Tamanna – starring Salman Shahid, Omair Rana, Mehreen Raheel
and Feryal Gauhar, all of them experienced and well-known local actors –
is a first film of the film noir genre made in Pakistan, according to
its producer Sarah Tareen who previously worked with Shoaib Mansoor on
Khuda Kay Liye.
Directed by renowned British director Steven Moore, Tamanna is the story of a young man, Riz Ahmed (Omair Rana), who falls in love with the young wife (Mehreen Raheel) of the wealthy Mian Tariq Ali (Salman Shahid). The daring Riz pushes the boundaries and puts the question in front of Mian Tariq Ali who proposes that in order to take his wife in marriage the young Riz steal some highly precious jewels that the former had brought a while ago. Thus begins what seems like an intriguing tale of crime, love, jealousy and deceit.
Judging by the trailer, the film, along with its superb set design and cinematography, appears quite engaging and intriguing. It would be especially appealing to the Pakistani enthusiasts of the film noir genre.
However, the film is not directed solely at a single group but aims to reach out to the general audience, designed to appeal to the intelligent viewers across the spectrum.
“The story is essentially about class snobbery, adultery and ego. We have purposefully chosen realism and artistic integrity over sensationalism, because we want this film to be taken seriously internationally and have a long shelf life. Our general philosophy is to stay away from politics and religion and to concentrate on class and social issues. This film is not ‘masala’ but neither is it parallel cinema – it is midway and is aimed at intelligent viewers from any background. The story is relevant to present Pakistani culture with its emerging middle class challenging the gentry”, Tamanna’s producer Tareen said [in an interview][1].
Directed by renowned British director Steven Moore, Tamanna is the story of a young man, Riz Ahmed (Omair Rana), who falls in love with the young wife (Mehreen Raheel) of the wealthy Mian Tariq Ali (Salman Shahid). The daring Riz pushes the boundaries and puts the question in front of Mian Tariq Ali who proposes that in order to take his wife in marriage the young Riz steal some highly precious jewels that the former had brought a while ago. Thus begins what seems like an intriguing tale of crime, love, jealousy and deceit.
Judging by the trailer, the film, along with its superb set design and cinematography, appears quite engaging and intriguing. It would be especially appealing to the Pakistani enthusiasts of the film noir genre.
However, the film is not directed solely at a single group but aims to reach out to the general audience, designed to appeal to the intelligent viewers across the spectrum.
“The story is essentially about class snobbery, adultery and ego. We have purposefully chosen realism and artistic integrity over sensationalism, because we want this film to be taken seriously internationally and have a long shelf life. Our general philosophy is to stay away from politics and religion and to concentrate on class and social issues. This film is not ‘masala’ but neither is it parallel cinema – it is midway and is aimed at intelligent viewers from any background. The story is relevant to present Pakistani culture with its emerging middle class challenging the gentry”, Tamanna’s producer Tareen said [in an interview][1].
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