Emran Hashmi

Personal Profile:
Emraan Hashmi was born on 24 March 1979 in Mumbai, Maharashtra. His original name is Emran Anwar Hashmi. It was later changed to Farhaan Hashmi. His nickname is Emmi. He is a graduate from Sydenham in Mumbai where he pursued graphics and animations course. His zodiac sign is Aries. His height is approx. 5' 11". He is Muslim by religion. He is unmarried.
Filmography:
Debut Film: Footpath
Hit Movies: Murder, Ashiq Banaya Apne, Chocolate, Jawani Diwani, Aksar, Kalyug, Zehar, and Tumsa Nahi Dekha.
Latest Movies: Jawani Diwani, Kalyug, and Aksar. Awarapan

Choosing an interesting story is difficult. But doing justice to the story is nothing short of an achievement. AWARAPAN, directed by Mohit Suri, gets it right on both the levels -- on paper first, on celluloid later.
For Hindi moviegoers, the story may remind you of Rakesh Roshan's KOYLA [SRK, Madhuri, Amrish Puri], but in actuality, AWARAPAN borrows from director Kim Ji-woon's Korean film A BITTERSWEET LIFE [2005; Korean title: DALKOMHAN INSAENG; starring Lee Byung-Hun, Kim Young-Cheol, Shin Mina]. Nothing wrong with being inspired, since every director has his way of interpreting a story. Also, Mohit adapts the content to suit Indian sensibilities.
AWARAPAN is as raw as a gash inflicted by a rod. A number of Hindi films have plunged into the underbelly of the underworld/mafia in the past, so how different is AWARAPAN from films of its ilk? AWARAPAN packs in all this and something extra in those 2 hours -- a love story and spirituality.

More than anything else, AWARAPAN marks the coming of age of one of the most under-rated actors on this side of the Atlantic -- Emraan Hashmi. Shunning and discarding his by-now-famous casanova image, Emraan enacts a role that every actor craves for in his heart since the opportunities are limited in the masala set-up. And the youngster interprets it with aplomb.
To sum up, AWARAPAN has style and substance, both. The film packs a solid punch in those 12 reels.
AWARAPAN is the story of man called Shivam [Emraan Hashmi], who searches for joy but finds pain and loneliness. It is the journey of a heartbroken lover who, in order to escape from the ghosts of his tragic past, dedicates himself to serve his gangster boss Malik [Ashutosh Rana], who runs a chain of hotels in Hong Kong.
One day, Malik asks Shivam to do an unusual job for him. He asks him to keep an eye on his young mistress Reema [Mrinalini Sharma] while he is away on a brief business trip. Reema is a young Pakistani girl who is a victim of human trafficking. Malik had 'bought' her in the flesh market in Bangkok.
The brief is clear: If Reema is found cheating behind Malik's back, Shivam has to eliminate her. From the moment Shivam sets his eyes on Reema, his frozen past begins to raise its head. He is reminded of his lost love [Shriya Saran] and how he had failed to save it from a catastrophe.
And then one night Shivam is shocked to discover that the innocent looking Reema has a secret boyfriend [Rehaan Khan], whom she has tucked away and is planning to run away with. Does Shivam remain loyal to Malik and execute his orders or does he take on his wrath by daring to go against him?
Frankly, you need to have a strong stomach to absorb a film like AWARAPAN. The film is dark, serious and violent. The romance, therefore, is minimal, but whenever injected in the plotline acts as a coolant.
Director Mohit Suri continues to grow as a storyteller. Note the sequence when Shriya's father catches Shriya and Emraan red-handed and the confrontation that ensues, leaving Emraan's life devastated. Note another sequence: Emraan walking up to Ashutosh Rana and after a verbal duel, fires at him from point-blank range. There're more sequences that only illustrate the fact that Mohit is amongst the finest storytellers today.
But, on the flip side, the excessive violence can be off-putting for a section of viewers. Emraan being buried alive or the constant gunshots and gore can compel you to take your eyes off the screen. This film is definitely not for the faint-hearted.
Pritam's musical score is refreshing. The tunes are fresh and so are the voices. Cinematography [Raaj Chakravarti] is good, although a few sequences could've been better lit in some scenes. The background score [Raju Singh] is excellent. Dialogues are a highpoint. The dialogue between Ashutosh Rana and Mrinalini, drawing parallels with a sick puppy, is superb.
As mentioned at the outset, Emraan delivers a magnificent performance. When the year draws to a close and the 'Best Actor' nominations are being formalized, including this performance would only be appreciating and acknowledging qualitative work.
Ashutosh Rana is splendid and all you want to ask the actor is, aap kahan thhe itne mahine? Shriya Saran has a small role, but she sparkles every time she appears on screen. Mrinalini is a talent to watch out for. She's outstanding!
Purab Kohli is superb as the eccentric nephew of Ashutosh Rana. Ashish Vidyarthi is wasted. Salil Acharya is a welcome addition to the list of talented actors. Shaad [introduced in WOH LAMHE] is very good. Rehaan Khan [introduced in JAANA] is hardly there. Atul Parchure is nice.
On the whole, AWARAPAN is a well-made product that should appeal to its target audience -- the youth, especially those who appreciate genuinely hatke themes. At the box-office, the film will be affected due to multiple releases in a week. Releasing the film in an open week, without oppositions, would've only helped. However, AWARAPAN should grow with a strong word of mouth.

