BinRoye DT; Media Screening Reviews pg.34 onward! - Page 35

Ali Zaif

Veteran Hollywood director, actor and producer Philip Seymour Hoffman used to say: "The film is made in the editing room. The shooting of the film is about shopping, almost. It's like going to get all the ingredients together, and you've got to make sure before you leave the store that you got all the ingredients. And then you take those ingredients and you can make a good cake - or not."

But I think Momina Duraid missed some important "ingredients" in her film Bin Roye. Humsafar's famed television director and producer, Duraid's film Bin Roye is not a film in the true sense, rather can be called film-cum-drama, based on the novel "Bin Roye Ansoo" by the popular fiction writer Farhat Ishtiaq who knows how to get the attention of the young minds with simple but tricky stories which have nothing but a larger than life' life.

Young and formative minds are being impressed by this kind of B-grade literary stuff due to somewhat unrealistic lifestyle which has a little bit of connection with major segments of society.

It is true Duraid, a successful entrepreneur of the entertainment industry, took a risk of making a movie when the cinema of Pakistan is in the "ICU". Cinema' goers and art lovers surely appreciated her efforts but when you are writing a critical review on a movie or a book, you should be fair in your opinion.

Bin Roye, an impressive and creative title of a romantic drama film, has an attractive cast. Television sensations Humayun Saeed and Mahira Khan played lead roles but the treatment of the film is not cinematic. I am of the firm belief that it is more a long drama than a film.

The Plot

Let's start with the storyline. Saba (Mahira Khan) and Irtaza (Humayun Saeed) are good friends. Female lead Saba loves Irtaza silently. Then defining moment comes when Irtaza decides to go to United States for two years where he meets Sanam (Armeena Khan) who is in fact a real sister of Saba, who is unaware of this relationship. Sanam knows it but didn't disclose to anyone.

Irtaza falls in love with Sanam in these two years. Whether it was love or just affection is also not clear.

As a result of an airplane crash, Sanam's foster parents die, therefore, Sanam comes back to live with her family. When Saba knows that Irtaza loves Sanam, she is devastated but doesn't express her feelings. After their wedding, Sanam and Irtaza go back to the United States.

After a couple of years Irtaza, Sanam and their only child Maaz come back to Karachi. One more accident occurs and Sanam dies. Saba feels guilty as she once wishes the death of Sanam.

Maaz now needs a mother but Saba doesn't want to marry Irtaza for some unexplained reasons. On the other side, Irtaza and Saba's parents wish for them to get married. Saba doesn't agree and accepts someone else's proposal. But at the eleventh hour Irtaza finds that the guy she is going to marry is already married and the father of a child. Irtaza gets angry and, finally, after an emotional drama his nikkah with Saba is solemnized who is still reluctant for this wedding.

Another defining moment arrives when Irtaza decides to go to the United States. Saba, on the insistence of her grandmother, agrees to accompany Irtaza.

Saba is still emotionally upset and doesn't accept Irtaza as her husband due to her love for Sanam. At this stage, a third accident occurs as a result of which Irtaza is wounded. Saba now feels love for him. She reveals that she has been loving him for 21 years. Irtaza replies he also loves her (Oh Gosh). So the film ends on a happy note and the couple gets united in love.

Critique

The first half of the film has a very slow tempo. Attempt has been made for a lyrical cinema but it is not. Duraid should watch the genre of lyrical cinema. I will suggest her to watch Andrei Tarkovsky's cult status film "Ivan's Childhood" and Ingmer Bergman's "Persona".

But I am sure Bin Roye has no connection with this genre of cinema and of course it is not a need of the hour.

If Saba was in love with Irtaza for 21 years, why doesn't she express her feelings to him? Is she facing a psychological disorder? If yes, then the director should need to elaborate her mental condition.

The film then suddenly picks up pace. Irtaza goes to the United States and after a couple of scenes with interactions with Sanam, he is shown having lived two years in the United States. No one even predicts that he has fallen in love with Sanam.

And after the death of Sanam's foster parents, she comes back to live with her original family. When Saba meets Sanam and finds that she is her real sister, the facial expressions of both sisters seem to be artificial. That was the time for the real emotional drama which could enhance interest in the film.

Meanwhile, in just a few meetings, Irtaza and Sanam fall in love. The movie is steadily moving to its end. It is ironical that Irtaza doesn't tell Saba about his decision to marry Sanam in spite of their long lasting friendship.

