Dastak — A Window Into Divorce In Pakistan

 

Pakistani dramas are Pakistan’s largest entertainment medium. This is Pakistan’s greatest entertainment export, as Pakistani dramas are now viewed across borders and even across continents. And while our content tends to be painted with the broad stroke of “saas bahu stories,” there are many stories with depth. Recently, “Tan Man Neel O Neel” grabbed eyeballs with its unexpected, shocking tale of mob violence and how herd-think can destroy lives. While dramas like “Tan Man Neel O Neel” are every-so-often-gems, there are other writers and directors out there striving to tell different stories — case in point, “Dastak.”

“Dastak” follows Saif (Feroz Kadri) and Kiran (Sohai Ali Abro), a couple thrown together through the arranged marriage process. While Kiran enters the marriage with a positive outlook, Saif has been (quite literally) forced into the union, betraying the love of his life in the process. On the outlook, “Dastak” is a typical story of a woman being mistreated by her husband, a woman forced to endure grief from her spouse while he continues to maintain romantic relationships outside the marriage. But as the story begins to undwind, the audience can see the layers unfolding of this incredibly real, human story. 

How many marriages in Pakistan are arranged? Do we do enough research as a society before trusting a man to take our daughters into their lives and provide them with happiness? Is it enough to simply look at “good families”? In “Dastak,” we see that while Saif is aggressive with Kiran, he’s also a man with his own hang-ups, a man who was in an emotionally committed relationship for years, before being pushed into a marriage against his will by his manipulative parents. His parents had their own reasons for rejecting the marriage and have been nothing but supportive and loving towards Kiran, their daughter-in-law. But as Kiran rightly states — does a woman get married to earn the love of her mother-in-law? Isn’t it every woman’s right to be loved and respected within a marriage? Shouldn’t basic kindness be part of the package? 

As Saif plans his marriage to Fariyal (Momina Iqbal), Kiran plans for divorce — an option Saif does not agree to. Why? Because Pakistani society promotes this idea that divorce should be avoided at all costs. Divorce is not good for children — but is it great for a child to see his neglected, heartbroken mother while his father spends time with a different family? 

Ultimately, “Dastak” is the story of divorce, of how Pakistani society sees divorce and how that attitude is used to control women and chain them to toxic husbands — particularly when they have children. Kiran is a representation of so many women, women who are threatened with losing their children, woman who are taunted with divorce if they protest, women persuaded by their families to compromise. But do these women not deserve happiness and a promising future of their own? Why are these shackles reserved only for women in Pakistani society? Does having a child mean the end of the road for a woman while a man can build a new future?

The performances here are excellent, particularly Sohai Ali Abro’s, who has become this innocent, sweet character who stands tall and defiant on behalf of her child. Kiran is willing to take neglect for herself, but not for her child and it’s in these moments of anger and emotional breakdowns where Sohai shines. Feroz Kadri is also a stand-out performer as Saif, a man torn between his responsibility and love. Saif could be an out-and-out villain, but he isn’t. He’s a character who is struggling with himself. Is he a good man? He doesn’t consider himself a bad man. He just wants to be free to love who he wants — but now saddled with a wife and child, he tries to justify his actions by not divorcing Kiran……though this action is also riddled with selfishness, a need for a caregiver for his mother. 

There’s a silver lining to this story in the form of Ali Raza’s Moiz, a young man who was in love with Kiran in college. The overall pretext of “Dastak” appears to be optimistic, promoting the possibility of second chances at love and positive co-parenting relationships. We can only hope we can see Kiran’s life move towards happiness — but for now, “Dastak” is a realistic, almost upsettingly so, take on the perception of divorce in Pakistan. Can a show like this be a teaching moment? 

Tan Man Neel O Neel: A Shocking Twist Drives Home an Important Message

Back in 2009, audiences around Pakistan found themselves pulled into the love story of Bano & Hassan, their families, small personality quirks, their hopes, dreams and differences.  Halfway through the show, that same audience had the rug pulled out beneath their feet when Bano & Hassan's families were struck by immense tragedy - and reality.  The show was "Dastaan" and that show was the last time I cried profusely over fictional characters and went into mourning for weeks.  Until today.  

"Tan Man Neel O Neel" introduced audiences to Rabi (Sehar Khan) and Sonu (Shuja Asad), two innocent, naive dreamers with a drive to create a name for themselves.  We met their families, including their beautiful mothers, Rabi's father and uncle and Kami (Usman Javed), Rabi's controlling, manipulative cousin - who also dreams of being her husband.  

