![\"\"](\"https:\/\/propakistani.pk\/lens\/wp-content\/uploads\/2024\/02\/nayab-2.jpg\")
<\/a><\/p>\nWritten by Ali Abbas Naqvi, the film is set in the scenic planes of Karachi and it is based on Nayab\u2019s character who fights society, her circumstances, and her family to achieve her dream which is to become an international cricketer and defeat the old nemesis (India).<\/p>\n
Plot, Screenplay & Dialogues<\/h2>\n
There was a lot of ambiguity on whether the story was catering to family dynamics or Yumna Zaidi’s (Nayab\u2019s) story, this problem was evident in the film and there were repeated instances where a sequence was shown visually and then conveyed verbally causing repetition which led to the sequence getting dragged.<\/p>\n
For instance, when Usama Khan\u2019s (Zain) character collides with Nayab\u2019s car in a minor accident, the writer seems to portray that his character has a lot of empathy and that message is conveyed symbolically during the sequence of the accident but there was no need to say the dialogue, \u201cThis is how we learn\u201d, the message had already been conveyed visually.<\/p>\n
The screenplay was all over the place, it was stretched and the subplots were never explored in depth and were only touched on a surface level due to which many character arcs remained incomplete. However, the premise of the script and storyline was extremely strong at its core but not well-constructed<\/p>\n Many characters seemed unnecessary in the film and did not facilitate the progression of the story which meant that the movie failed to grab the attention of audiences and there were instances where a cinema filled with \u2018only 15 people\u2019 could be seen with people yawning in it out of boredom.<\/p>\n Usama Khan\u2019s character who plays Nayab\u2019s love interest was poorly written, and inexplicably redundant, and halfway through the film you realize that there was no need for his character in the film, the progression of the story could\u2019ve been smooth even without him.<\/p>\n From Usama Khan\u2019s entrepreneurship journey to Nayab\u2019s brother Akber played by (Fawad Khan) and his dreams, Akber\u2019s wife Sadia played by Noureen Gulwani, all the characters never see the completion of their arc.<\/p>\n Comic relief was weak in the film especially the scenes where the match was taking place and the comedy was forced in the sequence through terrible and obnoxious commentary.<\/p>\n Repetition of the two funeral scenes was also not required and the unimaginable tragedy lane the film took in the last 20 minutes was unbearable because it did not match the genre of the film at any level.<\/p>\n Acting is the strong point of the film and this is the reason the film can cross 10 crores at the box office, Yumna Zaidi\u2019s acting is phenomenal, she portrays every emotion with perfection, her character becomes quirky, comical, and angry whenever the script requires and she delivers impeccably in her character.<\/p>\n Noreen Gulwani (Sadia) seemed natural in her character and as a viewer she makes you feel that you know her character in real life. Fawad Khan was the \u2018man of the movie\u2019 his character Akber bounces off well with Yumna Zaidi\u2019s character in that brother-sister dynamic.<\/p>\n Javed Sheikh as Yumna Zaidi\u2019s father played a mellow character this time and showed another layer in his countless shades of acting. Huma Nawab as the mother of Nayab was on point, their chemistry in the mother-daughter dynamic was flawless and she did not need dialogues to emote and convey the message through the silver screen.<\/p>\n Ehtesham Uddin\u2019s cameo in a negative character was world-class and became Nayab\u2019s nemesis with his gaunt expressions and shady body language. The guy haunts the viewer when one comes out of the cinema. Adnan Siddiqui got all his inspirational lines in one movie as the character of Sikandar Malik, the scene uplifts because of his screen presence but he sounds extremely preachy in his dialogues.<\/p>\n In terms of production, the frames were extremely congested, and indoor and outdoor lighting required a lot of improvement in every frame, not a single shot was meaningful or conveyed a message. There was an utter lack of artistic approach in the cinematography. There was no depth in the frame of the scenes, there were blurry lines between the background and foreground of the frames.