Haseena Moin did an
exceptional job in correcting the social fabric by engaging with the theme of
love, especially when seen in comparison to the current day Hamsafar. The contrast
is as striking as the force of cannon balls in the 18th century.
Love is proposed as a nuanced feeling in absolutely flawless detail. It is
matured to the extent as if dealing with an entire institution of love which
is more realistic and holistic.
As a study in literature romantic love when contrasted to
other forms of love is an excess of emotion which is presented as an entity to be
dealt with caution, in Pakistan particularly. Love due to its inherently risky nature
perhaps cannot take flight in the realm of instinct and freedom. In Hamfasar
this excess of emotion takes on the form of passion (for Khirad and Ashar in
the peak of their marriage), obsession (Sarah and Khizr) and an overall misguided
sentiment that originates and multiplies a great amount of trouble not only in
the domestic sphere, but as a national practice too. Love hence is a narrowed
down phenomenon and eventually takes on the shape of a forced compromise (due
to the birth of Hareem).
Dhoop kinaray in its role play for love is from the very beginning
presented in a positive light. Zoya’s father recalls the story of him and her
mother’s marriage in a frank air of acceptance. It’s a celebratory reminisce of
a cherished moment almost like kite flying. Easy going, transcendental and
happy. Even for Ahmar and Zoya their love does not present a binary between the
irrational dictates of heart and the rational dictates of mind, rather it is an
ecstatic mélange of both. They give their professional work, friendship and
domestic (interaction of Ahmar and Zoya’s father) relationship time and build
on it slowly. No ludicrous desperation matched with the superficial color
scheme of black against white clothes, arched eyebrows (Fareeda) and un-plucked
eyebrows (Khirad), enforcing further stereotypes, set in.
Love develops in all dynamics of understanding and depth. While
Zoya walks in youth and beauty and Ahamr in sobriety and a darkness of sorts,
they both are aware of their strengths and weakness and point them out to each
other repeatedly. Not once does it go the foolish heights of misunderstanding where
a lover loses all trust because the beloved loses control of her duppatta
in dangerous proximity of a na-mehram (let us not mention the numerous
dinners Ashar and Sarah had after his marriage).
A reason perhaps Dhoop Kinaray does such magnificent job in presenting
a more open, nuanced understanding of love and relationship as opposed to
Hamsafar which primarily echoes the much conservative idea of ‘love after
marriage’ is because of the literary, artistic and aesthetical milieu of that
era. The verses of Ghalib and Faiz were to be drunk on, the strokes of
Sadequain be worshipped. Pakistan now depicts a gloomy era of rhetoric and
orthodoxy.
Woh shab o roz, maah o saal kahan..! (Ghalib)
^(quoting from my memory. Thanks to my parents who read
Ghalib and other cool fellows all the time)
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