“Main tumhen kabhi akela nahin choroonga … Ibaad Uzair hamesha, hamesha Hainya Sajjad ke saath rahega ….” While there is nothing new about this declaration, nor is it like we’ve never heard/read such lines before, but the way they foreshadow what’s yet to come, and the quiet intensity with which Adeel Hussain delivered them, sent a shiver up my spine and I had a huge lump in my throat –and all this in first 8 minutes of the episode! Clearly, I was hooked and not going anywhere or doing anything else for the next hour or so!
The strong opening pretty much set the tone for the episode. I have said this before, and will reiterate it, Farhat Ishtiaq deserves a ton of credit for the way she has successfully adapted her original story to meet the needs of a different medium and a different audience; it is these changes that keep me from getting up or toggling screens on my computer. The scene between Ibaad and his mother, as he asks for her permission to marry Haniya, has to be the highlight of the episode. Their bond is so special – Hajra doesn’t spout off long-winded dialogues and Ibaad is not verbose either, but there is such a connection that words are rendered unnecessary. It is this love that gives Hajra the courage to go against Uzair’s egotistical demands. This is probably the first time she has stood up to his selfishisness – not for herself, but for her son’s sake, for his happiness. The blustering exchanges between Uzair and Hajra, him telling her to forget her mamta and remember only his izzat, illustrates why Hajra decides to defy her husband. Having spent a lifetime trying to please a difficult man, she wants to ensure that Ibaad enjoys a happier marital life. Hina Bayat is absolutely fantastic as Hajra.
Not forgotten among all the drama surrounding Haniya and Ibaad’s lives is Adam. He is hopping mad and will not rest till he gets back at Yamina. The scene at his friend’s place illustrated his frustrations and mental state, and we got a glimpse at yet another facet of his character – should we add cheating-on-wife to his negative traits? However, even as we see him as the baddie, it is easy to see hints of the charmer he must’ve been. This is a beautifully nuanced portrayal by Junaid Khan.
Among other highlights, Ibaad and Mama Jani’s exchange at the hospital, followed by Haniya concerns over Ibaad’s decision and his quiet reassurance, made for a great sequence. Watching Mama Jaani participate in Haniya and Ibaad’s marriage via skype was a really emotional moment. I also liked how Mama Jaani’s death was handled ever so creatively. Rather than the doctor telling the family members, who then fall apart; here, we were conveyed the news via Ibaad’s telephone call to Adeel, nicely done!
While all actors are doing really well in their characters, I must, however, single out Adeel Hussain. Along with Hina Bayat, it is Adeel who is keeping me glued. I wait for him to come on screen. For those who think Adeel is miscast, all I can say is watch this episode. He totally owned it today! He is growing with every serial he does and is different in every role he’s played. I just love him here as the quiet, understated, but extremely passionate Ibaad. Two thumbs up Adeel!
This was another great episode. I have to commend the seamless transitions between Karachi, New York and Chicago. One does not get the sense that one track is being abruptly cut short to privilege the other –great job by Mehreen and the editing team. Finally, I’m really enjoying the sense of calm that seems to imbue every scene. It is weird but I had the same feeling when I read the novel, and given the ethos this serenity is indeed an integral part of the story. But for the life of me I cannot figure out how it has been accomplished on screen, but then again why am I surprised – it is MJ after all!
Addendum: Please excuse this addition, but it is relevant to the episode and related to an issue I have been pointing to for a while now …
A part of this latest episode has been blocked by YouTube (at least in the US) on grounds of copyrights violations of the Warner Music Group. I am not a lawyer, nor do I know how this works (or doesn’t work for that matter) in Pakistan, but copyright infringement is a serious matter. We saw unacknowledged music clips being used in Humsafar, an A.R. Rehman composition being passed off as an original OST in Durre Shehwar, and now Mataa-e Jaan videos are blocked. No longer a bit player on the Pakistani entertainment scene, MD Productions is making its mark globally, and this is something they should seriously look into – surely this is not the kind of issue they want to be associated with their name.
Written by SZ~ [email protected]
Follow me on Twitter: SZ_DramaPakistani (@sz_dp)