Awarapan in Pakistani cinemas on July 6 

By IndiaFM News Bureau, July 4, 2007 - 16:38 IST

Further to the breaking news about the release of the Mohit Suri-directed Awarapan in Pakistan, we have an update that the film will hit cinemas in Pakistan on July 6, a week after its worldwide release.
According to Sohail Khan, the film's executive producer in Pakistan, "This is a great moment for us. Everyone here looks forward to quality Bollywood products and watches them on cable and on DVD. Now they will have the opportunity to watch it on the big screen."
Khan added that Awarapan would release in key cities like Karachi, Lahore and Rawalpindi, to name a few, on as many as 15-17 prints.
Director Mohit Suri remarked, "I feel proud of Awarapan crossing the border. That was the underlying theme of the film. The walls have been broken and I am looking forward to the response from the Pakistani audience."

DIL SE ("From the heart")

1998, 155 minutes, Hindi.
Produced and directed by Mani Ratnam
Music: A. R. Rahman; Lyrics: Gulzar

If the state of the world has you on edge, why not escape with one of those famously-fantastic "Bollywood" extravaganzas, such as this one (complete with eminently-hummable score and some great dancing) about...a terrorist suicide bomber...?

Since becoming a crossover success in Hindi with NAYAKAN ("Boss," 1987, a dubbed version of his award-winning Tamil film starring Kamal Haasan) South Indian director Mani Ratnam has made a series of controversial mainstream films that touch on potent contemporary issues: the bloody Kashmir secession conflict (ROJA, 1992) and the Bombay Hindu-Muslim riots of 1993 (BOMBAY, 1994). His fourth Hindi film, DIL SE, is a spectacular and disturbing romance set against a background of insurgent and counter-insurgent violence in the eastern Himalayan region, and the threat of national disintegration, especially following the 1991 assassination of Prime Minister Rajiv Gandhi by a female suicide-bomber. Criticized by audiences for its highly-unorthodox denouement, it has also won staunch fans for this and other nonstandard features.

