Tag: Pakistani dramas

  • ‘Ruswai’ gets frustrating with each passing episode

    ‘Ruswai’ gets frustrating with each passing episode

    Seventeen episodes of Sana Javed and Mikaal Zulfiqar’s Ruswai, based on the story of a rape victim, have been aired so far and recent episodes just make you want to pull your hair out. What irks you further is the fact that the drama has been written and directed by women – namely Naila Ansari and Rubina Ashraf.

    The premise of the drama is fairly simple – Sameera (Sana) and Salman (Mikaal) are family friends and are in love. Their parents are also well-acquainted though Salman’s mother looks down upon Sameera’s family because she considers herself to be above them. At the same time, Sameera’s brother, Hamza is hitched to Salman’s sister, Wardah. Its a perfectly normal case of watta satta. Though Salman’s mother is okay with Wardah marrying Hamza, she doesn’t want Sameera as her bahu. But Salman is insistent about marrying Sameera. So she is left with no choice.

    However, one evening when the family is walking out of a restaurant after dinner, a group of men abduct Sameera and rape her before dumping her back on the road. The intentions behind their actions are not yet known. Sameera’s father ends up saving his bahu, Wardah instead of his daughter. After the incident, life goes on and the weddings take place as planned though Salman is now disgusted with his wife because she is no longer the pure virgin he wanted to marry. Soon after the wedding while Hamza and his wife enjoy marital bliss, Sameera is miserable at Salman’s house. He starts mistreating her and with each passing episode his actions get worse. He also starts having an affair with another girl who his mother had wanted him to marry. Meanwhile his parents especially his mother doesn’t care about Sameera and in the latest episode even commented that she deserves to die.

    This is where the drama starts getting frustrating. Sameera is a qualified, well-educated doctor who has been working in the hospital well before her marriage. However, she chooses to give into her husband’s demands while her parents encourage her to stay in an abusive marriage just for the sake of marriage and because Salman “nay usko apna naam aur izzat di“. She doesn’t pursue a case against her rapists because of her husband and father who want the matter brushed under the carpet and erased from their memories. On the other hand, Hamza who initially appeared to be a level-headed character chooses to ignore his sister’s misery and focus on his own marriage.

    Hamza & Wardah

    Why are we time and time again shown miserable women? Showing Sameera’s miseries were fine in one or two episodes but extending it is making the whole drama, which was probably an honest attempt to depict the ordeal of a rape victim, a drag. The only glimmer of hope appears to be Sameera’s senior at the hospital Dr Feroze. He seems to genuinely care about Sameera and is trying to ensure that she does not go down the rabbit hole which she is going.

    At the same time, what sends a chill down your spine is the fact that the drama, if not 100 percent, does depict reality. Rape victims are often ostracised and shunned for something that is not even their fault. Instead of being handled with care and dealt with gently, they are shunned and seen as impure.

    Salman’s mother and Sameera

    Sana has done a great job as Sameera. Osama Tahir as Hamza and Irsa Ghazal as Salman’s mother stand out among the rest of the cast with their brilliant performances. However, Mikaal falls short as Salman – his body language is too stiff and his expressions wooden.

    While Ruswai does a decent job in sensitising us towards the plight of a rape survivor, it also chooses to lean on the typical saas-bahu drama and meek, helpless larki to garner ratings.

  • Regressive roles perpetuate myths

    Regressive roles perpetuate myths

    If you are an avid follower of Pakistani serials/dramas, the one thing that is common in almost all of them is how women are portrayed.

    There is a ‘good girl’ who is a homemaker, wears eastern clothes, who will sacrifice everything for family, who is often seen in the kitchen cooking food or cleaning the house, who hardly steps out of the house unless it’s with her husband and/or family, who will forgive her husband for many things, including domestic violence or infidelity or both.

    Then there is the ‘bad girl’, who is more often than not a working woman, who wears western clothes, drives a car, goes out on her own, is ambitious and ‘conniving’. Divorced women are either shown as bad girls or sad girls.

    We often wonder how educated writers can write such stuff and why educated women actors can take up such roles.