Through Rabi and Sonu's young romance, the past relationship between Ehsaan (Nauman Masood) and Farah (Samiya Mumtaz) is revealed along with the reality behind the death of Sonu's father, Mehnaz (Nadia Afgan) grapples between doing right by a good woman and doing right by her husband while Moon (Ali Ammar) struggles to find his spirit and fight back after being a victim of assault.  

There are so many wonderful stories being told in "Tan Man Neel O Neel," stories which are deemed taboo, stories which aren't openly spoken about and yet happen all the time in these small towns.  While this show has a light-hearted facade, once we look beyond it, the canvas is dark in a world where the actions of one person can affect many lives.  After "Mann Jogi" and "Nadaan," I recorded a video stating I almost hoped for a more tragic end in the final segment of Sultana Siddiqui's mob trilogy - because in reality, can anyone escape a mob?  The outcome is almost always death.  But despite mentally preparing myself, the finale left me in shock.  

In the finale, Rabi, Sonu and Moon look towards the future, business partners in a brand-new business, invested in their first event when tragedy strikes in the form of Kami with a bruised ego.  Throwing false allegations of blasphemy on Sonu, the trio find themselves being hounded by a mob.  And once a mob zones in, is there any escaping it?  Caught in the crossfire is Ehsaan, a man who has lived as a coward all his life, but stands tall to defend his daughter and Sonu against an angry mob - and loses his life in the process.  Is this retribution for all the pain he caused?  Taaya (Tanveer Hussain) steps in to save Rabi, defending the young woman he raised as a daughter from a mob set on her by his own son - and loses his life as well.  In "Nadaan," we saw Kashif Hussain's character cower when forced to face a mob of his own creation.  This time around, Kami sees his own father murdered before his eyes, murdered by a mob of his creation, helpless to put a stop to it.  

At the end, the trio is on their own - was it by choice?  Did the three make a conscious decision to separate in the hopes that at least one would be able to shake off this mob?  Or was this a conscious choice to show that these three lives had their own individual stories and, in the end, we are all alone in death?  We can't be certain, but what's certain is the fear one goes through in such a situation, a situation that no one would ever want to find themselves on the receiving end of.  And yet, Mustafa Afridi and Saife Hassan drive another stake through our hearts, showing visuals of the real-life victims of such lynchings like Mashal Khan and Priyantha Kumara Diyawandana as Sonu, Rabi and Moon fall prey to their own on-screen mob.  

It's those final shots which leave the viewer almost shell-shocked with Mustafa Afridi himself, once the animated MC, weeping on the streets and Laddu crying in an abandoned tent with Ehsaan's lifeless body in his lap.  

It's the bleakness of reality which hits the hardest.  Who were Sonu, Rabi and Moon?  Three individuals with their own emotional baggage, hopes and dreams for a better future.  While moving forward towards accomplishing those goals, suddenly, in an instant, those dreams are shattered.  Isn't this reality?  Isn't this how mobs play out in real life?  Does a bloodthirsty, riled-up mob care about the ambitions of their victim or who is waiting for them at home?  

It's difficult to discuss or dissect performances, because each and every performance deserves a shout-out.  Sehar Khan's performance as Rabi has gone beyond a performance - she became that character, one we grew to love before her dreams were snatched away.  There's no looking back for Sehar Khan as a performer.  Shuja Asad as Sonu, an innocent soul, gives the most earnest performance of his career, that innocence radiating from his every movement.  Shuja Asad has a bright future ahead!  Ali Ammar as Moon has been a revelation, along with Usman Javed as Kami.  Nadia Afgan, Nauman Masood, Tanveer Hussain, Saleem Mairaj, are all outstanding in their roles. But the true heroes of "Tan Man Neel O Neel" are writer Mustafa Afridi, director Saife Hassan and producer Sultana Siddiqui for making the incredibly brave choice to create this story for Pakistani television.  Thank you for such a thought-provoking piece of art.  But where do we go from here?  What do we take away from this story?  How does it stop?  When does mob violence stop?  

Noor Jahan: Masala And Meaning!

 "Noor Jahan" Delivers An Excellent Finale!

