While prepping dinner a few weeks ago, my ears started bleeding from constant rhetoric and bad news running on TV from every part of the world. So, I switched the channel to HumTV, reminding myself that there will be nothing good to watch anyway. While paying little or no attention to the screen, Shanakht kept on running in the background and what drew me really in were the conversations as well as the topic. While I had my ears been filled loud and clear about HUM TV’s decline in the last year or so, Shanakht has come as a pleasant surprise. To me, one of the greatest strengths of the drama is that it does not merely presents its characters as caricatures and treats different strata’s of our society at the same level (more on this later). Furthermore, what is even more pleasant to eyes and ears are the reactions of all the characters and situations. They are what normal people would do and feel. Hey at least we are spared the awkward stares, silences and monologues! Coming to this episode, Annie while clearly knowing and understanding Kashaf’s position still conveys her parent’s wishes to her sister as she does not want to disrespect their decisions. Kashaf’s love interest, Harris due to external family problems is unable to send his proposal. Kashaf instead of moping in the corner meets up with our Hashir. From their onwards, Hahir gets a reality check and in process gets his big “desi ego” bruised. Instead of thinking about or reflecting on his own decision about Ainny, his parent’s wishes, he becomes a bighi bili and DHUMM DHUMM DHUMMM car comes back on Huma and Amjad’s steps. For Kashaf everything falls in place as Amjad and Huma view the returning of the car as an insult and rightly so. Hahir is such a lalo that after this harqat he also gets an earful from his parents, but instead of super over the top reaction, they ensure he apologizes to his aunt and uncle and has a proper chance to say goodbye to Ainny before leaving for England. It’s endearing to see Ainny holding no grudges on her part for all that transpired between the two families. We are also introduced to Fahad Mirza’s role as Roshan who is a happy go lucky “molvi” according to Hashir’s first impressions of him. He is coincidently the son of Ahmad’s business partner, the family we met in last week’s episode. The episode ended with Annie’s mom announcing that she would like to get Ainny married as soon as possible. The alluring aspect of the episode for me were the beautiful way each character brought out of their point of view without seeming over the top. How Shireen politely explains to her son about the drift that would be caused because of Hashir’s initial reaction, how Amjad reacts to Hashirs immature and sudden decision to give the car back, how Kashaf gives Harris a piece of her mind, especially when he refuses to let his family know about their relationship. There is also something positive to be said about the main characters. Hahir might be good at heart, but he is also very human at the same time and his rash decisions and kanoo ka kacha hona make him nothing to worship about. Even if there is a chance between Ainny and Hashir, he has a lot of growing up to do especially from a sheltered life he has lived in. Annie might be vulnerable from her family and society’s attacks on her changed appearance, but she takes it as face value and remains vigilant and strong. Kashaf could easily succumbed to family pressure but she sees Hashir through and through and isn’t afraid of consequences or talking directly to him. Sadly, very few of characters present on our TV screens posses these traits. Allah sab ko hidayat day! My only peeve would be, and maybe this is just a dramatic liberty on the writer’s part is that, in all these years, Rohan and Hashim’s family have been business partners. Wouldn’t Hashim’s parents have talked to Roshan’s parents at least once, introduced both of their children before leaving for a foreign country and education? Have Hashim and Roshan never crossed each other’s paths before? At the end of the day, the drama is not merely about hijabs, beards or skinny jeans. Its conveying, how we carve our own identity, or shanakht based on our own virtues and understanding of the world around us. The characters remind us that we should be questioning the norms and stereotypes set up by any particular strata of society. I am really looking forward to how the story molds from here. What do you guys think? Will the drama uphold our expectations? Written by Maria
Archive for the ‘Hum TV’ Category
"Aap uss ladki ko ab tak yaad kartay hain?" Haan, Saman, kyuki woh ladki tum ho!
After twelve long episodes, it seemed Mausam needed a timeout, perhaps, like Bashar Momin (side note: Bye bye Momin, too bad there's no Goya in that picture).
After gun-gaooing (and there has been a lot of gun-gaooing lately on these boards for all the wrong reasons) left, right, and centre last week, I was beginning to think I might have to bite my words, as the next installment gave us more of exactly the same - rona dhona, bichaday saathi, mazloom begum, uska beygairat shohar aur phalana phalana. Lekin, and thankfully, this state of perpetual limbo is finally over!