The stunning outdoor cinematography by cameraman Santosh Sivan spans the subcontinent from Himalayan snowfields and the high-altitude deserts of Ladakh to the palm-fringed backwaters of Kerala to offer, in a jarring counterpoint to the screenplay, a nakha-shikha ("head to toe") portrait of the body of Bharat Mata (the nation personified as mother goddess), evoking the Indian national anthem's sweeping catalog of geographic and ethnic regions. Similarly, A. R. Rahman's brilliant, hypnotic score melds folk rhythms, Indo-Persian ghazal imagery, and rap-style declamation into another parallel plot, here a portrait of obsessive and doomed love. The dreamlike song "pictureizations," brilliantly choreographed by Farah Khan—from the spectacular opening song Chala chayya chayya, set atop a train speeding through the mountains—seem dissociated, even by Hindi-film standards, from the screenplay, further heightening the overall sense of dis-location, and suggesting the impossibility of realizing romantic fantasy in the midst of oppressive contemporary realities.

Shahrukh Khan plays a frenetic New Delhi yuppie named Amar (ironically, this means "immortal"), an All India Radio reporter dispatched to the hills to collect sunny news stories on the theme of "what 50 years of Independence [celebrated in 1997] have done for you." Instead, he finds barbed wire, bombs, bitterness....and secessionist ethnic rebels.

His hyperactivity is counterbalanced by Manisha Koirala's portrayal of Meghna, a brooding waif whom he encounters enroute, and whose coldness conceals past traumas and deadly secrets. The hero sets out, with sheer exuberance and ostentatious passion, to tame this beautiful and elusive shrew—a stock plotline in Bombay romances, but in this case, the results are unexpected and increasingly ominous. It seems that Meghna is already married—to a cause the hero cannot fathom.

After the interval, the action shifts to New Delhi, where the infatuated reporter, still pursuing his dream woman and half-heartedly wooing another (Preity Zinta) who has been proposed by his parents, stumbles onto a plot to assassinate the President of India during the January 26th Republic Day Parade, and soon runs afoul of both the plotters and the heavy-handed intelligence team working frantically to stop them.

The film's explosive and haunting conclusion leaves a number of questions unanswered—one being whether its open-endedness is intentional or due to a failure of directorial vision. Assuming the former, one reading of the film is as a gendered anti-nationalist allegory in which "All-India" Amar represents the Hindu-majoritarian centre and Meghna the alienated ethnic and religious minorities and peripheral states. In this interpretation, Ratnam ingeniously turns Khan's trademark bouncy, self-centered screen persona against itself, to craft a political commentary on the hypocrisy and ultimate failure of centrist programs of "national integration." The hero labors manfully to lure the heroine into a lasting union based on (his) ideals, asking her to forget past injustices and (literal) violations; his implicit message—"Just love me and everything will be all right!"—appears increasingly idiotic as we learn more about her life. His love is as selfish as it is passionate, and both blind to and seemingly uninterested in the reality of Meghna's traumatic past. The result of his unrelenting pursuit of his romantic dream is not a happy ending, nor an optimistic portent for the nation.

Movie Name : 
Oops!

Year of Release :
2003

Release Date :
1 August 2003

Genre :
Drama

Presenter :
Tijorji Films Pvt. Ltd.

Producer :
Deepak Tijori

Executive Producer :
Shahid Saiyed, Anu Singh

Director :
Deepak Tijori

Cast :
Kiran Janjani, Vikas Sethi, Mink, Mita Vashishth, Kiran Kumar, Amit Thakur

Music Director :
Ravi Pawar

Lyricist :
Ajay Jhingran

Cinematographer :
Thomas Xavier

Story Writer :
Deepak Tijori

Dialogue Writer :
Deepak Tijori, Bijesh Jayarajan

Editor :
Aasif Khan

Art Director :
Kumar Sagar

Costume Designer :
Shivani Tijori

Sound Designer :
Raju Hegde

Choreographer :
Bosco Ceaser

Playback Singer :
Shaan, Sonu Nigam, Kay Kay, Sunidhi Chauhan, Hariharan, Harshdeep

Publicity Designer :
Studio Link

Still Photographer :
Hardeep Singh

Synopsis :

