When a serial has 25+ more installments yet to come it is hard to go wah wah after the 5th episode but to give credit where credit due it must be said that Diyar-e Dil is shaping up to be quite the serial. After a loud OTT opening this MD Productions- Haseeb Hasan- Farhat Ishtiaq project is gradually settling into a rhythm uniquely its own. Yes, there are issues – the background music is still overpowering, some scenes could do with tighter editing, and I continue to be exasperated with the wiring of a particular character – but all in all this one seems to be getting better by the week.
Picking up seamlessly from Agha jan’s absolutist stance – disowning Behroze and literally throwing him out of the family fold – this latest episode focused on how the various family members picked up the shards of their shattered dreams and hopes and opened a new, and a hitherto unexpected, chapter in their lives.
As the patriarch, the one who made the gut-wrenching decision to cut out his eldest son from his life, Agha jan is by no means happy or satisfied with himself for doing what he did. Nonetheless, even though echoes of happier time ring in his ears and he is haunted by memories of his two sons together, regret and second guessing is something he keeps very private, hidden not only from the world at large but also perhaps from himself. Hence when his brother absolves him of doing any injustice to Arjumand, Bakhtiyar Khan stands his ground. This is not merely the matter of Behroze choosing Ruhi over Arjumand, more importantly this is a question of his older son disobeying him, daring to look him in the eye and refute his directive – how dare he!
As for the recalcitrant son in question, Behroze, he is very much a chip off the old block. On the surface he is very happy with Ruhi and has no issues adjusting to the demands of his new life, but when by himself he too is haunted, the loving embrace of his father and brother now a thing of the past. Could it have been handled any differently? Would he make the same choices were he to do it all over again? Such are the thoughts that occupy him, but there is little he can do to make amends now – he knows his father too well and he loves Ruhi too much. Why is it that elders sometimes put their loved ones in such impossible situations? Why is it always my way or the highway?
Very confused and so very near the surface are Behroze’s emotions that they spill over at the slightest of provocations. His mixed emotions come as a surprise to his beloved wife. For Ruhi, not being privy to his complicated family dynamics, it is a very simple clear cut case of a brother standing by and watching the older brother get thrown out by their dictator of a father. To her husband, however, such a bald indictment, no matter how lightly said, is as good as a heavy handed insult and she gets shut down immediately.
Thankfully, though Behroze might be his father’s son he is also a man with his own mind, thus he apologizes for his harshness. But more than what anybody else can say or do its Behroze’s own ambivalent feelings towards his father that are brilliantly essayed here. That scene of him at the hospital – a time when he most needed his family around him is the time when he is the most alone – is the family to be blamed for his being alone or is he to blame for his being cast adrift?
And on assigning blames, Suhaib, the unwitting victim in this clash of wills between the father and his older son, it is hard not to feel his predicament. Were it me in his stead, I would end up hating both, father and brother, but clearly Suhaib is a bigger and better person than I could ever aspire to be. His pain, at losing his beloved brother (dharein mar ke rona notwithstanding), resentment and frustration, and even the need to take time to wrap his head around his new marriage to his previous bhabhi-to-be, are all very real and understandable. That said, the fact that even after two months he is not able to carve out some kind of a tenuous working relationship, not necessarily of the marital kind, is a bit hard to fathom. Yes, Arjumand was not making it easy for him but there seemed to be no engagement on his part at all. I am not quite sure how he thought he was going to spend the rest of his life, but this kind of a head in the sand approach was definitely not pointing to him looking for any answers at all.
What Suhaib thought, or how he was going to handle the situation, all such discussion became moot the moment Agha jan re-entered the picture. It would be easy to blame Agha jan, not that he walks away blameless, but the crassness with which Suhaib handled the consummation of his marriage was something that came as a complete shock and a disgusting one at that. The way he demeaned her as his wife and insulted her as a woman is not how rational adults deal with situations. Agreed, his father pushed him but surely there were better ways to deals with the whole situation with more finesse. Yes, he was forced into this marriage but so was Arjumand! Going by the precap it is completely understandable to see how a very soft and shy Arjumand turns into a bitter, angry woman, at war with her unborn child, her husband, her ex-fiance, his wife, her parents, her father-in-law, the list is never ending.
Diyar-e Dil is as much a story of a father and his two sons, and their very complex relationships with each other, as it the story of the two bahus, Ruhi and Arjumand. I love how all the character graphs are shaping up and the women and men are all getting equal screen time, each individual story just as important. Kudos to Farhat Ishtiaq for bringing us such a vividly etched out story of human relationships, where everybody is equally right and wrong, depending on the lens with which the story is being viewed. Haseeb Hasan does a fabulous job ensuring that the nuances of every character are highlighted equally.
Abid Ali was fabulous in the opening scene – the father might ache but the patriarch is satisfied with his decision. Sanam and Mikaal are great as Ruhi and Behroze, all their scenes together were very nicely essayed, but the hospital scenes were particularly outstanding. Ruhi’s reconciliation with her brother was very well handled and contrasted very nicely with Behroze’s isolation from his family.
Beautifully juxtaposed against Ruhi and Behroze’s happy marriage, despite all the financial and emotional challenges thrown their way, is Suhaib and Arjumand’s more comfortable but ultimately meaningless marriage which can be described as anything but happy. Hareem Farooq is impressive here and I am really enjoying her take on Arjumand’s character. as she transitions from the once shy, romantic girl to the now bitter woman. Suhaib is quite the unlikable fellow, but Ali Rehman is doing very well at playing this not quite so mazloom mard. I will happily admit to being totally turned off his character in the past episodes, but with this latest twist we finally get to see him doing more than sobbing his heart out. Not quite what I had expected from him, but it sure does make for an interesting twist as we wait for the next episode.
Looking forward to more fireworks next week.
Written by SZ~