FAILURE OF LOLLYWOOD

TITLE:

FAILURE OF LOLLYWOOD

SUBMITTED TO: MS: Saira N Ibrahim

SUBMITTED BY: Abdul Qayoom (09-2647) Asad Ali (10-2638)

SUBMISSION DATE: 25 NOV 2011

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Memo of Transmittal
TO: Ms. Saira N. Ibrahim Instructor: Business Communication FROM: Abdul Qayoom (09-2647) Asad Ali (10-2638)

DATE : November 25, 2011 SUBJECT: Failure of Lollywood Dear Ms. Saira: Here is the report related to your assigned topic to us. We have outlined what we learned from our topic and have tried to capture the World wide perspective.
Due to the failure of several Pakistani Films and entrance of non-professional filmmakers and financers Pakistani Film Industry suffered for around 15 years. Yes Lollywood havent seen a good financial year for last 15 years. Success of a movie or two has been the only results we got after making many movies. And then a time came when there were literally lock on the studio door. There are other several reason behind the failure of Lollywood which we have cover in our report.

In the process of completion of the report and documentary there were several hands which directed and helped us. Firstly, we would like to thank Almighty Allah who guided us through not only this difficult time but the ones before, and we sincerely hope that He will keep on guiding us throughout our lives through good and bad. We would also like to thank our parents, siblings and friends who accepted us the way we are: busy and annoying! And special thanks to Rahul Rai & Govinda Kumar. And last but not the least we express our most humble gratitude towards you, who led us by your guiding hand till the end and kept us enlightened academically.

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TABLE OF CONTENTS:

Contents
EXECUTIVE SUMMARY .......................................................................................................................... 1 1. 2. 3. 4. 5. 6. 7. 8. 9. INTRODUCTION ................................................................................................................................ 2 Birth of cinema (18961910) ................................................................................................................ 3 President Zia-ul-Haq's Islamisation, Gandasa culture and the downfall (19791987) ......................... 3 Collapse (19882002) ........................................................................................................................... 4 Revival under President Musharraf (20032009) ................................................................................. 5 Future (2009-present)............................................................................................................................ 6 Criticism of Pakistani Cinema .............................................................................................................. 7 CONCLUSION ..................................................................................................................................... 8 Bibliography: ........................................................................................................................................ 9

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EXECUTIVE SUMMARY
Pakistani Cinema, is continuously criticized, for its lack of creativity and its over usage of the same plot line. Movies like khuda ke liye one of Pakistani Cinema`s biggest hits, had a storyline which was used for generations. Critics also point out that almost every Drama film in Pakistan, is mainly centered around family, and that each of their dramas are extremely similar to those of soap operas. Pakistani Cinema, is also very celebrity oriented. It should be noted that Film-makers in Lahore and Karachi, which are states of Pakistan, have extremely talented Film makers, and have made much better films, than those of Hindi Cinema, which is popularly called Bollywood, but none of these films, are even considered for the Indian entry to the Academy Awards. Ratings also show that the young Pakistani Audiences are slowly moving away from the conventional Films, and are looking for variety, which proves the Commercial successes of movies. Another aspect to be noted is that during the Lux Film Awards, not one film from any other language other than urdu, was nominated for any award. This proves to show that the glamour of Pakistani Cinema only rests with the Lollywood. Movies which were big critical failures, like Bhuda Gujar, but huge box-office hits, Bol movie 2011, due to their use of have been nominated for Best Picture awards in almost every major Film Award Ceremonies. It is to be noted that most out-of-the-mainstream movies do resort to extreme publicity gimmicks and rather blatant orchestration to get the point across.