Noor Jahan has been winning hearts for months now, an exciting show about a possessive, dominating matriarch who refuses to relinquish control.  Noor Jahan (Saba Hamid) is a mother-in-law to dread, a woman who thrives on the world revolving around her and putting the women around her in their place.  She is a strong woman in a patriarchal world - and continues to pass down patriarchal notions, such as women being a burden despite, obviously, being a woman herself.  

Over the weeks, we've seen Noor Bano (Kubra Khan) enter the fold and slowly, steadily turn Noor Jahan's world upside down by breaking her family apart.  But honestly, did Noor Bano have to work very hard?  In the end, it was Noor Jahan's own behavior which turned her children against her.  

In the finale, we see Hunaid (Noor Hassan) and Safina (Alina Abbas) remove themselves and their child from Noor Jahan's misogyny for the sake of their daughter.  Hunaid had been brainwashed by his mother to do his bidding and believe her word as final, but with the arrival of his daughter, that devotion has been shattered.  While she already lost two sons, Hunaid has always been her loyal eldest son who saw her struggles and stood by her.  This is a big blow for her and it's his anger which sets Noor Jahan's change in motion.  

Now left alone, Noor Jahan has time to think and reflect.  What are the life choices she has made?  What caused this hatred towards women?  What was the need for total control?  It's with Noor Jahan's reflection that we, as an audience, are finally made aware of Noor Jahan's circumstances and how she came to her present state.  Noor Jahan has been the villain of 31 episodes and suddenly, in episode 32 (the finale), we come to learn that Noor Jahan's climb to success and respect was a painful path strewn with struggle.  Everything Noor Jahan has dished out is a reflection of what she faced in her own marriage from her own in-laws - and while being mistreated is never an excuse for mistreating others, it certainly creates room for empathy.  

In the end, Noor Jahan apologizes wholeheartedly to her sons and daughters-in-law through letters, letters of self-reflection, moments of awakening which have come over time and fortunately, Noor Jahan's change is not rushed.  This is a woman left alone, a woman who has gone from being the center of the world according to her sons to now celebrating her birthday alone.  She has time to reflect on her mistakes - and reflect she does.  

In the end, "Noor Jahan" is a story of generational trauma, bad behavior passed on through generations.  Noor Jahan loved her sons, but wanted to control them like puppets.  She ordered them to mistreat their wives from hoarding divorce over their heads to encouraging Hunaid to abuse Safina to mistreating her own granddaughter - but what makes Noor Jahan redeemable is her decision to learn, her decision to apologize and rectify her mistakes.  Noor Bano was the push to make Noor Jahan see her flaws and herself chose to break the cycle of trauma by forgiving her husband and in-laws for their hand in her father's death.  

The performances have been excellent.  Saba Hamid is the life of "Noor Jahan," perfectly enacting a character who we've loved to hate for weeks and yet, one who we sympathize with by the end.  Alina Abbas deserves a round of applause for playing the show's most lovable character, Safina, a character we rooted for with our whole heart.  Noor Hassan made Hunaid feel human, a character trained to be a robot who finds his heart by the end.  Kubra Khan has been perfect as Noor Bano, the perfect nemesis for Noor Jahan, a woman with the courage to go head-to-head with her mother-in-law, a woman who loses herself in the same battle she has been fighting against and learns to forgive.  Ali Rehman Khan, Zoya Nasir and Hajra Yamin have been excellent parts of the cast as well and honestly, each actor deserves their own separate paragraph for their part in this show.  The female relationships and bonding alone have set "Noor Jahan" apart from anything else on television, showing how women can stand up to support each other and lift one another up.  

Is there room for criticism?  There always is, it's very difficult to fully satisfy viewers on all accounts.  Murad and Noor Bano's story ended on a cliffhanger in the 2nd last episode and yet, their story just moves forward without showing the resolution of that charged scene.  Yes, as an audience, we are intelligent enough to deduce that Murad's threat of taking his life was enough for Noor Bano to rethink her feelings towards him and the two came together for the sake of their child.  But this is a face-off we genuinely wanted to see and would have made their reunion much more satisfying.  Still, it's a small bump in the road of an otherwise great finale.  

Could one call "Noor Jahan" a saas-bahu drama?  Sure, absolutely.  But more than that, "Noor Jahan" turned into a thrilling watch, a statement on power dynamics within a household and how generational trauma is passed down.  "Noor Jahan" is a must watch for 2024!

