To Boldly Go...

The journey commenced some 40 odd years ago. Rarely a franchise, let alone a concept, lasts this long but Star Trek has gone on to defeat the odds and even the competition.

It began as early as 1960, when creator Gene Roddenberry put together a proposal for a sci-fi series. Although he publicly marketed it as Wagon Train to the Stars, he actually modelled it on Swift’s Gulliver’s Travels, intending each episode to act on two levels — first as a suspense, adventure story and secondly as one with a moral.

In Star Trek universe, humans have achieved interstellar space travel in the mid-21st century. Since their first space journey, they have made first contact with many species and form the United Federation of Planets (sort of like a UN in space).

Star Trek went on to have many incarnations, most notably six television (including the original) series and 11 feature films. Now comes its most recent incarnation with Star Trek: The Future Begins directed by J. J. Abrams and written by Roberto Orci and Alex Kurtzman.

Development of the film began in 2005 (three years since the last Star Trek film) when Paramount Pictures contacted Abrams, Orci and Kurtzman for ideas to revive the franchise. Filming took place from November 2007 to March 2008 under intense secrecy. Midway through the shoot, Paramount chose to delay the release date from Dec 25, 2008 to May 2009.

The story itself delves more into the pasts of the characters rather than their future, and since this is technically a remake the cast of characters with a loyal fan-following had to be recast. Chris Pine and Zachary Quinto lead the cast as James T. Kirk and Spock, respectively. Pine and Quinto have astounding shoes to fill, that of characters that have lasted for generations and have become cultural icons. The dynamics of Kirk and Spock rely heavily on the actors that had previously portrayed them, notably William Shatner and Leonard Nimoy. That is because over time as Shatner and Nimoy became their characters the characters became the actors.

Quinto (Sylar of Heroes fame) establishes Spock with relative ease by cleverly mimicking Nimoy’s stance and gestures. Pine takes a different approach entirely. Instead of basing his acting on Shatner’s portrayal, he takes a fresh approach to Kirk. Karl Urban portrays Dr. Leonard “Bones” McCoy.

Zoe Saldaña’s portrayal of Nyota Uhura has echoes of Nichelle Nichols because the younger actress met the older Nichols and understood a great deal about her character. Although the character of Uhura was the most controversial in the classic series, in the film she takes a less important role. The villain this time around is the alien Romulan, Nero, portrayed by Eric Bana. Bana is the weakest link in Star Trek. His acting comes off as brutish, goofy and often lost.

The arrival of Nero barely five minutes into the film sets the story into motion. There are many lost opportunities with Nero that Abrams and the screenwriters Orci and Kurtzman just simply did not take, and with Eric Bana, that is just a waste.

Despite pointy ears, flashing lasers and latex aliens, Star Trek is fundamentally about the birth of a friendship between two men. Hot and cold, impulsive and tightly controlled, Kirk and Spock need each other to work together and defeat Nero at all costs or the future might perish.

Staying away from outright imitation, the two instead bring the characters in to capture their essence. That’s where the film succeeds. Where it fails is a storyline that seems to be made up as it goes along. Roles like Spock’s mother, Amanda Grayson (Winona Ryder) are aloof and sparse. There are scenes which go on for much longer than intended, particularly the comedic treatment of Kirk by McCoy.

Even with all of its faults, Star Trek: The Future Begins is exciting, fascinating and at times funny. The film opened at local theatres on May 15 where it continues to enjoy a healthy viewing, particularly in its opening week.

A Tale of Two Cities

By Sonya Rehman and Khaver Siddiqi

“It was the best of times, it was the worst of times”. Charles Dickens’ literary masterpiece, ‘A Tale of Two Cities’ begins with these words. Though the novel has a theme of self-sacrifice and resurrection, the starting line of the novel can be applied here in Pakistan, to the two of its largest and most prominent cities; Karachi and Lahore.

Indeed both cities have seen the best of times and the worst of times, as far as the music industry is concerned, but how do these cities relate to one another? How does their music combine and form the modern music scene as we know it?

The music that originates from the Punjab is as intricate as its historic architecture. Lahore, the Garden of the Mughals, has seen a myriad of melodies, genres, and vocals alongside a variety of musical instruments (both new and old) over the past few decades. This has given rise to the city’s diverse sound of music and rapidly evolving culture.

