Showbiz

بولی وڈ فلم ’دنگل‘ اور ’سیکریٹ سپر اسٹار‘ میں اداکاری کے جوہر دکھانے والی 17 سالہ زائرہ وسیم نے اعتراف کیا ہے کہ وہ بھی انتہائی کم عمری میں ’ڈپریشن‘ اور ’انزائٹی‘ جیسی ذہنی بیماریوں میں مبتلا رہ چکی ہیں۔

 

خیال رہے کہ انزائٹی کو غیر یقینی کیفیت یا کچھ ناخوشگوار واقع ہونے کا ڈر کہا جا سکتا ہے۔

اردو میں انزائٹی کے لیے بے چینی، پریشانی یا گھبراہٹ جیسی اصطلاحات استعمال ہوتی ہیں۔

اسی طرح ’ڈپریشن‘ کے لیے اداسی، مایوسی اور دباؤ جیسی اصطلاحات استعمال کی جاسکتی ہیں۔

’انزائٹی اور ڈپریشن‘ کو ذہنی بیماریاں قرار دیا جاتا ہے، ماہرین کے مطابق اگرچہ اسے مکمل طور پر بیماری نہیں کہا جاسکتا، تاہم یہ بھی مرض کی ایک قسم ہے۔

یہ بھی پڑھیں: انزائٹی کی وجوہات، علامات اور علاج

اس میں انسان ذہنی طور پر مفلوج ہوجاتا ہے، اسے ہر وقت مرنے کے خیالات آنے سمیت بھوک کا نہ لگنا، بھوک کا بڑھ جانا، بار بار غصہ آنا، ڈرنا، سانس لینے میں دشواری سمیت اسی طرح کے کئی مسائل ہوتے ہیں۔

دنگل میں زائرہ وسیم نے کم عمر گیتا پھوگٹ کا کردار نبھایا تھا—اسکرین شاٹ
دنگل میں زائرہ وسیم نے کم عمر گیتا پھوگٹ کا کردار نبھایا تھا—اسکرین شاٹ

 

ان بیماریوں سے متعلق خیال کیا جاتا ہے کہ اس مرض کے شکار افراد زیادہ تر 25 سال سے زائد عمر کے ہوتے ہیں، تاہم یہ دیکھا گیا ہے کہ اس کے شکار افراد کا عمر اور جنس سمیت ان کی غربت و دولت سے بھی کوئی تعلق نہیں۔

17 سالہ زائرہ وسیم سے قبل بھی کئی بولی وڈ و ہولی وڈ کی معروف شخصیات، اداکار اور کروڑ پتی افراد اس بات کا اعتراف کرچکے ہیں کہ وہ ’انزائٹی اور ڈپریشن‘ کا شکار رہ چکے ہیں۔

بولی وڈ میں زائرہ وسیم سے قبل معروف اداکارہ دپیکا پڈوکون بھی اس بات کا اعتراف کر چکی ہیں کہ وہ بھی اس مرض میں مبتلا رہ چکی ہیں۔

دپیکا پڈوکون نے تو اس بیماری میں مبتلا افراد کے لیے ’ لائیو، لاف لو فاؤنڈیشن‘ نامی فلاحی ادارہ بھی کھول لیا۔

ان کے علاوہ الینا ڈی کروز بھی اس بات کا اعتراف کر چکی ہیں کہ وہ بھی طویل عرصے تک ’ڈپریشن‘ کا شکار رہ چکی ہیں۔

زائرہ وسیم نے اپنی ٹوئٹر اور انسٹاگرام پوسٹ میں تفصیلات بتاتے ہوئے انکشاف کیا کہ وہ 12 سال کی انتہائی کم عمری میں پہلی بار ’انزائٹی‘ کا شکار ہوئیں۔

Stylist Soomar Rehman has sued his former employer MD Productions for failing to give him credit for his work in Parwaaz Hai Junoon'spromotional materials so far.

A legal notice served to MD Productions, a copy of which exists with Images, states that Soomar was employed under a two-year contract from December 2016 as "creative manager & wardrobe stylish" for Parwaaz Hai Junoon; however, his employment was terminated over the phone on August 31, 2017 with the explanation that the project for which he was hired has been completed.

After which, the legal notice states that Rehman was not credited for his work in any PHJ promotional materials and instead two individuals "who never performed any role in the movie" were named.

