Film
Soon after achieving moderate television success, Izhar Qazi played a gamble by leaving his job and venturing into films and remarkably again achieved instant Lollywood stardom.
Izhar Qazi made his film debut in 1986 by starring in Nazar Shabab's Ruby, as the lead actor, which was an instant hit. He excelled in the film despite the presence of veterans Mustafa Qureshi, Shafi Mohammad, Sabeeta and Rangeela. Although Javed Shiekh was cast initially for the lead role, his sudden disappearance from the cast (due to his visit to India with Salma Agha), forced the film distributor Satish Anand to send Izhar Qazi to fill the gap left by Javed Sheikh. During this time Jan Mohammad, another Pakistani film director, grew fed up with Javed and replaced Javed's role with Izhar for his film Bangkok ke chor. In only his third moview, Izhar acted opposite Shabnam (Pakistan's top film actress at that time) in a unique young-to-old character role. Most of his films were in Urdu but he also appeared in double version Urdu-Punjabi films, besides acting in his only Pushto film, Ghunghru do Kalashankoff, opposite Salma Agha.
Soon Izhar made a successful partnership with director Jan Muhammad and released hit films such as Manila ki bijlyan, Roop ki rani and Choron ka baadshah. He also made a successful acting pair with the late Sultan Rahi, releasing a series of successful Punjabi films such as Abdullah the great, Irada, Gujjar baadshah, Lahori baadshah, Pajero group, Ghunda and Dilari. Hence he was more of an action hero than a romantic one. Qazi's role in Sakhi baadshan and Bakhtawar, both earned him the prestigious Nigar Awards twice. He also received the National Award for best actor for his role in Masood Butt's Chiragh Bali. One of his only SciFi film Sar kata insaan, in which he played the role of a police investigation officer won a whopping 8 Nigar awards. Qazi also won Graduate Award and Bolan Award.
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Famous quotes containing the word film:
“The motion picture is like a picture of a lady in a half- piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.”
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