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!  

Alif: The FULL Story WITH Complete Spoilers

On request, I have written out the FULL summary of Umera Ahmed's "Alif."  The Drama begins on Saturday, October 5 on GEO.  This is a SERIOUS disclaimer that if you don't want the entire story spoiled for you, do NOT read this.  This is the full story from beginning to end.  I've tried to include as many details as possible, but I may have left some things out.  Haha, enjoy.

                                                 

                                                                  "ALIF"

The story follows the lives of several characters, but the four main characters are Taaha, Husn E Jahaan, Qalb E Momin and Momina.  The story is told in flashbacks and moves from the past to the present as well as switching between Turkey and Pakistan.   It’s hard to summarize, because much of the information is revealed at different points of time, but I will try!

The story opens with Qalb E Momin, a little boy who lives with his mother, Husn E Jahaan, in a little house in Turkey.  He writes letters to Allah daily where he asks for material things, because they are not well off.  But he also asks for his mother’s happiness and wishes that Allah sends his father back so they can be a family again.  It’s slowly revealed through these letters that Husn E Jahaan and Taaha are Momin’s parents and they got into a fight which resulted in Taaha leaving the house – and did not return (time frame, roughly a year or more).  Husn E Jahaan continues to wait for him, sorry for her behavior and full of guilt.  Momin lovingly describes his mother as simple, but beautiful and complains that she used to dress up for her father, but no longer does.  One day after stumbling upon Momin’s letters to Allah, Husn E Jahaan decides to write a letter of her own to Tahaa and sends it (along with all of Momin’s letters) to the place she believes Taaha is – his father’s home, Abdul Aala.  The two receive a letter back from Abdul Aala announcing his arrival.  Husn E Jahaan happily prepares for Taaha’s return.

On the day, Abdul Aala arrives alone.  After talking, Husn E Jahaan and Abdul Aala realize that neither knows where Taaha is.  They weep and make up as Abdul Aala asks Husn E Jahaan for forgiveness and promises to find Taaha.  Time passes and it is discovered that Taaha passed away in a car accident.  Heart-broken, Husn E Jahaan and Momin move back to Pakistan. 

*****

Abdul Aala is a world-famous calligrapher.  His art is housed in many museums and despite his fame and fortune, he lives a simple life in a small house in a small town in Turkey.  He devotes his life to Allah and works painting calligraphy dedicated to his Creator.  Raising his only son, Taaha, he teaches Taaha the family business as well and Taaha is also a successful calligrapher.  Taaha is also a whirling dervish and finds joy in performing at cultural events – something which Abdul Aala and Taaha clash on, as Abdul Aala believes he should only dance in private for Allah.  Taaha goes on to perform at a huge cultural event taking place with performers from all over the world.

Husn E Jahaan is the queen of the Pakistani film industry.  A beauty with talent in acting and dancing, she works to support her family, but is not particularly happy doing so.  Accompanied by Sultan, her faithful assistant and makeup artist, she visits Turkey to perform at a cultural show.  It is here that she meets Taaha and everything changes for the two.  Sultan is devoted to Husn E Jahaan and he is painfully in love with her. 

Taaha falls in love with Husn E Jahaan at first sight and, for the first time in his life, Taaha paints a portrait of a woman.  He gifts the painting to Husn E Jahaan and she is taken.  Husn E Jahaan feels the pull towards Taaha, believing he is the vessel that will change her life and bring her closer to Allah.  She wants to be free of the world of entertainment, a world that thrives on cashing in on a woman’s beauty and body.  She takes great pains in finding something appropriate to wear when going to meet Abdul Aala, driving Sultan crazy by making him find modest clothing, but when she is unsuccessful, she decides to take a white bedsheet and wears it around herself.  This is the extent to which Husn E Jahaan wanted to cleanse her image and her soul.  However, Abdul Aala rejects Husn E Jahaan outright.  While he is a kind soul devoted to his Creator, Abdul Aala is consumed with judgement for Husn E Jahaan, because not only does he believe she’s in an unacceptable profession, but also because he is so hurt that his son has been so badly distracted from religion.  He is furious that in his family lineage of calligraphers, Taaha is the first to have ever painted the portrait of a dancing woman and he believes that shaitaan is dragging Taaha away from Allah.  Abdul Aala’s rejection of Husn E Jahaan causes Taaha to leave home and the two begin their life together without Abdul Aala’s blessings. 