At present, the two released PHJ teasers name Babar Zaheer as make-up artist and stylist and credit the wardrobe to Nomi Ansari, Rabab Hassan and Sharjeel Sarfaraz.

 

According to Rehman, Hassan and Sarfaraz did not contribute to the film's wardrobe department. He maintains that he was responsible for all the wardrobe styling in the film, except for one song shot in Lahore.

Currently, MD Productions has been instructed by the court to not release any more promotional materials before the next hearing on Monday.

The production company is refraining from comment while the matter is sub judice.

 

Shehla Chatoor has always been extravagant – with a penchant for details, flora, butterflies, glimmer, glamour. And one knew that her first solo outing would pack in the whole shebang, delivering not just a show but an experience.

The collection was titled ‘Nur-e-Alaleh’ which means ‘light from a heavenly flower’ and following the theme, the models walked through an enchanted forest to lilting music. There were pigeons suspended in the air, clusters of chrysanthemums dotted about the astro-turfed catwalk and winged, feathered installations everywhere. There were sparkling Swarovski crystals, heavy trails and swathes upon swathes of extremely delicate hand embroideries. Classic Shehla.

 
Shehla Chatoor with her showstopper Mehreen Syed and Amna Ilyas

 

But perhaps a solo show needs to be like this. Unlike fashion weeks, it is a show that needs to get people’s attention on its own merit rather than rely on a stellar multi-designer lineup. It needs to move beyond showcasing apparel towards reflecting a designer’s signature aesthetic. The entire audience, media and society’s crème de la crème, is there just for that one designer – the show needs to give them something to talk about.

This, Shehla managed to achieve. The turnout at her show was exemplary, a far cry from the lackluster red carpets one encounters at fashion weeks. It just goes to show that crowds are drawn in by designer clout rather than just any fashion event.

 
The Kazmis and Sadaf Fawad Khan at Shehla's show

 

This was Karachi’s fashion fraternity coming together to support each other, from Fashion Pakistan Council stalwarts Feri Rawanian, Maheen Khan, Aamna Aqeel, Obaid Sheikh and Nauman Arfeen to upper-tier designers like Umar Sayeed, Maheen Karim, Amir Adnan, Huma Adnan, Wardha Saleem, Nubain Ali, Zaheer Abbas, Adnan Pardesy, Safinaz Munir with her team and bridal couturier extraordinaire Bunto Kazmi.

Add in an elegant smattering of celebrities – Sana Bucha, Hareem Farooq, Asim Raza – and the event was a veritable Instagram fantasy. Shows as well-attended are few and far between.

The heaviest bridal wear was most exquisite: Fauzia Aman dazzling in maroon and gold, Sunita Marshall in a gorgeous violet lehnga paired with an ivory backless shirt
The heaviest bridal wear was most exquisite: Fauzia Aman dazzling in maroon and gold, Sunita Marshall in a gorgeous violet lehnga paired with an ivory backless shirt

 

But what of the clothes? Did they make impact? Mostly yes.

The heaviest bridal wear was most exquisite: Fauzia Aman dazzling in maroon and gold, Sunita Marshall in a gorgeous violet lehnga paired with an ivory backless shirt, Sabeeka Imam in a play of pastel florals and panels running down the length of the shirt, Fayezah Ansari swaggering in a midnight blue suit and Amna Ilyas in a cape and a fitted skirt with a standout feather trail.

There were layers of raffia, tulle, feathers and layers. Shehla’s forte has always been her dedication to the most minute hand embroideries and they took center stage on a predominantly nude palette set off by jewel tones.

Fayezah Ansari swaggered in a midnight blue suit and Amna Ilyas walked down the runway in a cape and feathered skirt
Fayezah Ansari swaggered in a midnight blue suit and Amna Ilyas walked down the runway in a cape and feathered skirt

 

There were elaborately worked clutches complementing the clothes and shoes by Sophia Webster, sent in especially by the brand for the show. It was a first for Sophia Webster to be part of a fashion show in South Asia and one had looked forward to seeing the shoes on our catwalks. They weren’t very visible, though, most of the time – perhaps that’s just not possible with our wedding lehngas.