Khaani, The Portrayal of Justice and the Impressionable Audience

  Khaani, The Portrayal of Justice and the Impressionable Audience

The Feroze Khan and Sana Javed starrer continues to make waves in discussions one year after its release

* Disclaimer:  This article was written in June 2019, but was missed by the site I wrote for and was never published. 

 

Social topics and presentation of “real” stories are the hit formula of the moment – and this is a trend that is being received with open arms by the majority of viewers.  Intelligent, realistic storytelling that sheds light upon necessary topics has been missing from Pakistani television screens for some time, but it seems like these shows are now here to stay.  With Inkaar, Khaas, Surkh Chandni, Darr Khuda Se and many other shows running successfully, let’s look back at the show that technically began this trend.  Khaani successfully ran from November 2017 to July 2018, engaging viewers and receiving a lot of attention for its unusual storyline.  Starring Feroze Khan and Sana Javed, Khaani ran on the Har Pal Geo network.  Produced by 7^th Sky Entertainment, written by Asma Nabeel and directed by Anjum Shahzad, Khaani had everything going for it in order to be a successful show.  Was Khaani a successful show?  It absolutely was – but this show did not gain success without its share of controversies.  To date, Khaani is a widely discussed and debated show on social media. 

Khaani focuses on a tale of crime, obsession and justice.  Twins Sarim and Khaani (Sana Javed) are inseparable and Sarim takes on the role of supportive elder brother, as Khaani is timid and scared of the world.  With two younger sisters and loving parents, Khaani’s family is a vision of loving bliss – until one day, on his way home from his scholarship interview, Sarim is shot dead by Mir Hadi (Feroze Khan) over a parking dispute.  Mir Hadi, a young man with power and influence, is unapologetic for his crime and treats it as though it’s business as usual – until he falls in “love” with Khaani and makes it his mission to attain her.  Khaani and her family’s grief and their ultimate push for justice forms the crux of the show. 

While Khaani ended almost a year ago, the show remains to be a discussion point on social media.  When referencing toxic shows with bad messages, Khaani tends to top the list.  Did Khaani portray a problematic story though?  For this viewer, Khaani was a solid show that made a great statement.  Taking the argument against Khaani, the greatest issue taken with Khaani is that Mir Hadi’s obsession with Khaani is projected as “love.”  The argument is that Mir Hadi is presented as a lover, a man repentant of his actions and loyal in his affections for Khaani – watering down his crime.  This may be true, but only in a sense. 

In Khaani, Mir Hadi is depicted as a villain from episode 1 itself.  The first episode spends 40 minutes building the audience affection for Sarim, Khaani and their family.  The audience is overjoyed as Sarim is approved for his scholarship and happily heads home to celebrate with his family.  The first episode ends with Mir Hadi shooting Sarim in cold blood without an ounce of fear or regret on his face.  The audience is introduced to Mir Hadi as a purely negative character, shattering the hopes and hearts of an entire family.  After the family mourns, Mir Hadi and his family continue to pester Khaani’s family, seeking “forgiveness” from the family in order to absolve Mir Hadi of his crime.  Khaani, heartbroken over her brother’s loss, stands firm, refusing to sign the papers.  Mir Hadi pulls a gun on Khaani and when she refuses to bend, he holds it to her father, forcing Khaani’s hand at signing the papers.  Mir Hadi is, once again, presented as a cold-blooded individual. 

Mir Hadi pursues Khaani, threatens Khaani, stalks Khaani and goes so far as to write Khaani letters, posing as a secret admirer.  Khaani, in her emotional state, begins to enjoy these letters, falling for the charmer on the other end – until she discovers who is penning the letters.  Khaani does not, for a moment, mourn the loss of a “romance.”  Rather, she throws the letters on Mir Hadi’s face and declares openly that he can spend a lifetime trying to trap her, but she will never accept her brother’s murderer into her life.  Mir Hadi ultimately kidnaps Khaani from her home directly before her marriage in an attempt to have her for himself.  At this point, Khaani makes it clear to Mir Hadi that he can have her in any way he wishes, but she will never love him, as he is her brother’s murderer.  At this point, Khaani earns Mir Hadi’s respect and he returns her to her house.  One can argue that “earning respect” from a killer is showing a softer side which causes audiences to warm up to Mir Hadi.  Ultimately, when telling any story, characters must be believable.  Whether it’s a Khaani or a Mir Hadi, both characters are human beings – and human beings have shades and angles to themselves. Mir Hadi’s reactions to his inability to “acquire” Khaani only make Mir Hadi seem like a living, breathing character – and this does not make him any less of a criminal. 