What took Mausam thirteen episodes to convey could have easily been done in eight. In fact, I'm willing to forgive them the extra four had it not been for the thirteenth episode, which (truth be told) went no where other than reinforce the misery every major character seems to be engulfed in or by. So, I was a bit hesitant to immediately come back with a review, if only to test the water out one last time.
Also, and I guess this is confession time fellow filmi travelers, there's hardly anything on TV these days that I'd want to watch let alone review. Are you listening Team Goya? Hurry up and get the series started, please and thanks! Sometimes, as Woody Allen once said, all you need is a good story!
But coming back to our leads and their slow spiral towards despair, I had just about had it. Was Hashir going to go on and on about Saman's loss? Will Shazia continue her charade just a little bit longer? Would Faisal just give Saman a break, after all, the girl sold her jewellery for his "successful" business?! Hello?! See where I'm going with this...
Just as I was about to fling my remote at Ahsan Khan's rather pretty face, I was finally given the promised milan between our doomed lovers. Oh wait, is Saman really a pyaar ki deewani, mohabbat ki mastaani? Regardless, Hashir and Saman together were every bit convincing as people in their strained circumstances: one hopelessly in love, the other painfully oblivious, which only makes me wonder if there's a happy ending in store.
For a series that has been both slow, and lately, repetitive, the narrative has finally picked up its pace. Yes, remember that thing we left behind when Hashir left for England, we're finally treated to the lives of our ostensibly pretty but actually desolate and dismal leads - Hashir, Saman, and Shazia - in what can only be seen as a welcome sign of what is yet to come.
If Hashir and Saman are living through their excruciating lives one breath at a time, then, Shazia is one conflicted character. The highlight of the thirteenth episode (for me at least) was Shazia's introspection. A beautifully constructed sequence, the flashbacks with their jump-cuts between a pensive Yumna Zaidi (as she stares into the dark night) and moments that she could have changed, was paired perfectly with a haunting soundtrack. Seeing Shazia reflect on her actions, I couldn't help but realize that loneliness has finally sunk in. Here is a girl unable to take back the things that she set into motion, the lives she played with at her whim and fancy, the emotions she betrayed all in the hopes of her shazada.
Her illusionary shazada, though, remains but a figment of her imagination for Hashir has eyes for no one other than Saman. In fact, the moment our perpetual bechaari walks into Nigar Aunty's alishaan drawing room clad in a simple lapis-coloured cotton shalwar kameez - its simplicity accentuated by the peach gota lining - we knew Hashir was a man smitten, and any red blooded man should be! Yes, yes, I agree the dupatta was strategically placed covering just enough of Saman's hair, that her "simple" suit had a flawless A-line, and that her leather clutch added just the right amount of chic. Madame, madame, madame, vous etes tres elegant. In a day and age where we see more and more of the Wahabi hijabs and niqabs, Western capris and tops, I absolutely loved this brief but visually striking sequence of Pakistani fashion. Was it any surprise that Hashir showed up in a indigo shirt as well? Subliminal messaging, perhaps.
These stunning visuals (an aspect that Mausam impresses on week after week) were accompanied by strong dialogues and flawless acting.
With Shazia slowly coming to terms with her loneliness, Hashir mourning his true love, and Saman worried that she's always boring, all I see are unfulfilled lives, shattered dreams, and broken promises abound. And for what, I wonder? In all this, the one person for whom I have no sympathy is Faisal. A truly grotesque man made slightly bearable by the very handsome Yasir Mazhar (there's a reason the saying goes tall, dark, and handsome, ladies), the way he treats Saman is simply despicable. Zulm to uss par ho raha hai, musibaat bhi jhail rahi hai woh, lekin kyun, kisliye, aur kab tak?
With Faisal headed for the three words most men resort to, it remains to be seen who shall triumph: Shaatir Shazia or Sada-mijaz Saman?
Till next week.
This is RB signing off. (Tweet me!)
Mausam... Zindagi ka? Yadoon ka? Lamhon ka? Kiska...?
In a world of lackluster stories and same old, same old formulas, where the tried and tested reigns supreme, Mausam is a flicker of hope. Jaisay shamma kay akhiri lamhon mein shayad kabhi umeed nazar aati ho waisay mujhe Mausam mein umeed ki kiran nazar aa rahi hai. Kyun...?