1. INTRODUCTION
The word "Lollywood" was first coined in the summer of 1989 in the now defunct magazine "Glamour" published from Karachi by a gossip columnist Saleem Nasir. The film industry in Lahore started in 1929 with the opening of the United Players' Studios on Ravi Road. The cornerstone for the studio was set by Abdur Rashid Kardar. Since then the studio has managed various indigenous productions competing with other film production centres in the undivided India, namely Bombay and Calcutta. Most of the feature films shot in Pakistan are in National Language Urdu. Urdu (spoken elements of Hindi and Urdu are exactly the same) is often used in feature films of Bollywood and may also be included in films in local languages like, Punjabi, Pashto, Balochi or Sindhi. Opening up old treasures one is enchanted by the stature of films made by Pakistani filmmakers, they with limited technology and good scripts constructed memorable movies like tehzeeb, Saiqa, Insaan aur Admi and Naila. Now as one tries to understand the epitome of Pakistani cinema one is baffled by the image represented to the viewing audience. Going back, the golden years (1966-19770) saw the best Pakistani Cinema. The Ban on Indian Films Left no choice for the cine goers but to watch Pakistani films and with the introduction of color and scope screen the film business flourished to great heights .Today at this time and moments the Pakistani Film industry stand at a crossroad where a dark wave of failure hinders it from achieving its potential. The major criticism however is that Pakistani Cinema, gives no leverage to new directors, or actors. Most who are given the chance, have to mould out of their conventional styles, and have to transform to the thoughts of the producers, who don`t care for the artistic aspect of films, but more for the commercial aspect of it, hence the introduction of Item Numbers, and skimpily clad women. Pakistani Cinema is at its lowest level at the moment, and even though a few are trying to lift it up, it will take the entire consensus of both the Audiences and the producers, to make Pakistani Cinema on par with those like the American, British, French, Chinese or Iranian films, which are widely credited to be the best in both art as well as in commercialism.

2. Birth of cinema (18961910)

Cinema was introduced to India on 7 July 1896, when the Lumiere brothers' Cinmatographe showed six short silent films at Watson's Hotel in Bombay. A few years later in 1898,Hiralal Sen started filming scenes of theatre productions in Calcutta, inspired by English professor Stephenson who had brought to India the country's first bioscope. Harischandra Sakharam Bhatavdekar imported a camera from London at a price of 21 guineas and filmed the first Indian documentary, a wrestling match in Hanging Gardens, Bombay, in 1897.He also filmed the first Indian news film, a record of Ragunath P. Paranjpe's return from Cambridge University upon securing a distinction in mathematics. Bhatavdekar is however best known for filming the Viceroy of India Lord Curzon's Delhi Durbar that marked the enthronement of Edward VII in 1903. It was then that the commercial potential of the Indian cinema was realised. With F.B. Thanewala's Grand Kinetoscope Newsreels and Jamshedji Framji Madan's Madan Theatres Limited, India became counted amongst the largest distributors of American films after World War I. Madan also hired foreign directors Eugenio De Liguoro and Camille Legrand to provide his productions with expertise, grand sets for popular mythological storylines and special effects which ensured good returns. Cinema houses were built in major cities in India. Newsreels of the Boer Wars were a regular show at make-shift theatres in Bombay.Tents were placed in vast spaces or maidans to accommodate a larger audience, giving birth to the term maidan cinema. French film company Path opened an Indian office in 1907, the first foreign film production company in the country. In the same year, a purpose-built cinema theatre was constructed.

3. President Zia-ul-Haq's Islamisation, Gandasa culture and the downfall (19791987)

Following Muhammad Zia-ul-Haq's military coup, he began to Islamicise the country and one of the very first victims of this socio-political change included the film industry.Imposition of new registration laws for film producers requiring filmmakers to be degree holders, where not many

were, led to a steep decline in the workings of the industry. The government forcibly closed most of the cinemas in Lahore. New tax rates were introduced, further decreasing cinema attendances. . Waheed Murad, oft termed the chocolate hero died in 1983 due to alcohol abuse and stomach cancer, some however say he committed suicide.Media attributes the film star's death to his disheartened view in the wake of Pakistani cinema's collapse. This enthusiasm soon disappeared and not even Pakistan's first science fiction film Shaani in 1987 directed by Saeed Rizvi employing elaborate special effects could save the industry from failing. The sci-fi film received an award at the Moscow Film Festival and even in Egypt and Korea, but sadly was shelved in its country of origin.