    Actor Hina Bayat in an interview with Fifi Haroon for BBC Urdu once said, “ “Most scriptwriters today are women who have never seen the inside of an office. In their real-world, working women don’t exist so they don’t write them into their fictional worlds either – except perhaps as negative characters or mothers who ignore their children.”

    This explains why the writers write what they do to a certain extent.

    As for the actors, maybe there is not much they can do when acting is their bread and butter and these are the roles that are in the market. We are not blaming the actors, but we do believe that if there is a market for plays like ‘Udaari’, then why do we need plays like ‘Jhooti’ that perpetuate falsehoods about domestic violence.

    We need more progressive writers. Otherwise, these dramas will keep feeding our already patriarchal and misogynist society.

    Lest we forget, when 20-year-old law student Dua Mangi was kidnapped from Karachi on November 30, 2019, it highlighted a dark side of Pakistan that we often ignore, i.e. extreme misogyny.

    BBC did a story on the Mangi case titled, ‘Dua Mangi: Slut-shamed in Pakistan for being abducted’. The story talked about the inappropriate remarks regarding Dua’s dressing and comments on how she was out at night with a male friend were discussed more than the actual incident of kidnapping.

    It was tragic to see that there was more outrage online over Dua’s clothes, her friend and why she was out at night than over the actual crime. It should have been a moment of introspection for us. Instead, we ignored it once again. By ignoring or not calling out such perverted behaviour, we normalise misogyny. Horrid practices like ‘honour killing’ and ‘Vani-Swara’ are not frowned upon; instead, they are dismissed as tribal culture.

    When women and young girls are used to settle family disputes, it is a crime, not tribal culture.

    That our society is prevalently misogynistic is no secret as this vile misogyny has always been on display when it comes to crimes against women.

    When General (r) Musharraf was asked in an interview with the Washington Post about the high-profile gang rape case of Mukhtaran Mai, he said, “You must understand the environment in Pakistan… this has become a money-making concern. A lot of people say if you want to go abroad and get a visa for Canada or citizenship and be a millionaire, get yourself raped.”

    When heads of a state of a country can think like this and say it out loud to an international media organisation, we can imagine the state of overall apathy and insensitivity regarding women.

    Meesha Shafi’s sexual harassment case against Ali Zafar is another case in point. The kind of abuse that Meesha got online shows why it is hard for Pakistani women to talk about sexual abuse let alone coming out in public with the details.

    It doesn’t matter if the woman is Mukhtaran Mai, Meesha Shafi or Dua Mangi, she will get abused. Victim blaming and victim shaming has become the norm. It seems as if being a woman is some sort of a crime. According to a report by Media Matters for Democracy, “95 per cent of women journalists feel online violence has an impact on their professional choices, while 77 per cent self-censor as a way to counter online violence.”

    This is the reality of Pakistan – where women are the culprits even after being harassed, raped, kidnapped, shot at and even after being murdered. A country where ‘Aurat March’ triggers ‘ghairat’ but where the kidnapping of a young girl cannot even elicit apathy.

    This is why we don’t need regressive roles for women in dramas. This is why we don’t need to portray working women who are independent and strong as the ‘bad girls’ or ‘vamps’. This is why we need good writers who don’t demonise women or stereotype them. This is what we ask of our entertainment industry.

  • Fawad Chaudhry requests Netflix, Amazon to invest in Pakistani content

    Fawad Chaudhry requests Netflix, Amazon to invest in Pakistani content

    Former Minister for Information and Broadcasting Fawad Chaudhry in a recent tweet requested Netflix and Amazon to look towards Pakistani content and invest in them because “we have immense talent and experience.”

    The minister asserted that Pakistani dramas have recently made a huge comeback and that he can assure the movie streaming website successful partnerships.

    Speaking exclusively to The Current, Fawad said that after observing the ratings and business done by Pakistani dramas, he was motivated to share Pakistani content with the world which is why he devised a strategy and pitched Pakistani content to Netflix and Amazon while he was the information minister. While in office, Fawad had also planned to digitise PTV and the Associated Press of Pakistan (APP) as well as introduce a digital sports channel. However, his plans were shelved soon after he left office.