This rejection of his father’s causes Taaha severe emotional turmoil.  While the two lovebirds are devoted to each other and go on to have a son, their relationship does suffer due to their individual suffering.  While Taaha mourns the loss of his father, he also finds that without his father’s blessings, he can no longer paint and do calligraphy with the perfection he once did.  His paintings now seem “ordinary” and he struggles to find buyers – which means he is unable to earn money.  He cries and curses himself, feeling as though Allah is punishing him.  Watching Taaha in pain also causes Husn E Jahaan pain on a different level.  She feels angry that Abdul Aala did not accept her and has pushed the couple into this position.  She also feels rejection, on a level, from Taaha and feels guilt for doing this to him.  Amidst it all, the two have their son, Qalb E Momin, and they are a close-knit family until one day, Husn E Jahaan and Taaha have a fight and Taaha is never seen again.

 ******

Switching to present day, Qalb E Momin is the most popular film director in Pakistan.  An arrogant man, Qalb E Momin knows that anything he touches turns to gold.  He is called the hit-maker and actors and actresses know that if they work in one of his films, even in a side role, they will have a solid career ahead of them in films and television.  Momin is known for objectifying women in his films and the world knows his films run on item numbers and revealing clothing on his actresses.  He does not respect women in this industry.  Set to make his fourth film, “Sanam,” he begins casting.  His does have a girlfriend, Neha, who works as a costume designer in his films and proposes to her.  The couple initially seems very happy, but such is the nature of Momin that he cannot forgive, and Neha makes a critical error.  Abdul Aala visits Momin in the middle of a party and is taken aback by Momin’s lifestyle.  While Momin does not hide it from him, Momin has always felt embarrassed to have Abdul Aala see this side of his.  Each year on Momin’s birthday, Abdul Aala gives Momin a piece of his calligraphy which he makes specifically for Momin in an attempt to keep him on the right path.  The two men have very different ideas on right and wrong, Momin feeling Abdul Aala judges his profession and Abdul Aala only wishing to bring his grandson back to religion.  Abdul Aala meets Neha who excitedly begins telling him about Momin’s films and success, which only makes Momin feel worse.  Abdul Aala and Momin have an argument over religion, a common occurrence between the two and Abdul Aala leaves for Turkey shortly afterwards. 

Neha begins pushing Momin to cast her “best friend,” Zulfi (???), a model who Momin has never met.  Neha’s keen interest in Zulfi turns Momin off and he begins to get upset.  As time goes on, Neha continues to push Momin to cast Zulfi in the lead role and the situation gets intense enough where Neha, certain of her place in Momin’s life, threatens him:  “Hire Zulfi as your lead or you will lose me.”  This angers Momin and he cuts off from Neha.  On the announcement launch of his film, he has Zulfi and Neha personally invited and Neha, unaware of Momin’s anger, is elated.  She thinks “I knew he loved me enough to do this for me.”  Unfortunately, she is in for a rude shock when Momin has them both seated in the front row and then not only announces a different male actor (Abbas) for his film, but also has Neha replaced as the costume designer, casting her mortal enemy in her place.  Neha realizes that her relationship with Momin is over and she visits his apartment, throwing his ring back at him and vows to ruin his career.

