Written by: Aiman Javed
Posted on: March 25, 2019 | 
| 中文
Mansha Pasha as Alia and Ahmed Ali as Adeel
Laal Kabootar starts off slowly but picks up pace brilliantly, neatly wrapping up in one and a half hour, unlike most Pakistani films. The film has all the hallmarks of a well-made crime thriller, with wonderful music and cinematography to match.
When Alia’s (Mansha Pasha) husband, Noman Malik (Ali Kazmi), is murdered in a brutal target killing in Karachi, she seeks answers and revenge. Up against a lazy justice system, as well as a social structure that isn’t kind to single women, she pushes ahead in fury. Finally, she comes across Adeel (Ahmed Ali), a cab driver with his own set of troubles. Adeel’s dreams of going to Dubai aren’t materializing, even though he indulges in petty crimes. After a chance encounter with Alia, he offers to find out vital information for her, in return for a hefty sum of money. The story isn’t unlike that of many other crime films, and neatly brings together the lives of police officers, businessmen, petty thieves and murderers.
If you’ve followed Ahmed Ali’s career, you would know he’s a brilliant actor often sidelined as a supporting cast member. Kamal Khan has offered him the platform he deserves, and Ali plays Adeel with a lot of passion. For example, the raw fear on his face when he confronts the villain belies vulnerability in a lead character instead of fake machismo. Mansha Pasha’s Alia is restrained, even in times of great distress, as she struggles to be taken seriously. There were times when I wished she emoted more, but then again there were times when I almost applauded her.
However, the star of the film is Inspector Ibrahim (Rashid Farooqui), who easily switches between a loving family man and a corrupt police officer. When he tortures an informant, you curse him, but when he lets his daughter do his makeup, you absolutely fall in love with him. A nuanced supporting character, played with such finesse, is difficult to find in our films. Saleem Mairaj is another actor to watch out for. As ‘Mama,’ he is a cool and collected villain you won’t easily forget.
Ali Abbas Naqvi’s script pays great attention to details. Just when you think the film has become too morose, you are offered moments of hilarity. A police officer looks over a gate, shouting ‘Oye Hello’ at some criminals, and allowing them to run away. An inspector tries to wake up his wife, by pulling up her eyelids, and you laugh along as they both chuckle. Just when you think the film lacks emotional depth, you are offered the raw sadness of parents mourning their dead child, or the anxiety of a young man calming down his senile father. Even the title Laal Kabootar alludes to multiple things: Adeel’s red car, the red cap of the villain, and the violent underbelly of a beloved city.
Personally, far more than the story and the acting, the brilliant cinematography by Mo Azmi and the original score by Taha Malik stood out for me. Each shot is like a well-framed photograph; aesthetically pleasing. Chaotic scenes of Karachi are complimented by music which matches the city’s beat. The film brings the city to life by capturing the winding lanes, the mad traffic, the street-smart characters, and the harsh realities of an urban centre. When Adeel is searching through alleyways for the villain, a bag of trash nearly drops on his head, and the city seems to assert its presence. As you reach the climax of the film, the classical music in the background makes you catch your breath.
It’s obvious that Laal Kabootar succeeds on multiple fronts, and should be watched by all those who want local cinema to grow. A commercial success would remind filmmakers that these are the films we want to watch. Unfortunately, perhaps due to a poor marketing strategy, there were only 15 other people in the cinema watching it with me. One hopes the positive reviews that have been spilling in will turn this situation around.
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