    Fawad further said that he had also reached out to Saudi Arabia, Egypt and Turkey to collaborate on content creation. Content from Turkey and Egypt is the highest viewed in the Arab world and Pakistan can learn a lot from it. It is pertinent to mention here that Prime Minister Imran Khan is a fan of Turkish content and has even directed PTV to dub his favourite series Diriliş: Ertuğrul in Urdu so more people can view it.

    Earlier, in an interview with The Current, Special Assistant to the PM for Overseas Pakistanis Sayed Zulfiqar Bukhari said that PM Imran has a vision to produce good quality films that showcase the culture, religion and heritage of Pakistan.

  • Meray Paas Tum Ho’s most emotional episode yet as Bewafa turns to atonement

    Ouch. Danish is still hurting but he’s definitely not going to take Mehwish back. That phone call between the two makes it evidently clear. Or does it?

    The episode starts with Mehwish (Ayeza Khan) trying to get her friends to help her out but they are initially averse to the idea of doing so because she has committed the ultimate sin – betraying their friend. She goes to meet Hania (Hira Mani) trying to get help from her, and also trying to figure out what Hania’s relationship is with Danish (Humayun Saeed) and Mehwish’s son Rumi. It is obvious that Mehwish’s main goal is now to get back with Danish and she tries her best to talk to the people who know him to find out where his head is at, before she calls him herself.

    Hania also feels for Mehwish as Mehwish tells her about what’s happened

    The phone call is painful. Humayun Saeed is such a perfect actor that you can actually feel the pain in his voice as he tells his ex-wife how much he used to miss her. And how they can never get back together.

    Danish, stone-faced as he listens to Mehwish on the phone

    But the phone call that makes everyone’s heart tug is the one between Mehwish and her son Rumi. He couldn’t sleep without her and one feels so strongly for the child, and also despises Mehwish in that moment; not for following what she wanted and leaving Danish, but for not considering her child’s feelings as well. She tries to make amends with him and as any child, Rumi also cannot help but become warm with Mehwish – she is after all his mother. But when he tells her how his father used to miss her by calling her name, forgetting she wasn’t there, in that moment, you cannot help but feel that Mehwish never deserves redemption. As she cries, you become conflicted. People make mistakes.

    Rumi tells his mother how his father reacted after she left him

    But as Danish explains to his son later, it wasn’t a mistake. It was a sin. And therefore, cannot be redeemed. He does tell his friend that he’s forgiven her, “Kehdo uska maaf kar dia,” Danish tells his friend, “Khuda ki qasm maaf kar dia,” but as he talks to Rumi he is a little more honest, saying, “jis din mai usko bhool jaonga tou mil jaye gi usko maafi”

    Rumi and Danish share a heartfelt conversation, showing they’re a team

    It’s an emotional episode because you see Danish struggle. He still loves her and it’s quite possible he always will. And he knows that just one word, and he can have her back. Possibly, more in love with him than he was with her. Her life has turned upside down. She’s gotten a job and is living in a women’s hostel. Right now, Danish has everything that she wants. She just doesn’t have Danish.

    Mehwish, trying to atone for her sins, goes to a mazar

    Do you feel for her? Yes, you do and Ayeza Khan does an absolutely fantastic job as the arrogant woman who thwarts love and then realizes the incredibly huge mistake she’s made. The acting is what does it. There’s no way you cannot feel, even a little, for her. Her fall from ‘greatness’ is that big. And you wonder that if the tables had turned and this was a husband who had cheated, the wife would most likely take him back.There are many Pakistani dramas that already have that ‘happy ending’. So when she goes to a mazar, remembers her husband who was good and loving, she tries to atone for her sins. And maybe, she can have it. Everyone sins, everyone makes mistakes. Just because she’s a woman, doesn’t mean she doesn’t get a second chance.

    Hania’s expression when Danish says he wants to marry her

    But according to the teaser for the next episode, it does. Danish is seen asking Hania to marry him, or rather asking someone else in front of Hania, if Hania will marry him. Mehwish ends up in the hospital and he rushes to find out what’s happened. Love is unfortunately love. It doesn’t die, even if you’re side-lined, betrayed or even when you come back.