Nonetheless, these were designs that any bride – or her wedding-bound family – would love to own. Perhaps the one outfit that was purely there for drama rather than wearability was the finale number worn by Mehreen Syed, a gown with an extremely heavy trail that made walking very difficult. Ever elegant, Mehreen carried it with a smile – and a few heavy breaths here and there!

Showstopper Mehreen Syed carried her ensemble's heavy trail with a smile
Showstopper Mehreen Syed carried her ensemble's heavy trail with a smile

 

And then there were the designs that weren’t as impactful. There were clothes that played it far too safe.

Sadaf Kanwal’s powder blue lehnga may look great at a wedding but it didn’t really make impact on the catwalk. Amna Babar’s boxy shirt could have fitted better. The fully embellished shirt worked with ruffles on Rubab Ali was ill-conceived.

The misses of Shehla's solo outing include Amna Babar’s ill-fitted boxy shirt and Rubab Ali's ruffled ensemble
The misses of Shehla's solo outing include Amna Babar’s ill-fitted boxy shirt and Rubab Ali's ruffled ensemble

 

Also, the use of velvet, at the very onset of a longwinded Pakistani summer, was odd. Some of the capes and blazers were also very wintry – the one worn by Alizeh Gabol, for instance. Was Shehla defining trends for her design house for the year to come rather than the current ongoing season? A few more slinky sleevlesses, lighter fabrics and a greater improvisation with cuts could have helped diminish some very wintry looks.

The wintry looks — such as Alizeh Gabol's cape and this plum jacket/cape — threw us off
The wintry looks — such as Alizeh Gabol's cape and this plum jacket/cape — threw us off

 

It was all beautiful but one missed the fierce statements that have always been quintessential Shehla.

It was a memorable show, nonetheless – for the glamour, painstaking attention to detail and designer clout it exuded. Flying solo is a hard thing to do – and Shehla Chatoor managed well.

RIYADH, Saudi Arabia (AP) — Saudi Arabia has kicked off its first-ever fashion week with designs by Middle Eastern, Brazilian, U.S. and Russian designers, as well as shows by internationally renowned labels Roberto Cavalli and Jean Paul Gaultier.

In line with Saudi cultural norms and rules on gender segregation, the catwalks are open to women-only and no outside cameras are allowed to film inside.

Still, the event marks the latest turnaround for a country that for decades has been ruled by ultraconservative dogma.

While the kingdom has held fashion shows in the past, they have mostly been tied to charitable causes and did not include big names in the industry.

The catwalks kicked off Thursday and will run till Saturday, when— in another first— the fashion week will conclude with a Russian ballet performance for a women’s-only audience.

ISLAMABAD: The Austrian jazz due of Elisabeth Lohninger and Walter Fischbacher captivated audience at an hour-long concert Sunday night.

Organised by the Austrian Embassy at Marriott Hotel, the performance began with A Little Bit Tricky, a light-hearted composition that invited the audience not to take things too seriously, while Moments urged listeners to enjoy the present.

Ms Lohninger’s heartfelt vocals combined with Mr Fischbacher’s warm notes shaped their performance into an elegant one, with a bit of freshness from their improvisation that was central to the power of their music.

Speaking at the concert, Austrian Ambassador Dr Brigitta Blaha said: “Austria is country known for its music. We are very excited about introducing two dynamic Austrian jazz musicians to Islamabad and look forward to sharing our passion for good music and delicious food.”

Ms Lohninger and Mr Fischbacher have been making music together for more than 20 years.

They live in New York and have toured Europe, Japan and the Middle East. The two of them have explored diverse musical avenues, written music for other projects, and developed their own artistic styles.

“Our music is for people who enjoy all different kinds of music. All the things we have encountered in our musical lives have shaped the music we produce,” Ms Lohninger told Dawn, describing the duo’s music as experimental jazz with a slight country-song exuberance.

She added that their song Because was an explanation for why the couple was still happily married, while Rooster was inspired by a rooster that did not stop crowing all day during a vacation they took to one of their favourite islands, suddenly stopped.

Sharpened with the austere but colourful lighting, the duo’s performance was taut and transfixing. Judging by the applause they received, it would be safe to say their audience was blown away.