There are two messages that the viewer is expected to take away from the show.  First, the message of justice is the main focal point.  Justice is received when Mir Hadi is sentenced to life in jail – a sentence chosen by Khaani’s family themselves, as Mir Hadi sought to be hung to death, desiring freedom from his life.  Khaani’s family decides that Mir Hadi needs to be further punished for his actions and that punishment is to live with his guilt in jail for the duration of his life.  While in jail, Mir Hadi loses his father to suicide and his mother becomes mentally imbalanced with grief.  Mir Hadi, despite his political power, his wealth and his aggression, still ends up in jail for his crime and the girl he desires is unattainable for him.  What more could a viewer want in terms of justice? 

The second message that is important to the show is that of human growth.  Khaani’s growth as an individual is a large basis for the story.  When the show begins, Khaani is afraid of everything.  Timid, weak and dependent, it’s incredible to witness Khaani’s growth in this drama.  Khaani goes on to become the “son” of her family, working hard, discovering herself and becoming self-sufficient – and when this all falls into place, it’s only then that she meets Arham (Muhammad Mubarak Ali), the man who goes on to become her ever-supportive husband.  This character growth is important for women to witness, as it gives hope to women and sets a positive example for young girls.  Khaani, as a character, is a strong woman who fights against the odds to come out on top. 

The greatest drawback of the show, the reason the show received such negative publicity essentially lies in the publicity itself.  Despite the writer, director and actors being on track regarding the storyline and presenting viewers with an impressive show, the original soundtrack (OST) of the drama tends to paint a different visual than what is seen in the show itself.  Slick editing and tweaking of scenes creates an OST that sells the idea of romance, a romance marred by tragedy between two star-crossed lovers.  Those who have watched the show from beginning to end are well-aware that this love angle is one-sided and remains so from beginning to end.  However, with the Khaani OST being one of the most highly-viewed Pakistani videos on YouTube, this misinterpretation of the show has less to do with the fault of viewers, the fault of the drama makers and is misunderstood largely due to the story presented by the original soundtrack.  Likewise, the casting of Feroze Khan may have worked against the show in the sense that young girls immediately took to his appearance, swooning over Mir Hadi despite his being a thoroughly negative character. 

With shows emerging in full form a year later, shows telling equally important stories, it can be argued that these shows have more finesse than Khaani.  These shows are clearer in their villains and heroes.  These shows come with taglines attached, keeping the viewer in a clear frame of mine regarding the story.  The Ost accurately depicts the upcoming storyline of a drama.  And while this all may be true, one cannot ignore that Khaani told an important story – a story of justice for a family and a story that sent out a clear message:  “The outcome of murder cannot be love.”  

Bee Gul: 5 Must-Watch Dramas Written By This Underrated Talent

Bee Gul:  5 Must-Watch Dramas Written By This Underrated Talent

Bee Gul is a writer who has been writing Pakistani dramas for a decade and yet, many have been unaware of her talents until recently.  “Raqeeb Se” has brought Bee Gul into the limelight yet again with its haunting, strong, powerful story of lost love, self-discovery, personal growth and meaningful relationships.  Personally, I have been following Bee Gul’s journey as a viewer since 2013 when I was introduced to her talents after watching “Talkhiyan.”  This show was overshadowed by the “Zindagi Gulzar Hai” craze (which is another show I adore), so I didn’t begin watching it until several episodes had already aired.  That show opened my eyes to the brilliance of Bee Gul (and Khalid Ahmed).  From then on began my wait for each and every show of Bee Gul, particularly those with Khalid Ahmed, each arriving after quite a lengthy period of time.  One of Bee Gul’s genuine strengths is her ability to pull the audience in and write her characters in such a way that the audience forms a connection with them, the ability to feel for their plight.  “Poetry in motion” is a phrase I have often found myself using for her shows, beginning with “Pechaan” in 2014.  For those who have only just stumbled upon the magic of Bee Gul, let’s do a run-through of her must-watch shows!

