Written by: Haroon Shuaib
Posted on: April 07, 2020 | 
| 中文
Shaan in His New Film, Zarrar
Armaghan could not have chosen another course of life for himself. He was, after all, son of Riaz Shahid, one of the most socially conscious and emotionally compelling film directors Pakistan has produced, and Neelo Begum, known for her exceptional performances in films such as Aman (Peace) and Zarqa, in which she played the role of a Palestinian dancer and a freedom fighter.
Still a young boy of 16, he returned to Lahore after finishing high school in the U.S. for his sister’s wedding. There, Javed Fazil, a director that any established hero would’ve given an arm and a leg to work with, offered him a film. It was 1990 and he was 17 when his debut ‘Bulandi’ (Height) struck gold at the box office. Armaghan was launched as Shaan, an overnight star that producers and directors were rushing to sign.
With his Mother, Neelo Begum
Looking back at his evolution as an actor and the burden of his parent’s legacy, Shaan recalls, “Initially I didn’t fully realise the power that an actor has, especially an actor who plays a hero, but I was willing to give my best. I was representing the legacy of my parents and I was cognizant of the expectations my fans and the industry had from me.”
In 1996, after the sudden demise of Sultan Rahi, a towering figure of Punjabi cinema, Shaan’s impressive box office credentials made him the obvious choice for Rahi’s successor. Shaan not only kept the industry afloat, but also changed the archetypal Punjabi hero from a middle aged, impassive, 40-something to a youthful, passionate, and a good-looking lad.
As a Young Man (photo credits to Shaan Shahid)
“It took me a while to realize that acting was a serious occupation. The industry was investing in me. People were buying cinema tickets to come and watch my films. I owed it to them to give them hope and reflect their aspirations on the celluloid. I could do TV or go do films across the border, but I realised the important role our films and actors were playing to bring entertainment to our audience. They laughed when we laughed, cried when we cried, and clapped when we stood up to the goons on the screen.”
There is passion in Shaan’s voice while talking about the bond he shares with his audience. But when quizzed about the current status of the film industry, Shaan doesn’t mince words. “Unfortunately the advent of social media, the recent rise of ostentatious films and cinema culture has scared the masses away. A common man can only take his family to parks and click photos in front of fake waterfalls. Where are the stories and aspirations of the common man? We have films by the elite for the elite. Cinema too has become like the elite’s once a week halwa puri, but served in the finest of crockery.”
He added later on, “Interestingly I was recently told that maximum number of 4G usage in Pakistan is in smaller towns, where young people download Punjabi films of yesteryears on their phones. This is a major reason why the recent urban-centric films have failed to generate enough revenues, and keep the cameras rolling.”
In order to observe, empathise and establish a connection with the audience, Shaan recalls how he would often sit with technicians, light men, studio hands, and junior artists and share a meal. This helped him stay grounded and relate to their struggles, joys, and dreams. “One cannot watch foreign films, look at the work of western directors, force technology on our subjects and create consequential cinema in the local context. Filmmaking has to be an organic process and must have layers and nuances. Unfortunately, most of our actors do not bother to make the effort of understanding the audience they want to draw to the cinema.”
Working as a Director (Photo credtis to Shaan Shahid)
For Shaan, it is important that everyday people also get access to meaningful entertainment. For him, the best solution is through local cinema. “TV dramas provide mass entertainment, but they don’t give people a reason to dress up and step out of their houses. Just like food and shelter, good entertainment avenues such as popular films are also a necessity for the common Pakistani,” he reflects.
In his opinion, there is still a lot of merit in the current cinema. He recommends that the new cinema should combine technology, knowledge and world-class standards with Pakistan’s wealth of indigenous cinema knowledge, aesthetics and sensibilities.
Shaan in O21
“If we really want to rejuvenate cinema, we must make an effort to understand what kept bringing sizable numbers of audience back to the ticket counters. Bulandi was made with mere 6 million, but was a big box office grosser. After that, there were more than 575 films where producers invested in films that I acted in, all made by our very capable directors. Most of those films made profits for the investors. Now the budgets are inflated but not many films make profits, inspiring little confidence in the investors.”
For him, it is important to be authentic and rooted in the culture. “One cannot play the character of a Punjabi, but not be able to speak the language. Similarly, making a beautiful frame only may make for a director, but that does not make one a storyteller. This snobbery, be it in art, cinema or literature, is very counterproductive.”
This may also mean giving older, less flashy directors another shot. “Everyone in the industry has made good and bad films, but one bad film by a veteran director or an actor cannot be the basis for discrediting years of success. We must continue to learn from our seasoned and expert professionals. They have played long innings and seen more success at the popular level than anyone can imagine.”
Shaan’s next venture Zarrar, is slated for release very soon, in which he is a director, screenwriter and lead. An action-thriller, Zarrar takes the audience behind close doors into espionage and undercover heroes, who attempt to foil hidden operations that could undo Pakistan. He stars opposite the charming Kiran Malik, and veteran actors such as Nadeem Baig, Nayyar Ejaz, and Rasheed Naz feature as well.
With Kiran Malik in Zarrar
The trailer for Zarrar is out, and the film looks promising, with its very contemporary treatment, cinematography and beautiful foreign locations. It’s music ensemble boasts the likes of Abida Parveen, Rahat Fateh Ali Khan, Aima Baig and effervescent Yasir Jaswal, who has also composed original music for the film.
Talking about what is in store for him after Zarrar, Shaan is excited to reveal his plans. “I am already in the process of developing the script for my next film, and have engaged the ingenious Bee Gul to write a love story set in London. The cast has not yet been finalized, but it will be a musical around the theme of the two nation theory.”
Shaan Shahid Now
The fascination with cinema as a medium with which Shaan started his journey as the leading man of Pakistan’s film industry three decades ago, hasn’t diminished. No wonder he is still ruling the hearts of millions as the ultimate big screen hero in Pakistan, with fans both urban and rural, rich and poor, alike.
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