Mr. Goreja's book "Pakistan Ki 100 Shahakar filmian", published in 2000, is the first book of its kind written by a veteran journalist/critic and an industry insider. Thus it is with some excitement and anticipation that one opens this book. Unfortunately, the enthusiasm is soon tempered by the content of the book and its narrow focus on the plot points of these alleged best films.

The book is simply structured, divided into one hundred sections between three to four pages each. Introduction to each section contains information about the creative forces behind each selection. It is also here that a few morsels of gossip are imparted. One of the more interesting revelations is that Deeba and Nadeem were slated to star in Mera Naam Hai Mohabat, but Nadeem adamantly opposed Deeba as his leading lady prompting Shebab Keranvi to recast the film. The introduction is followed by a detailed summary of the plot, which takes up the majority of each section. Trying to make the synopsis of masala movies into interesting reading is a losing proposition and this is one of the major shortcomings of this book. These synopses might be of interest to screenwriters looking to rehash old films but for others they will read like Cliff notes. It is in the concluding paragraph that Mr. Goreja provides some cursory critical remarks; often such remarks are missing altogether.

The problem in this book is not limited to the emphasis on the plot summary. The major failure of the book lays with Mr. Goreja's disregard for specific criteria that would justify the inclusion of one film over others of similar quality. This lack of defining criteria undermines the entire

The lack of defining criteria could have been compensated by a meaningful critique of these films but this is another area in which the book is wanting. Mr. Goreja limits any critical analysis of the film to a few lines at the end and rarely extends his comments beyond describing the screenplay as "chust" or a particular performance as admirable. The author makes no attempt to discern the subtext of the film or to place the film in a larger sociopolitical context. For example, would a discussion of Maula Jat (1979) be complete without placing it in the context of the breakdown of a civil society in the face of a military coup? A scenario that paralyzes the Pakistani society even to this day, by repeated invalidation of all its institutions. Maula Jat came out as Bhutto was hanged, as his supporters were carrying out self-immolations as protest, as Zia-ul-Haq began his reign of holy terror, as the military establishment made Pakistan a willing pawn in the geopolitical struggle between two super-powers and as the CIA weapon supply meant for the Mujahadeens found its way to the streets of Pakistan. Maula Jat resonated precisely because the society was about to implode. Mr. Goreja does note in a disapproving tone that every character in the film was addicted to violence and possessed a negative attitude, but he does not take this observation to its logical conclusion. It was not that the Nasir Adeeb (screenwriter for Maula Jat) was suddenly possessed with demons; it is more likely that Mr. Adeeb was instinctively reacting to the seepage of violence in the Pakistani society at an alarming rate. Audience flocked to Maula Jat because in its ludicrously stylized and violent mayhem they saw a true reflection of what was happening all around them.

Mr. Goreja's also compromises the book by his over reliance on blockbusters or major hits (85% 0f the films would fall into these categories) for this compilation. He does include an occasional novelty item such as Zinda Laash but fails to justify its presence among the very best films of Pakistani history. Zinda Laash (more camp than classic) can be charitably described as a noble attempt to introduce a genre into the mainstream cinema, but does that justify its inclusion into the 100 best films ever made in Pakistan and exactly what sort of a milestone does it represent in the cumulative history of Pakistani cinema? Keep in mind that there have been only two horror films made in Pakistan and this was the second one.

Mr. Goreja heavily favors Urdu films over any of the regional films. There are a few Punjabi films included in the list but there is no mention of any worthwhile efforts from Sindhi, Sariki, Gujrati or Pushto cinema. Such omissions are particularly disturbing in a book that aspires to be a historical document about the history of Pakistani cinema; among the more egregious omissions are Munji Kithe Dawaan (1975) and Peengan (1957). In Manji Kithe Dawaan, Munawer Zarief gives an ironic, disciplined, heart-breaking performance as an old man coming to terms with his uselessness to society. The subject matter alone represented a milestone for the industry. Peengan (Aslam Pervaiz, Musarat Nazir, Allaudin) was a risible slice of rural life fable about a village boy and a city girl. It had a simple story but an exquisite treatment. It is unlike any other Punjabi film made in Pakistan. These omissions are noteworthy because it is yet another example of bias arbiter of taste has towards regional languages.

Mr. Goreja is also partial to sentimental domestic dramas. In this regard Shebab Keranvi (for whom Mr. Goreja worked for twelve years as an assistant writer) is well represented on the list, with the inclusion of Aina (1966), Insaneyaat (1967), Sangdil (1968, directed by Zafar Shebab), Insan aur Aadmi (1970), Shabana (1976) and the tedious tear jerker Mera Naam hai Mohabat, (1975) which is memorable only for a smoldering cameo by Musarat Shaheen. She is on screen less than two minutes during which she sizes up, undresses and violates Ghulam Mohyuddin, with a look so sexually provocative it makes him fluster on screen. Mr. Keranvi did on occasion take a respite from the assembly line aesthetics of Shebab Productions to make interesting, muted, introspective films that were far superior to than the above-mentioned crowd pleasers, among them Dil Aik Aina (1972) and Insan aur Farishta (1976). Dil Aik Aina is about a man (Muhammad Ali) so overwhelmed by grief over the death of his beloved wife that he cannot bear to love his daughter. This meditation on the anguish of lost love and the inability to love again was boosted by sensitive performances by Shaista Qaiser and Muhammad Ali (one of the few films in which the legend tones down his vocal cords and does not dominate the screen as a raw, pulsating nerve.) Insan aur Farishta is an examination of sexual violence, made memorable by Roohi Bano's unadorned, realistic performance. In making the obvious choices Mr. Goreja limits the impact of his book.

In any selection of best films by someone of Mr. Goreja's stature, it ought be taken for granted that the films chosen have a modicum of integrity and technical merit but even this assumption is violated by the inclusion of a deplorable1994 film, Butt Shiken. It is not so much a film as an incitement for religious intolerance and sectarian violence. Demonizing of Hindus and Sikhs is commonplace in the Pakistani cinema and mostly offered for cheap "patriotic" thrills. This film was produced under the tutelage of Yousaf Khan, who is praised in the book for this "patriotic" effort. Not only is this film ideologically abhorrent, it is a technical disaster as well. The film has a faded, out of focus look making the audience feel as if they have developed early cataract. Inclusion of such a film compromises the integrity of the list itself.

Mr. Goreja has laid down a foundation for the creation of a critical history of the Pakistani cinema. Unfortunately the book falls short on so many accounts that inclusion in it should not be interpreted as a stamp of critical approval. The book leaves plenty of room for others to build upon. Hopefully the future work will concentrates on critical assessment of films instead of the summary of their plot points.