*missed blog post from week 3
Humsafar tries to show that an integral feature of feminine
identity is that it cannot survive without a male one. For example, even though
Maimoona never depended on her brother for anything, despite the fact that she
had been a single mother for quite some time, in her last moments ended up
turning to Baseerat for help;
“Khirad ke liye koi acha saa rishta dhond lao, meray bhaiya. Meri
mushkil aasan ker dain.”
It would make more sense if she had turned to Batool Khala
with whom her relationship was much more intimate than with her estranged
brother. However, it can only be the male protagonist who can solve her problem.
Maimoona’s daughter follows in her mother’s footsteps. Even
though she swore to herself that she would never forgive Ashar for abandoning
her when she needed him the most, she is forced to admit him back into her life
for the sake of the happiness of her child.
“Hareem ko aik pyar karnay walay baap ke sirf zaroorat nahin, aik bohat
pyar karnay wali maa ke bhi zaroorat hai.”
And not only does the female absolutely need the male in terms of social survival but needs him
for emotional survival as well. With all of her ‘khuddari’ and bold statements
like “Aapka
beta meray dil say utar chukaa hai” , Khirad in the end admits that “Mohabbat
khatam to nahin hui, lekin kho zaroor gai hai.”
Similarly, Sarah, the modern, independent, working woman,
who you would least expect to need a male protagonist in her life, if seen only
from the viewpoint of her being portrayed as the modern, working woman (and not
in terms of the urdu drama’s hatred of the upper class), is the most
emotionally attached to the male. She might not be dependent upon the male financially
but still needs a man to love her.
“Tum meray liye iss liye important nahin kyun ke tumhe bachpan say
jaanti hun balke iss liye ho kyunke tum meraa sab kuch ho.”
And,
“Main tumharay baghair zindaa
nahin reh sakti, Ashar.”
In the end when this need of hers is not fulfilled, she ends
up taking her life.
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