4. Collapse (19882002)
At the starts of the 1990s, Pakistan's film industry was gripped with certain doom. Of the several studios only 11 were operational in the '70s and '80s producing around 100 films annually. This number would lower further as studio went towards producing short-plays and television commercials and let the industry astray in the wake of cable television. By the early '90s, the annual output dropped to around 40 films, all produced by a single studio. Other productions would be independent of any studio usually financed by the filmmakers themselves. The local industry succeeded to gain audience attention however in the mid- and late-1990s. With Syed Noor's Jeeva and Samina Peerzada's Inteha, it seemed the cinema of Pakistan was headed towards a much needed revival but naught attendance recorded at the box-office for later ventures ushered a complete and utter collapse of the industry. Notable productions of the time include Deewane Tere Pyar Ke, Mujhe Chand Chahiye, Sangam, Tere Pyar Mein, and Ghar Kab Aao Gay, which tried hard to get away from the formulaic and violent storylines but were not accepted fully amongst the lower middle class cinema audience. Controversy raged over the filming of Jinnah in the late 1990s, a film produced by Akbar Salahuddin Ahmed and directed by Jamil Dehlavi. Objections were raised over the choice of actorChristopher Lee as the protagonist depicting Muhammad Ali Jinnah and inclusion of Indian Shashi Kapoor as archangel Gabriel in the cast combined with the experimental nature of the script .Imran Aslam, editor of The News International, said the author wrote the script in a haze of hashish. Of all the controversies and hearsay, the film proved a point that Indian and
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Pakistani filmmakers and actors can collaborate together on any such cinematic ventures without the ban being lifted. Later years would see more actors travels traveling in and across the border on further cross-border ventures. . The already reeling industry lost viewership not just for its Urdu but Punjabi films following Rahi's death. Director Sangeeta attended to her family life and Nazrul Islam died during the time. The industry was pronounced dead by the start of the new millennium. Syed Noor depressed at the sudden decline of cinema gathered investors for what was considered the only Pakistani film to have survived this chaos.. However, the short period of successes in the industry could not keep the cinemas afloat, and the same industry that at one time produced more than a 100 films annually a decade ago was now reduced to merely 32 per year, in the year 2003, with only one partial success called Larki Panjaban (A Punjabi Girl). In August, 2007, a new film titled Khuda Ke Liye was released. It became popular due to its controversial theme of the current problems faced in Pakistan. It was also released internationally, including in India, where it became the first Pakistani film released after four decades.

5. Revival under President Musharraf (20032009)

In early 2003, young filmmakers took on a stance to demonstrate that high quality content could be produced by the local film industry using the limited resources available. Cinema was declining in all major cities of the nation and a need for revival was echoed in the media. With privatisation of television stations in full swing, a new channel Filmazia was broadcast, primarily to broadcast films and productions made indigenously in the country. It was during this time that Mahesh Bhatt, a celebrated Indian director visited Pakistan looking for talent, particularly singers who could lend their voices to his upcoming films in India. His visit to Pakistan was to attend the third Kara Film Festival, for the screenings of his film Paap inKarachi. Bhatt would later hire Atif Aslam for the soundtrack of his film Zeher and Pakistani actress Meera to play a lead-role in one of his films. Later in 2005, industry officials realised that the government needed to lift the ban for the screening of Bollywood films in Pakistan. The issue was voiced by the Film Producers Association (FPA) and the Cinema Owners Association (CAO) of Pakistan after the release of
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the colourised remastering of the 1960 classic Mughal-e-Azam. When the government turned down the request, Geo Films, a subsidiary of Geo TV took on itself to invest in upcoming Pakistani directorial ventures and dubbed their efforts Revival of Pakistani Cinema and on 20 July 2007 released Shoaib Mansoor's cinematic directorial dbut Khuda Ke Liye (In The Name of God). The film would later become the first ever Pakistani film since the imposition of the ban in 1965 to be released simultaneously in India and Pakistan. With its general release in India, the four decade ban was finally lifted. The film was released in more than a 100 cinemas in 20 cities in India. Unbeknown to the local media scene, a Pakistani horror and gore film was already doing rounds in International film festivals. Another directorial dbut by director Omar Ali Khan,Zibahkhana aka Hell's Ground premired at festivals throughout the world gaining repute as the first extreme-horror gore flick and received accolade wherever it screened. The film ushered a revival in the horror genre for Pakistani films. The film would also be the first Pakistani film shot on HD. Where the horror genre seems to have been reincarnated in the industry,Freedom Sound, a science fiction film would use the computer-generated special effects for the first time since 1989's Shaani. The recent successes of issue-centered Pakistani films such has Khuda Ke Liye prompted director Mehreen Jabbar to come forth with her instalment with the release of Ramchand Pakistani which will mark the first true efforts of international collaboration towards the revival of cinema in Pakistan.