That's what the story is... dreams in their eyes, ambition in their actions, ferveour for life... and they are still lesser than the stars! Here's a film based on those starry eyed 'lesser stars' who dance around thge starlets with as much zeal, and yet go unnoticed. Jahaan, Aakash and Nikki share a passion – dancing and take up the profession as background dancer in films, Jahaan is a lower middle class guy living with his dipsomaniac father and aspires to be rich and powerfull. Aakash is a rich heir and a dancer by choice. Nikki is a middle class girl in love with Jahaan, but is not sure about the way Jahaan’s fundas of life work.
The three are busy performing as dancers in films and corporate shows till a very lucrative proposal comes their way from a film star – Sonia. She invites Jahaan to perform for a strip show. Yearning to be rich and not wither out as a mere dancer, Jahaan instantly takes up the offer to be a mail stripper. After a little cajoling, Aakash agrees to accompany Jahaan and both perform their first ever strip show despite Nikki’s discomfort.
Aakash opts out of doing more strip shows, Nikki is disillusioned by the way Jahaan has started behaving and Jahaan is crazily in love with his image as Casanova.
And this where the journey to stardom begins for Jahaan… In his want and greed to be with the people of power and position in society, Jahaan and the rest land up in a situation which is “Oops”

'Shootout At Lokhandwala' - Not bad

good thing about ‘Shootout’ is that it doesn’t take sides. It attempts to objectively present the facts of the incident, along with the events leading to it, from both the perspectives of cops and gangsters.
On the side of the cops, the central figure is ACP Aftab Ahmed Khan (Sanjay Dutt), the officer-in-charge of the entire operation to flush out the gangsters from a Lokhandwala flat. Supporting Khan in this mission are two brave cops: Kaviraj Patil (Sunil Shetty) and Javed Shaikh (Arbaaz Khan).
On the side of the gangsters, the central figure is Maya Dolas (Vivek Oberoi), a fearless, trigger-happy gangster who rose in the underworld through the sheer dint of his grit. Maya’s sidekick Dilip Buwa (Tusshar Kapoor) is dreadful but also humane.
The movie’s story, allegedly based on “true rumours”, establishes that the shootout in Lokhandwala wasn’t a random, isolated incident but was the culmination of a build-up of a series of incidents. The movie also shows how tough the job of cops is when they have to leash the trigger-happy gangsters within the powers given to them by law.
Sanjay Dutt is competent in playing the role of ACP A A Khan. Amitabh Bachchan gets shadowed in the film’s huge cast ensemble but still leaves an impact in the last few reels. Sunil Shetty manages not to ham. Arbaaz Khan is strictly okay while Abhishek Bachchan has a very miniscule role.
On the flip side, Vivek Oberoi is convincing enough playing the role that is in parts similar to his debut performance as Chandu in ‘Company’. However, Vivek’s Maya is sinister, ruthless, fearless and tempestuous.
Tusshar Kapoor is convincing, while other actors like Rohit Roy, Shabbir Ahluwalia and Aditya Lakhia stay on the sidelines.
Director Apoorva Lakhia pays attention to the details but misses out on certain points. The cops are shown without bulletproof jackets while encountering the gunmen. The gangsters’ phone lines aren’t jammed till the dying moments of the long encounter. Also the movie has some unnecessary songs that slacken the story’s pace.
The female actors have very little scope in this film but Amrita Singh stands out with her intense performance. Dia Mirza hardly sounds and acts like a journalist. Aarti Chabria gets a moment to show her acting (besides her dancing) in the second half.
‘Shootout At Lokhandwala’ has too much violence, bloodshed and gore. It is clear that the film’s makers want the movie to hit hard at the audience. Lakhia joins the pieces of the film’s story through a series of flashbacks. There are some emotional moments to lend a raw sentimentality to the flick.
All in all, ‘Shootout’ is not bad for watching once.