Mausam isn't a "new" or "original" story, but how many of our stories truly are? It isn't "modern" (whatever that means for the people who use it rather liberally), it isn't slick, in fact, it is the same old love triangle: two sisters, one man. Far from the innovation we so desperately want, so desperately seek. Yet, this ostensibly mundane and to some extent boring story has kept me engrossed for sometime now!
I first thought of reviewing Mausam a while back but then decided to err on the side of caution (I had Bashar Momin as a scare y'all!) before embarking on a full-on reviewing exercise. What actually surprised me was that where Laa was getting loads of attention and false accolades and Ahista Ahista became paisa vasool television, Mausam wasn't getting the attention it rightly deserved.
For twelve weeks now, this story has more than just piqued my interest. Yes, yes, I agree Hashir's mother can't act to save her life (Aunty-ji you're best playing Romaisa's evil saas), but the rest of the cast is on point! Saman (Hareem Farooq), Fazeelat (Naila Jaffery), Faisal (Yasir Mazhar), Rabia, Shazia (Yumna Zaidi), Hashir (Ahsan Khan), and even Mehreen (Shazia Naaz) were at one stage or another blowing the competition away. The subtle raised eyebrows, the fading smiles, those breaking hearts were so beautifully captured on film and rendered on many a television set.
Aliya Bukhari's script draws upon the same two sister-one guy triangle with a case of mistaken identities and perpetual loss and suffering in sight. Yet, after almost half the series down, I cannot help but admire the way she decided to write the characters. For instance, even though Shazia is all shades of evil, I still cannot come to hate her. Similarly, Saman is helpless, I know this, I see this, but she still seems silent and strong. The third player Hashir has yet to shine, but something tells me the second half belongs to him.
Of course, all this would not be possible without a stellar cast and irrespective of the naysayers, HUM TV I applaud you for your casting, it was new and fresh and at the same time had reasonable acting talent. Okay, okay, Romaisa's saas isn't that bad after all. Nigar, I found, was a drag the first few episodes especially the tension between her and Hashir but as the series continues I see her fitting into the role fairly well. The same goes for Shazia Naaz, her he-loves-me, he-loves-me-not, I'm going to sacrifice myself for him spiral had me going nuts (seriously woman WAKE UP!) and now I can forgive her this obsession (if only momentarily).
Naila Jaffery, Anita Camphor, and Humaira Zaheer remind me of Samina Peerzada, Sakina Samoo, Rubina Ashraf, and Bushra Ansari from Mera Naseeb. If Anita Camphor is loud and garish, then, Naila Jaffery and Humaira Zaheer hold their own with silent, strong performances.
Yumna Zaidi and Hareem Farooq are both very well suited to their characters. The former in all her evil ways still retains a hint of masoomiyat. Every time Mehreen and Nigar chide her, I see in Shazia's eyes the realization of her actions. So there's still some redeeming here, but hey, I might be completely wrong. Hareem, Hareem, Hareem... TUSSI CHA GAYE HO! I first saw Ms. Farooq in Siyaah (read the full review here, if you're so inclined, and if horror floats your boat wait till you see my review for Woh Dobara on DP) and I liked her at times terrorized and at times terrorizing performance. She brings a certain introverted charm to Saman that no other actress could have. I see in her a silent Sanam Saeed, the kind that's strong and practical. Both these girls are not only well cast but do justice to their roles!
It doesn't end here after a rather long dry spell Mausam (rather aptly) keeps on giving.
The soundtrack with its mellow tone focuses on the lyrics and brings us back to the central theme: Yeh phool dil ka nahi khil sakay ga. Truly no one is happy in this series. Not Hashir, not Saman, not Faisal, not Shazia, no one (lead cast ho ya supporting cast). The editors and music director worked well using the melodic chorus of the OST as the background score at various junctures, a fact I appreciate very much.
Equally impressive is the art direction and cinematography. Every shot is beautifully framed with colours bursting forth and capturing the screen in perfect balance with the neutrals. This coupled with beautifully shot sequences make Mausam a definite star amongst this season's dramas. Attention to detail is what made Humsafar a pleasure to watch, and I finally see HUM TV coming back to what they do best.
Their signature style let's call it the "Humsafar Effect", which lately they've drifted away from, is what audiences expect (or at least have come to expect) from them. In Mausam, they return to what makes them the "class apart" channel. Behind every frown, under every veil, I can see Momina Duraid's exacting eye for detail, which is what made HUM TV a success. Sometimes returning to your roots is a good thing, it allows you perspective on what you do well and what you don't.