6. Future (2009-present)
Despite some optimism of a solid revival at the turn of the millennium, progress continues to be slow. Next up are filmstar Reema Khan's directorial project based on Paulo Coehlo's Veronica Decides to Die, filmstar Shan's directorial project " Chup" introducing model Juggun Kazim to the silver screen, Syed Noor's " Price of Honor" based reportedly on the Mukhtara Mai Rape incident,Syed Noor and his wife Saima are also working on a comedy "Wohti le ke Jani Hai" after the recorded breaking success of 'Majajan'. Khamaj fame Music Video director Safdar Malik's Directorial debut "Ajnabi Sheher mein" starring Nadeem, Samina Peerzada, Ali Zafar and Model Tooba Malik, Shehzad Gul's "Iman" starring Shan and Nirma, Actor Humayun Saeed debut production
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BALAA with the support of Vishesh Films(Mukesh and Mahesh Bhatt) to be directed by Script writer of Indian films 'Woh Lamhe' and 'Raaz the mystery continues' Shagufta Rafique(talks are on with Indian actress Tabu for the title role and Iman Ali and Juggan Kazim in Pakistan), Salman Peerzada's "Zargul" a major festival circuit success might also finally see mainstream release. Shoaib Mansoor is to bring his second film 'Bol' with stars Atif Aslam, Mahira Khan and Juggan Kazim. Also Syed Faisal Bokhari's 'Bhai Log',Shehzad Rafique's second film 'Mene Jeena Tere Naal' with Veena Malik and Adnan Khan. TV Producer Ejaz Bajwa's film directorial debut "Channa Sachi Muchi" starring Babar Ali, Momi Rana and Saima. Indo-Pak-American co production "Virsa" starring Arya Babbar from India and Mehreen Raheal from Pakistan will be releasing in Pakistan and India both after its world premier at the Dallas International Film Festival (the director, Pankaj Batra is Indian). Iqbal Kashmiri's second film 'Devdas' remake of Indian film, Devdas, and Bengali novel, starring Zara Sheikh, Meera and Nadeem Shah. Son of Pakistan based on terrorism in Pakistan. Written, directed and produced by Jarar Rizvi. The film features Shamyl Khan, Sana Nawaz and Meera in lead roles. Aamir Zafar, an filmmaking student, debut as director with film Victimwhich features Humayun Saeed and Irtiza Ruhab in lead roles. Syed Faisal Bukhari's second film "Saltanat" featuring Lollywood debut Mona Laizza who also does an item number, Javed Sheikh and Ahsan Khan. Shaan Shahid's second film, script by Mashal Peezada featuring Vaneeza Ahmed and Natasha

7. Criticism of Pakistani Cinema

The major criticism however is that Pakistani Cinema, gives no leverage to new directors, or actors. Most who are given the chance, have to mould out of their conventional styles, and have to transform to the thoughts of the producers, who don`t care for the artistic aspect of films, but more for the commercial aspect of it, hence the introduction of Item Numbers, and skimpily clad women. Pakistani Cinema is at its lowest level at the moment, and even though a few are trying to lift it up, it will take the entire consensus of both the Audiences and the producers, to make Pakistani Cinema on par with those like the Indian, British, French, Chinese or Iranian films, which are widely credited to be the best in both art as well as in commercialism.

8. CONCLUSION
Since 1995, the government of Pakistan has kept a close eye on the decrease of cinema halls and theatres in the country. Below is a chronological index of cinemas in Pakistan from 1995 to 2002. The country boasted 750 cinema theatres in 1990 (even more before then), but that number had declined to 175 by 2002. The remaining cinemas are reported to be in very poor condition, and in desperate need of attention. Pakistan still has a lot of talent and also that hard work does pay off, now when times have gone from bad to worse, releasing a film is quite difficult, and chances of success are declining. What we would like for you all is to support the film and thus support the revival of the Pakistani Film Industry. You should all go see the film once when it releases. The only Pakistani film trailers we have so far witnessed this year are of Bol and now of Love Mein Gum. First of all speaking about the Bol trailer I found it to be a little haphazard and quickly put together, it should have started from something slow like a roller-coaster and then should have gained speed and ending at a point leaving everyone hungry for more. The ending was really good but it overall looked like a random or reckless collection of scenes, but I am pretty sure and hopeful that the movie will be fantastic.

9. Bibliography:
A. http://musk.ueuo.com/lollywoodnews/ B. http://www.mazhar.dk/film/ C. http://articles.timesofindia.indiatimes.com/keyword/lollywood D. http://www.fanpop.com/spots/lollywood/articles E. F.

http://en.wikipedia.org/wiki/Lollywood#See_also Images.google.com