Bol

There is no doubt that. It was almost perfect in everything. Its even one of the best movie I have ever seen. Only a few can be considered better than this (and, of course, all from Hollywood).

I bet this movie will do great business if they manage to release to a larger audience in India, middle east, UK and USA. This should at least be nominated for Oscars. I am proud for what Shoaib Mansoor has done for lifting Pakistan's name by his movies. He is a true legend. His work for media industry has been tremendous and luckily he was awarded for his work by Sitar-e-Imtiaz, even before he made his two movies.

No soul in Pakistan should deprive themselves for watching this movie in theater.

When I saw Khuda Ke Liye was totally amazed by the writing and Skills of the team and was eagerly waiting for their next one and trust me BOL has taken my expectations to the Next level.

Not just a Brilliant Story line but the underline message would make you Think from the bottom of your heart about the Value of Life in India and Pakistan.

To add further the acting of whole cast was Outstanding. I sincerely Congratulate its maker's for a valiant effort and would love to see this move in Oscar's Race... Trust me.. it deserves much more!

Respect for the Team of BOL!!

My First Review on IMDb for this amazing Movie...!

Anjaneai

'BOL' I would say is a must watch! The movie proceeds with an impressive narration and powerful storyline.

Humaima Malick is just awesome as the protagonist and also, all the other characters who are equally worth a mention! The issues that the movie tries to deliberately bring up, is definitely a bold step ahead given that the backdrop is set in Pakistan. And 'Hona tha pyar' is a wonderful song..I just keep humming it over and over again...

Not the usual kind of commercial spicy Bollywood flick, but some real good cinema!!

I would rate it as 9 out of 10! :)

BOL, a much awaited Pakistani movie with huge expectations due to Shoib Mansoor's previous successful film KHUDA KAY LIYE and insertion of Atif Aslam and Iman Ali in the cast. The title of this movie is like ordering someone to speak out which runs parallel to the context of the film, inspiring the audience to raise their voices against the tyranny and brutality of our current society. This movie has got a well-written story, great direction, extra-ordinary acting by the lead roles, beautiful music and an incredible message to all the families of this world. The cons of this movie are the abusive language and over-criticism on the religion. Humaima Malick, Manzar Sehbai, Iman Ali and Shafqat Cheema gave an outstanding performance in their roles. Atif Aslam tried to perform good but his acting was just OK, although he did great in music collaborating with Hadiqa Kiyani. Shoib Manzoor did a great job in direction and story, pointing out the problems covering all the aspects of life and giving his own instructive solutions. Story: 9/10 Direction: 10/10 Acting: 9.5/10 Music: 9/10 Overall, BOL lived up to the expectations and its already a block-buster. It is a must watch film and worthy for your time and money. Rating: 9/10

Sometimes the prevalent brutality of reality subdues our senses for long enough to declare barbaric actions as legitimate. Barbaric laws as legal necessities. Allow this status quo to brew and grow for generations and centuries and it results in a stymied populace perpetually terrorizing itself through doctrinal teachings that classify and rank human beings. Bol not only rejects the age-old foundations for grading humans based on gender, but provides inspiration to a self-terrorized society about the beautiful possibilities that emerge if we choose to speak up and break the shackles inherited from the past.

Shoaib Mansoor (Shoman) knows how to paint a story in all its hues without losing the end picture if you will. His previous works are a homage, a reverence and a celebration of dance, poetry, music and art. His foray into film with Khuda Kay Liyay gave the impression that Shoman was not content with making great music or entertaining television serials. He wanted to take on a society that was increasingly duplicitous and constantly bending to the whims of obscurantism and willing to bury its beautiful heritage. With Bol he has again come out all guns blazing. Shoman isn't merely showing the mirror to society but goes for the jugular in a nihilist barrage against a decadent order represented by Hakim Syed Shafqatullah played by Manzar Sehbai.

Shafqatullah's inherited but hopelessly dwindling business in herbal medicine in an era where exposure to medical science had won over the sick contrasts with his attempts to maintain a secluded, pure existence at home. His daughters cannot leave home much less work. However, his unmet desire to father a male child infuriates him and the frustration is taken out against the females of his household.

In many ways it is a reflection of contemporary Pakistani Muslim society which cannot cope with the brutal truths of science and seeks remedies in the shrubs of faith. When that doesn't work economically weak individuals, groups and minorities are made scapegoats and used to create a mirage of power for the majority.

But this is a movie, not a post-modern feminist narrative. Furthermore, it is a Pakistani movie in an era when desperate attempts to resuscitate the film industry have yet to deliver results. Shoman continues to carry this national burden along with his socio-political message inserted in an entertainment medium. How does a single director take up these challenges within a three hour time frame while not losing the audience? Enter Shafqat Cheema playing the role of Saqa Kanjar from the Old Lahore red light district where moral standards are turned head over heals with female children valued and males seen as a burden. Apart from infusing the film with heavy doses of comical entertainment, the character simultaneously sets up as the foil to Hakim Shafqatullah. While the preference for female children as future money earning prostitutes offer a resounding contrast, it also highlights the middle-class urban religious moral standards where women are only be perceived in two categories: either as heavenly pure or slutty whores. These extreme ends give comfort to morals of mortals. So Syed Shafqatullah can digest sleeping with a dancing girl but refuses to allow his daughters to find a clerical job since that would be morally confusing.

Today's Pakistan is society in a flux where everyday honor killings have become an acceptable norm. The demonic of codes of honor have become the moral standards which need to be met for living a dignified life. Thus, Saifi, the eunuch child of Shafqatullah, meets a fate often read in the headlines of daily papers. Shoman deliberately refuses to grant audience the ease of moral extremes and constantly forces them into the gray unknowns of life where the purity of human emotions and desires prove to be more resilient and worthy of admiration than edicts and mechanical structures of faith. When Humaima Malik declares she has committed murder, but not sinned, we are forced to question the concepts of crime and punishment in theological jurisprudence. The sequence of sin equaling a crime necessitating punishment is broken. A sin may not be a crime, and so negating the need for punishment.

There are several flaws one can point to in the film. Atif Aslam's role was under-utilized. Cinematography was weak. At times Humaima's dialog turns preachy and may have been better and more powerful if left unsaid - but then again, the title of the movie suggests otherwise.

Shoman's ability to hit the nerves sets him apart from from many a famous director and script writer. He could achieve far greater success and fame if he stuck to merely entertaining audiences. But Shoman uses cinema with all its potential to plant the seeds of change. Khuday Kay Liyay was one of the three most successful films of all time. To this day, its music and message cause headaches as they confront the conservative orders of society. Bol goes several steps further. Sometime from now, the National College of Arts or other institutions teaching film studies, will be analyzing these films that carry within them both the analysis of a nation as well as a positive vision for the future.