Cheeni Kum : Movie Review
25th May 2007  23.48 IST
By N. K. Deoshi  
Keep the sweeteners low. Low fat, high sarcasm. No mush. No overt display of emotions. Rather put in some tingly humour. And spin the story around some ironical situations. The recipe of Cheeni Kum is ready.
The movie, featuring Amitabh Bachchan in yet another brilliant performance, not just entertains you with its sarcastic humour, it also touches your heart with its emotional moments. The film has no pretension of being a laugh riot. It charts a narrow course by telling a bittersweet tale of romance between a 64-year-old man and a 34 year-old woman.

Buddhadev (Amitabh Bachchan) is the chef of what he calls “the best Indian restaurant in London”. He takes pride in his job and considers cooking more of an art than a culinary chore. The cooks under him dread him for his perfectionist streak.
Buddhadev’s reputation is challenged when a customer disapproves of the restaurant’s Hyderabadi Zafrani Pulao. The customer is Neena ( Tabu ), a tourist from India.
The acidic chef talks tough with Neena and she walks out of the restaurant. Later, she makes Buddhadev realize the mistake of the cook who had made the pulao.
Buddhadev feels an apology to Neena is due. But the ego in him won’t let him say “I’m Sorry”.
What begins as a bittersweet  acquaintance between Buddhadev and Neena soon transforms into mutual attraction.
At home, Buddhadev has a ninety-year-old mother (Zohra Sehgal) who keeps asking him to join a gym. In his neighborhood lives a sweet little girl Sexy (Swini Khara), who suffers from blood cancer and is Buddhadev’s best friend.
The irony in ‘Cheeni Kum’ is that the high points of the romantic track of Buddhadev and Neena are matched with the tragic turns in the track featuring Sexy.
Paresh Rawal plays Neena’s 58-year-old diabetic father who is unwilling to accept a man as old as Buddhadev as Neena’s suitor.
Director R Balakrishnan has made a very feelgood movie. Balki keeps Amitabh Bachchan the driving force of the story. He keeps sentimentality out. The humour he opts for is tinged with sarcasm and rustiness. But behind the barbs, love is visible.
Amitabh Bachchan is touching a new height of charisma at his age. Not only does he look fabulous, he delivers a breezy, buoyant and convincing performance as the caustic chef.
Tabu comes up with a fine act but her Hyderabadi accent is unmistakable in her dialogues. Paresh Rawal is certainly not at his near best. But that is not his fault. His role has been written in such a way that if offers very little scope for comedy.
Child artist Swini Khara is simply brilliant. Her role and her dialogues have been written very beautifully. Zohra Sehgal is delightful in a performance incredibly feisty for her age.
‘Cheeni Kum’ has different versions of the title song that play in the background in various situations. The movie’s highpoint is its end when the protagonist wins the hand of his woman but loses someone else very close to him.
Director R Balki has got almost everything right in his first feature film.
Do not miss this sugarfree spread.

Atif Aslam

Back Ground

Birth Name

Muhammad Atif Aslam

Born at

Wazirabad, Pakistan

Origin

Lahore, Pakistan

Genre(s)

Pop
Rock

Occupation(s)

Musician

Instrument(s)

Guitar

Years active

2005 – Present

Associated
acts

Jal

Website

Adeez (Home Page)

Atif Aslam (Urdu: عاطف اسلم) is a Pakistani musician. He was born in Wazirabad, Gujranwala on March 12, 1983 and was educated in Lahore and Rawalpindi.