From the earthy qawwals of Nusrat Fateh Ali Khan, the Punjabi ditties of Abrar-ul-Haq, the pop sensations; Atif Aslam and Ali Zafar, the underground Lahori grunge/rock revolution (of a handful of bands) in the early 90s and to the revolutionaries of yesteryear – Noor Jehan, Farida Khanum, Ustad Amanat Ali Khan and many more. In addition, the dhol maestro, Pappu Saien, and the master of the ek tara, Saien Zahoor (both of whom have shared their glory performing for people at shrines to concerts), to the fresh crop of commercialized Lahori pop acts (of both the past and today), to the jaded, angst-ridden rockers/bands such as Shahzad Hameed, Call, and eP…music from Lahore has been assorted at best.

Infact the Lahori music scene has churned out so many musicians over the years that it would be almost impossible to list each band/musician down. Nonetheless, each has contributed to the country’s music scene on a macro level – making it what it is today; pulsating with promise.

Even though things have been on the downslide – given the worldwide economic recession and the security situation within the country – our local musicians have still managed to stay in the game by taking out albums (some of which are completely self-funded), and playing at concerts and gigs throughout the country.

Therefore, given the innumerable genres, the music from the Punjab cannot really be ‘defined’ as such, rather, just ‘felt’, and taken in. And perhaps this is what sets the city of Lahore’s music apart from Karachi’s music scene. Where Karachi carries its very own, signature sound, melodies from Lahore come wrapped in unrequited love, Sufi-istic devotion, and nostalgia – which oft reminds one of luminous diyas, and fresh jasmine.

On the other hand, Karachi as a city can best be described as a potpourri of people, traditions, lifestyles and history. This stepping stone of Mohammad Bin Qasim, a picturesque city of light and lightlessness, has its own distinct sound which permeates through the air and settles amongst its populace.

Music has been a vital part of this city, whether it is the sound of the drums at Abdullah Shah Ghazi’s Mazar or the tone of socialism in Faiz Ahmad Faiz’s poetry, the music (and its words) very much echo the mood of the city. It is somber and realist, laced with satire and melancholy. Karachi music has no definite history to speak of, such as Lahore has. This is because compared to Lahore; Karachi is a modern city with a modern sound. It is the sound of realism, sometimes the harshness of reality and sometimes an echo of its soul.

The music from the city by the sea is gritty, real and often makes many political statements. ‘Social Circus’ by Ali Azmat is an album that, in recent times, speaks this city’s language. Take this album and drive along the streets of Karachi and you’ll find yourself traveling the city with an accompanying soundtrack. From the raging guitars of the intro track accompanied by the blaring W-11 and all, to the calming rushes of the waves at the coast, this album really does speak the language of this city.

But its not just Azmat’s album that beckons the sights and sounds of Karachi, bands like Strings and Junoon evoke a particular Karachi sound. In terms of heritage, giants like Allan Fakir and Abida Parveen evoke a rich texture unto the language of the entire province. Going further deep into heritage we come to the mazars of Karachi, most particularly the Abdullah Shah Ghazi, the monument that is perhaps the epitome of this land, long before our time and the British Raj. One will often find people from all walks of life loitering about the mazar; some simply paying their respects through prayer whereas others through their stories of song. And it is those stories of song that truly paint an unseen picture of the city by the sea. No matter where you are in the world, if you hear tracks by these artistes or the songs of these faithful, one would be compelled to think of Karachi.

Comparisons between Lahore and Karachi are ultimately inevitable. Though we are one nation and one people, we speak many languages and we have a collective history of many generations. Though the two cities are so vastly different, so vastly apart, they are indeed just branches of the one same tree.

In Pakistan, we have at our disposal, a thoroughly rich and diverse cultural heritage, which has blossomed over the decades, if not centuries. From almost every facet of what ‘art’ encompasses – such as; music, fashion, poetry, architecture and so on.

That being stated, there is a hidden but devastating war taking place. Unlike our neighbors that celebrate, support and cherish their culture, our culture is slowly being eroded by ourselves. Our children are more familiar with Miley Cyrus’ songs and Aamir Khan’s 15 minute memory that they are ambiguous and lost to the rich culture that is their own.

And what is the result of that?

The result is we are now on the brink of losing our identity. Our art and culture must be held on to with an unflinching zeal. It must constantly be nurtured, nourished and cultivated without letting and allowing ‘borrowed culture’ from overseas sully it. For in these trying times, art seems to be our only release, making everything, at the end of the day seem all the more worthwhile.