بولی وڈ کی ’ہوا ہوائی گرل‘ سری دیوی کی 24 فروری کو ہونے والی اچانک موت سے نہ صرف بھارتی فلم انڈسٹری بلکہ دنیا بھر میں موجود ان کے کروڑوں مداح غمزدہ ہیں۔

سری دیوی 2 دن قبل دبئی کے معروف ایمیریٹس ٹاور ہوٹل میں میں مبینہ طور پر حرکت قلب بند ہونے کی وجہ سے چل بسی تھیں، وہ دبئی میں اپنے اہل خانہ کے ساتھ اپنے ہی خاندان کی ایک شادی میں شرکت کے لیے گئی تھیں۔

اگرچہ تاحال ان کی اچانک موت کی اصل وجہ کی تصدیق نہیں ہوسکی، تاہم ابتدائی طور پر یہ خبریں سامنے آئی تھیں کہ وہ حرکت قلب بند ہونے کے باعث چل بسیں۔

لیکن اب ان کے مرنے سے قبل آخری لمحات کی رپورٹس سامنے آنے کے بعد معاملہ مزید پیچیدہ ہوگیا ہے۔

سری دیوی کی زندگی کے آخری 15 منٹس کی تازہ رپورٹس سامنے آنے کے بعد یہ بھی کہا جا رہا ہے کہ ابھی یہ کہنا قبل از وقت ہے کہ ان کی موت حرکت قلب بند ہونے کی وجہ سے ہوئی۔

ٹائمز آف انڈیا کی رپورٹ کے مطابق سری دیوی کی زندگی کی آخری 15 منٹ کی رپورٹس سے پتہ چلتا ہے کہ اداکارہ کی موت باتھ روم میں نہانے کے دوران ’باتھ ٹب‘ میں ہی ہوئی۔

رپورٹس میں بتایا گیا ہے کہ سری دیوی دبئی میں بونی کپور کے بڑے بھتیجے موہت مرواہ کی شادی کی تقریب میں شوہر اور چھوٹی بیٹی خوشی کپور کے ساتھ گئی تھیں، تاہم شادی ختم ہونے کے بعد ان کے شوہر واپس ممبئی آگئے تھے، تاہم وہ 24 فروری کو دوبارہ دبئی واپس آئے۔

رپورٹس سے پتہ چلتا ہے کہ دبئی واپس آنے کے بعد بونی کپور اہلیہ سری دیوی سے ملنے کے لیے ایمیریٹس ٹاور ہوٹل گئے۔

رپورٹ میں بتایا گیا کہ بونی کپور اپنی اہلیہ کو سرپرائز دینا چاہتے تھے، اور ہندوستان سے واپس آتے ہی دونوں نے رات کا کھانا باہر جاکر کھانے کا پروگرام بنایا۔

رپورٹ بتاتی ہے کہ سری دیوی نے تیار ہونے کے لیے شوہر سے 15 منٹ مانگے، اور وہ نہانے کے لیے باتھ روم چلی گئیں۔

رپورٹ کے مطابق جب سری دیوی نے باتھ روم سے باہر آنے میں زیادہ وقت لیا تو بونی کپور نے دروازہ کھٹکھٹا کر انہیں باہر آنے کے لیے کہا، مگر اندر سے کوئی آواز نہ آئی، جس پر فلم پروڈیوسر نے کسی طرح باتھ روم کا دروازہ خود کھولا اور اہلیہ کو پانی سے بھرے باتھ ٹپ میں بے جان دیکھ کر حیران رہ گئے۔

 

رپورٹ سے پتہ چلتا ہے کہ ایسی صورتحال میں بونی کپور نے مدد کے لیے اپنے ایک دوست کو بلایا اور بعد میں پولیس کو بھی اطلاع دی گئی۔

 

ہندوستان ٹائمز نے اپنی خبر میں ٹائمز آف انڈیا کی رپورٹ کا حوالہ دیتے ہوئے بتایا کہ پولیس کو سری دیوی کے موت کی اطلاع رات 9 بجے دی گئی۔

خبر میں سری دیوی کے دیور و اداکار سنجے کپور کا حوالہ دیتے ہوئے بتایا گیا کہ انہوں نے عرب اخبار خلیج ٹائمز کو بتایا کہ وہ یہ سن کر حیران رہ گئے کہ اداکارہ کا انتقال حرکت قلب بند ہونے سے ہوا۔

