Acha ji, so after suffering through last week’s jhatka denay waley potholes – kaun kis ka mehram aur kyon and khala khalus ka jhamela – our tange wali sawaari is happily back on track again. Despite the fact that I can’t relate to the circa ’40s and ’50s waali aahen bharti muhabbat and scent waley khaat, there is something about the poetic ambiance of Sadqay Tumhare that drags you willy-nilly into Shano and Khalil’s fairy tale world.
Theirs is an enchanted world – one that exists outside of time and space – a world where emotional intimacy trumps physical closeness, words are rendered superfluous, what happens to one is just as keenly felt by the other, everyday, commonplace occurrences take on a meaning all their own. Shano and Khalil are now inseparable – both at a point where what people say or do holds no meaning for them. Be they abba ji’s cautionary words, Dr. Maqsood’s mashwaras, Shano’s taya’s dhamkis, Fayyaz’s boastful threats, maulvi sahab’s gentle censure, or even ammi ji’s mars – nothing is going to change the minds and hearts of these young lovers.
If the youngsters are stubborn then their elders are even more so. Rashida’s hatred for Khalil seems to grow with every breath she takes. While it is yet to be determined whether it was Inayat marrying Rasho’s mangetar, just days before their marriage, or something to do with her ill-advised affair with Inayat’s louse of a first husband, the fact remains that the key to Shano and Khalil’s future happiness is lost somewhere in the baggage of Rasho and Inayat’s cobwebbed past. Meanwhile in the present it is apni bechari Shano who is getting beaten up for every word she utters in support of Khalil. Aur tau aur even the elderly maulvi sahab failed to sharminda karo Rasho. Aunty ji kahan kisi ke roab mein aaney wali hain.
And if you thought Rasho was stubborn, well then Inayat bhi kisi se kam nahin – after all behen kis ki hain! After being turned away empty-handed, her ladla son’s proposal coldly refused, rather than saying tu nahin tau aur sahi, aur nahin tau aur sahi to her younger sister’s family, Inayat aunty turns around and assures Khelu ke come what may, beta tu fikar na kar, Shano teri hi hai tujhe hi milegi ….
By the end of the episode, after reading Shano ke dil ka haal, apney hero sahab is all charged up for a one on one with his raqeeb Fayyaz. What happens when the shehr ka parha likha ghunda means the gaon ka gun toting baddie remains to be seen. Rest assured though, going by the promo it seems like we are in for a bloody good, maar dhaar wale action se bharpoor episode next week.
Overall as an episode this was a smoother, more even paced episode, the relative calm after last week’s heavy storm; aisa toofan ke jis ne na sirf bechare maluvi sahab ko hila diya, balke bechari Shano ko bhi neela peela kar diya. Ab its a whole different matter ke both are survivors. Maulvi sahab found the wherewithal to confront Rasho and tell her off in his own way and Shano too refused to give in to her mother’s patented ek thapar ke saath do aur muft brand of pitai. While Qavi sahab is great as the soft spoken maulvi it is Mahira who shines as our lovelorn, very filmy heroine – her singing while looking in the mirror, addressing her beloved as it were, was fabulously done.
Not to be outdone by his lady love, Adnan Malik was great as the lovelorn Khelu. His expressions, particularly the tight closeups, as he read Shano’s letter were excellently done. Samiya Mumtaz is in a class all by herself – her Rasheeda is so dark and her smile so sinister; she seriously gives me the creeps every time she smiles. Mukarram Kaleem is doing well as the big talker ghunda Fayyaz. The two Bffs, Saniya Shamshad and Shamil Khan remain as likeable as ever, although now I am seriously concerned about Dr. Maqsood’s no-life-of-his-own track. Yaar, bhai jan, kabhi kabhar, just for a change, Khelu ka peecha chor kar kisi ek adad classmate se hi baat kar liya karen kabi kabhi …
A major reason why Sadqay Tumhare works is Khalil ur Rehman’s lyrical style of writing. Though I have yet to come across anybody who speaks such flowery language in real life, it is, nonetheless a treat to hear his beautifully penned outpouring of emotion. And it is to Ehteshamuddin’s credit for creating a visual narrative that does justice to the written word. The scenes are beautifully framed and nicely edited to maintain viewer interest, particularly some of the longer scenes are handled very well. Among all these positives, the use of Dastaan’s background score stood out like a sore thumb today. Surely the editors could have come up with a different track to match the mood of the scenes? Please have somebody look into this – thanks!
So what about you guys? Anyone fall off the tanga?
Written by SZ~