While 33 films were released in 1999, the year belonged to one feature, Churiyan, which dominated the screen like no other movie in Pakistan. A commercial goldmine with all letters in capital, watchable for all types and classes of cinegoers for content and treatment, professionally slick, standard work, low budget, small cast Churiyan has become the highest-ever money-spinner of Pakistani cinema.

At the end of the year, Chaudhrani, marking the comeback of the screen queen of the 80s and early 90s, Anjuman, also created ripples at the window but nothing compared with Churiyan. Still, it revived the film-maker's faith in the financial viability of local movies and of the film-goers in the capacity of film-makers to produce absorbing fare.

Churiyan was released at the start of the year, Chaudhrani towards the fag end of '99. The space between the two was littered with much sub-standard work which predictably fell by the wayside. Many film-makers stuck to the old path, by now trodden into pulp. But the balance sheet was not altogether in the red, whatever the industry's lament.

And there is a promising lining to the screen. Plan for new films on Eid-ul-Fitr suggest a bonanza with at least four high-financed, star cast movies produced with concentration and a sense of self-respect for the film-goers. Shehzad Gul's Ghar Kab Aao Ge seems set to lead the entertainment pack.

The balance sheet for professional work also appeared to be in a reasonable state, some atrocious work notwithstanding. Samina Peerzada's Inteha, Sangeeta's Nikah, Hasan Askari's Jannat Ki Talash, Masood Butt's Nikki Jaee Haan and Syed Noor's Daku Rani were films to be seen, enjoyed and discussed. Sangeeta attempted a serious subject in Qaid albeit in a slipshod manner and with misplaced focus. Altaf Hussain explored the mind of an obsessed girl but lack of insight into the complex theme stood in his way and Javaid Shaikh ventured into fresh ground and managed to break it partially in Mujhe Jeenay Do. But generally, lack of intellectual depth and excessive concern with the circuit's response thwarted both the ambition of film-makers and expectations of viewers.

Two areas handicapped Pakistani cinema in '99 as they have been the reason for its fall for some years: the narrative and production values. The yarn was often too thin, too carelessly woven, too irrelevant to ground conditions and too disintegrated to provide a finish, at times even a crude one. While movies tend to be more escapist than realism-oriented, their local makers stretch the principle beyond the snapping point; films are an escape for the people who produce them.

There, admittedly, can be no secure bets on what would clinch the show but basics are not to be dispensed with. The vital prerequisite for a film is a well-knit story which touches the lives of viewers at some turn, if not all the way. Many films of 1999 ignored this need; the circuit responded by ignoring them.

Quality is another casualty. The best of films cannot get rid of the out-of-focus slots; acting standards are lowering all the while. Theatres contribute to their downfall by superannuated projection equipment and sly technicians. Whatever the reasons, the outcome is financial loss for the industry.

A film currently costs around six million rupees, give or take a few hundred thousand. Last year's investment was over Rs. 20 crore. As many as 60 per cent of the movies failed to earn their keep.

Financially, the picture is not that bleak, however. Distributors have become involved in production in a regular way. A losing proposition, unless it is an outstanding flop, breaks ever after some time and what looks a loser at first sight, actually survives as there is demand for films from small places. That should explain the upsurge in investment. Eid films are evidence of that trend.

But investment is not sufficient in itself to keep the industry ticking. The circle of pre-determined notions needs to be broken. The current emphasis on sex-oriented dances, vulgar humour (unfortunately a director like Sangeeta fell to that temptation in Kismet; Hasnain in Naukar was another who resorted to the cheap design and even Noor slightly touched it in Churiyan), the predictable, premeditated clash between good and evil juxtaposed in an elementary manner, excessive bloodshedding (the worst culprit was top director Askari in Jazba and Chaudhrani, not that others were far behind) and other such expressions for creating what the industry regards as ingredients for success have become too familiar and hence unattractive to yield public support. For sustaining the industry, a variety of other inputs have to be improved.

Technical standards could do with chiselling. Music, for instance, is often pleasant, now and then enchanting. Songs are well composed, charmingly rendered, a few well-written, too. The music of many films of '99 had the rhythm to become popular, street sung fare. But recording let them down. Electronic media, television in particular, has lent its support to cinema in recent times. That has helped film music to regain some of the lost ground. However, besides the quality of recording, a coordinated marketing strategy is missing. The state seems to have neither intentions nor the means to enforce copyright laws. Unauthorized cassettes massively outnumber authorized ones. The industry should try to plug holes.

Artists are another limitation. Thirty odd films in a year is a small number to accommodate a large corps of actors and actresses. Which means the same faces in practically every other feature. The past year belonged as much to Saima and Shaan as to Churiyan; they were in almost every feature, together or by themselves. The viewers' appetite for them, howsoever voracious, was satiated. Younger performers find it difficult to deliver a 60-second dialogue in one go. That slows down the pace of a film. They need to catch their breath after every few words. One wouldn't know what acting was if artists like Bahar, Afzal Ahmed, Deeba, relative newcomer Shafqat Cheema and one or two others who have graduated from television were not around. The actresses would do themselves no harm if they learned professional dancing and choreographers should explore inspiration if original imagination eludes them. Artists who can render complex character are vanishing, not that there is much demand for them for the writers are not sketching too many plots. All in all the film industry has to get out of its shell and look at the world outside. It is a rich, vast world from which they have stayed aloof. But it can serve as a powerful source for films.