Virsa Pakistani Movie
May 18, 2010 Videos, entertainment
Virsa is the story of Nawaz Ali and Ranvir Singh Grewal and their families. Nawaz Ali hails from Lahore in Pakistan and Ranvir Singh Grewal belongs to a village, Kartarpur, in Punjab, India. About 20 years ago, both of them migrated to Sydney, Australia, in search of work, where they met and became the best of friends. Gradually, their hard work paid off. Ranvir opened an Indian Restaurant. It did well and he could manage to lead a comfortable life but he was not as successful as Ranvir. Nawaz Ali was much grounded in his culture and values and this helped him to remain level headed and not get carried away by the comforts of life in Australia. He never lost sight of what was morally and ethically right and stood by his Asian Value. On the other hand, Ranvir got carried away by his success. He felt that he was superior to the other Indians and Asians who were not as successful as he. He found merit in all things associated with the white folks- their lifestyle, their values and culture, their behavior and mannerisms- and looked down upon his Indian upbringing and values. He had no more use for ethics and morality. He became very conscious of his money, status and reputation. The difference in outlook and behavior drive the two friends apart until they reach a point where Ranvir stops talking to Nawaz. However, Nawaz still cares for his friend and tries to keep their friendship alive. As Virsa answers these and other questions, it makes a strong statement about remaining true to one’s values, culture and upbringing even as we constantly adapt and adjust to the society around us. It explores ways of addressing the identity conflicts of immigrant Asians in westerns societies so that the succeeding generations can benefit from the best facets of both the cultures.
Tags: Jawad Ahmed, Pakistani Movies, Virsa, Virsa Punjabi Movie
Shoaib Malik & Sania Mirza Valima in Sialkot
Apr 26, 2010 Pakistan, Videos, entertainment
Tags: Sania Mirza, Shoaib Malik, Sialkot
Shoaib & Sania Mehendi Video
Apr 14, 2010 Pakistan, Videos, entertainment
Shoaib & Sania Mehendi Video
Tags: Mehendi, sania mehandi, Shoaib & Sania, Shoaib & Sania Mehendi, shoaib mehandi
Shoaib Malik in another scandal(Partying & Dancing Pictures)
Apr 8, 2010 Pakistan, Sports, entertainment
Shoaib malik former Pakistani cricket captain is going to marrry with indian tennis super star Sania mirza, after his marriage date his previous scandals are headlnes of both indian and Pakistani media following are some pictures of Shoaib malik caught in another scandal
Tags: aysha siddiqui, Sania Mirza, Shoaib Malik, shoaib malik dancing in club, shoaib malik india, shoaib malik scandal
How Pakistan Fell in Love With Bollywood
Mar 17, 2010 Pakistan, entertainment
FP
Last month, just before the release of the Bollywood film My Name Is Khan, a message generated in Pakistan on the microblogging site Twitter was massively retweeted in Mumbai, India: “You might want to come to Karachi to catch MNIK’s first day, first show!”
The release of My Name Is Khan, or MNIK, as it is popularly known, had to be scaled back in Mumbai, India’s film capital, because of a political controversy. Just days before the premier, its lead actor, Shah Rukh Khan, had lamented the exclusion of Pakistani cricketers from the Indian Premier League cricket auction. This infuriated Shiv Sena, a Hindu ultranationalist group that advocates snapping all sporting and cultural ties with Pakistan. It launched a campaign against Khan, threatening to stall his film’s release until he apologized and retracted his statement, which he refused to do. Placard-wielding protesters besieged his mansion in suburban Mumbai, burning his effigy and bellowing slogans like “Shah Rukh Khan, go away to Pakistan!” One of the protesters clutched in his hands a dummy airline ticket emblazoned with the words: “Mumbai to Pakistan.” Mumbai stationed police officers at movie theaters and rounded up 2,000 people in advance of the opening as a cautionary measure.
Meanwhile, on the other side of the border in Karachi, My Name Is Khan opened Feb. 13 to packed houses and was received with roaring claps and whistles. According to Pakistani cinema owners, it was the highest-earning film ever to screen in Pakistan.
This film certainly resonates with Pakistani audiences because of its theme — it tells the story of an autistic Muslim man’s struggles against prejudices in the United States in the immediate aftermath of the 9/11 attacks. The big applause line in Pakistan comes at the beginning, when Khan proclaims, “My name is Khan, and I am not a terrorist!” But the widely published tweet inviting Indians to watch the film in Karachi offered a somewhat twisted insight into a cultural paradox: two countries sharing so many cultural references, and yet watching them through such different lenses.
The division between India and Pakistan has been compared to the split between East Germany and West Germany during the Cold War, but the situations are widely divergent. Whereas Germany’s division after World War II was largely peaceful, if tense, the subcontinent’s partition in 1947 into separate Hindu and Muslim territories was followed by a fratricidal bloodbath. More than a million people were killed and 12 million uprooted. Refugees traveled by foot, carts, and trains to their promised new home, making it one of the largest mass migrations in history.
Since partition, the two countries have spent decades attempting to erect barriers against cultural exchange across the border. Bollywood movies were banned in Pakistan after 1965, following the bloody Indo-Pakistani War. After Pakistani Gen. Muhammad Zia-ul-Haq toppled Prime Minister Zulfikar Ali Bhutto in 1977, he initiated a process of sweeping Islamization that cemented the artificial split between Indian and Pakistani culture. He labeled entertainment, particularly Indian entertainment, as fahashi, or vulgar. Classical Indian music and dance were banned, and colleges were instructed to shut down their music societies. He banned the sari, a Hindu garment that, according to him, revealed too much of a woman’s body. Pakistani columnist Sarwat Ali has noted that in state TV programs, women playing negative roles were shown wearing Indian clothes (mainly saris), while the good ones wear salwar kameez and a dupatta, a more modest outfit that involves loose pants under a tunic, with a shawl covering the hair.