Momina Sultan Is a small-time drama actress.  She works in side roles, usually playing the friend of the lead actress.  Despite being highly talented, Momina does not have a strong body of work behind her and is usually overlooked by casting directors for bigger roles.  Her friends Aqsa and Dawood have successful behind-the-scenes positions in the industry and work to help her find roles to keep her household afloat.  Momina’s father, Sultan, worked as a makeup artist and told tales of superstar Husn E Jahaan all day long, devoted to his favorite actress.  “What happened to Husn E Jahaan?” Momina would ask.  “She committed suicide,” Sultan would answer.  Suraiyya, Momina’s mother, worked as a small time singer in the industry.  Jahangir was a successful child star and the apple of their parents eyes.  Everyone expected Jahangir to go on to be a film superstar, but before that dream could come true, he fell ill.  Momina was in art school and was a very dedicated student with a lot of talent.  She was involved with Faisal and the two had plans of getting married.  However, everything changed once Jahangir got sick.  Critically ill, Jahangir needs a kidney transplant.  This forced Momina to quit school and become a “son” for her family.  Faisal went on to get engaged to someone else while Momina moved into the entertainment industry, picking up roles to keep her family going and her brother alive.  The industry was never the goal for Momina, as she was deeply conservative at heart and felt the pull towards God.  In her head, she always felt as though she was doing something wrong.  She does not respect the industry she is in and feels as though her life is a burden.  In order to keep her creative side and her love for Allah alive, she visits Master Ibrahim during her free time and helps him fix Qurans in his shop.  She treats Master Ibrahim as her teacher, following his teachings and learning about religion from him while working.  He often tells Momina stories about his pious, kind-hearted wife, Husna, who changed his life for the better.  Momina’s family lives in a small neighborhood as tenants and finances are tight.  However, Jahangir keeps the family’s spirits up with his light-hearted humor and loving nature.  Jahangir desperately needs a kidney transplant and Momina owes many people money, so she is encouraged by Dawood to audition for Qalb E Momin’s latest film, “Sanam.”  Momina is optimistic that she can get a small role in the film, which will pay much more than the small roles in dramas she has been doing.  She gets to the audition and begins looking over a file of bills, quietly making calculations.  A girl next to her commends her on her dedication on learning her lines and Momina realizes that’s what she’s supposed to be doing.  She also realizes she’s the only girl In shalwar kameez at the audition and becomes self-conscious, but continues rehearsing.  Once in the audition room, she meets Momin and the two exchange pleasantries before Momina starts her audition.  During the audition, Momina is nervous and plays with her dupatta – which Momin notices.  He angrily instructs her to throw off her dupatta, to which Momina tells him she will not and she will stop touching it.  Momin pushes further, telling her that women in his films do not wear dupattas anyway, so why can’t she take it off now?  The two end up in a heated fight and Momin verbally thrashes Dawood for recommending her and tells his guards to throw her out.  Momina angrily leaves on her own and says she will never hate anyone as much as she hates Qalb E Momin. 

Aqsa and Dawood find out about a Hollywood film casting call taking place in Lahore and cover her travel expenses to get her there.  The role was initially supposed to be played by Vidya Balan, but due to visa issues, she was unable to take the role and it was now going to be filled by a Pakistani actress.  Momina’s first experience with travel, she is uncomfortable but manages her way there.  Once in Lahore, she feels disconnected with the entire process and sleepwalks her way through the audition.  She is shuffled from one section to another, asked to perform several times before finally being told that she got the part.  Given the signing amount, Momina cannot believe her eyes and begins crying with happiness, relieved that she will be able to pay for Jahangir’s kidney transplant with this money. 

Elated, Momina arrives at the airport to be greeted by a somber Aqsa and Dawood.  They take her straight to the mortuary, where he is told that Jahangir passed away.  Just like that, the floor falls beneath her and she feels as though it all was for nothing.  The family is informed that they will not release Jahangir’s body until the payment has been fulfilled.  Momina spends the next night in turmoil, compiling a list of everyone she knows in the industry and outside of it, borrowing small amounts from everyone.  Letting go of her ego, she visits Momin and asks for forgiveness, hoping he would take her in his film or at least loan her an amount of money.  He rudely asks her to get out and treats her with disdain.  Momina is filled with rage in her heart towards Momin, but does not have time to feel humiliation, only wanting to collect money to release her brother’s body.  At daybreak, Aqsa and Dawood help the family count the money and are relieved when they have enough to cover the bills.  Momina collapses from exhaustion, tired from the night of groveling for money.  Days pass, Jaangir buried, but Momina feels a lack of will to do anything.  Aqsa gently reminds her that she still has to work on the Hollywood film.  Momina pays a visit to Master Ibrahim who is shocked to hear about Jahangir.  Momina cries her sorrows out to him, crying for the first time, as he consoles her.  He tells her that Allah belongs to everyone as Momina angrily declares that Allah belongs to everyone, but Momina doesn’t belong to him.  Momina’s dilemma is felt here, caught now in a profession that she never wanted for herself and only took on for the sake of her brother. 