Saba learns about their plans to marry when she listens to Irtaza's acknowledgment of his love for Sanam. There should have been more emotional drama in this sequence, too.

The movie once again gains momentum like "Fast and Furious". The couple gets married and decides to settle in the United States. They have a son, Maaz.

A couple of years have passed but Saba is out of sight. Has she died, committed suicide, admitted to the mental hospital or left the country? Director Duraid and Shehzad Kashmiri have failed to answer these questions cinematically.

And then, once again, a couple of years pass by in a few cinematic moments and the love birds Irtaza and Sanam return home.

Soon, Sanam dies in a road accident (this is the second accident) and Saba dramatically becomes Irtaza's wife.

Now, the complicated relationship of the couple has been portrayed but the motherless child Maaz disappears till the end of the film.

The couple suddenly goes to United States and an accident becomes a reason to bring them closer and the cinema-goers watch a happy ending.

Is the script or the direction not up to the mark? I carefully suggest that the script is devoid of cinematic elements.

In the cinema a big narrative is explained in a very short time. The sequences should not only be interlinked but also the pace of the film should not unnecessarily jump from one scene to another. Cinematography is somehow good, but it suits a drama and not a film. The same goes for the editing.

Drama, Not Film

Duraid belongs to the drama industry, therefore, the film is more like a drama or a telefilm with visible ingredients of the local drama industry.

Moreover, for the majority of the cinema-goers, the locations or sets are unfamiliar. Even though the third and final accident occurs on a road of Karachi but it still looks artificial.

No local flavours, except costumes, are added in the film.

On the other hand Mahira Khan shows her presence but she is weak in a few emotional scenes. Humayun Saeed's acting is below average; he has an expressionless face while delivering emotional and romantic dialogues. The body language of this veteran actor is also very casual.

And if I may say so, frankly, the film is predictable from start to end.

Zeba Bakhtiar and Javed Sheikh, though, played small roles but left their mark.

I must appreciate the music and the efforts of composers Shiraz Uppal, Sahir Ali Bagga, Shani Arshad and Waqar Ali, singers Shiraz Uppal, Rekha Bhardwaj, Abida Parween, Ankit Tiwari and Rahet Fateh Ali Khan and lyricists Sabir Zafar and Shakeel Sohail. They have done a magnificent job which is without any shadow of doubt has contributed a lot in the success of the film and added a bit of local flavor.

Despite all of my criticism I will suggest the readers to watch the movie to promote cinema culture in Pakistan and appreciate the courage of Duraid for taking the risk of making a film.

I will give Bin Roye 4 out of 10 stars for making our Eid memorable and for Momina Duraid's efforts to aid the revival of cinema in Pakistan. We are hopeful she will make better films in the future.

Pakistani Cinema is currently in the process of making a name for itself. As such, this movie provides an excellent opportunity and platform to grow further and build upon. Critics may point out that cinema in Pakistan has been at it for years. Churning out one forgettable title after another. It is true that once-upon-a-time, Lahore was a center for great cinematic productions; And the last 30 years of cinema in Pakistan have witnessed a slow and steady decline. Both in quality and the sheer numbers of films made. This film changes that, and this is why a film like "Bin Roye" is an important milestone.

** Warning ** Contains Spoilers **

The movie (almost entirely) centers around Mahira Khan, and she has done well to do justice to the role. The dialogue and story line have a couple of weak links (no major plot holes), but overall, the concept and execution are apt. Without spoiling the movie for fans, its a treat to watch on the big screen, and the quality of the production is on par with current international titles as can be judged by the sudden accident scene, which is second only to the one done in "Meet Joe Black".

There are three key take aways from this film.

First and foremost, Films from Pakistan have the possibility to carve a spot of their own on the International film arena based on a niche that is not yet fully explored. This film only scratches the surface of what else may be possible. In short, greater films can be done.

Secondly, It is a greatly refreshing experience to walk into a movie theater without the apprehension of witnessing indecent or vulgar cinema. Art in its most beautiful form is pure, enlightening, dignified and entertaining. Its good to see movies that promote that.

Finally, and last-but-not-the-least; We are capable of exploring subjects that have not yet been opened up by others. This uniqueness, this individuality, as "Bin Roye" has aptly explored, holds a promise for a future that is bright for Cinema. The subject of this film may be the run of the mill romance and just-another-form of unrequited love, but the depth of expression and the display of emotions surrounding this melodrama are so unique in a cultural context, that the film "Bin Roye" manages to carve a genre on its own. This is a key strength, and this innovation to directly invoke and display culture through film is an enlightening experience. As a movie fan, I enjoy experiences that I can relate with, and a film close to my culture, is the one that is dear to the heart and soul.