The Big Life: Dom DeLuise 1933-2009

Dominick "Dom" DeLuise was a man of many talents. He was an actor, comedian, film director, television producer, chef, and author.

DeLuise was born in Brooklyn on August 1, 1933 and made his acting debut aged six in a school production of Peter Rabbit. His obese shape won him atypical roles at the time, including that of a coin which had rolled under a bed, and a very young, very fat Thomas Jefferson. Back then, he had no desire to act professionally. Instead he wanted to become a biologist and after leaving school he enrolled at Tufts College to study the subject, but lasted only one term. He immediately joined join Cleveland's Cain Park Theatre in 1952. From there he went to Broadway in 1960 and only four years later he would make his television debut in the "Dean Martin Show." It was the same year that he would make his debut in feature films in "Fail-Safe", a powerful drama about the cold war. However, drama was not his calling.

If there was one thing he excelled at though, that was making people laugh. DeLuise had a broad, slapstick style of physical humor. He derived this approach from his, Jackie Gleason, star of the sitcom the Honeymooners. DeLuise was a master improviser of throwaway lines, gestures and bug-eyed looks of surprise delivered casually with perfect timing. Such a talent was not overlooked, and hence it gave him plenty of opportunities in the entertainment business.

DeLuise appeared in a score of movies and TV shows, in Broadway plays and voiced characters for numerous cartoons. Writer-director-actor Mel Brooks was particularly fond of DeLuise and admired the portly actor’s talent for offbeat comedy. Brooks cast the actor in several of his movies, most notably in Blazing Saddles. He also appeared in Brook’s The Twelve Chairs, Blazing Saddles, Silent Movie, History of the World, Part I, Spaceballs & Robin Hood: Men in Tights.

Brooks called him "A big man in every way. He was big in size and created big laughter and joy." His co-stars would often praise the actor for continuing to joke when the cameras were not rolling; a fact particularly recalled by Gene Wilder. DeLuise appeared with Gene Wilder in several films, including "The Adventures of Sherlock Holmes' Smarter Brother" which Wilder directed. "During three months of rehearsals and prerecording our songs, Dom DeLuise kept us laughing," Wilder wrote in his memoirs. "When the actual filming started, he kept the whole crew laughing, not just with his acting but also between takes. He was the funniest man, in person, that I've ever known."

DeLuise co-starred frequently with Burt Reynolds in such films as Smokey and the Bandit 2, The End, and The Cannonball Run (Parts 1 & 2). They would go on to make nine movies together and ultimately become the best of friends. “A great big piece of my heart is gone," Reynolds spoke about DeLuise, "It seems to be a cliché these days to say someone is irreplaceable, but for me, Dom is."

"He was born funny," said DeLuise's agent, Robert Malcolm. "He knew how to charm you and how to make you feel comfortable." Veteran actress Doris Day, with whom DeLuise worked on 1966 film The Glass Bottom Boat also shared memories about DeLuise. "I loved him from the moment we met. Not only did we have the greatest time working together, but I never laughed so hard in my life."

DeLuise enjoyed considerable success and fame with movies. But his luck with TV did not fare too well. "Lotsa Luck," a sitcom in which he played a bachelor New York City bus company's lost-and-found department custodian, ran for only a year. He also starred in "The Dom DeLuise Show," in which he played a Hollywood barber and widowed single father of a 10-year-old daughter which also ran for only a year. In 1991, he hosted the short-lived syndicated return of the classic comedy-reality show "Candid Camera." That barely lasted two seasons. But it didn't waver DeLuise's attitude.

DeLuise battled a weight problem for most of his life, sometimes weighing 325 pounds or more. In later years, Mr. DeLuise wrote several cookbooks and children's books and occasionally appeared as a television and radio chef. He said his interest in cooking came from his mother. "She was always ready to cook at a moment's notice," he said. "She carried around two meatballs in the bun in her hair." Though he continued to find new ways to make people laugh, the same cannot be said for him trying to maintain his health which continued to deteriorate through the years.

Dom DeLuise died at the age of 75 in Los Angeles on May 4, 2009. He is survived by his sons Michael, Peter and Dave, all of whom work in the entertainment business; his wife, Carol; and three grandchildren.