The other side of Shaan
The gandasa wielding, much macho hero is the only superstar in Lollywood. Yet away from the crass commercialism of his films is a thinking individual intent on breaking new ground in media at large.
By Aamna Haider Isani
Walking into Shaan's home, you're greeted by the unexpected. There's none of the machismo or narcissism one associates with the last superhero of Pakistani cinema. He may have played the thoroughbred, angry male in countless films but none of that is visible in the place he calls home. There are no large self-imposing portraits or framed film awards; you only see a couple of black and white images of his father and then more and more paintings, Van Gogh replicas to be exact. Stacks of books on art and architecture lie around his lounge and the only reference to his macho image are the horse bust sculptures, an equestrian love "that comes from being an Aitchisonian," he says.
hatting with him, one understands why he's so revered; Shaan connects with people. We meet late at night, when his weekly Sunday is over - his mother, brothers and entire family have left - and his wife Amina, wearing a casual tee shirt over a shalwar, is putting their daughter Bahisht to bed as a docile Labrador strolls around.
Even at this hour, Shaan makes it a point to step out and shake hands with my driver who just cannot get over the fact that he is meeting the Shaan. This real life scene makes the national heart throb look even more endearing.
We walk over the freshly dug up garden that he's been working on. His love for gardening goes beyond the fence; he switches on the lights in his daughter's bedroom to reveal an old peepul tree retained within. It's an intriguing picture, especially when associated with an actor better known for his porcupine stiff moustaches and batons. We finally settle down in his lounge and Shaan begins talking about his life today – the films, the ads, the videos and the secret to balancing the life he lives with the world that is Lollywood…
Instep: You've finally finished shooting for Shoaib Mansoor's film Khuda Ke Liye. How was the experience?
Shaan: Shoaib saab does amazing work - he's very particular about what he does. But he's not a simple person to work with and neither am I. Our chemistry went haywire initially – he had problems with trusting me and I couldn't work without that trust. He told me he didn't want a regular Lollywood Shaan, so I asked him whether he would be able to bear the real me? Lollywood only demands my presence, that's it. I call the shots. But when you want me to 'act' and be my true self, don't expect me to shoot at 9 am. I don't function that early. If you want 'me' then you let me be 'me'. For me a film is about deadlines and I can define my character within a day. Shoaib saab is totally different. He's a great guy but I didn't want him to have any miscalculations about my professionalism.
Instep: Why is the film taking so long in the making?
Shaan: The whole episode of Ali Zafar was traumatic. The film almost had to close as after two weeks shooting he said "meri ammi ne kaha hai ke film nahin karni." I mean, can he do that? Is it that simple? But when he didn't want to do it, we had to reshoot. He was playing my younger brother who is now being played by that musician guy – he's a really cool guy – ET, no…EP's vocalist. Jehanzeb…Zeeshan…I don't remember his name. (It's Fawad, Shaan!)
Instep: How can you not remember your co-actor's name?
Shaan: Oh, I only had a few shots with him. But he was a good looking, cool guy. Then there was a huge mix up in my dates as well. Shoaib saab booked the dates with me and then changed them. Initially I couldn't fit it in my next slot but then I did. Everything added to the delays.
Instep: How was the experience of working with Naseeruddin Shah and Iman?
Shaan: I didn't meet Naseer as I didn't have any scenes with him.
Most of my work was in Chicago. I worked with Iman a bit, but what can I say? Models think very highly of themselves. They need to understand that every different kind of work requires a different kind of expertise. They think that by being good models, they're good actresses. Look at what they're doing in dramas.
Instep: So working with a musician and model wasn't that great?
Shaan: I'm saying that you just can't be an actor or a musician or a model. You have to aspire for more. I've never taken acting as the last thing I do. I have politics in my mind. I'm running Fifth Element (his marketing agency), I made two videos for Mobilink – one with Madame Noorjehan's song and the other with Mehdi Hassan for August 14. Sure, do more but at least know what you're doing. With a little training these guys can do much better.
Instep: With directing, producing, making videos and even TV programs, you're also stepping into new territories.
Shaan: In 2006 and it's all about programming. There are 24 more channels coming out and no quality. We're making sitcoms and comedy plays. I've picked up about five professionals from the film industry. Channels are swarming with college students who need to focus. You cannot make foolish plays and think they're funny. They're not. Enough of the rubber bands and the NCA productions, Jutts, Butts, nuts and all that crap. We've already done Jutts and Butts in films – they need to come up with something better. They need to go through the grind. What has entertainment come to? We have a cross dresser on TV taking everyone for a ride. He's asked me to come many times but I refuse to go. I have some rules. I don't want to go and be haggled by some gay guy. Yet people are okay with him.
So I've utilized technicians from the film industry and given them my aesthetics. NCA boys come with an attitude: ghar sey saab ban ke aate hain. Their theses are sold in colleges; it's all fun and games for them. But we have a responsibility. We should not make foolish attempts. To make good programs these boys should come forth with their technical value.
Instep: You mean to say that with technical expertise our films can compete with the world.
Shaan: We have private financers who cannot afford the budget to make a good film. But yes, it's only that. Nothing else.
Instep: Are the storylines not pathetic?
Shaan: No, the technical expertise is the only thing lacking to make a complete circle. It's that one thing that has messed up the entire system. Majajan and Mujhe Chand Chahiye were right moment films. But I lost money on them because the elite never pay. I made more money off Moosa Khan. We have the stories. I've been trying to sell the story of Veronica Decides to Die from the day I read it but no one will touch it. I give them ideas they don't want to touch. We lack the technical finesse because we lack finances. We have the stories.
Instep: You talk about social responsibility and good stories so what do you have to say about films like Moosa Khan?
Shaan: What about Moosa Khan? Look at their films. They are anti Pakistan and that makes them anti Islam. Sure, two wrongs don't make a right but if you throw a stone at my house, I'll throw one at yours. The magic of the anti-Hindu sentiment worked. If the film had aired during times of the India-Pakistan cricket tournaments or the peace process, it would have failed. But it was aired when anti-India sentiments were at a peak.
Instep: What about Hindus living in Pakistan?
Shaan: What about Muslims living in India? What about Gujarat and Babri Mosque?
Inste
