joining the Student Television Arts Company (STAC) during high school, Omar received training in music, drama and dance among other things while also being exposed to music, dance and Broadway productions in New York City. He then pursued his interest in dance in college, enrolling in a programme titled College of Letters (CoL) that incorporated the study of history, literature and philosophy. He also went on to attain a scholarship to study ballet and subsequently went on to join Susan Marshall and Company (SM&Co) and worked with them for three years, retiring from the company in 2000 — also the same year that Susan Marshall was given the MacArthur Fellowship (the Genius Grant) for her contribution to the field.

What is interesting to note is that Omar also performed a cameo in the Hollywood film, The Guru, where he made an appearance as the Indian prince opposite Heather Graham and also assisted Mary Ann Kellog in choreographing some of the dance sequences.

“I was a pretty good student, so I didn’t compromise on my studies,” says Omar when confronted with the question about his parents allowing him to study a field not considered as the approved norm, “in college the compromise that was made was my major was CoL which was my declared major and my additional, undeclared major was dance.”

What is interesting to note is that his thesis was based on the works of Chandralekha — an controversial Indian dancer who combined the disciplines of Bharatnatyam, Kalarippayyat and Yoga in her choreography, and who is also known for reinterpreting classical traditions in dance and was often criticised for the inclusion of erotica in her sequences.

The fact that Omar was brought up in the US and that his field of study exposed him to western studies of dance, one can’t help but wonder why he chose to single out the works of Chandralekha as a subject to form his thesis on? “Although my major gave me terrific tools of analysis, of understanding history, contexts, how to see one thing in a different meaning. I was interested to spend all of that time and research not in the western cannon,” said Omar, going on to state that he had read about her in a magazine sometime in 1993-94 and as luck would have it, she happened to be showing her work at the Brooklyn Academy of Music around that time.

“When I saw the work I was mesmerised because I could sense that there was a depth of meaning that was very non-western. But even as a South Asian aesthetic it also had an abstraction, it had a philosophical kind of content. I found tremendous depth there, depth that I could sense but I couldn’t necessarily articulate. I then reached out to her but she was initially very skeptical because her politics were very interesting.”

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“I think that to understand this culture, this land a little more deeply, one has to step out of the living room. What interested me, first of all, as an entrepreneur, was to find terrific folk heritage and artisanal tradition which is very much alive still. It’s hanging on by a thread but it’s still here in Pakistan,” says Omar Rahim
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Chandralekha has been deeply involved in women and human rights movements at several points in her life. “There wasn’t very much written about her so it was a challenge for me to do research,” said Omar about preparing for his thesis. “But it was great because that became the springboard for a very deep and profound friendship between Chandralekha and I. She unfortunately passed away about a year ago. I had the privilege of being able to spend time with in and out of hospitals when she was unwell.”

Whereas most writers interpreted her work as being deeply feministic, Omar is of the opinion that: “Her life can be seen as a struggle between the superficiality of decorative art, dance as decorative art, versus dance/performance/action as a political process, as a political dialogue, even within oneself.”

Hearing him talk about Chandralekha, one can’t help but wonder whether Omar attempts to consciously make a statement when choreographing a set himself? “Honestly, I don’t know how much people know how to read what I do. Because in Pakistan, I don’t think we’re a very seasoned dance nation: People are not used to watching and analysing dance. We have this notion, that I get from my grandmother often that ‘tum to mirasi ban gaye ho’. It’s sort of like you’re a low-class entertainer,” he says and then adds thoughtfully, “And I think that’s changing. But again, there isn’t that kind of respect given to dance as a text. Also as something that deserves legitimate study.”

Does he think it is because, as certain local musicians are of the opinion, that a dominant part of the local population does not understand music or art that is not literally spelt out to them? “I think that’s part of it. Among the so-called higher arts in Pakistan, I think abstraction isn’t understood. However, we have another, very fertile cultural space that embraces abstraction in a very sophisticated way. If you go to Bhit Shah and listen to the fakirs, they make the strangest most unusual sounds. There is an abstraction to this experience of sound. To me that is how seriously and how humbly people are exploring abstraction in their art. It’s also very emotional, touching and moving. But it’s not so obvious, it’s not so crass.” Pausing for a moment, he concludes, “But there is a way in which the literalness of everything else is dumbing us down.”