After twelve weeks, Mausam, Khawateen-o-Hazrat, is a return back to HUM TV's forgotten roots. I cannot predict what will happen next but I, personally, have enjoyed the ride so far even though it has had its awkward moments (quite a few might I add). I hope you'll watch and enjoy for what it is, a emotional saga of young love or should I say almost love.
If and when we meet again.
This is RB signing off (Tweet me!).
Lagta hai Annie mein to Bi-Amma ki rooh hadool kar gaye hai tabhi usnay yeh hoolia bana rakha hai.
Ladki ho to aisi jikay saath chaltay hua insaan fakar mehsoos karay na ki sharmindagi.
How many amongst us judge those different from us? How many of us deviate to the norm only because the norm guarantees us safety and security? How many of us quickly judge the Hijabans as paindo-jahil-junglee khawateen or better yet as pakhandi-dhongi-attention seeking? Saach, saach batana how many? Kitnay...?
Shanakht. Pehchan. Self. Identity.
These are perhaps the eternal questions that haunts us. Hum kaun hain? Hum kyun hai? Humari pehchan kya hai - humara din-iman, humari wataniyat, humara qabeela, humari zabaan, kya?
Let me preface this review by saying that I'm not one to taken by preachy and holier-than-thou renditions of finding oneself. In recent years, we've seen Falak in search of her zaat in Shehr-e-Zaat and Daaniyal in exile in Laa, all in the hopes of finding that ever elusive thing called Shanakht.
And this where our story begins with Quratalain's (Maya Ali) spiritual quest. Born into a world of privilege, Annie has shocked her cultured, khandani, rayees, and modern family beyond belief by adopting the hijab, and that too the Arab version of it. Her mother, Huma (Sabahat Bukhari), sees this as sign of rebellion, but I wonder what Annie is rebelling against? She comes from a liberal and loving home without any outward signs of distress like financial insecurity, domestic abuse, or even inattentive parents! So why the sudden need for taking the hijab?
With this unexpected change engulfing Annie in a storm of questions - hijab, na-mahram, a sudden quietness in character, an introversion - her relationships are slowly being tested. Her Taya and Tayee, Ahmed and Shireen (Shamim Hilali), her cousin, Hashim (Noor Hassan), her sister, Kashaf (Sadia Faisal) and her Ammi and Abbu - all have concerns, and some valid ones too! As much as Annie is confused by the reaction of those closest to her, her family is equally if not more so confused by how to react. Hashim ignores the change as much as he can, Shireen is cautious, Huma is (and perhaps rightly so) angry (and I'll get to this point momentarily), and Sadia is supercilious. The only person who extends his full support to Annie is her Abbu-jaan, Amjad (Mohsin Gillani).
Now correct me if I'm wrong but taking the hijab is a very difficult decision not because it differentiates you from the crowd (because that point is debatable, if you're in Purani Dilli then you're really not that different, if you're in Khan Market, then, you're considered (in a very derogatory manner) a "Ninja") rather because it requires a considerable change in your lifestyle, in your interactions, and in how you're perceived. Knowing full well that this would place her at the periphery of her parents' social circle, Annie still goes ahead with it, which makes me wonder out loud: why? Was there something lacking in her upbringing? Are liberal people incapable of inculcating spiritual and religious values? Are we spiritually bankrupt in our quest for everything "modern" and "Western"? What does it signify - for Annie, for her sense of self, and for her identity?
At the same time I cannot turn a blind eye to Huma's perspective. As a mother, I can see why she is hesitant at this change, perhaps, it was her upbringing, maybe she wasn't able to provide something, at some spiritual level, for her daughter. These feelings of failure, for lack of a better word, are exhibited in anger and in blame (if you noticed Aisha is quick to take the fall!).
What I found engaging in this very slow episode was the overt emphasis on character development. There wasn't a single character with the exception of Sadia whose motives I couldn't fathom. I was conveniently given a momentary insight into the working of Annie's mind and Hashim's affections, of Huma's doubts and Amjad's faith, and of Shireen's caution and Sadia's despise.