Talkhiyan – Express

Based on “God of Small Things” by Arundhati Roy, “Talkhiyan” was a drama highly ignored in 2013.  Directed by Khaled Ahmed and written by Bee Gul, it starred Sanam Saeed, Shamim Hilaly, Hina Bayat, Adnan Jafar, Hassan Niazi and others.  While 2013 saw many stand-out dramas, “Talkhiyan” could only be described as “art,” pulling in only a niche audience at the time.  In “Talkhiyan,” we are introduced to an incredibly odd family, one which we gradually become emotionally invested in.  This drama that revolves around Bibi (Sanam Saeed), Jaanu, Zoya, Jugnu, Mama Ji (Shamim Hilaly) and Appu (Hina Bayat) seems slow at first glance, but has emotional highs and lows that can pick you up and bring you crashing down in an instant.  There are many themes explored in this drama - The expectations parents have from their children, the infamous double standard our society holds with men and women, how indifference from parents can affect their children, what effect words can have on another person.  We see through Zoya and Jugnu how children imitate and recreate the words and behaviors of adults.  Appu’s lost love and her resentment towards those who are happy registers with the viewer.  We see Jaanu’s male chauvinist behavior that triggers bitterness in Bibi’s heart, even towards her own son.  We see Mama Ji’s heartbreak at her dependency and her disappointment in her children.  Each character connects to the audience in some way.  There’s something about Talkhiyan cuts through you, makes its mark and leaves you scarred.  This was my first introduction to Bee Gul – and the first introduction to the emotionally draining (in a positive way!) effect that would continue through each of her shows. 

Pehchan (2014) – A Plus

If Talkhiyan was the neglected gem of 2013, Pehchan was the underrated, diamond of 2014.  Khaled Ahmed has the tendency to start off slow, pulling the viewer into the world of the characters, forcing you to be invested in their lives and their outcomes.  Pehchan is no less.  Laila (Alishba Yousef) is married to Mansoor (Sohail Sameer), but soon realizes the man she marries comes with a past, baggage (and attitudes) she is unable to turn a blind eye to.  Laila, Kuku (Iffat Omer) and Mrs. Khan are women that you root for and while Mansoor is your typical male chauvinist, he is balanced by the intelligent, self-confident Saadi.  Pehchaan is a complex story about the trials and tribulations of marriage, the expectations society places on Pakistani women and the behaviors women are trained to overlook in order to "save their marriage."  Without being a blatant show of feminism, Pehchan touches upon the double-standards of society and leaves the viewer reeling with the after effects. 

 

Darr Si Jaati Hai Sila – Hum TV

Of all of Bee Gul’s shows, “Darr Si Jaati Hai Sila” is the darkest of Bee Gul’s stories and a very difficult show to watch.  Dark, unsettling, almost irritating in how the members of this household played games with one another – and yet a story that is 100% necessary to tell.  Starring Yumna Zaidi, Nauman Ijaz, Saman Ansari, Sakina Samo, Kiran Haq, Saleem Sheikh, Osama Tahir and others in major roles, “Darr Si Jaati Hai Sila” is about how women are terrorized by men in Pakistani society, even within the walls of their own homes.  Yumna Zaidi’s performance is outstanding as Sila, a young girl pushed into silence by her own family, forced to conceal the abuse she has silently been suffering through.  And yet, the story is not one-dimensional and highlights how society feeds these mentalities, the concept of “keep quiet to protect family honor” moving through generations, once-victims now becoming complicit in the abuse of the next.  It’s a meaningful show, one that everyone should watch.

 

Dil Aara (2019) – Bol Entertainment

An underrated show, created by Bee Gul and Khalid Ahmed, the show discusses the plight of a young woman married to an older man and how her life is affected from all aspects.  Dil Aara’s (Kiran Razzaq) life is further complicated when she discovers her now stepson, Mohsin (who is her age) is an old friend of her deceased ex-fiance and the two form a bond – which does not sit well with her husband.  Dil Aara’s life is taken away from her, society pushing her into a relationship that is not the right match for her on any level, forcing her to live a life of compromise.  This is not simply the story of Dil Aara, but the story of several women within our society who are robbed of their right to choose.  With beautiful writing and subtle performances, this show did not receive the appreciation it deserved.

