On a fateful day in Punjab, a village finds its voice in a young man feuding with goons. A messiah rises from the ashes to fight a barbaric, corrupt tribe. He has a dark past behind him and a burning desire to avenge his parents’ blood.
There is a lot of nerve, action and charm before, after and in between the break of The Legend of Moolah Jat.
While the first half drives the plot, the second half climaxes with a thrilling climax. What doesn’t change, however, is the constant effort to keep the audience in mind.
TLoMJ is a battle between good and evil. It is a battle between right and wrong. It’s a battle of Mola Jat vs Noori Nut.
It is indeed rare for Pakistani cinema to witness a story where the villain is as powerful as the hero. The first was probably Younis Malik’s Maula Jat (1979), where strong character development gave the Pakistani film industry superstars like Sultan Rahi and Mustafa Qureshi.
And now, amid the much hyped Bilal Lashari reboot, it is safe to say that the magic has been recreated with Mahira Khan, Hamaima Malik, Gohar Rashid and Faris Shafi in collaboration with Fawad Khan and Hamza Ali Abbasi.
Maybe it’s Moola’s hunger for justice, or Mukho’s unapologetic love for her, maybe it’s Noori’s psychosis or Daru’s fearless brilliance, but TLoMJ is a movie you’ll want to watch again and again.
The film also comes with its concerns, and rightly so. With language a barrier and an impressive 70’s name being the benchmark, Lashari has a lot to overcome.
However, a tip for cinemagoers is not to compare the new version with the original. While the main plotline remains the same, Lashari has created something miles away from its predecessor and not just because of the technology. It is a generational change, it is bold and beautiful in its different senses.
For those, who do not find themselves equipped with an understanding of Punjabi, the producer has not let language be a barrier. The film has subtitles and adopts a simplified dialect to simulate the experience.
Another major concern for many Moula Jat lovers is the absence of songs in Lashari’s version. Those who have developed a taste for Punjabi films are big fans of music and insist that the cinematic experience is complete when rocked by a number of peppy dance numbers. For all this, the film offers a crisp background score, a nostalgic script and eye-catching visual tricks. While it may not make up for the tunes, it does provide a great mix of entertainment.
A lot of ups and downs, delays and legal setbacks later, TLoMJ has lived up to, if not surpassed expectations. It is an initiative never seen in Pakistan before. It is truly a labour of love.
It comes amid efforts to revive a cult classic. It may not borrow much from the original, but it brings a life of its own on screen. More than anything, it is a saviour to otherwise struggling Pakistani film industry.