Early life

Atif’s kindergarten started in Model town Lahore at Kimberley Hall School. His first stage manifestation was in a fancy dress show at his school when he was in grade 1 where he performed as Imran Khan, the former captain of Pakistan's national cricket team. Since then cricket was like a passion to him. He was never tired of playing cricket for hours in his car porch whether it is scorching sun outside or even raining. At that time he was not used to listen any kind of songs. At the age of 9 in 1991 he was shifted to Rawalpindi/Islamabad where he continued his studies in Saint Paul's School. He started playing Basketball and he use to lead his school team for various matches. Atif came back to Lahore in 1995 where he continued his studies in Divisional Public School Model Town. For his immense passion for cricket he was selected in his school team as a fast bowler. Atif cleared his 10th grade in 14 years of age with a distinctive edge that he has always been the youngest boy in the class because of his double promotions while he was in Kimberley Hall. Atif started his HSc in PAF College Lahore. He was in his college team as well where he presented his college in other cities. Beside his studies he was putting his maximum time in practicing for the professional cricket. During his college life he come across with some interest in music. He attended Punjab Institute of Computer Science (PICS) to do his Bachelors in Computer Science (BCS). Aslam's eldest brother owned a collection of more than 8,000 songs of almost all music genres, from which Atif absorbed a wide range of music at home. As a good learner he quickly grasped the control of voice, though at that time he was not interested in singing. Aslam's passion was still to enter the Pakistani cricket team as a fast bowler and he was right on track while practicing at the net at the Shapes Club Lahore where Imran Khan used to come and give tips to him for bowling.

Start of Musical Career 

The twist in the story comes when one day he was singing with his friends at the college canteen. Hi s friends insisted him to participate in the singing on Independence Day celebrations at PAF College Lahore and Sargodha in 1998. He performed there and won the competition. After HSc, Atif Joined Punjab Institute of Computer Science Gulberg Campus. This time studies were much more demanding as compared to the previous ones. He was forced to sacrifice his time playing cricket in order to do well in school. However, his hobby of singing continued when he entered in the singing competition of his college, where there were a total of 8 participants. The media team entered Atif’s name in the competition at the eleventh hour and he won the competition singing a hit number of Pakistani band Strings' Duur.

Jal The Band

Aslam kept winning these competitions every semester. He found Goher Mumtaz, a talented guitarist, at this time. Together, they started doing mini concerts for their friends. Atif used to primarily sing songs from Junoon and Strings at these concerts. The size of the audiences kept on increasing. They performed concerts for their college, McDonalds and some other restaurants as well. Atif recorded the legendary song Aadat at Mekal Hassan’s Studio. Mekal injected his professionalism in the song to make it worth listening time after time. Atif formed the band and named the band as Jal, which means water, the essence of life. The song got popularity on the different musical websites on Pakistan. . The song was also played on such Pakistani radio stations. The music video for Aadat was shot one day in a warehouse in Karachi. Soon it came out to be a super hit, topping the Pakistani music charts. On the base of this one song, “Jal” began their tour of Pakistan—such was the strength of “Aadat”. However, Atif and Gohar conflicted upon some band management matters leading to a band breakup. Atif decided to launch his solo career while Gohar continued with Jal, seeking for new band mates.

Solo career

"Jal Pari"

Atif Aslam, after leaving Jal, released a new solo album, Jal Pari (meaning "Mermaid") which was a big hit. Other than Aadat, 'Dil Harey', 'Woh Lamhey', 'Yakeen' became favourites of Pakistani music fans. Though his songs were liked by many, his first solo music video of 'Mahi ve' did not receive much praise. On the other hand Jal, with their album "Aadat" and hit music video "Woh Lamhay" emerged as one of the top bands of Pakistan. As both the Jal, “Aadat”, and Atif’s album, Jalpari, shared certain tracks (such as “Aadat”, “Wo Lamhey”, “Dil Harey”) an unofficial war over rights began which resulted in both sides claiming to possess hard proof to support their respective claims (that, they alone owned the concerned songs). The hype this feud gave to both Atif and the new Jal was extraordinary and split the music fans with the fans of each side backing their respective favourite.

Across The Border

Whilst the drama of lyrics & composition ownership continued in Pakistan, Bollywood director Mahesh Bhatt called Atif Aslam to seek his consent to include "Woh Lamhey" in the soundtrack of his new motion picture, Zeher (2005). The song (especially the remix version) became a hit & dominated airplay on almost all major FM stations throughout India for a period of 6-8 months. This pattern of a slow playback song by Atif in the movie, supplemented by a remix version released for radio airplay was to become standard procedure with Atif’s songs on the Indian market.

