When billboards truly had star power
In today’s multiplex cinema world, it is difficult to imagine how vibrant cinema was in the first three decades of a new country – Pakistan. From once there being between 1,500 and 2,000 cinema theatres across Pakistan, the number has, in the last 10 years, dwindled to less than 300, of which 70 are expensive multiplexes. This, when the worldwide audiences for cinema are rapidly increasing.
There has been much soul-searching about the reasons for this decline. An overlooked casualty of this trend is the end of the hand-painted cinema banners and posters. In 2007 alone, 75 artists from Lahore’s cinema distribution centre, Royal Park, lost their jobs due to digital posters and banners.
The film distributors considered the elaborate hand-painted banners and posters essential for the promotion of films. They were the trailers of films. It was impossible to miss a 150-foot long and 90-foot high banner, with its bright colours and larger-than-life stars. Tongas, with film posters strapped on either side, advertised the film street by street. The building façades of Royal Park were barely visible with multiple posters and mini banners announcing the newest films.
Cinema art has two distinct types of artists; the banner painters who paint canvases – large enough to cover the theatre frontage, usually in makeshift studios at the back of the cinema theatre; and the more refined poster painters who work in small, office-like studios.
The canvases are repainted over and over again and many repaired with patches of canvas not visible at street level. Watching a banner artist work deftly with wide, wall-painting brushes on an enlarged scale fills one with awe.