  • Five million views in 12 hours, Meray Paas Tum Ho’s new entry slaps a hit episode

    The moment we were all waiting for. There were rumours that Kubra Khan was going to play Shehwar’s (Adnan Siddiqui) wife who he has a terrible marriage with, but the episode ends with the entry of Maham, Shehwar’s domineering wife played perfectly by Savera Nadeem. Maham, a towering figure enters the episode and slaps Mehwish (Ayeza Khan) as she introduces herself to her about-to-become sautan.

    Maham’s entry has Anushay hiding in the corner

    The episode does have some difficult to understand situations. How did Shehwar suddenly decide to marry Mehwish after he had so adamantly said that marriage ruined love? There’s no explanation about his change of heart. And why is Roomi, Danish’s son, so fixated on getting his father married to Hania (Hira Mani)? The obsession stems from the fact that Danish obviously doesn’t want to get married and he will marry Hania because his son wants him to. Otherwise he wouldn’t be the true lover of love that he has been projected to be so far.

    Roomi trying for the hundredth time to get Hania to get his father to marry ‘another girl’. How she doesn’t know yet, that the girl is her, is very strange

    There’s also the concept of fake and real friends that plays into this episode. Danish is lucky to have a friend who is helping him with his work, staff that is helping him with his life. His life has literally changed in days and as he says to his friend, “log jubh aapse subh kuch cheen layte hain tou khush hojao, kyuinke Khuda tumhe sub kuch deyne wala hai,” (when people take everything from you, be happy. Because God is about to give you everything) and it seems like Danish is about to get everything.

    Danish and Roomi are happy with each other and getting loads of money

    But Mehwish is made of some strong stuff too. She doesn’t look or feel embarrassed when her friend Anoushey asks her about leaving her husband and child to have an affair with a married man. She takes it in stride and doesn’t pay any attention to the rumours (that are bound to be true) about Shehwar having forged his wife’s signatures and living in a house in her name.

    Mehwish doesn’t care at all about what people think of her

    Maham will take over the next episode and it’s going to be a brilliant one. With the already strong presence that Savera Nadeem exudes, she is the perfect person to play a woman who is not to be messed with. The only character that is still very weak is that of Hania. Hira Mani is playing the role like a dheemi beychari and compared to the other strong female characters, she’s coming across as not having a clue. Here’s to hoping that the writer didn’t have a beychari in mind for Danish and Hania develops into a character strong enough to take on the memory of Mehwish.

  • Meray Paas Tum Ho is a drama which has never been done before

    We assumed it was going to be a drama about love, betrayal and revenge. But Episode 13 shows it’s a lot more than that. Meray Paas Tum Ho is slowly building into a drama about child custody and the battle between being a wife or a lover.

    Mehwish (Ayeza Khan) is slowly realizing that she’s missing her son Rumi, as the high of divorcing her husband for a rich guy is wearing off. She asks Shehwar (Adnan Siddiqui) if she can bring her son home and Shehwar agrees.

    Shehwar telling Ayeza he’s cool with her bringing her son to his place

    Danish (Humayun Saeed) is mourning the loss of his best friend Mateen Sahib and when Mehwish goes over to speak to him about Rumi, Danish tells her that he’s put Rumi in boarding school. He also tells her that she shouldn’t upset him or do anything drastic since Rumi has just settled in and had almost been expelled. Mehwish doesn’t listen and heads to the school to take her son home, only to find out that she needs Danish’s permission to take her son out of school.

    Mehwish confronting Danish about taking her son with her

    The most interesting part of the drama was when Danish consults his lawyer and the lawyer tells him to wait it out saying that no man would want his lover to bring home her ex husband’s son. And at the end of the episode, that’s exactly what happens. Shehwar tells Mehwish that her desire to have Rumi with her on the weekends isn’t one that he’s willing to indulge. He gets the weekends off and he wants her around for him – not have to deal with her former husband’s child.

    Shehwar telling Mehwish he wants the weekends with her

    The episode is the most realistic episode in the show yet. A custody battle, harsh truths and the dark face of reality are revealed – your lover is only your lover until you do what he or she says. When you make a decision based on greed, then it will come back to bite you and you can see the ripples of uncertainty that are affecting Mehwish.

    Also, where is Shehwar’s wife? Mehwish is living in his house like she owns it and there is no sign of the real lady of the house. There should definitely be an introduction to his wife when she comes back to town and that will be an episode which cannot be missed.