A part of what Omar does, other than dance, is that he’s established his own home-textile business as Soof Designs in New York and London, working in collaboration with designers such as Paul Smith and Tracy Feith. It predominantly focuses on the print and textiles that have been indigenous to Pakistan — which also explain his frequent trips to the Bhit Shah and other interior areas of the country.

“I think that to understand this culture, this land a little more deeply, one has to step out of the living room. What interested me, first of all, as an entrepreneur, was to find terrific folk heritage and artisanal tradition which is very much alive still. It’s hanging on by a thread but it’s still here in Pakistan,” he says talking about how the idea of introducing local textiles in a foreign market took place. “I could see that that kind of work is really appreciated in the states. I thought it would be worthwhile spending some time and money investigating that.”

Talking about his plans for himself, he says, “I’m at a point now when I want to invest a little more in my own performance, because I haven’t been performing for the last many years but I do want to get back into performing and get back into making work that is not perceived simply of as entertainment but is actually, in a sense, ‘textual’ dance.” Adding further he says, “Something that people would want to study, that’s content driven.”

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Sangeeta on Small screen!

Making her debut as a director on the mini-screen is our very own Bollywood powerhouse, no-nonsense actor-turned-director, Sangeeta. And it would seem she is taking out an old trump card from her arsenal, one that has the potential of becoming a sure shot winner.

Madame Sangeeta is taking her critically-acclaimed big screen caper, Mutthi Bhar Chawal, based on a classic novel by Rajinder Singh Bedi, Aik Chaadar Maili Si, and turning it into a 26-episode drama serial. Being produced by Seema Tahir and written by Iqbal Rizvi, it stars Resham and Ahsan Khan in the lead roles. Other cast members include Baber Ali, Rashid Mehmood, Freeha Jabeen, Mohsin Ali, Ayesha Haq, Mehr and Hannan.

Interestingly, Aik Chaadar Maili Si, after being adapted for the big screen in Pakistan by Sangeeta, was also captured on celluloid in India under the original title. But the Pakistani version directed by Sangeeta won public and critical accolades and also bagged many awards. The role of Rano which was also played by Sangeeta, and Hema Malini in the Indian version, is now being played by the talented Resham. Ahsan Khan is emoting the role of Mangal Singh played by Nadeem and Rishi Kapoor in the earlier versions. Babar Ali plays Tiloka earlier played by Ghulam Mohyuddin and Kulboshan Karbindra.

Revolving around a Sikh family, shot on original locations, Sangeeta has chosen this story as it is her favorite script and in the 26-episode drama she is hoping to portray the novel in detail. Ahsan Khan opines that his role in the project is by the far the most challenging he has been offered in his career so far. He has really toiled hard over his appearance, body language, mannerism, his diction and accent, to do justice to his Sikh character. Resham also admits that this is the first role of its kind that she has portrayed in her career so far. Hence she did a lot of background research for it and being the prodigious actor that she is, it can be predicted that this role would be a land mark in her career.

So watch out for this project which is sure to account for some gripping viewing on the small screen in these days of sudsy, soppy and even sloppy soap operas.

Dance baby dance!

Poor Meera is not well these days. It's something every actress dreads to have... sprained ankle! Her doctors have advised her to stay in Karachi and rest, which has delayed her departure to Lahore where she was to participate in a shoot. Actually, our babe was rehearsing a dance sequence that she is supposed to perform at the upcoming Lux Style Awards in Malaysia. In her exuberance and enthusiasm to outdo herself, our lass overdid a bit which resulted in the injury. Anyway, let's hope she recovers soon and bounces back to her cheery self. Now, we are just hoping that the LSA performance, because of which she is bearing all the pain, is worth it. Good luck Meera ji!

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Adnan Sami’s loss is wife’s gain

By Afsana Ahmed

Shakin’ Steven’s popular love song of the ’80s could not have worked better for Adnan Sami in his attempt to woo back estranged wife Sabah Galadari. The singer, who recently lost 117kg and is now looking good at 90kg, did everything possible to win back Sabah. And she didn’t let him down either. After almost three years, the couple is back and living happily together in Adnan’s new house.

“Life was so different and difficult earlier,” recalls Adnan. “Everything was going wrong. I almost lost Sabah. But today, after I lost weight, I have gained back everything, especially my confidence. Aaj phir jeene ki tamanna hai.”

Theirs is a story that would make Bollywood scriptwriters proud. The singer went through a messy divorce with first wife Zeba Bakhtiar, then lost a bitter custody battle for their only child, Azaan Khan. He then fell in love with and married Dubai-based Sabah Galadhari in 2001. The couple divorced a year-and-a-half later. Adnan at that time was 150kg. Adnan came back to Mumbai, produced several music videos, but quietly pined for his lost love.