Interestingly, just as Mrs. Khan in Pehchan functions as a sit-in for our mashara, Jabbar and his chichora comments bring us back to what the world thinks. This is also reflected in Huma (especially the very awkward conversation with her friend) and to some extent in Shireen. And something tells me these perceptions are a crucial part of the narrative.
A well-paced first episode with good camerawork and art direction, I am curious to see what happens next. Am I on-board the bandwagon? No, not yet, Shanakht still needs to convince me that they're not preaching to the choir or otherwise.
Till next week.
RB (Tweet me!)
P.S. Mein ab sab say guzarish karoon ga ki apni duaoon mein Phalasteen ki awaam ko yaad rakhain. Un ko iss azaab say Khuda'Talah jaldi bakshay. Ameen.
Sarmad Sehbai’s work as a poet, author, playwright and filmmaker highlights his innovative approach to art and culture. His vision is reflected in the diverse mediums and languages he works in, from poems to PTV dramas (Naya Qanoon, Toba Tek Singh), theatre plays (‘The Dark Room’), a documentary (‘Mughals of the Road’) and finally, his films and dramas (Fankar Gali, Jal Pari, and most recently Laa. His work constantly questions defined norms and now with Mah-e-Meer, even madness.
We spoke to him via Skype about his upcoming film Mah-e-Meer, and ended up with notes on the Mughal Empire, a meeting with Omar Sharif, and a spirited discussion on the current state of Pakistani television and cinema.
Listen to the interview here
If Sarmad Sehbai had his way, the most anticipated films of the year, Mah-e-Meer, would not have seen the light of day. “I told the producers not to touch this script,” he recollects, with amusement, “I thought it was not a cinema film.” Fortunately, the producers Khurram Rana, Badar Ikram, and Sahir Rasheed persisted, encouraged and practically forced an unconvinced Sehbai, who relented, “They took a daring step because nobody would put money in Meer Taki Meer at all. Nobody would even look at it.”
With the current cinema landscape of awaited films with patriotic agendas (Operation 21), mad-cap comedies (Namaloom Afraad), burning social issues (Dukhtar), and a possible remake of a gandasa wielding Maula Jutt, why would anyone be interested in a film on the eighteenth century poet?
Even the producers played around with the more accessible title Poora Chand concerned that audiences were unfamiliar with Meer, but eventually they decided to tell them who Meer is and the symbolism of the moon lent itself to the title Mah-e-Meer.
His fears though were unfounded as his cast and crew were mesmerized by the dialogues while shooting and the now famous line from the trailer, that small verbal artifice “hum yeh tou nahin kehey kay Ghalib kehta tha ya Meer kehta tha, hum kehtey hai Meer kehta hai” has captured the imagination of many.
The strong visuals, colourful characters of the past contrasting sharply with the dusty reality of today have piqued a lot of curiosity, so much so that “people have developed a romance for Meer,” he recalls with surprise. He tamps down the hype surrounding the film claiming that it is not biographical but rather an interpretation of Meer’s experiences.
Past and the present
It’s no surprise that Sehbai, an accomplished poet himself, sought Meer as inspiration. Flitting between the past and the present, the film fuses the story of a contemporary poet– an anarchist, who destroys traditions and experiences creative madness when he falls in love with a woman who appears to him though the full moon, mirroring Meer’s junoon. “So it’s that kind of vaishyat, that madness, that passion – the whole film is inspired by that experience” he explains.
In exploring Meer’s past, was there ever a danger of romanticizing the exotica related to the grand old Islamic past? “The tawaif actually embodied the whole cultural metaphor of the fall of the Mughal Empire,” says Sehbai. There was a loss of beauty and pleasure embodied in courtesan culture along with a loss of power, he elaborates. Eventually what survives is art, not the Mughal Empire, as is true throughout world history. Power merely serves as the backdrop to how these stories unfold and this is alluded to in Mah-e-Meer as well.
As with any independent film, co-directors Sehbai and Anjum Shehzad had their share of juggling budgetary constraints and shooting in the punishing summers of Lahore and Karachi. Sehbai fondly recalls working with the actors to create powerful visualizations of the characters through certain mannerisms, enriching them with the subtext and nuances. Sehbai whets our appetite further saying that most people are surprised at the performances he can elicit. “This is what is going to happen with Iman Ali, with Fahad (Mustafa), with Sanam (Saeed) and with Manzar Sehbai” he enthuses.