Of course, Pakistanis, especially in the cities, never gave up on their love for Indian culture: They continued to smuggle VHS tapes of Indian films into the country, and they bought satellite dishes to watch Indian programs. More recently, cable operators began to sometimes broadcast Indian TV shows, concealing the logos so that the shows would look like local broadcasts and evade the authorities’ attention. Although Pakistani children couldn’t watch Bollywood movies in the cinema, they still read the Urdu versions of Indian gossip magazines like Stardust and followed Bollywood fashions as much as they were allowed.
Tags: Bollywood, MNIK, My Name is Khan, Pakistan, SRK
The genius of an oeuvre is measured by the breadth of its message – Avatar as not “just another war movie”
Mar 12, 2010 Videos, entertainment
Following last night’s choice of the Oscars’ jury to award Katherine Bigelow’s The Hurt Locker with the Best Picture prize, the debate has since then moved to the pubs and the ether. It appears to be primarily concerned with whether Bigelow’s portrait of “the” war does justice to the genre and whether, with time, Avatar will come to be recognised as more deserving of the aspired title. The debate however is having the effect of reducing Cameron’s gargantuan critique of modernity to “just another war movie”, adding to the already popular dismissal of the film, by the intellectual left, as a western guilt-fantasy.
Lets start by considering the assumption that Avatar is “just another war movie”.
If indeed we accept that Cameron’s intention was to provide us with a science-fictional portrait of war, then we must also conclude that von Trier’s Dogville is nothing more than an aesthetically minimalist representation of the Great Depression. Just as von Trier exploits the Great Depression as a historical backdrop against which he develops a provocative portrayal of human nature, so does Cameron in the use he makes of military intervention in Avatar.
I can understand that the topical violence that characterizes both projects might easily lend itself to the juxtaposition of one film against the other but, beyond that, the two projects remain profoundly different, both in terms of their subject and in the breadth of their message.
Whereas The Hurt Locker is a self-proclaimed war movie, Avatar is not. Avatar is at its core an ecological movie, which offers a powerful and accessible critique of modernity that brings to the fore what Horkheimer and Adorno would have referred to, perhaps more poetically, as the dialectic of enlightenment. At the heart of the film lies a critique of the artificial separation of the physical and the metaphysical that is characteristic of modern, western philosophies, and which we carry with us since Plato’s times. This original sin, which gave birth to modernity, is what has condemned us as a civilization to our expulsion from the Garden of “Pandora”, with a progressive loss of our connection to nature and, by virtue, of our humanity. It is this slow process of de-humanisation that has left us, in Cameron’s view, both physically and metaphorically crippled, and which Cameron chooses to embody in the character of Private Jake Sully.
Although not as elegant in its execution as Lawrence’s celebrated allegory of our infertile modernity in Lady Chatterley’s Lover, Cameron’s juxtaposition of the physically challenged Sully to his muscled Avatar-counterpart is certainly reminiscent of the powerful juxtaposition of the wheelchair-bound husband of Lady Chatterley to her virile and rural lover. Ironically, what posterity has come to recognise as one of the literary masterpieces of the 20th century, was originally slated by critics as pure filth. Whether this will be another element that Cameron will come to share with Lawrence, only time will tell.
What is certain, however, is that in his critique of modernity, and not just of war, Cameron draws repeatedly from the wealth of insights provided by theories of “deep ecology” and “ecological psychology”, such as those developed by Arne Naess and Theodore Roszak. And while there is a middle ground between modern capitalist societies and “primitivism” – used here with reference to its theoretical meaning and not derogatively – the two are juxtaposed as a way of conveying a strong sense of the void that separates us from our nature.
Cameron’s constant recalling of the deep and spiritual connection with Gaia, or Pandora if you prefer, makes it difficult to push the radical environmental message of this film to the sidelines in favour of a reductionist military interpretation of the film. Military intervention in Avatar is not employed in a context of war, but in one of violence in its broadest application, and one that finds its expression in the association of militarism to that of power, or “hegemony” if I may quote Gramsci.
Whilst the violence resulting from the wars in Iraq and Afghanistan originates in the relatively recent ideological agency of the neo-conservatives, the violence portrayed in “Avatar” is driven by the material interest of transnational capital dating back to Colonial times of the Dutch West India Company – and whose pillaging and plundering continues today through the agency of international trade rules at the service of the modern corporate oppressor of the likes of Shell, Monsanto, Motorola and so forth.
The kind of violence portrayed in Avatar addresses therefore far more universal and profoundly metaphysical questions of human nature, hubris and modernity that transcend not only the historical context of the Iraq and Afghan wars, but of war itself.
The power of Cameron’s critique lies therefore in the breadth of its message, for it allows to draw from the allegory of the Na’vi’s faith to serve as an avatar for struggles as diverse as those affecting the oppressed Palestinians or the indigenous tribes of Bolivia; from military occupation, to environmental depredation. For this very reason, it feels unfair to reduce Avatar to just another war film because it constitutes the first mainstream blockbuster movie to give us a critical and progressive view of our “human ecology”, one that, in contrast with The Hurt Locker, offers us a more holistic and somewhat Aristotelian interpretation of human nature.
Tags: Avatar, avatar movie, war movie
Bollywood Actor: Abhishek Bachchan Interview with CNN 2010
Mar 12, 2010 Videos, entertainment
Tags: Abhishek Bachchan, CNN, India, indian films
Boy wheeling on Bike with his Girl Friend
Feb 23, 2010 Videos, entertainment
We have received an other video this time the guy is from Sialkot!
Tags: Boy wheeling, Girl Friend
