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:
“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
—Ingmar Bergman (b. 1918)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)
“If you want to tell the untold stories, if you want to give voice to the voiceless, you’ve got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language, and you’re dumb and blind.”
—Salman Rushdie (b. 1948)