Famous Pakistani actor and writer Vasay Chaudhry discussed a variety of film industry topics in a recent episode of Ahmad Ali Butt’s Excuse Me Podcast. He discussed his thoughts on the parallels between Indian and Pakistani cinema, his criticism of some award shows, and his misgivings about inviting bloggers to film premieres.

Vasay began by outlining the shared history of a unified India in 1947, emphasizing the historical relationship between the cinema industries of Pakistan and India. He claims that because both Indian and Pakistani cinema have features in common, Pakistani films are an extension of Indian cinema rather than a ripoff of Bollywood.

“The Pakistani film industry has been this,” he said. “In 1947, we were India’s extension, correct? A united India existed, from which Pakistan separated. Everybody was the same. The 1948 film Teri Yaad, which was Pakistan’s first motion picture, demonstrates that aesthetic. Since there was a pause for a few years starting in 2006/2005, some may have assumed that this was only an Indian fashion, however this is untrue.”

“This is also the style of Pakistani films,” he went on. Neither Waheed Murad Sahab—may God grant him a position in paradise—nor Nadeem Sahab imitated Indians when they sang songs beneath trees or atop mountains; that was also our manner. What was it that Mehdi Hassan and Madam Noor Jehan sang, the songs that everyone sings with such passion? Our culture was like this. This is how we do things here. “To claim that the Indian style was imitated was a very foolish statement.”

Vasay expressed his opinions about item numbers and award shows and criticized a variety of ideas. “I don’t think item songs should be in films,” he said. Vasay responded, “Indians started calling it ‘item,’ we picked it up because we don’t have the time to ascribe another word to it,” when Ahmad pointed out that the term “item number” was not originally used in Pakistan. We’re also accustomed to eating prepared food. We wish to prepare an Indian prepared food for the “viewer’s choice” award. We said that we’ll also use it.”

Speaking on the role of songs in Pakistani cinema, Vasay stated: “Songs have always played a significant role in our films. A vamp would sometimes sing. There might occasionally be a random tune. Although it has always been a part of your cinematic culture, it is a different matter if you no longer find it appealing.” Vasay reiterated that we can live without it and that he believes “it shouldn’t be a thing.” In a similar vein, I believe excessive exposure in movies shouldn’t exist. It’s not necessary for us. Occasionally, they haphazardly add a kiss. Why would someone add a kiss to sensationalist if the goal is to achieve a high?”

Vasay’s hesitation to invite bloggers to film previews caused the conversation to take an unusual turn. He questioned the value to the producers, pointing out that bloggers frequently get free passes to these screenings and that occasionally they write bad reviews in spite of their enjoyment of the opportunity. He emphasized the discrepancy between the film’s real box office performance and the social media hype created by bloggers. He recommended that the film business reevaluate its approach of depending on social media influencers to promote motion pictures.

His frank observations illuminated the intricacies of the Pakistani film industry, touching on topics including social media’s influence on movie promotion, award show procedures, and cultural influence. As Vasay keeps sharing his knowledge and insights, his viewpoints offer insightful analyses of the difficulties and changes encountered by the vibrant Pakistani film industry

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