 

Raqeeb Se (2021) – Hum TV

“Raqeeb Se” is such a brilliant show that one finds themselves emotionally exhausted/spent after finishing an episode.  This show is an experience, a story that remains with you long after the episode has ended, leaving the viewer thinking and examining their own lives, relationships and mistakes.  This is a show to be savored and absorbed, not one to binge-watch.  Telling the story of tragic love, Sakina (Hadiqa Kiani) and Maqsood (Nauman Ijaz) reunite when Sakina arrives at Maqsood's door with her daughter, Ameera (Iqra Aziz), escaping her abusive, unhappy marriage.  Maqsood himself is married to Hajra (Sania Saeed) with a daughter Insha (Faryal Mehmood) and with all these characters under one roof, each goes through their own share of emotional turmoil and self discovery.  Bee Gul touches the soul with each of her dialogues, supported by Kashif Nisar, who has given the show a different layer of depth with his presentation, use of angles and the incredible performances he has extracted from this magnificent cast.  Starring Sania Saeed, Hadiqa Kiani, Nauman Ijaz, Faryal Mehmood, Iqra Aziz, Saqib Sumeer, Hamza Sohail, Hassan Mir, Salman Shahid and Saba Faisal in important roles, "Raqeeb Se" is on its way to joining the ranks of classic Pakistani dramas.   This is a must-watch.

 

If you have missed even one of these shows, please do give it a watch.  If “Raqeeb Se” has managed to resonate with you as a viewer, Bee Gul’s writing works its magic in the above mentioned dramas as well.  You will not regret it!

Ye Dil Mera Episode 32 Review

This review of mine got lost in the shuffle between two sites, so I thought I would share it here!  What are your thoughts on "Ye Dil Mera"?  Share your thoughts in the comments.  =)

Ye Dil Mera Episode 32:  Aina Discovers the Truth About Farooq

Sajal Aly continues to steal the show in “Ye Dil Mera” as Aina discovers her mother’s dead body and realizes the harsh truth about her own father’s involvement in her death

With each episode, “Ye Dil Mera” brings its share of criticism.  Each week, viewers notice problems with editing, problems with direction and even issues with props.  However, one place the show never falters is in the performances of its three main leads.  Ahad Raza Mir, Adnan Siddiqui and Sajal Aly have given stellar performances consistently from beginning and now leading into the end.  While episode 32 is also not a perfect episode and does have its share of flaws, once again, the performances continue to garner the show rave reviews. 

Episode 32 sees Aina (Sajal Aly) weighing on the realization that Ali Baksh (Paras Masroor) murdered her mother – but who commanded him to do so?  Heading back to Farhana and Bua, the dream-team duo without any answers or plan of action, Aina questions them about her mother’s death as both stare on.  Angry, Aina begins her own sleuthing before being overcome by memories of watching her mother’s burial.  She eventually does uncover her mother’s “remains” (a bracelet) and is overcome with grief while Farhana Khala and Bua console and mourn with her.

Meanwhile Farooq (Adnan Siddiqui) reaches Amaan’s (Ahad Raza Mir) home and the two face off.  While one would ordinarily imagine a character like Farooq would back down, his desperation does not stop him from telling Amaan that he wishes he had managed to murder him too along with his family.  Amaan tells Farooq where Aina is and Farooq, shocked, makes his way to his old Darya Baagh home.  This scene has Ahad Raza Mir and Adnan Siddiqui giving incredible performances, both men strong and unwilling to back down.  Again, the editing/direction falters here because we never witness Farooq actually leave Amaan’s house and is suddenly in his car while Amaan leaves shortly after in his own car – and that transition could have been more effectively executed. 

Of course, the most powerful scene is the confrontation scene between Aina and Farooq as Farooq tries to console Aina and explain himself, but is unable to do so.  Farhana confronts Farooq and calls him out for being her sister’s murderer.  Aina is no longer willing to accept lies and holds a gun to her own head in order to pull a confession from Farooq, but it’s a confession she didn’t really want to hear.  Unable to wrap her mind around the lie of a life she has been leading, Aina yells, screams and pleads, trying to process the fact that Amaan’s words have been the truth all along.  Farooq, for his part, only wants the best for his daughter – and if he’s loved any person in his life, it’s been his daughter.  Witnessing her slip out of his hands, Farooq breaks down in front of Ali Baksh after Aina abandons him. 

What I love most about this episode is that each fan base is given enough solid material where Ahad Raza Mir fans can rave about his performance, Adnan Siddiqui fans can rave about his performance and, of course, Sajal Aly simply steals the show.  Sajal’s performance as Aina is on a different level this week as she carries the episode on her shoulders, holding the secrets to Neelofar’s death in her own memory.  As these memories come tumbling out, so do the horrors in Aina’s life and the lies Farooq has been concealing from her.  For much of “Ye Dil Mera,” viewers wondered why Sajal Aly took a character like Aina, a character that had not been given much scope to act.  However, within the past few episodes, the answer has become clear and Sajal has given an amazing performance simply in the last two episodes, bringing viewers to tears. 