One day Sabah was pleasantly surprised to receive on email a photo of a much slimmer-looking Adnan. “And then we met in Dubai,” Adnan says, taking up the story. “I couldn’t get her out of my heart. Love can turn things around. Just believe this. And when we met we realised we had never stopped loving each other.”

“I enjoy seeing Adnan’s new found zest for life,” Sabah admits. “I feel a sense of pride to see him like this. Adnan is so shy and lovable. He is and will always be mine,” she says, shooting down rumours that Adnan was secretly seeing a Bollywood heroine. “My wife is my life. She is the most beautiful woman I have met,” Adnan adds

Did the extra kilos, which earned him so much notoriety, come in the way of his love and snatch away Saba? “Weight was most definitely posing a problem for me in every area of my life, including my heart. And perhaps, I was pushing Sabah away from me. In hindsight, I can’t understand why. But the fact is that today I’ve fought my problem only for Sabah.”

The shy and private Sabah says she loves the fact that Adnan has found back his life. “I enjoy seeing Adnan’s new found zest for life,” she admits. “I feel a sense of pride to see him like this. Adnan is so shy and lovable. He is and will always be mine,” she says, shooting down rumours that Adnan was secretly seeing a Bollywood heroine. “My wife is my life. She is the most beautiful woman I have met,” Adnan adds.

And if everything falls in place, Adnan’s music videos may one day feature his lady love. “Till date, almost all the songs I have composed, like Kisi Din, Tere Bin, etc, were all for Sabah. And if she agrees, I would love to take her in my video,” he says.

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Intezar Gurus Trilogy

The boom in the Pakistani rock scene continues with the induction of another pop rock band, Gurus Trilogy. The band consists of three talented musicians: lead singer and rhythm guitarist Glenn John, keyboard player and producer Mohsin Allahditta and Sayyam Rana on lead guitars.

The band released its first album Aghaaz in January 2006 that was very well received but became a victim of poor marketing. After releasing the same album across the border, the threesome now target the Pakistani market yet again, with their brand new album Intezar, that borrows a few tracks from the previous albums along with some new numbers.

Major keyboard notes, flute sounds and gentle guitar chords provide the intro for the single Dastaan, a soulful fusion of Glenn’s charming vocals and heart rendering lyrics.

This track has all the instruments played to perfection: be it Mohsin’s fantastic keyboard notes or Sayyam’s awe-inspiring guitar waves.

With a sure winner kicking off the disc, the mood switches to some real electrifying thrill with Jagi Hue Aankhon Mein. Hardcore stick work and distorted vocals ignite this high-voltage track, full of energy. Glenn’s classy vocal delivery, a rousing chorus and Sayyam’s scorching guitar riffs dominate the track through out.

The title track is a heart catching ballad where Glenn flatters hearts with his alluring voice. A well-produced number for which Mohsin deserves all the applause and catchy verses courtesy of Ovais Sohail, the track is a tale of a person awaiting his beloved.

For Bhangra-holics, there is a treasure in Ishq, a rock, upbeat Punjabi tune tinted with sky-scrapping guitar waves. Pyar Mera, is an average number which can be skipped without an apology while Shaam is a soulful ballad with wonderful arrangements and marvelous piano play. In Saqalbun, which revolves around the title line throughout, Glenn, portrays his talents as a polished rapper oddly reminiscent of Usher. Deewaron Ko is another strong ballad on the album.

There is even room for some groovy covers. First on the list is the cover of the legendary Nisar Bazmi’s evergreen number Katay Na Katay which has been rearranged in a signature Gurus’ style.

This rock tune decorated with blistering guitar riffs is a hit in every aspect where Glenn so commandingly delivers the raags and alaaps. A tribute is paid to Talat Mehmood on his all time hit track Tasweer Teri, a calm and smooth number. And one of the highlights of the album is the remixed version of a Vital Signs’ track Nazar, a rhythmic and heart rending ballad which surely overpowers the original beat and receives a big thumps up. — Shahzeb Shaikh

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Fashion in the forefront

By Faryal Shahzad

“London, Paris, New York, Milan and now, it is Lahore.” These opening words by Simon P. Lock at the media launch of the Pakistan Fashion Week, not only proclaimed the start of the four-month journey towards Pakistan’s first-ever Fashion Week to be held in November, but also marked the beginning of a new epoch in the annals of Pakistan’s fashion tradition.