His attempt is to unbind actors from the slavery to dialogue and text and allow for a more visual interpretation through their physical presence and movement, moving away from a very text oriented society to a more visual one. Expounding on this further, he talks of older actors and their statue-like stances projecting their voice, without moving their body. He maintains that we are still discovering the power of the visual and how to create the ambience on the screen and charge it with emotions and nuance.
Some of this harks to how we perceive masculinity in our culture even though perceptions are changing. “Even India totally changed from Dilip Kumar to Shah Rukh Khan but in Pakistan it is the repression of the body. The body is not considered something sublime or something respectable in that sense. Even in Pakistani films I don’t think you will see the body being celebrated.” Sehbai says.
Despite this, he says Pakistani film producers have fantasies of making a Yeh Jawani Hai Deewani. On watching the film Sehbai grilled the producer, “Do you have Ranbir Kapoor in Pakistan? Do you have 40 dancers, choreographers, huge set designing and all that? If you can provide all that I will make this film for you. Just get me Ranbir Kapoor,” he laughs.
Though he wasn’t far from snagging a big Hollywood name himself. Sehbai recollects a delightful anecdote where he met and pitched a project to the legendary Omar Sharif. Despite being wined and dined by Egyptian Officers, his interpreter warned Sehbai that they would never let him meet the actor. Nevertheless, he managed to get her to find Omar Shariff’s number and arrange a meeting. He remembers him as a very open personality with whom he had a long conversation on world cinema, and his screenplay as well which ended with Omar Sharif asking Sehbai when he would like to shoot.
With the fall of Benazir Bhutto’s government however, things took a different turn and if history was written differently, perhaps Pakistani Cinema would have had an earlier revival.
So then, what are Sehbai’s views on the New wave of Pakistani Cinema? Wary of “pseudo, new wave, feel-good terms,” he cites the growth of an urban audience that seeks a different kind of film pointing to the emergence of the English theatre scene. He says multinationals helped build Pakistani English theatre for the middle classes who “in their upward mobility have forgotten about changing society or bringing in the revolution” he reflects.
If, he says, you try to understand the emerging film landscape in sociological terms, why a Khuda ke Liye or a Bol was made, we need to refer back to the tiff between the civilian government, the army, democracy along with the old somewhat altered adage- follow the funding, which is mainly from the army or NGOs.
He believes that a film can only transcend to art in the hands of the artist, who can invisibly subvert the funders agenda as Satyajit Ray’s classic film Pather Panchali did by subverting UNICEF’s agenda of making a film about poverty.
As for his own works, Sehbai denies any interest in commercial filmmaking and like all sincere artists refuses to adopt airs either for himself or his project. Mah-e-Meer’s script was written quite a few years ago and his aim is to see his vision completed rather than pleasing the classes or masses. “I just enjoy multiplicity and different art forms and I have my pleasure.” he says.
Was it this multiplicity that lead him to write the dramas Jal Pari and Laa? Sehbai chafes at the mention of his work in hands of directors with little vision. He wrote Jal Pari at the insistence of a friend and says that though they got the locations and actors right, the marketing demands left a bad taste in his mouth. Sehbai is less charitable with Laa currently telecast on Hum TV.
Upset that they changed the screenplay with little regard for ethics or even an understanding of the content and lackluster performances, he scoffs, “The words are not lived, not organically experienced, they are thrown”. He complains that their speech is alienated from their body and from the whole sensuous experience of the performance.
“Every Pakistani serial is structured on certain plots, but it’s the characterizations, the performance, the nuances, the layers you create where you forget, you transcend the structure,” he emphasizes. Disheartened at the interpretation of his vision, Sehbai avows this is the last time he writes for another director.
A true Pakistani Idiom
As writer and co-director of Mah-e-Meer he exercises creative control on the film. As the film heads to post production, Sehbai leaves us with these final thoughts.
He believes Pakistani Cinema is struggling to find its own authentic idiom. The audiences are looking for something that they can own and be proud of. “In this film, we have tried to discover that” he says. While on the surface, Mah-e-Meer presents a picture of love and madness, Sehbai’s true search lies in the rediscovery of heritage, poetry, literature, and music within our traditions.
“It’s a great opportunity for the Pakistani new generation to find out their heritage” he muses. Dismissing any claims of a grand experiment, Mah-e-Meer he says is, “[V]ery simple, it’s like a whisper, it’s like a long poem.”
