Shahzad Gul restlessly paced up and down his office in the Evernew Studio, right under the photograph of his father, the late Agha G.A. Gul, Pakistani cinema's first (so far also the last) movie moghul. Since his first production Dooriyan (1987), the under-production Ghar Kab Ao Ge is exerting pressure on the producer who usually prefers to confine himself to studio management, leaving film production mostly to younger brother Sajjad Gul.

Minor problems are not minor for him. The nail polish on a finger of a female commando disturbs him. A girl may put on nail polish even if she is a commando, but the polish can't be partly scratched or the nail uncared for. He takes a decision, the footage is to be reshot. Sitting down he says, "I don't want a single frame out of synch with the film's overall quality."

Shahzad Gul is seeking perfection. That is why he spent 52 days shooting the film in an island off Philippines, a task another producer would have completed in less than half the time. Iqbal Kashmiri, the director, is aware of the producer's concern.

Gul doesn't identify the budget for Ghar Kab Aao Ge, but judging from inputs and scale of work it must be a massive investment. Fantastic from the local and comparable to regional standards. The production has already become the highest budget feature film of Pakistan and there is a distance to go: trailer, background score, Dolby sound system, release prints and a lot more. Industry sources say the film could cost up to 25 million rupees, the budget of three to four local features. That is tremendous pressure but quality is the top-most priority. For that, no expenses or effort is to be spared. "I want Ghar to be a milestone movie in every way," Shahzad says with a grim, determined look.

Many expenses are obvious, a star-studded cast for one. Among males: Shaan, Babar Ali, Zeeshan, newcomer Ahsan Khan and Javed Shaikh, not to mention Irfan Khoosat, besides others. And females: Saima, Meera, Sana, Noor to name the main stars. This is without counting the Pakistani and Philippino extras whose number runs into thousands.

Most songs (lyrics, Qateel Shifai; music, Amjad Bobby; new singers Ayesha Khan and Nadia Shaikh) have been finalized. The work so far on view is a cut above anything Pakistan has produced up to now and favourably comparable with top grade cinema from across the border which represents the world's biggest film industry and uses the latest technology.

What kind of a yarn has Shehzad Gul filmed? "I lived with the story for months. I kept on turning it in my head and discussing it with friends. When everything became clear, dialogue writers Khalil ur Rehman and Rashid Sajid were called in. By the time we started shooting, the minutes aspect had been worked out to the last detail," says Shehzad.

During the lifetime of Agha Gul, Shehzad's was a limited exposure to showbiz, almost none of film-making; studies came first. After his demise the studio become Shehzad and Sajjad's joint responsibility. They were in the process of settling down when Gen. Ziaul Haq's government caused a virtual closure of the industry. The deck was marked against Pakistani cinema by limiting film-making to registered producers; the government took its time registering them. The process of registration was verbally initiated but administratively stalled. It was then that the brothers fought back with Sangdil, which turned the tide for Pakistani films. Excellent as a product and commercially rewarding, Sangdil revived Pakistan's film industry and gave it hope for survival.

Next came Dooriyan starring Mohammad Ali, Shabnam, Talish and Faisal, a trendsetter in content, values and treatment. If Sangdil had helped the industry regain business, Dooriyan retrieved prestige for Pakistan's cinema. After that, Shehzad went into textiles and stayed away from filmmaking, but apparently showbiz has a magnetic pull which led to Ghar Kab Aao Ge.

Understandably, he doesn't want to reveal the story. Asked to describe it, he said: "It is a musical, action, adventure, thriller." Rather a tall order. Abduction of a VIP, commando action in a far-away, inaccessible picturesque island is the one liner. "The film was shot in an independent island off Philippines known as Palao Island." Rescue operations are daunting, high risk. All this plus fun, romance, mystery and all varieties of props.

The commandos, both males and females reach the island by different routes, air, land and sea. They have to cross the last hurdle underwater to reach their destination. "It was a hard, demanding trek which could not have been crossed without the fullest commitment and support of the production unit and artistes. Their contribution and cooperation should make it a remarkable movie," says Shehzad Gul.