  • ‘Alif’ Episode 7: Ahsan Khan makes a fleeting appearance

    ‘Alif’ Episode 7: Ahsan Khan makes a fleeting appearance

    Seven episodes later, in, we’re still waiting for Alif to pick up. The drama boasts a brilliant cast, direction and story but because of its slow pace, it is unable to captivate the audiences the way it should have given its unique storyline.

    One of the lead characters of the show, played by Ahsan Khan, has finally made an appearance. But that too lasted for less than ten seconds. Till now the only thing we know about his character is that he is Momin’s (Hamza Ali Abbasi) father and left him and his mother for reasons unknown.

    The seventh episode mostly explored the relationship between Momin and his grandfather. Their relationship has been wonderfully portrayed and Manzar Sehbai as Abdul Aalaa has given a phenomenal performance.

    Meanwhile, Neha (Sadaf Kanwal) is out to get her revenge from Momin and is leaving no stone unturned to ensure that.

    Momina is still coping with the death of her brother. However, she fulfils her commitements and returns to work even though her mother told her that she doesn’t really need to. Her former love interest Faisal (Osman Khalid Butt) has also returned from America and there is friction between the two characters. As always, Sajal’s expressions are on point – is there any character she can’t do flawlessly?

    Towards the end of the episode, we’re shown that the drama is heading towards a twist. Hoping that this twist finally leads to Momin and Momina meeting again – the wait is getting a bit too long now. I probably sound like a broken record by now but I hope the drama starts moving a little faster. The pace kinda kills the buzz.

  • ‘Alif’ is slow-paced but intense

    ‘Alif’ is slow-paced but intense

    Hamza Ali Abbasi and Sajal Aly’s Alif hit screens early October amid a lot of hype and fanfare. This is their first pairing and fans were naturally excited to see two acting powerhouses come together. Not only that, the speculation that this might be Hamza’s last venture also added to the drama’s attraction.

    So far five episodes of Alif have aired and though the drama’s plotline is engrossing and interesting, it’s slow pace distracts you from it.

    Alif follows the life of two individuals Momin and Momina – oh the irony. The two belong to completely different worlds: Momin is a hotshot director who objectifies women and promotes vulgarity to sell his films, while Momina is a struggling actor, who is only in the profession to raise money for her sick brother. Their paths cross when Momina auditions for one of the Momin’s films and given their dissenting views, they clash.

    Till now, the drama largely focuses on Momin and his relationship with his grandfather with constant flashbacks to his childhood and Momina and her financial struggles.

    While the plotline and synopsis of the drama is captivating, the slow-pace makes your attention waiver. It is not gripping enough as yet but considering only five episodes have aired so far, we’re willing to let this go for now. The dialogues are also powerful.

    Both Hamza and Sajal have put up remarkable performances. Sajal as the struggling Momina is great – her expressions and the way she portrays the depth of her character is superb. Sadaf as Hamza’s love interest is also charming. We haven’t seen much of Kubra Khan but she does fit into the character of Husn-e-Jahan smoothly. The supporting cast is also commendable.

    Alif has been penned by Umera Ahmed and directed by Haseeb Hassan of Parwaaz Hai Junoon fame.

    The drama does appear to be promising watch given the teasers and cast but I do hope the pace doesn’t make it mundane and tiresome to watch.

  • Sanam Jung, Affan Waheed’s ‘Mein Na Janoo’ is…basic

    Sanam Jung, Affan Waheed’s ‘Mein Na Janoo’ is…basic

    Sanam Jung’s, much-hyped comeback to dramas had everyone buzzing. The actor has been an extremely popular morning show host and her fans were eagerly awaiting her return to the screens. Sadly, her latest offering Mein Na Janoo, which also stars the new heartthrob Affan Waheed and Zahid Ahmed, has fallen flat, leaving the audiences confused.

    Till now, six episodes have been aired and with every passing episode, the plot spirals into some unknown universe.

    The drama, produced by Adnan Siddiqui, revolves around Saira (Sanam) and her half-sister Kiran, played by Komal Aziz Khan. Both the girls have the same father but different mothers. While Kiran’s mother has been accepted by the family as their own, Saira’s mother (Huma Nawab) is an outcast and treated like a maid in the house, for reasons still unknown. All through the first six episodes, Saira’s mother is referred to as a “chalaak, gunegaar, behaya aurat” because she apparently stole her husband. Saira is also mistreated and vilified by the family even though her father supports her and defends her when the rest of fam accuses her of chalaoing her “jadu” on the men.