Sultan and Suraiyya are on the same page as well and Momina arrives home one day to find Faisal at the house.  Suraiyya happily entertains him as Momina looks on in confusion and discomfort.  Does her life have room for love anymore?  Does she want Faisal?  After briefly offering his condolences and talking to Momina, Faisal tells Suraiyya that he will come with his mother next time.  Suraiyya tells Momina that Faisal’s engagement has broken off and Faisal wants to marry her.  Momina protests, talking about her work and Suraiyya says she was only doing it for Jahangir and when Jahangir is no longer around, she should get married and live a happy life.  When Faisal arrives with his mother, everything feels like a dream to Momina.  While Faisal’s mother seems less than pleased about Momina’s background and stint in films, she seems all too happy to marry Faisal off to the girl of his choice – even if it’s Momina.  Sultan and Suraiyya happily begin making plans for Momina’s marriage.  Days later, Faisal takes Momina out for lunch where they have a very heavy conversation.  Faisal begins talking about their life after marriage and Momina delicately treads on the subject of her Hollywood film – Faisal seems surprised and seriously informs Momina that Sultan and Suraiyya told him that she was leaving films.  Momina, surprised, presses for more information.  Faisal makes it clear that his family is not on board with film families and frown upon anyone working in the industry.  He informs her that Sultan and Suraiyya have promised to stop working in films as well.  Momina is horrified by this and asks how her parents would make a living without their work?  Faisal replies that they are his responsibility and he will provide for them.  Momina continues to press on the subject of her work, stating that she needs to do the Hollywood film to pay off her debts.  Faisal says he will pay them, but Momina argues that it’s her responsibility. Finally Faisal agrees, but says she can continue working in dramas, but not films, as films objectify women and he does not want his wife to be seen that way.  Momina internally knows that this relationship is over.  Faisal is trying to whitewash her family as though they are all dirty and need to be covered up.  She feels ashamed of her profession and herself and resents Faisal for making her feel this way.  The two finish their lunch, talking about happier subjects, but Momina knows it’s over.

Now in Hollywood, Momina is busy with her projects.  While finishing up her first film, she is signed on for a broadway play as well as another South Asian Hollywood venture.  Momina works hard, keeping herself busy to keep her mind busy.  She is tired, but neither she nor her family long for money anymore.  She’s now a star and a personality of pride back in Pakistan.  Shortly after her first film releases, it flops – but Momina goes on to win an Oscar for her role.

*****

Abdul Aala continues to regret his behavior towards Husn E Jahaan.  His life burdened by the loss of his beloved son Taaha, Abdul Aala blames himself for Taaha’s end as well as Husn E Jahaan’s pain.  Constantly wondering why he couldn’t just accept Husn E Jahaan and soften his attitude towards Tahaa, he imagines how life would be with him living with his son, daughter-in-law and grandson all together – if only he had reacted differently.  Abdul Aala continues to live his private life in Turkey, visiting Pakistan to see Momin every so often.  He deeply loves his grandson and wishes to see him on the right path, but his experience with Taaha has changed him.  He does not want to push Momin away and so, he has always allowed Momin to do as he likes – whether it be boarding school, film school, moving back to Pakistan, Abdul Aala has silently supported it all. 

Abdul Aala visits Momin in Pakistan.  During his time in Pakistan, he always visits two people.  First is, of course, Momin and the second being his friend Master Ibrahim.  Visiting him, he speaks of his grandson Momin and the two men share stories about their families.  Visiting Master Ibrahim is an essential part of Abdul Aala’s visits to Pakistan. While Abdul Aala’s trip goes well, he is praying in his room for Momin one night, asking Allah to guide Momin onto the right path – Momin overhears this and becomes upset.  He asks his grandfather why he believes his concept of religion is right?  What is wrong with Momin’s life?  Angry, Momin is unable to understand his grandfather’s point of view and Abdul Aala is unable to explain himself in a way for Momin to understand.  Abdul Aala leaves the next day quietly without informing Momin, leaving Momin upset and thinking. 

The next day, Momin arrives at his office with a new idea.  He wants to make a film on spirituality – “roohaniyat.”  Leaving his office perplexed, Momin is armed with simply this idea and no direction.  The press scoffs at him while his writers are left confused.  While working on “Sanam,”, Momin continues to work on his film on spirituality.  His actors have slowly started bowing out, sponsors wanting to work on “Sanam,” but not this one and even the writers are frustrated.  Momin is in a bind and while on the phone with Abdul Aala, his grandfather picks up on Momin’s anxiousness.  He gives Momin the number of an art curator in Pakistan and tells him that if he needs money for his film, he should contact this man.  He tells Momin that this man will buy the paintings Abdul Aala had made for Momin over the years.  Momin thanks his grandfather and hangs up the phone smirking, wondering if Abdul Aala understands the amount of money necessary to make a film.  What could he get for Abdul Aala’s calligraphy?  Certainly not money of that kind. 

