Mah e Mir Movie Review

Mah e Mir Movie Review

Fahad Mustafa and Iman Ali’s ‘Mah e Meer’ Film Review
Fahad Mustafa, Iman Ali and Sanam Saeed starrer Mah-e-Meer quick movie reviews.

Mainstream Pakistani cinema has been obtaining criticism for it’s empty theatrics. The revival of our cinema has churned out videos that look great and are fun to watch but are bare. Devoid of signifying and concept. Mah-e-Meer has attempted to break away from this meaningless flounce. The film has an extremely strong meaning and has something to state. Regrettably, it is a note that is packaged poorly.

Mah-e-Meer is made upon tiers of meaning. The film is approximately madness and love. It’s about art and self-expression as navigational tools in the storms that the earth throws at you. It’s about going contrary to the tide of the times. The importance of the old in determining the new. Every person in the audience will come away using their own interpretation, the film has something to state to everybody.

The dialogue is well-written, poetic and flowing, albeit in difficult Urdu. However, the script falls short in other aspects. The narrative is motivated through dialogue rather than interesting action. Action here does not necessarily imply gun battles and car chases, but rather major, identifiable plot details that drive the movie onward.

The narrative of Mah-e-Meer unfolded via the conversations of characters, at the cost of shedding the audience’s interest half-way into the film. The move of the film is gradual, departing the audience sense restless. It is too gradual in approaching to it’s realization. However, the threads of the narrative get together neatly at the end and the final outcome is perfectly framed.

The sub-par acting doesn’t do the script any favors either. A lot of the celebrities’ dialogue delivery seems unnatural, as if they have only memorized what off a paper. I say most because Manzar Sehbai supplied an inspiring performance as Dr. Kareem. His delivery is captivating, a reminder of the powerful beauty of the Urdu language. The guy can employ the audience in his discussions of poetry, madness, and traditions. As the film advances, Sehbai expertly unveils the countless layers of his persona and by the end we are remaining with the realization that tale is Dr. Kareem’s.

Ali Khan also does a commendable job embodying the very pleased and jealous Nawab Sahib. Fahad Mustafa’s acting, while not entirely sub-par, does not come up to standards. He’s convincing as a snarky, young poet but his angst doesn’t come across as believable. The female actors, unfortunately, end up being the undoing of the film. Sanam Saeed’s acting is tiresome and contrived. Her mannerisms are exaggerated and her delivery is unnatural. Iman Ali looks lovely but proves to be only an ornament. She brings no substance to her character and does not arouse any sympathy in the audience.

The cinematography lends a feeling of abstraction and grandeur to the storyline but falls brief in terms of lamps and flow. The soundtrack and report added a loudness to the film that will not compliment it’s narrative- the storyline is subtle the music is constantly endeavoring to evoke feeling in a most apparent manner. The technological and practical defects of the film, particularly the acting, retains the writing from rewarding its potential.

The challenge with modern Pakistani cinema is the fact that it does not reach a balance between meaningful storytelling and complex flair. An excellent cinematic experience is identified by both these factors. Our industry should try to produce motion pictures that are a delicacy to watch and are also engaging experiences. Mah-e-Meer is facts that bad direction can be the downfall of an good story

Fahad Mustafa and Iman Ali’s ‘Mah e Meer’ Film Review
Fahad Mustafa, Iman Ali and Sanam Saeed starrer Mah-e-Meer quick movie reviews.

Mainstream Pakistani cinema has been obtaining criticism for it’s empty theatrics. The revival of our cinema has churned out videos that look great and are fun to watch but are bare. Devoid of signifying and concept. Mah-e-Meer has attempted to break away from this meaningless flounce. The film has an extremely strong meaning and has something to state. Regrettably, it is a note that is packaged poorly.

Mah-e-Meer is made upon tiers of meaning. The film is approximately madness and love. It’s about art and self-expression as navigational tools in the storms that the earth throws at you. It’s about going contrary to the tide of the times. The importance of the old in determining the new. Every person in the audience will come away using their own interpretation, the film has something to state to everybody.

The dialogue is well-written, poetic and flowing, albeit in difficult Urdu. However, the script falls short in other aspects. The narrative is motivated through dialogue rather than interesting action. Action here does not necessarily imply gun battles and car chases, but rather major, identifiable plot details that drive the movie onward.

The narrative of Mah-e-Meer unfolded via the conversations of characters, at the cost of shedding the audience’s interest half-way into the film. The move of the film is gradual, departing the audience sense restless. It is too gradual in approaching to it’s realization. However, the threads of the narrative get together neatly at the end and the final outcome is perfectly framed.

The sub-par acting doesn’t do the script any favors either. A lot of the celebrities’ dialogue delivery seems unnatural, as if they have only memorized what off a paper. I say most because Manzar Sehbai supplied an inspiring performance as Dr. Kareem. His delivery is captivating, a reminder of the powerful beauty of the Urdu language. The guy can employ the audience in his discussions of poetry, madness, and traditions. As the film advances, Sehbai expertly unveils the countless layers of his persona and by the end we are remaining with the realization that tale is Dr. Kareem’s.

Ali Khan also does a commendable job embodying the very pleased and jealous Nawab Sahib. Fahad Mustafa’s acting, while not entirely sub-par, does not come up to standards. He’s convincing as a snarky, young poet but his angst doesn’t come across as believable. The female actors, unfortunately, end up being the undoing of the film. Sanam Saeed’s acting is tiresome and contrived. Her mannerisms are exaggerated and her delivery is unnatural. Iman Ali looks lovely but proves to be only an ornament. She brings no substance to her character and does not arouse any sympathy in the audience.

The cinematography lends a feeling of abstraction and grandeur to the storyline but falls brief in terms of lamps and flow. The soundtrack and report added a loudness to the film that will not compliment it’s narrative- the storyline is subtle the music is constantly endeavoring to evoke feeling in a most apparent manner. The technological and practical defects of the film, particularly the acting, retains the writing from rewarding its potential.

The challenge with modern Pakistani cinema is the fact that it does not reach a balance between meaningful storytelling and complex flair. An excellent cinematic experience is identified by both these factors. Our industry should try to produce motion pictures that are a delicacy to watch and are also engaging experiences. Mah-e-Meer is facts that bad direction can be the downfall of an good story