A whisper that echoes poetry, passion and madness, and one that we are eagerly awaiting.
Written by Sadaf Haider and MM (aka A musing Muslim), with additional input from RB
A condensed and edited version of this article appeared in the Express Tribune
"You should be more understanding, iss tara marriages kaam nahi karti Sania" -Rabia.
As Rabia hears Sania telling her that although Zafar is an "extremely handsome husband", he's"laidback, has no ambition", Rabia says the above line to her. Sania doesn't expect Rabia to tell her this, jiski khudki marriage successful nahi rahi woh kaisey kisi aur ko nasiyat dera hai. No advice for me says Sania and with that, a hurt and upset Rabia decides to leave Lahore.
Sania sees a group of friends conversing and there she realizes how much she's hurt Rabia. We also realize that time goes by fast, friends stay behind or if they are still with you, the quality time you have spent with them has passed by. What's great is that Sania apoligizes to Rabia and so Rabia decides to come back.
For a change, Sania herself plans to have dinner in a nice restaurant with her very sweet husband Zafar. Yay for the change!
The next scene is very cute and annoying at the same time. While Sania is talking to a doctor about getting on board for her new clinic plan, Zafar is watching tv - both of these things are happening in the same room. Having such a big home, Sania could've talked in another room - this is the annoying part. However, the way Zafar is laughing while watching tv was definitely the cutest scene I have seen of him.
Sania then breaks the news to Zafar -she's decided to resign from the hospital as she plans to open a new clinic. Zafar gets upset as he says: "You are never satisfied, you want more and more and more". However, still supports her.
We see Abeer and Aman's slight dislike for their mother. They draw a really bad picture of how they see Sania as and as Bajjo sees this, she tells them to never do such a thing again. The strict behavior of Sania on her kids is surely having a bad effect on them.
The episode ends with a brand new clinic being opened. It was really heart-warming to see that the clinic is called Maimoona Memorial Hospital, after Sania's mother. Wish Dr. Ashraf could be there. While Rabia is the marketing head and brings in the funds to run the clinic, Sania decides to talk to consultant doctors. She also plant to open up a specialized unit that works on bone marrow transplant surgery and on the disease her mother died with - leukemia.
Episode 11 highlights:
-Abeer is told by her teacher to be more confident.
-Dr. Ashraf, who is now Uncle Mahmood says a very beautiful thing about old age. “Burrappa aik acchi cheez hoti hai, purani yaad ko taaza karti hai”. Old age is seen in a negative light as old people don’t get much attention but Uncle Mahmood highlights something about old age which we may have not thought about: in old age, one thinks about the fun times in life, about the wonderful memories shared by family and friends.
-Uncle Mahmood wants Sania to give more attention to kids, “uske mahnati honey say khauf aata hai”.
-Sania is unnecessarily troubling Zafar on being “laidback” when infact he has a great job; he is a good father and a good husband.
-Abeer is worried that her teacher will tell Zafar about Abeer’s lack of confidence and so she and Aman pray that this won’t happen - a very cute scene takes place in which Abeer wraps around her and Aman a comforter to use as a scarf for their dua.
-Zafar gets a training opportunity in Germany for 2 yrs, he can get a promotion but Zafar wants to give time to his family. Sania on hearing this might let Zafar go to Germany.
-Abeer is really hurt by the “good for nothing” Sania said to Abeer, Sania’s discouragement has really upset Abeer, Zafar consoles her that“she’s the best”.
- Super sweet scene – Zafar’s birthday celebration –yay Sania was there to celebrate!
-Uncle Mahmood says “yeh jo ghosht-phost ka insaan hai, yeh rooh kay bagair kuch bhi nahi… Sania iss baat ko nahi samajhti nahi... usney apne aap ko robot banadiya hai” while Zafar replies “aap mujey aik baap nahi, pareshaan maa lagrey hai”.
-Uncle Mahmood: “har insaan mai aik maa aur baap chupa hota hai” which I totally agree with – both spouses should have mother and father like qualities and Zafar is a true example of that. He is not only there to partially provide financial support but also there to provide time and support to his kids. However, can we really blame the busy Sania?
- Dr. Azhar Siddiqui – new transplant physician makes his entry- who is actually the director of Rung Ali Tahir and there the episode ends. Let’s see what changes if any he will make to Sania’s life. Will Sania be influenced by Dr. Azhar as he is a successful doctor while her husband is “laidback”? What do you guys think?