As the finale rolls closer, the preview for the next episode (is it the last?) seems to be yet another great one to look out for with promises of romantic confessions from Amaan for Aina.  With another hospital scene in the previews, viewers are comparing the scene to “Yakeen Ka Safar.”  Will the show end on a happy note or is there more turmoil in store for Amaan and Aina? 

Episode Rating:  4/5

Ishq Zahe Naseeb: The Upcoming Finale

Hey guys!  Whoever is still reading, it's been a while since I've written on here and I've previously explained the reason for that.  To keep up with my writing regularly, please visit the television section on Masala.com, where you can find my articles on Pakistani dramas.  I did want to come here and write something a little less informal though, so here we are!

If you've been keeping up with me on Masala.com or on Twitter (@SophiaAQ), you know that Ishq Zahe Naseeb on Hum TV has been my favorite show on television lately.  It's a brilliantly written and directed show with incredible acting.  Of course, people do have their complaints and I've had my moments as well.  With the finale coming up this week (on Friday), I am hoping the loose ends are wrapped up, particularly regarding Shakra/Suraiyya and the sequence of events in Sameer's life.  While they have laid out the details, there's still a lot that requires clarity. 

I've seen a lot of discussion regarding what should happen at the end of the show and there seems to be a lot of discontent amongst viewers regarding Sameer's potential death.  The way I see it, there are two ways the show could end, but there are drawbacks to both endings.

First, if what many viewers want happens, Sameer will live and Goher will nurse him to good health with the help of a good psychiatrist.  Kashif will move on with Donia and that will be the "happy" ending many want.  As a Pakistani drama viewer AND someone who has lived out my own reality, there's a big GLARING problem with this ending.  While yes, Sameer does technically deserve happiness and rise above his problems, Sameer's death has been an imminent part of the show from the first episode alone with the Fakirni's prediction.  It was almost laid out for viewers to understand that Sameer's character will pass away - and went on to take viewers along for the ride.  However, if we put all that aside and say Sameer will live, this plays into a concept that has played out on our television screens for years now.  This concept of sacrifice on the part of the woman.  This concept of a woman "curing" a man, submitting herself to her fate and making lemonade out of lemons.  "Settling."  Does Goher need to "settle" for a man who is a man and a woman?  A man who has murdered someone before?  And yes, it's correct to say that none of this is actually Sameer's fault.  It is not and he has suffered a lot as a child AND as an adult.  But does Goher have to be the sacrificial lamb to ensure Sameer's happiness?  For the record, Dissociative Identity Disorder is a disorder that does not have a cure.  And looking at how long Sameer's condition has been neglected - of his own choice, by the way -, even controlling it would be very difficult. 

Let's look at option number two  Sameer dies.  He confesses that he killed himself before passing, leaving Goher in the clear.  She marries Kashif - the man who loves her and the man she loves.  A man who has been there for her through everything - even if he hasn't physically been there.  He has been unwavering in his love and doesn't even question Goher regarding what happened with Sameer, his faith in her is blind and true.  Why doesn't Goher deserve this ending?  Of course, this what I WANT to happen, obviously.  But let's look at the negative.  Does this mean that those suffering from mental health issues are destined to suffer forever?  As someone with anxiety and depression, I don't believe that particularly sends out a great message.  BUT that being said, the chosing of dissiociative identity disorder is an intelligent one then, because there actually is not a cure for the disorder.  Many psychiatrists still continue to debate about its validity, which is one of the many reasons that makes it so difficult to treat.  And again, treatment is simply attempting to control it in some way, as there's really no way to "cure" it.  Sameer suffering from this illness makes his predicament much more dire, again, especially because he has left it untreated for so long.  He himself had a refusal to treat it and chose, instead, to simply lock himself up each night and this has made it worse.

These are just thoughts, not providing the "right" ending.  It could end either way - either Goher helps Sameer through his illness OR he passes and Goher gets a more stable ending with Kashif.  There are positives and negatives to both options, but it will be interesting to see which way the writers go with this.  I'm obviously rooting for a specific ending.  Which one are you hoping for?  Leave it in the comments!  As always, happy watching!