By Film Critic – Hasan Kazmi
Parwaaz Hai Junoon could have been a contender had it been treated the right way, the film way. It comes across as a telefilm that was hastily sent to cinemas and would appeal to only those who are fans of the cast or family members of the makers. Performance wise only Hamza Ali Abbasi has some meaningful scenes that he shares with Shaz Khan and Hania Aamir, with Shaz returning the compliment and Hania failing to match the performance. She looks good in each and every frame but that’s not the best way to carry a film on your shoulders; you have to act well too.
Most of the film has blurred scenes and that include the ones on the land, not in the air. The aerial ones are the saving grace of the movie with some intelligent background score, a memorable soundtrack and action sequences. The cinematography, especially in PAF areas, is quite impressive especially the sequence at the Naltar Valley but when the content is weak, it takes down everything else.
Veteran playwright Farhat Ishtiaq needs to understand that for a military film you have to either have someone from the military onboard or be a military person yourself but here it seems that she watched a few military films and dramas, spent some time with friends in the armed forces and wrote the script without realizing that the audience has evolved. Although Ahad Raza Mir is a heartthrob, his role wasn’t as huge as it could have been. Hania Aamir’s dance was a disappointment and if the makers wanted to tick a wedding song on their checklist, they should have worked harder.
Parwaaz Hai Junoon’s climax is stuff that makes you laugh again and again. How can a severely injured PAF officer get access to a cell phone in the operation theater is beyond my imagination; also why a PAF officer doesn’t accept that his son was a martyr or hates the girl he wanted to marry. The script leaves many such questions in mind and one hopes that the producers make a comeback to films after polishing their skills on TV and making a few telefilms than attempting to make a telefilm for the big screen.
By Hasan Kazmi
Hasan Kazmi is a Film Critic from Karachi, Pakistan.