There we have another two episodes light as a phulki roti , no tensions yet. A sweet and supporting husband - Zafar, a strong willed wife - Sania, an understanding mother-in-law - Bajjo --- a fresh script by Amna Malhi and Maliha Haider and smooth direction by Ali Tahir - Keep it up Team Rung!
Written by Aisha Kazi
Somewhere deep beneath the layers of uninspired direction , lack of editing, bored actors and the monotonous sound of a man inexplicably singing “aaaaaaaaaa” every other scene there is an actual ,well thought out plot for Laa. What I don’t understand is why that wasn’t good enough for the director or producers to follow. Laa had a very promising start , with a different male oriented story line , a fresh set of lead pairing and what seems to be quite a reasonably good budget (a fortune if we compare it to an A&B production) but it has yet to find a way onto anyone’s must watch list.In his recent interview with the Drama Pakistani Team ,the writer Sarmad Sehbai has all but disowned this project swearing off giving any script of his away in the future . an edited article of that podcast appeared in the Express Tribune and a full podcast will soon be available at Drama Pakistan soon .
This episode was slightly better than last weeks which I am sorry I can barely force myself to think about let alone analyze. News spreads fast in Laa world , everybody and their aunt now knows that Dilaver Shah has a brother and everyone is taking as the absolute truth without asking for any proof or the slightest skepticism . Of course they probably googled it. In fact Dilaver is so impressed with this piece of information that he now doubts his own paternity and seems to be on a murderous quest for his long lost “brother”.
Meanwhile Naina is wearing an oddly placed duppattah in and working out in some strange park/gym ,because in one of those badly conceived coincidences that only happen in Laa, Laila meets her there and tells her that Danyal cannot breathe without saying Naina’s name. Now any normal girl would go home and say " I am sorry but I don't think I can go through with this wedding . Thank Goodness you guys have not sent out the wedding cards perhaps we can back out of this gracefully ." Not Naina she just shouts accusations and tears up wedding cards .
Finally Danyal asked the question he should have of Laila “who are you and why did we meet?” Laila gave him a completely evasive non answer which he did not challenge so another opportunity lost. Well as I said underneath all this gumph is a well thought out story and if I have any patience left I will try to watch just to see what that is. I hate to write a review just to criticize, so until I find something better to say I won’t be reviewing this. At this point it all seems such a waste of what could have been something amazing.
written by Sadaf
At this point I just want to sing Lalalalala laaa from sheer annoyance. After such a promising start this serial seems on a fast track to mediocrity; full of irrational reactions , trite clichés and perhaps the worst crime ( a HUM TV specialty) an over bearing background score which ironically only serves to emphasize the weakness in the direction . Let me explain something to the powers that be: I do not need the man who seems to have a ladle stuck in his throat singing “AAAA..AA” every time Danyal ex –Malik/secret Sayyad is supposed to be upset .The actors expressions, his dialogue, the tenor of his voice and the context should be enough. The back ground music should be a subtle enhancement leading the viewer to the main action on the screen without overpowering the image.
This was the least engaging episode yet because so many of the situations did not make sense. Why did Laila drag Danyal to an orphanage, which seemed to have remarkably well fed and well-kept children (who seemed suspiciously like ordinary kids in a park)? Why would a well-educated, good natured man like Danyal suddenly react in such a cruel way, calling the children worthless, because their parents had rejected them?
Then we have Naina , who agrees to marry a complete stranger then suddenly refuses to wear the jewelry his family gifts her in favor of the Taveez Danyal gave her . This should have been a powerful scene but it seemed flat and unedited. It strikes me as incredibly strange that neither Naina nor her parents are interested in doing any background checks on Dilaver or even talk to him. Their biggest concern seems to be how elaborate or simple the wedding will be .The only interesting scenes are the ones with Khalid Malik, his Dilaver might be a cartoon but at least he is consistent.
This serial is well below the high standard HUM TV has set and despite all the money spent on the production at this point the story seems to be drowning in shallow water. Here is another example where the director and writer are not on the same page , so the essence of the story is lost. Mikaal is a good actor and this serial’s major attraction, but just like Fawad Khan even he cannot make this into a silk purse. I will be watching next week in the hope of some improvement.
written by Sadaf