But though the CEO, IMG Fashion and Models Asia Pacific, was listing the world’s leading style capitals in his opening remarks to declare how the forthcoming Pakistan Fashion Week could render Lahore to join the ranks of these fashion hubs, his words set the ground for some thinking.

Perhaps, it would be befitting to ask ourselves, at this point, how we plan to attend to the challenge of striking a legitimate balance between the projection of representatively indigenous fashion crafted in the hues of our culture (so that it identifies as Pakistani) and the influence of western styling (on an already westernised fashion industry), the latter inevitably becoming an overt part of an international event being managed by international consultants and targeting an international audience. Stylist Nabila reflects on this concern by asserting, “I will support any cause that puts eastern sensibility into western silhouettes.”

The international fashion week circuit is the foundation of global business enterprise for ready-to-wear fashion designers. Twice a year, the world’s leading fashion buyers from big departmental stores and fashion boutiques, along with the fashion media, travel the circuit to preview the new collections of the world’s leading designers

The media launch of the Pakistan Fashion Week, held in Lahore at the Royal Palm Golf Club last week, was expected to be a bigger affair, in terms of celebrity turn-over, at least, and with a number of Karachiites present among the organisers and guests, I repeatedly came across comments such as one given by Zeenat Saeed of Taneez. “The guest turn-over would have been much higher at an event like this, if held in Karachi.” Lahore, it appears, was chosen as the appropriate venue for the mega event more out of reasons of security than any other, though the International Management Group (IMG) chiefs also feel that Lahore holds a kind of mystique for the world audiences that is easier to capitalise on, and therefore, the city will give an advantage to the event.

A number of famous faces from the fashion world made their absence felt at the media launch of the PFW and one of the reasons for their lack of presence could be that most of them are usually vacationing abroad around this time of the year. Among those who graced the Red Carpet at The Dome were HSY, Nabila, Maria B, Frieha Altaf, Aaminah Haq, Vinnie, Ather Shahzad, and film stars Reema and Meera, besides a few others. Some private television channels had set their booths at The Dome, and the fashionistas were asked in turn to give their views on air about the idea of an international fashion week in Pakistan and their expectations from the event.

Speaking to Images, Aaminah Haq said that the PFW would not only revolutionise the Pakistani fashion collection but will also help set standards in related fields of modeling, choreography, make-up artistry, back-stage management and so forth. “Finally, if we want to present the business of our fashion to the world we must focus on prêt rather than couture alone,” she added.

Fashion weeks the world over, are more about off-the-rack than couture collections, and the PFW pursues to be no different. To be held from November 5 to 8 at the Royal Palm Golf and Country Club, the PFW, co-organised by Geo Television Network, Jang Group and Events Unlimited, with IMG as consultants, will seek to cater to international buyers, global industry players and fashionistas from all over the world. The event will showcase some of the best local designers to international buyers and industry insiders. “We will represent the business of fashion to the world by inviting buyers from across the globe,” observed Imran Aslam. “Our focus will be on giving a strong boost to the export of our ready-to-wear items, which will be a challenge, as Pakistan is known mostly for its couture abroad and the potential of R2W export-oriented industry has never been tapped from a platform like the PFW.”

The 4-day event will present spring/summer ready-to-wear collections for 2008. PFW would be categorised into collection shows, comprising individual, as well as, group shows, designer suites and exclusive exhibitions at The Source, which will be an industry-based exhibition forum at the PFW. The Source aims at exhibiting the wonders of our accessory designer industry, especially designer jewellery, bags, shoes, lingerie, leather goods, sportswear and textiles. Designer suites will provide exclusive exhibition booths to designers excelling in ready-to-wear collection. Frieha Altaf, who will be doing the choreography and the after-party management of the event, expressed extreme enthusiasm about the fashion week, adding that she was “thrilled to bits, as this type of an event was long overdue.”

The international fashion week circuit is the foundation of global business enterprise for ready-to-wear fashion designers. Twice a year, the world’s leading fashion buyers from big departmental stores and fashion boutiques, along with the fashion media, travel the circuit to preview the new collections of the world’s leading designers.

When asked about the criterion for selection of designers for the PFW, it was learnt that there would be over 30 designers from across the country participating in about 20 shows, while those desirous of participation would have to go through a series of selection assessments for which a selection panel has already been established.