Momin visits Turkey for work and stops in to spend time with Abdul Aala.  The two share a heart-to-heart about Taaha and Husn E Jahaan.  Abdul Aala tells Momin that his mother was a pure, clearn-hearted soul and Momin scoffs at this, saying his mother was an actress, a woman without honor.  Abdul Aala chides him, telling him that her heart belonged to Allah, telling him she was a good person and it was his misfortune that he didn’t recognize her in time.  Abdul Aala asks Momin if he ever knew what the two were fighting about when Taaha left?  Momin answers no, though he has flashes of the scene – Husn E Jahaan telling Momin to keep Sultan’s visit a secret.  Husn E Jahaan taking paintings off the wall (including the dancing one Taaha had painted of her) saying they were getting old, Sultan visiting Husn E Jahaan from Pakistan, Taaha arriving home and then…..leaving.  Abdul Aala tells Momin that if he doesn’t remember, it’s better to remember the good times. 

Shortly afterwards, back in Pakistan, Momin receives terrible news.  Abdul Aala has passed away.  Momin goes back to Turkey, leaving everything on hold.  He attends the funeral and is in awe at Abdul Aala’s send-off.  He has a state funeral, honored by the government.  It is only then that Momin understands the level of Abdul Aala’s success.  He feels small.  Momin stays in Turkey for some time…..

*****

Momina continues to work in international projects, not compromising her integrity and dignity though, working on her own terms.  A superstar, Momina is the flavor of the season.  Momina and her family move from their small rented home into a nice, posh apartment.  And while the lifestyle is an upgrade, Sultan and Suraiyya seem bored, sad.  They miss the business of small neighborhood living, the day to day activities and the neighbors.  With Momina constantly out and rarely home, Suraiyya feels lonely.  Momina asks Dawood to find a place in the old neighborhood, but he scoffs.  “You can’t go back there!” and Momina realizes she has arrived and there is no looking back.  Momina spends time alone in her room during her down-time, reading the Quran gifted to her by Master Ibrahim – a Quran with the work of Abdul Aala, a famous calligrapher from Turkey.  Momina quickly became a fan of his art and began googling images of his work. 

Shelley has backed out of Alif as the lead actress.  Momin has been missing for some time and she has to give dates to someone else.  Tina and Dawood kick up their socks in the office, everything gathering dust and not having been paid in months.  Tina discusses looking for work elsewhere when suddenly a disheveled figure walks in – Qalb E Momin.  Walking to Dawood, he throws a script on his desk.  “Alif – A story by Qalb E Momin” it reads.  Read this, Momin says.  “Is this what you’ve been doing in Turkey?”  Yes, Momin replies.  He tells Dawood and Tina to read the script and there will be a meeting over it tomorrow.  Tina tells Dawood to read it and fill her in tomorrow.  The next morning, when she walks in, Dawood looks bloodshot and forces Tina to read the script.  The two of them are blown away by this incredible story of an actress lured away by love.  In the meeting the next day, Dawood and Tina gently suggest to Momin that Momina Sultan would be perfect for this role.  Expecting Momin to react, they are surprised when Momin quietly asks “But will she do it?”  Dawood happily takes the script over to Momina and encourages her to read it.  Momina declares that she will never work with Qalb E Momin, but Dawood tells her to just read the script. 

Momina spends all night reading the script and is floored.  She quietly walks over to Sultan and asks him to read the script.  After reading it, Sultan is shocked and immediately tells Momina not to work on this film.  “I’m the villain of this story!” he exclaims.  Momina asks Sultan to tell her what happened, but when he refuses, she realizes Sultan is the villain and it is her form of payback to do the role.  She visits Momin for a narration and asks him if the film is based on Husn E Jahaan?  Momin looks at her in shock.  How does she know Husn E Jahaan?  He denies it, but Momina now knows the truth.  During the narration, they are interrupted by an art collector – the same art collector Abdul Aala told Momin to contact for financing “Alif.”  Momin excuses himself and meets with the collector.  Momina overhears this conversation and is taken aback.  Not only is Qalb E Momin the son of Husn E Jahaan, but Abdul Aala is his grandfather?  How could this be?  If that’s the case, Abdul Aala is the man who turned Husn E Jahaan away?  Momina struggles to put the pieces of this story together.  Momin is deep in thought over selling his grandfather’s paintings when Momina declares that her price for the film will be the 7 paintings Momin was trying to sell to the collector.  Momin looks at her in shock, but ultimately agrees. 