    Meanwhile, Nain (Zahid Ahmed), a former Airforce officer and Nehat (Affan Waheed) are Saira and Kiran’s cousins. Both of them are in love with Saira and want to marry her. However, Nehat’s mother refuses to make Saira her bahu (because you know she belongs to a behaya mother) and wants Nehat to marry Kiran, while Saira’s father is unsure about giving his daughter to a person who is blind, even though Nain’s family loves Saira.

    In short, the plot is basic and has nothing new to offer – crying heroines and abusive families have been done to death. Though I have to admit, the level of abuse in this drama is over the top and makes you cringe. Dialogues like “Iss larki nay izzat mitti main mila di,” “Iss ko main aisa sabaq sikhaoon gee keh dunya dekhay gee,” etc have been generously used. And of course, girls and boys have no right to fall in love with each other and if they do, it’s the girl’s fault because she trapped the guy.

    Both Saira and her mother as victims are seen crying in almost every scene. Saira’s mother barely says anything, just walks through every episode with her head down as the rest of the family members vilify her and call her names. Sanam’s expressions come across as wooden in most scenes, but then again her character has been written like that. Affan does a decent job as the arrogant spoiled brat as does Zahid as a blind former Airforce officer. But none of the actors give their best. Their acting is slightly above average at best.

    The drama is currently moving at a snail’s pace and leaving many questions unanswered which is why it is getting boring and dry. I hope the writers shake things up because if they continue like this, no one’s going to watch it. Affan is expected to turn into the antagonist and become a complete psychopath so that is one thing to look forward to.

  • Six episodes in, ‘Hassad’ is everything that’s wrong

    Six episodes in, ‘Hassad’ is everything that’s wrong

    To put it very simply, ARY’s latest drama, Hassad, starring Minal Khan and Shahroze Sabzwari, is everything typical.

    The story revolves around two brothers. The older one, Farhan (Noor Hassan), is married to his Khala’s jealous daughter Zari (Arij Fatima) while the younger, cute Armaan (Shahroze Sabzwari) is happily married to Naintara (Minal Khan). Zari detests Naintara and Armaan’s totally in love, happy relationship and tries her best to mess it up. But the happy-go-lucky Nain Tara keeps her mother-in-law happy and her husband happier (he calls her every hour because he misses her so much).

    In a tragic twist of fate, Armaan is killed in a robbery and Naintara becomes the oh-my-God banished widow, pregnant with her late husband’s child. Meanwhile, Zari fakes a pregnancy to score brownie points with her MIL and Farhan. What’s annoying is that even in the sadness of it all, Zari can’t let go of her jealousy (the title of the drama is Hassad, after all) and tries to kill Naintara with the help of her mother. Farhan catches on and tells her she’s nuts and needs to calm down. Zari then decides to make Naintara into a skank (pretty much the easiest way to get a woman shunned) and claims that she’s having affairs with men, including her brother, who by the way was caught trying to rape Naintara in the middle of the night.

    Six episodes of every-single-twist-you-can-think-of, keeps viewers hooked but once you start thinking or trying to understand it, you’re like “Wha?”

    Despite being a young and pretty girl, Naintara is cons-tant-ly forced to wear white after her husband’s death because she is now a bewa. She is constantly harassed by the evil Zari into being plain and is not allowed to go out and “sambhalo” her white dupatta. Soon enough, the MIL, being the MIL, joins in with Zari. So typical.

    In a nutshell, as the episodes progress, the MIL and SIL turn against sweet little bahu who is so beychari that she has nowhere else to turn to. She has to put her hand on the Quran to swear that she didn’t have an affair with Zari’s brother and destroy Armaan’s memory. So cliche. But then again so masalaydaar.

    Our drama directors know what sells and they’re literally selling it like no one’s business in this drama, with overdone twists in every episode. And they don’t appear to be stopping soon. While we personally don’t advocate the typical crap presented in this drama, it is stuff that will definitely sell.