The National Selection Panel comprises stylist Nabila, Muniba Kamal of Instep, Sabene Saigol of Libas International, Tapu Javeri, Shamaeel, Asim Naeem of Pakistan School of Fashion Design (PSFD), Azfar Hassan of Matrix Sourcing and Jodi Pritchard of IMG Fashion. An advisory board has also been made to look into the various affairs of the PFW. Imran Aslam, Simon P. Lock, Maheen Khan, Sehyr Saigol, Sonya Battla, Nabila, Muniba Kamal, Zahir Rahimtoola, Asim Qureshi and Tahseen Shaukat constitute the advisory board of the PFW. In the words of Asim Naeem, a PSFD faculty member, “Finally, fashion is becoming an industry, rather than entertainment, in Pakistan.”

While talking to Images, IMG chief executive Simon Lock also disclosed that in order to ensure that the eyes of the fashion world are focused on Lahore this November, an exclusive time slot for PFW has been chosen that does not coincide with any fashion weeks anywhere around the world. “PFW will be positioned on the international fashion week circuit following the end of all European shows. Buyers and media will be given enough time following the conclusion of the last European fashion week to be held in Paris in mid-October, so that they can finalise their business before considering travelling to Pakistan.”

As an added gesture of reassurance and to give extra mileage to PFW, IMG plans to have a snippet on Pakistani fashion at the Lakme Fashion Week to be organised by IMG in India a month prior to PFW. “The Pakistani segment at Lakme will act as a promo for the November mega event,” he observed.

Commenting on the significance of the PFW in terms of the local film industry, Meera said that an overall boost to the fashion industry would help elevate standards in films, as more decent and well-designed costumes will make way onto the silver screen, while Reema revealed that she is already getting the costumes of her underway film designed by HSY, Karma and Nomi Ansari, claiming that she has pioneered the trend of employing designer outfits in films. Reema emphasised the need for improving the quality and designing of costumes and the standard of make-up techniques used in our films.

First Pakistani scientist Dr Atta awarded Cambridge University life fellowship

ISLAMABAD: Higher Education Commission (HEC) Chairman Dr Attaur Rahman has been awarded the Honourary Life Fellowship at the King’s College Cambridge.

He is the first Pakistani scientist to be made a Fellow at the second oldest and most prestigious university in the world for his achievements in academic research.

Dr Atta, who is also the OIC Standing Committee on Scientific and Technological Cooperation (COMSTECH) coordinator general, was also elected the fellow of the prestigious Royal Society last year.

Dr Atta obtained his PhD degree from the Cambridge University in 1968. He has over 778 publications in leading international journals in several fields of organic chemistry including over 600 research publications, 15 patents and 93 books. He has written 59 chapters in books published by Major American and European press. He is the first scientist from the Muslim world to have won the UNESCO Science Prize in the 35 year history of the awards. The Government of Pakistan has conferred four civil awards upon him.

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First Pakistani-American to take command in the US Navy

WASHINGTON: Commodore Muhammad Muzzafar F Khan has become the first Pakistani-American to take command of an operational aviation squadron in the US Navy.

He took charge of the Sea Control Squadron (VS) 31 during a ceremony held at sea aboard USS John C Stennis last month, currently deployed to the US 5th Fleet area of operations, says an official press release.

“I am absolutely thrilled and honored to be placed in that position of stewardship. It’s an honor and a tremendous feeling,” Khan said. As a child in Pakistan, Khan grew up around aviation. His father served in the Pakistan Air Force for 21 years and then flew commercial planes for the next 24 years. Not only does Khan fly jet planes almost daily near his native Pakistan, but also now commands an aviation squadron responsible for six aircraft and over 200 personnel. His younger brother has also followed his example joining the US Navy as a P-3 pilot, and is currently stationed in Whidbey Island, Washington state.

In 2004, Khan was selected to enter the command-at-sea pipeline and became VS 31’s executive officer shortly thereafter. Khan was competing for one of two spots against 32 candidates, he recalls. Khan is flying missions over Afghanistan. He said, “As far as the mission is concerned, I hope and wish the same things I wish for my fellow Americans. I hope there’s peace. I hope there’s stability. I hope for all people in the region that they can go to the market as freely as I can and let their children play on the street or get a job and be able to provide for their family. That is what my hope is - that in the end there will be stability and everyone will be able to enjoy the same freedoms that I enjoy in the United States.

