Na Maloom Afraad had the seemingly daunting task of taking on Bang Bang and O21, starring Hrithik Roshan and Shaan Shahid respectively, as the three movies were simultaneously released on the extended Eid weekend. The fact that it managed to outdo the two higher profile movies as the most ‘well-received’ by the masses is a testament to Na Maloom Afraad’s commercial appeal. And the movie is precisely that: a much needed commercial entertainer that fills the void between Gujjar cinema and the likes of O21 and Bol. It neither asks you to leave your brain outside the cinema hall, nor puts too much stress on your neurons.
With two paying guests, Farhan (Fahad Mustafa) and Moon (Mohsin Abbas Haider) teaming up with the landlord Shakeel Bhai (Javed Sheikh) to earn ‘easy cash’ as they try to erase their respective miseries, Na Maloom Afraad definitely has a suspiciously Hera Pheri feel to it. But the story has more interesting subplots than the Bollywood masterpiece, even though the twists and the screenplay are not quite as poignant.
A screen grab from Na Maloom Afraad
[quote]Mehwish Hayat looks ravishing in the well-choreographed song, Billi[/quote]
Farhan, a struggling insurance salesman; Moon who has escaped his family’s pipe dreams of going to Dubai, and Shakeel, desperately trying to muster enough dowry to get his younger sister Naina (Urwa Hocain) married, all find themselves in urgent need of money. The solution to their problems is one criminal act, which would be attributed to the notorious and yet always-anonymous na maloom afraad, when the city shuts down amidst strikes. All that stands between the na maloom afraad and lots of money, is a Karachi-wide strike – or so they believe.
Each of the three protagonists, manage to individually welcome the wrath of Gogi (Salman Shahid) – who is basically Mushtaq Bhai from Ishqiya without any discernible effort to appear any different – the principal antagonist of the movie. Gogi is known for lending money in exchange for a ‘lending hand’ in his drug business. As the plot unravels and the ‘quick money’ ideas backfire, all three of them eventually end up owing Gogi money, with payback time fast approaching. A few twists and some clichés later, the movie reaches a crowd-pleasing ending.
The acting performances are generally pretty good. Fahad Mustafa plays his part of a struggling insurance salesman quite well, and his romance with Urwa Hocain is also rather agreeable. Urwa herself has given a very decent performance, despite the limited influence of her character on the overall script. Javed Sheikh excels as one would expect from the veteran actor.
Mohsin Abbas Haider might be guilty of overdoing certain things occasionally, but his performance and character compliments Fahad Mustafa’s rather well. Kubra Khan (Hina Merchant) doesn’t have too much to display in terms of acting prowess, but she suits the role of a delusional but kind-hearted elite woman.
[quote]Salman Shahid's Gogi is basically Mushtaq Bhai from Ishqiya without any discernible effort to appear any different [/quote]
Mehwish Hayat’s character has been forced into the script, quite possibly to add value to what undoubtedly is one of the highlights of the movie: her performance on ‘Billi’ where she totally owns the screen and looks ravishing in the well-choreographed song, which is an integral part of a very catchy soundtrack. Although, for all practical purposes, just a one-song cameo would’ve sufficed in Mehwish Hayat leaving her mark, without burdening the script with an additional layer.
Salman Shahid unintentionally(?) reprising his role from the Ishqiya series might have done both himself, and Mushtaq Bhai, some disservice.
Even though the movie might have stretched out for too long, and could have done with better editing, director Nabeel Qureshi does justice to a strong script. There are some truly memorable dialogues that add to the overall screen play. That the movie doesn’t try too hard, and doesn’t reek of self-importance, allows it to leave its mark.
Humour, irony, social critique and a masterful depiction of the life of lower middleclass Karachi is its forte. The city’s depiction and the fact that the script centres on a violent strike, which unfortunately forms the quintessence of the metropolitan experience in Karachi, makes Na Maloom Afraad almost a commercial documentary of the city.
Most importantly, however, there is entertainment in abundance for the cinemagoer. While the Pakistani movie buff traverses the transition from the mindlessness of the older cinema to the intellectual intricacies of the much touted revival, it is films like Na Maloom Afraad that provide the much needed bridge.
Na Maloom Afraad’s success is a firm reminder to both the new generation of filmmakers and movie-goers that the question of entertainment or substance isn’t really a binary one.