Momina Duraid has opened a door, and if future films follow this path, there can only be greater fame and success.

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This film was created keeping in mind all audiences, especially the ones abroad. I can understand the brusque critic from localites as they were hoping for a smack dab winner over the Indian films. From the perspective of a dedicated Pakistani living across seven seas (metaphorically speaking), it is the best romance Desi film in the past ten years. One is reminded of the romantic poetry that enthralled him/her in schools and colleges invoking binge drama watch. The colorful, sparkling back drops, traditional yet modern outfits, and delicious mention of Eid specials will take one time traveling back to their hometowns.

Although the beginning sets the mood for how Saba (Mahira Khan) and Irtiza (Humaiyun Saeed) is entwined in a friendly relationship, there is much more to their connection than the eye meets and that is unraveled throughout the film. The moment one fails to focus on the slow pace of the film the predictability and flaws rise and shine. The beauty in enjoying this film is to let go of the hypothesis and may be watch it twice or more to allow ones self to explore feelings that once harbored our hearts and mind.

The reason for my super extolled review for 'Bin Roye' is its stylistic approach in depicting the most filmed topic in the history of cinema; 'love.' Unlike Indian films it's use of genuine grief and tragedy evokes compassion and empathy in viewers that sends them home with a piece of Saba's (Mahira Khan) heart.

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Definitely not a winner

Author: Ammar Abid from Islamabad, Pakistan
21 July 2015

Salam , just watched this movie on 19th July at Cineplex Centaurus Islamabad it was the only show , to be honest I wasn't much excited as I already read the reviews of its premiere in Karachi where public said that story was weak but still I had some hope and faith but as soon as the movie started all the expectations went in vain from very first scene the movie seemed a typical traditional Pakistani fair where sweet dish was shown being prepared with dialogs very weak indeed but yet Mahira Khan caught your attention because of sharp colors used in dressing and sets anyway the movie then started with old typical girl loves boy plot where boy doesn't show much interest then later he goes abroad where he falls in love with someone and marries blah blah , then crying tears and every thing happens so quickly in this movie that you don't even know what is happening scene to scene details are not shown every thing is done in so hurry as if one's halwa was getting cold , it seemed as if they made this story for drama but later decided to put whole drama in 2 hour movie and that too forcefully so script was extremely poor and so weak it would have worked 15 years back but no chance in today's era. Acting was quite good by all three lead members Humayun was superb as usual with mature acting , Mahira was sharp , Armeena had small screen time but did her part best rest cast was wasted to be honest it seemed extra to me. Music was the best part of the movie with all 5 songs outstanding straight from the heart , background score was superb and fantastic really enjoyed all songs especially Maula Maula which was magical on screen especially songs 2nd part at the end . So for me this movie brings nothing new in revival of cinema no path breaking element in it but only contributes a little bit in revival cycle only tiny addition not much , with this cast they could have made a brilliant love story but chance missed and main culprit was bad script going no where any way not a recommendable piece of cinema . Overall 6/10 , Script 3/10 , acting 8/10 , Music 10/10.

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This is a Beautiful movie in a whole. i like the lovely and colorful locations throughout, powerful background music. wonderful songs by our well renowned singers along with well suited plus decent choreography. flawless picture show specially the accident scene very well shown. wisely chosen, wonderful yet graceful wardrobe. real life simple looks of characters. A great attempt to give a decent, clean and comfortable family movie for our community internationally. showing Pakistani environment with some film fantasy. Mahira khan's stunning beauty and admirable flawless acting, all team members are well fitted in there characters and all have well played there characters. A visual treat overall.

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What a waste of time. Why even release a movie when you can't write a proper script. Don't waste your money on this awful movie donate the money to shaukat khanum instead. Humayun saeed has been doing amazing projects in the past how could he choose this!! After the interval I felt like pulling my hair !! The last part dragged on forever. They wanted to fit an entire 13 episode drama in to a movie. Acting is terrible Mahira's dressing is the only thing to look forward to. They tried to have a bollywood element in the movie. Please don't waste your time watching this stupid movie. Only thing to look forward to is mahira's dance/clothes and songs, and an attempt to make a pakistani movie close to bollywood.

