Bollywood blockade
By Zafar Samdani
http://www.dawn.com/weekly/images/images2.htm
Positions on the import of Indian movies seem to be hardening and a debate on the issue is warming up. One segment in the industry feels that, if allowed to be screened at local theatres freely, they would sound the death knell of whatever is left of the Pakistan film industry, while traders and exhibitors say that Indian films are the only option for reviving cinema in Pakistan , thereby ensuring that the few theatres that still remain do not fade away like the hundreds of cinema halls across the country that have been demolished to make way for commercial structures.
Among those who consider the import of Indian movies vital for Pakistani cinema is Shaukat Zaman Khan, who has been a member of the film industry of Pakistan in some capacity or the other all his life. Starting as a small-time, third-party exhibitor at a very young age, he stuck it out to become the chairman of the All Pakistan Producers, Association, and the president of Distributors Association. He is currently the Chairman of FPCCI’s Standing Committee on Film Production and Censor Board.
His arguments follow two tracks. One, the performance of the national film industry during the early post-Partition years owed a lot to the import of Indian films because they created resources for investment in film production. Two, with video versions available in ever nook and corner of the country, cable channels televising the latest Indian movies and Indian TV networks screening a number of films every day, Indian cinema is already well-entrenched and widely viewed in Pakistan.
“It is very much a part of the entertainment available to the people; it is a reality of our life and denying its presence and role in local life is tantamount to self-deception. Why recognize reality and incorporate in the scheme of entertainment in Pakistan,” he asks.
“If Indian films could be screened at a time when the wounds of the traumatic experience of 1947 were bleeding, when railway trains were bringing in the dead, the dying and the injured, why can’t the same be done now?” wonders Shaukat Zaman.
He also emphasizes another reality. A number of Pakistani artists have now signed Indian productions. Many filmmakers are coordinating with Indian producers and technicians, and obtaining professional facilities from Mumbai. This, he says, had been happening in the past but in a clandestine manner. There is no need for secrecy anymore.
Referring to the state of the national film industry, Shaukat Zaman says it’s a mess. This is an understatement as locally produced films are at their lowest ebb. Technical values have been plummeting and professionalism is a casualty. Whose fault is it? Obviously, of the people in the industry to which he himself belongs.
He reminds us that Gen Ziaul Haq went out of the way to create conditions for undermining, indeed destroying, the Pakistan film industry. He recalls that filmmakers were required to get themselves registered under MLO 81 in 1980, which halted all production-related activity. No one was registered as a producer for over a year and numerous under-production films were abandoned, causing massive losses to the industry. Films were required to be censored anew and the long-drawn process left exhibitors without material for screening.
The most negative by-product of the policies was paving the way for illegal circulation of foreign, including Indian movies, on video. Professional distributors and exhibitors who had made heavy investment in the film business had to close shop. Video shops that mushroomed all over the country replaced them, offering a variety of movies at throw-away prices.
Since western films were available in these outlets, the film distributors who imported foreign films for the theatres were left high and dry as their video versions were already available in the market. The business of film production was ruined by the registration requirement and a ban on the screening of films without a new censor certificate hurt exhibition openings. Ultimately, it led to the large-scale demolition of theatres.
Mr Khan says that he made a lot of effort to get the Copyright Act passed, but its application was inefficient and hence of no benefit to the industry.
“There was a time,” Zaman says, “when the film industry in Bombay awaited the reception for the film in a major theatre in Lahore. It was more important to Indian filmmakers than their films’ performance in major Indian cities. Today, only six main theatres serve the Pakistan film industry and if things do not change for the better, even these may not survive for long.”
Even worse has been the exit of professional investors from the industry. The vacuum that was created was filled by illegal and tainted resources that brought its own culture. Over the years, it has led to illegal activities and criminals who have put their stamp on the Pakistan film industry.
The lack of training facilities to meet professional requirements has led to no fresh talent in any area of film production. Zaman regrets that there is no training institution in Pakistan, terming it as one of the major hurdles in its progress.
This is a bleak scenario for Shaukat Zaman, but not that can be changed. “The way out is to import Indian films and co-productions with India. It will bring money to the cash-strapped industry and rejuvenate film-production activity. But that is not all, the government should come up with support for the film industry,” he says.
The Punjab government has allotted 100 acres of land for a film village and Sindh should do likewise to promote the business in Karachi, that used to be a production centre in the past.
An issue marring the import of Indian movies is that many filmmakers have been making films based on anti-Pakistan scripts. Zaman feels that local importers would select their material from the viewpoint of Pakistan’s market and national policies, and there is no need to entertain propaganda films.
He feels that the recent developments in the relations between Pakistan and India has had a positive impact on Indian films. He cites the example of Mein Hoon Na that had undergone a change in the script to further cement relations between the two countries.