The best laid plans of mice and (wo)men often go astray.
Even in death, a respite . No matter how beautifully composed, and elaborate Kuku’s preparations of her swan song, things tend not to go her way – not in love, life or even death.
Saved by a delivery boy, who seems to have unfettered access to her home and who knows exactly whom to call, Kuku is saved.
While Mansoor left his wedding celebrations to be by his lover’s side, he seemed to resent that she would do such a crazy thing because as far as he is concerned, there remains an implicit understanding that this marriage doesn’t change anything between them.
So then, why the drama?
As for the M word, clearly it has been discussed and discarded as an option . More by him than her it would seem. Though you have to ask, what kind of a man goes through a sham of a marriage – kafi khel liya yeh shaadi, shaadi– instead having a spine strong enough to be with the woman he professes to love? And what really does it say about this girl who chooses to marry a man who didn’t so much as see her picture or exchange one word before nodding in assent?
As much as Sohail Sameer embodies his characters inner player – from the thrill of the chase to conquering Kuku to rising up to the ‘challenge’ of marrying his mother’s choice, to the surprise at registering his wife’s beauty, I am hoping his charm and polish makes at least a guest appearance . Despite this recent spate of our hirsute heroes a shave would do wonders here.
Kuku meanwhile, carries on with the business of living even if just the night before she wanted to be swallowed by its darkness. Where did all the strength and resolve go that she is willing to lose her life for a man? Kuku’s vigorous scrubbing gives a strange insight into her pragmatic yet delicate state of mind. Iffat Umar, really pulls off this balance well.
The strongest scene was between her and Mrs. Khan. It was nice to see camaraderie and sisterhood and perhaps a shared experience between the two. Mrs. Khan who submits to her husband’s wishes and insecurities doesn’t seem to cower to them however – as evident with her Richard Gere remark.
Where this drama holds its own is in playing with time and hinting at subtext (maanje ke jode par khoon…So you heard?…I fixed it…), which never feels forced. Where it does feel forced is be-labouring the subtext. You could have left the kind hearted Mrs Khan’s visit and comment about a high protein diet jisse zakham jaldi baar jate hain but no you had to ruin it by stressing the value of a god awful ornamentation and its keemat.
As for Khurram, perhaps I was wrong – he’s channeling his inner Steve Urkel to perfection – suspenders and all. I admire the attempt to give him some depth and outline his own insecurities but I have to wonder if his return really holds any sway for Kuku. After all, didn’t she just ask to buy out her freedom from him?
As for the latest entrant, Laila (Alishba Yousuf) is the quiet expectant bride whose last scene had the brilliant effect of making her look trapped by her finery. Nicely done.
I suspect a lot of the translation of the written word to visual beauty is the fact that Bee Gul is present on the sets as Associate Director and the mis-en- scene reflects not only the thoughtful crafting of the visual themes but also hints at the director’s love of nostalgia in the props and song choices.
I’m still on board.
MM (aka A musing Muslim)