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Total waste of time. poor sequence. don't waste your time and money. The plot is so silly that by the last 20 minutes we were just anxious to leave. Pakistani directors need to learn from their Indian neighbors how to properly make a movie. Save your money guys. This movie really isn't worth it.

First interval, I didn't understand the relation between Humayun Saeed and Mahira Khan as she was showing herself to Humayun Saeed like a wife. And then if she was going to marry someone who already married with a child then whats the point of not accepting Humayun Saeed. Totally Nonsense film.

Releasing your film on the same day as Salman Khan releases "Bajrangi Bhaijaan" has got to be one of the riskiest, perhaps most foolish, moves in the business. As we've seen with pushed releases of "Rann" and "Billoo Barber" in 2009 and "Dhoom 3" in 2011, even the likes of Amitabh Bachchan, Shah Rukh Khan, and Aamir Khan wouldn't dare go up against Bhai"and on Eid, no less! So when Pakistani filmmakers Momina Duraid and Shehzad Kashmiri did exactly that for their latest collaboration, "Bin Roye," they could very well have been setting the stage for epic failure.

But even as the behemoth that is "Bajrangi Bhaijaan" hurtled into theaters this Eid, "Bin Roye" hasn't been left in the dust, coasting comfortably on account of its own hype; with a snazzy premiere in London's West End theatre district, a marquee comprised of Pakistan's most en vogue heartthrobs, and production values more reminiscent of Bollywood's lavish designs than the humbler budgets of its own industry. "Bin Roye" has been touted as the movie that will resurrect Lollywood from its creative and commercial depression.

"Bin Roye" is a film that may have traveled beyond Pakistan than its recent counterparts, but often in ways that suggest that its makers were going for the lowest common denominator.

The story is your quintessential love triangle: beautiful, spunky Saba (the enchantingly lovely Mahira Khan, whom I'm told is a star of Bebo-esque proportions in Lollywood) has shared an unspoken bond with her cousin Irtiza (Humayan Saeed) since childhood. While that bond has always equated to love for Saba, she's in for the rejection of her life when Irtiza falls for her sister, Saman (Armeena Rana Khan) instead. But that's only the first of many heartbreaks, as Saba's jealousy launches her into a spiral of despair peppered with one misfortune after the next.

Intended as a sweet, wholesome romance, the film's rather uncomplicated plot certainly is a welcome departure from Bollywood's unabashed flashiness, but it's also the reason that "Bin Roye" feels bland and underdeveloped. Writer Farhat Ishtiaq offers up literally zero new or inspiring spins on a moth-eaten model, sticking to established formulas and one-note characters suffering tragedies whose impacts are diluted by their laughably clich nature. The film is also a textbook example of the disruptiveness of songs (lovely as some of them are, particularly "Tere Bina"); inserted into random junctures in the narrative, they prematurely clip scenes in their wake. Together with plot points that transpire abruptly and timelines that jump ahead without warning, the film's flow is left choppy and many times disorienting.

And yet, Khan's performance roots the film. With solid control over Saba's shift from fun-loving and high-spirited to resentful and bitter, Khan's grip on us remains firm even as the story around her flounders. Her meltdowns and outbursts may be dramatic, but she delivers them with a sincerity that stands in sharp contrast from the stoic actors around her who come across as forced, as though they're spouting forth dutifully-memorized lines for a school play. We may never become fully invested in the rest of them, but it's because of Khan's unaffected charm that we can still be caught up in the sweetness between Saba and Irtiza. A couple of those moments include them playfully negotiating how long he will travel to America for and another where he catches her dancing on her balcony. I'm already regretting not having seen more of Khan's past work, but at the same time, "Bin Roye" makes me all the more eager for her turn opposite Shah Rukh Khan in next year's "Raees" (also, incidentally, to be released on Eid).

Ultimately, while "Bin Roye" is not the work of genius, it offers nothing so offensive to justify recoiling from it, either. There's plenty of beauty to behold, from the actors themselves to the stunning panoramas of the Bay Area in which much of the second act is shot, foggy backdrops of the Golden Gate intermingled with lush Santa Barbara hills. It is unashamed of the simplicity it offers, doesn't try to overstep its genre and narrative limits, and celebrates the kind of idealistic, deep-rooted love we all secretly covet. That may not equate to groundbreaking cinema, but certainly makes for a fun choice the next time you are in the mood for harmless sappiness captured on celluloid.