He recorded a song for the movie Kalyug (2005), entitled Juda Hokey Bhi - a slight variation of the ever famous Aadat song. Like with “Wo Lamhey / Bheegi Yaadein”, a slow version became the theme for the movie and part of the official soundtrack, whilst a remixed version was released to hit the radio stations and desi clubs worldwide.

After recording for Kalyug, an Irani director in Hollywood contacted Atif and within very little time, Atif recorded three songs for that same director’s Hollywood movie, Man Push Cart and was rewarded with a small cameo role in the movie.

Atif re-emerged in the subcontinent with a new track, “Tere Bin” (Without You) for the Bollywood Movie, Bas Ek Pal (2006). The song "Tere Bin", composed by upcoming music director Mithoon, who was also responsible for rearranging "Woh Lamhe" and "Aadat", became a hit in India and Pakistan.

"Doorie"

In December 2006, Atif Aslam released his much anticipated album called "Doorie" along with  the video of the title song "Doorie" in India and Pakistan. Some of the songs in the album include "Hum kis galli", "Maula", "O re piya". One of the most critically-acclaimed tracks was "Kuch Is Tarah", composed by past collaborator Mithoon.The album was produced in collaboration with Indian lyricists and composers. A month later the video of "Hum kis galli" was released. Like the video of "Doorie", it was shot in India. The album proved to be success. The videos of doorie (remix) and Ehsaas (included in both "jal pari" and "Doorie") were released one after another in the months of march/april.

"Hungaami Halaat"

The Bollywood style of music and videos in "Doorie" has diappointed many of Atif's  fans in Pakistan who had been liked Atif for his "Jal Pari" style songs. About this Atif said "Touring internationally made me think that I should take my music global by releasing it worldwide. I collaborated with a lot of people and thought up a plan for a commercial album, which is not my type of music; which is not ATIF. I just wanted to explore that side of the music. When I composed and wrote these songs for Doorie, I kept in mind that this album has to be commercial". He also told that he would soon be releasing an album named Hangami Halaat which would be an original 'Atif style' album. Regarding his videos he says "I think that was a requirement because the Indian audience can never accept my 'Mahi Vey' video or my 'Rangoun Mein' video. They have a different concept about a pop or a rock icon. He has to be a heart throb. Girls here can't sit on motor bikes, in India girls ride them. It's a different culture altogether. They (my Indian videos) are for an international audience.

Controversies

Controversies began surrounding Atif from the beginning of his solo career. Many of Atif's critics accused him of stealing songs from former band mate Gohar Mumtaz. Both Atif and Gohar laid claim on songs like "Aadat", "Dil Harey", "Woh Lamhey" and "Zindagi". Still no one knows whose creations actually these songs are. Aadat was eventually released on both Atif's Jal Pari and on Jals album ironically named Aadat. Atif has been accused by many of his pakistani fans of spreading himself too thinly and due to the release of his commercial album (Doorie) which resulted in him releasing a the album Hungaami Halaat within a few months of Doorie’s release.

Awards

Best song, Best Composition, Best Lyrics "Aadat"- 2nd Jazz Indus Music Awards (Pakistan)

Best playback singer, Best debut singer - Sahara Sangeet Awards (India)

Best Song, Best Lyricist, Best Composition - ARY Music Awards (Pakistan)

Most Wanted Male - The Music Awards (Pakistan)

Discography

Albums

• Jal Pari (July 2004)
• Doorie (December 2006)
• Hungami Halat (Leaked February 2007)

See also

• Jal (Band)
• Aadat

External links

• http://www.saaju.com/atifaslam
• Atif Aslam - Official Website
• Atif Mania - Biggest Fan Club
• Atif Aslam - Viewers Choice

Note:

-This article or section is not written in the formal tone.
Please improve it or discuss changes in comments.

-This article is taken from From Wikipedia, the free encyclopedia