Maa-jee say darti ho.
Nahi, unki umr say darti hoon. Betay kay baad agar beti bhi apni manmaani karnay lagi to woh nahi sahe paayen gi.
Moments - stunning, eternal, painful, putting, full of love, and even perhaps anger. All of us have them.
Firaaq's 2d episode gave me relatively just a few of those moments. I noticed the preliminary curiosity between two strangers someway tied by means of destiny, circumstance, and familial bonds, as I noticed Paiman and Sara. Then, there was once the banter between Amroze and Roomi, which is moderately telling of issues but to come back. I felt Sara's unease and Shams' withdrawal at Maa-jee's revelation. Momentarily, my coronary heart went out for Paiman as she sat gardening along with her sautala-Abbu, simplest to be all of sudden stunned by way of Tabassum's match of anger.
Actually, I am nonetheless reeling from that shock! Phew!
As I take a seat right here typing, there is a humorous factor I simply seen, for an episode that had so many moments, the story remains to be held captive through Maa-jee. Kyun? Neatly, Paiman remains to be caught in that home. From final week's promo, I believed Sanam Saeed was once supposed to go away suitcase in hand with bhai-ji, but, we finish with these stern phrases: "Tum yeh kamra chood kar nahi jaa sakti, bas."
Maa-jee, mera ek mashwara maanay, hooni ko koi nahi tal sakta.
Despite the fact that I am relatively upset on the stilted development of the narrative (everyone knows Paiman is heading out, then, why the not up to cliffy cliffhanger?!), there's sufficient on this week's episode to maintain me briefly satiated.
As a lot because the narrative makes a speciality of Shams and Sara's relationship or Maa-jee's loopy antics (in reality with that danda?), which can be essential to the general construction, that is surely Paiman's story. We see how she acts and thinks, we're made to really feel for her, for her scenario. Our voice resonates with that of Haider, "Iss ghar mein tum murjha jao gi." Sanam Saeed breathes existence into Paiman, and I do know some could disagree, however her expressions particularly her eyes bring a long way extra ache than they're intended too. Paiman is a sad, quite, demure, and reclusive creature not by choice but by circumstance. And Saeed's big glasses, scrunchie-d hair, printed suits coupled with the dialogues and her acting present a character that is at once conflicted by right and wrong, by perceptions and desires, and most importantly, by a question: should she live for herself or for someone else.
Sixteen years of living like a prisoner, no matter how beautiful the cage, can take a toll on anyone and Paiman is no different. She is bursting at the seams to leave, to explore, to experience, to make mistakes, to fall in love, to be heartbroken, and maybe even find herself. Experiences, as Haider rightly notes, she's being denied by a mother who's lived her life. Ironic isn't it?
The source of Paiman's earthly misery, Maa-jee, is an enigma (and not the good kind). Why is this woman so hateful, so insecure, so angry? If there's anyone in need of Amroze's services (and desperately at that) it is Tabassum. I still haven't gotten over her danda antic (and this is just the beginning), I'm not sure whether to laugh, be horrified, or maybe feign disgust? Either way Uzma Gillani is a formidable powerhouse of acting in Firaaq, because this story needed a villain like her.
In many ways, Maa-jee is a warped and twisted version of Farida from Humsafar, which is why, I think, Shams left. His "betrayal" of mother and sister had nothing to do with Haider, in fact, Haider served as a ready and easy excuse for escape, but I could be wrong. Shams is a character full of anger, which bursts forth on occasion such as when Sara goes to the park or decides to visit her saas (of course, thanks to Dr. Amroze). Seeing Junaid Khan being every bit as dark as his Adam from Mata-e-Jaan Hai Tu, as he waited quietly for Sara and then just stood there looking at her: goosebumps (no, seriously!). Let's hope HUM TV has insurance lest the character get into Juni's head.
Getting into heads, though, is Dr. Amroze's forte. After all, that psychotic couple is still in therapy. Waise, HUM TV nay itnay paisay kharchay, location par, kapdoon par, cast par, thoda paisa extras par bhi kharch laitay, baat yahni choodon ga, as they say, akalmand ko isharaa kafi. I have yet to see Mohib Mirza truly woven into this story, he seems (as of now) to be an outsider looking in, which is why seeing him in a rather candid conversation with Roomi was a tad bit revealing. These two have an odd friendship, they sit around while one paints the other, talking about tanhaai and women in their lives. Could this be yet another love triangle with both Amroze and Roomi falling for Paiman? Triangles or not, the boys looked good together, be it Roomi and Shams or Amroze and Roomi, their interaction wasn't stunted but rather natural and impromptu (what with Noor Hassan laughing through his dialogues?!).
For an episode that had promised us a climax, we were let down, but by no means disappointed. The writing, editing, direction, and acting are in tandem with the overall narrative. The camerawork was equally flawless and the background score never disappoints. But I hope they'll give us some silences (awkward or otherwise) - like they did today with noises of traffic, of the wind, of rippling water - because the story deserves them.
Till next week,
This is RB signing off. (Tweet me!)