<\/p>\n The editing of the film left a lot to be desired and it was immature, the continuity of the scenes in the first half of the film was haphazard while the sequences in the second half were extremely stretched and forced the viewer to downright boredom, the consistency in the editing could\u2019ve been better. The 2-hour and 32-minute-long film could\u2019ve been made a lot crispier.<\/p>\n The dubbing and sound design was immature and needed a lot of development in post-production. Pakistani cinema has evolved in this department since the release of Kamli and The Legend of Maula Jatt. A film is all about sounds and background score is a pivotal part of the cinematic experience.<\/p>\n The frequency of indoor and outdoor sound design was below average and some of the dialogues were even inaudible because of the poor execution of both the dubbing and background score.<\/p>\n None of the songs in the movie are memorable and as soon as one comes out of the cinema, they forget the songs as they are neither catchy nor influential.<\/p>\n In the end, Nayab grapples with significant shortcomings that hinder its potential impact. Ali Abbas Naqvi’s narrative wrestles with a lack of clarity, wavering between family dynamics and the protagonist Nayab’s personal journey.<\/p>\n The screenplay, though anchored in a robust core concept, falters in execution, leaving subplots unexplored and character arcs incomplete. Unnecessary characters dilute the narrative, resulting in disengagement from the audience.<\/p>\n While the film’s saving grace lies in commendable performances from Yumna Zaidi, Fawad Khan, and others, the production aspects, including cinematography, editing, and sound design, fall prey to immaturity and lack of finesse.<\/p>\n Ultimately, Nayab falls short of leaving a lasting impression, unable to carve its niche among the cinematic giants it aspired to join.<\/p>\n","protected":false},"excerpt":{"rendered":" Nayab, Pakistan’s maiden venture into the realm of women’s cricket cinema, held great promise as it embarked on a unique storytelling journey. Considering it is the first Pakistani film of its kind, it raised expectations comparable to our industry rival’s iconic sports dramas like Mary Kom, Chak De India, and Dangal. However, in Umair Nasir Ali’s directorial debut, Nayab falls […] More<\/a><\/p>\n","protected":false},"author":54,"featured_media":432992,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2506,2557,2503,1293,2515,2509,1297],"tags":[],"adace-sponsor":[],"class_list":{"0":"post-432988","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-actors","8":"category-cinema","9":"category-exclusive","10":"category-lollywood","11":"category-movie-film","12":"category-review","13":"category-tv-movies-music"},"wps_subtitle":"Yumna Zaidi plays a good innings in her big screen debut but is let down by her team.","img_urls":{"thumbnail":["https:\/\/propakistani.pk\/lens\/wp-content\/uploads\/2024\/02\/nayab-2-1-364x205.jpg",364,205,true],"medium":["https:\/\/propakistani.pk\/lens\/wp-content\/uploads\/2024\/02\/nayab-2-1.jpg",1000,562,false],"full":["https:\/\/propakistani.pk\/lens\/wp-content\/uploads\/2024\/02\/nayab-2-1.jpg",1000,562,false]},"author_name":"Lens Staff","categories_name":["Actors","Cinema","Exclusive","Lollywood","Movie\/Film","Review","TV & Film"],"title_text":"Nayab: A Great Sporting Tale With a Lack of Cinematic Experience","related_stories":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/posts?filter&per_page=4&categories=2506,2557,2503,1293,2515,2509,1297&exclude=432988","_links":{"self":[{"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/posts\/432988","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/users\/54"}],"replies":[{"embeddable":true,"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/comments?post=432988"}],"version-history":[{"count":0,"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/posts\/432988\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/media\/432992"}],"wp:attachment":[{"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/media?parent=432988"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/categories?post=432988"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/tags?post=432988"},{"taxonomy":"adace-sponsor","embeddable":true,"href":"https:\/\/propakistani.pk\/lens\/wp-json\/wp\/v2\/adace-sponsor?post=432988"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a><\/p>\nUnnecessary Characters and Incomplete Characterization<\/h3>\n
<\/a><\/p>\n<\/a><\/p>\nActing & Production<\/h2>\n
<\/a><\/p>\nBackground Score and Music<\/h2>\n
<\/a><\/p>\nIn Conclusion<\/h2>\n
<\/a><\/p>\n