Momin wakes up the next day certain that he no longer wants to part with Abdul Aala’s paintings.  The entire world is fighting for these paintings, but they were made with Abdul Aala’s love – love for Momin.  How could he part with it?  He heads home, but is shocked to see that Dawood already picked up the paintings and has delivered them to Momina.

Momina visits Master Ibrahim and gives him the 7 paintings.  Master Ibrahim looks at them and immediately states “Are these Momin’s?”.  Momina is shocked and asks how he knew?  Master Ibrahim tells her that Abdul Aala often spoke of him – and that these paintings belonged to Momin and if she didn’t give them back, they would find their way back to him anyway, because that is God’s will.  Momina listens to her teacher and returns the paintings to Momin’s home through her driver.

Momin is shocked to see the paintings back in their place at home and his heart sinks – did Momina leave the film?  But he sees Momina at the shoot for the film and is relieved.  He thanks Momina for her kindness and asks her how much she would like to be paid.  She tells him a minimal amount and says she will only take it after the completion of the film. 

*****

Momina confronts Sultan and tells him to tell her the truth, otherwise she will think he’s guilty.  Sultan tells her about his connection to Husn e Jahaan and how he loved her.  She was the center of his universe – but she left him to be with Taaha.  Sultan always hated Taaha for this, but Husn E Jahaan always kept In touch with him, knowing he would never abandon her.  Sultan wrote to her faithfully, no matter where he moved, always wanting her to have his address. 

One year, Husn E Jahaan wrote to Sultan, asking him to come visit her in Turkey.  Sultan went and showed up at the door.  Husn E Jahaan received him warmly with a hug and then went to get paintings.  Her son wanted for things and Taaha did not make much money.  They were not well-off and she needed money to care for her son, but didn’t want to hurt her husband’s ego.  She gave Sultan all the pictures Taaha had painted of her and told him to sell them in Pakistan and give her the money.  Taaha was not upset with Sultan visiting, rather he was upset that Husn E Jahaan sold the memories of their love, the artifacts that joined them together in their affection for each other, the beginning of their marriage.  He felt this was akin to betrayal, though Husn E Jahaan only wanted to help her son. 

Sultan went to Pakistan and tried to sell the paintings, but no one would buy them, as Husn E Jahaan had been gone for a long time.  Finally, Sultan sold his own home and sent Husn E Jahaan the money, telling her it came from her paintings.  Later, when she came back to Pakistan, Mumtaz (her mother) tried to marry Husn E Jahaan off to an older man.  Sultan concocted a story about Husn e Jahaan’s suicide by drowning in order to help her escape to Turkey.  “You see?”  Sultan told Momina.  He explains that he didn’t come between Taaha and Husn E Jahaan.  He wasn’t the villain. 

*****

Husn E Jahaan and Momin came back to Pakistan to live with Husn E Jahaan’s family in her home.  They are immediately met with scorn and hatred, the family angry that Husn E Jahaan left them without thinking about their fate.  Now older, Husn E Jahaan has no ability to earn as a lead actress.  Still wanting the best for her son, Husn E Jahaan has a big birthday party for Momin and he enjoys himself, loving spending time with his mother and friends.  However the next day, he is shunned by his friends as their parents all realized his mother is Husn E Jahaan, the actress, a woman not meant to be respected.  A woman who sells her body and beauty for money.  Momin is shattered and begins to hate his mother.  Acting out, he tells her he hates her and asks to move back and live with his grandfather.  Husn E Jahaan sends Momin back to Turkey to live with Abdul Aala and Abdul Aala feels terribly for her. 