انہوں نے دعویٰ کیا کہ سری دیوی کو کبھی بھی دل کے امراض کی شکایت نہیں رہی۔

دوسری جانب سری دیوی کی میت کو لانے کے لیے تیاریاں کی جا رہی ہیں، خیال کیا جا رہا ہے کہ 26 فروری کی شام تک ان کی لاش کو ممبئی لایا جائے گا۔

اگرچہ دبئی پولیس نے سری دیوی کی لاش کا طبی معائنہ 25 فروری کو ہو مکمل کرلیا تھا، تاہم لیبارٹری کی رپورٹس موصول نہ ہونے کی وجہ سے ان کی میت ورثاء کے حوالے نہیں کی گئی۔

امکان ہے کہ آج کسی وقت بھی لیبارٹری رپورٹس موصول ہونے کے بعد سری دیوی کی لاش کو ورثاء کے حوالے کیا جائے گا، جس کے فورا بعد ان کی میت ممبئی لائی جائے گی۔

 

 
 

VETERAN television, radio, film and theatre artist Qazi Wajid died on Sunday, bringing down the curtain on the career of one of the most versatile actors in Pakistan.

He leaves behind his wife, a daughter and grandchildren along with a large number of his admirers to mourn his death. Hospitalised for chest pain on Saturday night, the Raja of iconic TV serial Khuda ki Basti passed away in the early hours of Sunday morning.

His funeral was attended by people from different walks of life including actors Qavi Khan, Jawed Sheikh, Shakeel, Adnan Siddiqui, Behroz Sabzwari, Ayaz Khan and Shahzad Raza (the last three had accompanied him to Saudi Arabia last month) in the evening. He was buried at Eesa Nagri graveyard.

Born in Gwalior, India in 1944 (confirmed by himself in one of his final interviews though it’s widely believed that he was born in Lahore in 1930), Qazi Wajid was one of the longest-serving actors of Pakistan. He made his debut way back in the 1950s when he was a teenager and continued to act till his last breath.

He joined Radio Pakistan as a child artist in the 1950s and was part of numerous hit shows including Qazi Jee, Hamid Mian Kay Haan and the super popular Naunehal. It was in 1956 that his first film, Bedaari, was launched in which he stood out as an actor — for stammering. The film may have been lifted from the Indian hit, Jagriti, but it gave Pakistan’s entertainment industry a name to rule the screen (both films and TV) for many years to come.

In those pre-TV days, Qazi Wajid worked extensively with Ibrahim Nafees on theatre; Khwaja Moinuddin picked him from one of these performances and transformed him into an overnight star with Mirza Ghalib Bandar Road Per and Taleem-i-Baalighan, both of which were performed on PTV in the late 60s. He continued to be part of the play and performed it worldwide, most recently in Australia.

Wajid polished his skills in Radio Pakistan but it was TV where he became an indispensable actor due to his ability to play any kind of a role. In Taleem-i-Baalighan he entertained the audience as Shamsoo The Barber. The iconic TV serial Khuda Ki Basti began with his character, Raja, who was caught cheating at a card game. He played Shakeel’s father in Ankahi and was also part of the iconic Pak-Sino PTV classic Rishtay Aur Raaste while his take on journalism in Anwar Maqsood’s Aangan Terrha is still fresh.

Be it his performance on TV, film or radio, Qazi Wajid was always on top of his game. He claimed to have never played the hero in his life because the protagonist’s role didn’t provide him the margin to explore his abilities. He was the bad guy in Noor-ul-Huda Shah’s Hawwa Ki Beti who sells his daughter and played the cool dad to Marina Khan in Haseena Moin’s Dhoop Kinaray — both the roles were poles apart and proved his mantle.

The younger generation doesn’t know much about his exploits on films and theatre. He loved acting on both the platforms. Theatre was his love and his last bow came in a show he performed in Riyadh a few weeks before his death with long-time collaborators Anwar Maqsood and Behroz Sabzwari. As for films, he once told this scribe that he acted in that medium only because of his friend the late Syed Kamal; most of his films featured him alongside the Raj Kapoor lookalike.

For someone who spent most of his life entertaining people, Qazi Wajid was a modest man. Despite winning several awards — including the Pride of Performance Award — he remained active for his countless fans and didn’t hang his boots till his death, as his biggest award was finding a place in their hearts and staying there forever.

Published in Dawn, February 12th, 2018

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