Written by: Muhammad Suhayb
Posted on: October 15, 2024 | 
| 中文
Taqi Ahmed as the protagonist in Kan Nagar
In recent years, cine-goers in Pakistan have been met with a string of underwhelming films from Lollywood, the country's film industry. Many of these productions seem to be uninspired imitations of Bollywood or diluted versions of Hollywood, offering little originality. Audiences appear to be visiting cinemas more out of routine than out of genuine excitement for what’s on screen. The repetitive focus on predictable themes such as marriage, divorce, rape and kidnappings has made many films feel stale. Pakistani filmmakers urgently need to move beyond these overused tropes, and explore the vast array of untold stories the country has to offer.
One film that takes at least a small step in the right direction, albeit with its flaws, is Kan Nagar (mining place). This 90-minute film delves deeply into the socio-economic challenges surrounding a coal mine in the fictional town of Kan Nagar, a place that metaphorically represents Pakistan itself.
Laborers in Kan Nagar
Although the film is not without its shortcomings, it ventures into territory largely ignored by mainstream cinema. Kan Nagar addresses critical issues related to Pakistan’s wealth in natural resources and the mismanagement that prevents the country from fully realizing its potential. The movie boldly suggests that with proper governance, Pakistan could rely on its own resources and reduce its dependence on international financial aid packages like those from the International Monetary Fund (IMF).
The screenplay is written by Talha Masood, a Deputy Commissioner in the Inland Revenue Service, whose professional understanding of Pakistan’s economic landscape brings depth to the story. Hailing from Balochistan, and having spent nearly a decade working in the province, Masood critiques the nation's own failures. The narrative revolves around the plundering of Pakistan’s natural wealth and the long-term consequences this has for the country’s future. Masood, a charismatic individual, could have easily stepped into the lead role himself but instead opted for a minor part. However, the casting of Taqi Ahmed as the protagonist, Affan, proved to be a misstep. Ahmed, last seen in the forgettable Dhai Chaal, lacked the emotional depth and vocal command necessary for such an important role. His wooden performance would have been better suited to a supporting character like Faraz Marri, another actor from Dhai Chaal, whose brief appearance was similarly underwhelming. The title role was more suited to an actor who at least looked like a Deputy Commissioner, and I bet budget constraints kept the makers from going there.
Taqi Ahmed and Faraz Marri
Despite these casting flaws, some members of the ensemble cast shone. Javed Jamal, a veteran actor from Quetta who rose to fame in the 90s, delivered a solid performance as Asfand Khan, a subordinate well-versed in the region’s laws and customs. Hina Chaudhary, who took on a dual role, did a commendable job, although her character could have been given more substance. As a daughter of an influential figure, she plays the role of a filmmaker working on a documentary investigating Pakistan’s shadow economy. Veteran actor Sajid Hassan, though impressive in his brief appearance, was unfortunately underutilized in a role that could have had much more impact.
Sajid Hassan as a bureaucrat
Having recently watched the Yash Chopra's multi-starrer Kaala Patthar (1979), which focuses on the lives of coal miners, I couldn’t help but compare the two films. Despite being made 45 years ago, Kaala Patthar felt far ahead of its time, with a compelling narrative and superior production. The portrayal of a journalist, played by Parveen Babi, who investigates the miners' plight with help from Amitabh Bachchan and Shashi Kapoor, had far more impact than what Kan Nagar delivered. Even Pakistan Television’s long play from June 1986, starring Anwar Iqbal, tackled the issue of a gas pipeline and was more tightly conceived, with an intense climax that featured a filmi fight.
Javed Jamal in the climax of Kan Nagar
Unfortunately, Kan Nagar’s climactic moments felt more like a cartoon sequence than a powerful conclusion. When one of the good characters is shot, and the hero threatens to eliminate the opposition with just a few bullets, the scene feels more like a parody than a dramatic crescendo. Talha Masood's intentions were noble, but he may need to consider more carefully what Pakistani audiences truly seek. With a stronger cast and a more experienced director, Kan Nagar could have been a much more powerful film.
Hina Chaudhry in Kan Nagar
While Kan Nagar is far from perfect, it marks a notable shift towards a more meaningful storytelling in Pakistani cinema. It brings attention to underexplored issues and serves as a reminder to filmmakers that there are countless stories beyond the overused clichés, stories that can resonate with audiences and spark important conversations.
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