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Badshahi Masjid being renovated after 27 years
by Hina Farooq

LAHORE: The Punjab Archaeology Department (PAD) officials on Sunday said the PAD is renovating the Badshahi Masjid after an interval of 27 years.

They said the PAD had planned to renovate the verandah (made up of red sandstone) of the mosque more than a decade ago. They said the PAD could not start the work due to lack of funds. They said the PAD had no red stone experts at its disposal. They said the stone, imported from India, had been stacked at the back courtyard of the mosque since 1980s. The Rs 40 million projects would be completed by 2010, they added.

They said the unavailability of the red sandstone in Pakistan was a main reason behind stacking it. The stone had been used in architecture and foundation of the mosque, they said.

The rainwater had also played its role in damaging the verandah. The mosque is owned by the Punjab Auqaf Department and is a protected monument under the Punjab Special Premises Preservation Ordinance 1985. The maintenance and repair of the mosque is the responsibility of the PAD.

PAD director general Shahbaz Khan told Daily Times previously the work could not be started, as the PAD had not been provided funds by the Auqaf. He said the total area of the floor was 0.2 million square foot. He said cracks had appeared on the verandah due to rainwater.

The Badshahi Masjid was built in 1673 by the Mughal Emperor Aurangzeb Alamgir. The mosque represents the very best of the

Mughal architecture and beauty. The mosque is a symbol of Lahore’s culture and rich historical traditions. The mosque has been enlisted as a part of the World Heritage.

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SONIA NARAIN :MADAM NOOR JEHAN'S GRAND DAUGHER'S FRESH EXCLUSIVE INTERVIEW

She speaks!
Sonia Jehan.Does that name strike a chord? The ethereal beauty from our Pakistan,but made her debut in Hindi films with Akbar Khan’s Taj Mahal . Post the release of the film, she married an Indian Vivek Narain and settled in India. She is now playing an actress from the 1940s on the lines of Madhubala and Nutan in Sudhir Mishra’s Khoya Khoya Chand.

This granddaughter of the legendary singer Noor Jehan had an interview with us, about life after Taj Mahal, life after marriage, Pakistani film industry, her stint with singing and a lot more.

sO Lets start the interview:

Your debut film Taj Mahal didn’t do well. Do you think it was a right debut for you?
I think the role that was offered to me was fabulous. I was playing the role of Mumtaz, it was a historical role and I love history. Unfortunately the marketing wasn’t very good but its okay I thoroughly enjoyed the experience.

What kind of response did get you after the release of Taj Mahal? Did you get more movie offers?
I got a lot of offers after the film was released. But I live in Delhi and for me to do another project; I wanted it to be a very interesting and different role. The roles that I was being offered were the ones were I was needed to play the European girl. I wanted to do something different.

Why did it take you so long to do your second film? Where have you been all this while?
I have been in Delhi, I am married. I got married while I was shooting for Taj Mahal to someone who I was dating. I have been married for three years. My husband is very encouraging and he actually thinks that I should do more films. But after Taj Mahal which took very long, I just wanted to wait and do something totally different. Taj Mahal was a big budget film, it was a historical film and for a debut it was very taxing in the sense there was a lot of hard work. We were shooting in Jodhpur so I was away for a very long time and I just wanted to comeback, settle properly and set my home and everything in order.

I was getting roles which were interesting but not something that would make me jump out of my seat. So when I got an offer from Sudhir Mishra, as it is I admire his work a lot, I was very keen on playing the role of Ratan Bala.

For a debut, Taj Mahal was very taxing in the sense there was a lot of hard work.
How did Khoya Khoya Chand happen?
I was approached by the casting director, Shanu. She told me about the script and was honest enough to tell me that it wasn’t a lead role. But I don’t have an issue with lead or supporting roles. For me it has to be something challenging, different from what I have done before, a new character altogether. I was interested so I went to Mumbai. This was the first time that I auditioned for a film after Taj Mahal . Sudhir thought that I was right for the role of Ratan Bala and we started shooting in October.

Ratan Bala is a unique name. Tell us more about her
My name in the film is Ratan Bala. She’s a movie star of 1940s, an established actress who is very well known. She’s a bit of a diva. And it’s the struggle that she goes through to remain in the industry, because in those days after hitting mid 20s you were considered to be old and you would have to settle down, you couldn’t be part of the industry. That’s what the industry was all about.

It’s about how she struggles to remain there, to be famous, to be loved and to be admired. It’s quite an interesting and complex