*****

Momin and Momina continue to develop a soft spot for each other, oddly falling for each other despite their differences. Momin apologizes for his role in hurting her in the past and offers condolences for Jahangir.  Momin gives Momina two white roses every time he sees Momina, something Taaha would do for Husn E Jahaan. In a reading for the second half of the script, Momin begins prepping the actor who will be playing Sultan’s role, the man “Aaliyah Jahaan” had the affair with.  Momina questions why Husn E Jahaan would cheat the family she loved so?  Momin is taken aback.  Momina quietly tells him that maybe she was selling something and that’s why she called Sultan over?  Maybe some paintings?  Momin stares at Momina in awe, wondering how she could know about the paintings?  He thinks back to Husn E Jahaan pulling the paintings off the wall – “These paintings have gotten old.”  Confused, Momin begins to think.

Later, Momin walks in on Dawood comforting Momina over some family troubles and misunderstands the situation.  He angrily accuses the two of having an affair and claims to be disapproving of office affairs to which Momina slaps him across the face.  This is the first time anyone has ever slapped Momin and he is shocked.  Dawood fills him in, clarifying the situation and Momin realizes how wrong he was – and how jealous. 

He goes back to Momina’s house to apologize and is greeted by Momina’s mother.  The two bond when Momina walks in.  Her heart warms seeing him with her mother.  Momin apologizes to Momina and she accepts.  The two are about to declare….something to each other, but are interrupted by Sultan walking in.  Momin erupts in anger, immediately recognizing him.  Sultan finally has the chance to set things straight – he tells Momin everything, but most clearly, he tells Momin that Sultan isn’t the villain of the story, rather Momin is the villain.  Momin is what came between Taaha and Husn E Jahaan.  The mother in Husn E Jahaan overtook the wife.  The wife never would have sold those paintings, but the mother did it for her child.  Sultan also points out that if he were a villain, he never would’ve sold his own house to care for Husn E Jahaan and Momin.

Momin walks out and spends the night crying.  He thinks about the misery he caused his mother, how he doubted her, how he mistreated her.  He is wrecked with guilt.  Momin thinks back to when he wrote a letter to Allah, asking for his mother to come back to him.  She finally did, but when she did, Abdul Aala told him not to go in front of her, because if she saw him, she wouldn’t be able to leave with her new husband.  Momin’s heart broke and he decided then that he would ever write to Allah ever again. 

Sultan pulls out the letters Husn E Jahaan wrote to him over the years and tells Momina to give them to Momin.  Momina is embarrassed, but she takes the letters to Momin.  He confides in her, allowing her to see him break down and she consoles him, telling him it’s not his fault.  Momina asks Momin what happened to Husn E Jahaan.  Momin tells her that she got married to a man named Ibrahim.  Momina thinks about the pictures, the dancing image of Husn E Jahaan and thinks back to when she sold the images to Master Ibrahim when Jahangir was sick.  He gave 1 lakh for those pictures – pictures that were not worth as much.  Momina suddenly sits up and tells Momin to read the letters.  She leaves and heads to Master Ibrahim’s house and asks to hear about his wife, Husna.  Master Ibrahim looks at her and says “Every secret has a time to be revealed.”  He tells her about his wife, Husna, the woman who was once Husn E Jahaan.  He tells her that he didn’t know she was Abdul Aala’s daughter in law nor did he know she had a son.  HE just knew he was married to a wonderful, religious, kind, pious woman.  He found out much later about her truth and it didn’t make a difference.  Master Ibrahim discusses how Abdul Aala always came to see him when he was in Pakistan and they would discuss Momin.  Momina later takes Momin to meet Master Ibrahim, but when they arrive at his house, they are informed that he has passed away.  Momin is given the keys to his house and finds memories of his mother there. 

*****

Momin alters his script.  “Alif” becomes the story of an actress to a mother, a woman of strength and dignity, a tribute to his mother.  The film is completed and released.  Momin and Momina anticipate the reception together.  Momin declares that if the film is a hit, he will stay, but if it flops, he will move back to Turkey and take over his grandfather’s tradition of working as a calligrapher.  The movie is a success, a superhit and is hailed by all, but Momin still decides to leave.  Momina’s heart stops in her throat and she sadly tells him that she always wishes the best for him.  He asks her to come with him.  Momina tells him that she doesn’t want to become another Husn E Jahaan.  “Tum manzil tak pauhanch gaaye ho.  Main raaste mein hoon” (You’ve already reached the destination, I’m still on my way).  Momin tells her that he will wait for her and the two embrace.