Humsafar

While the entire conversation was going on in class about the deep and intense implications of Humsafar, the only thing going on in my mind was whether Humsafar is indeed a drama with such a well thought-out plot or just a story with loopholes. But given how religiously we follow Grey’s Anatomy and Vampire Diaries despite of their mind boggling storylines, I think we owe Humsafar a shot too. All the leading characters of the drama are quite archetypical, giving it a feel similar to those of old Bollywood movies.  The most impactful scene was the climax scene where the big curtain is drawn.  Attiqa Odho comes out of her shell and reveals her true self as the evil mother-in-law who plotted the entire scheme. I may not be able to read in between the lines too much or over-analyze what each of her dialogue implied, but tension in that part felt all too real. Her constant usage of the words ‘na-paak’ and ‘do take ki larki’ echo a very strong impact. This brings out the class-based terminology and how upper class refers to the concept of ‘na-paak’  in economic terms. This shows that money is a way of altering the narratives and how upper class is able to mold the truth according to their will. An interesting side of truth is revealed in this drama as opposed to the conventional black and white understanding of it. Khizer, Farida, Sara all justified their action because they believed in their own truths. For Sara, all that mattered was her love for Asher, for Fardia it was her bruised ego which she had to feed, for khizer it was his love for Sara which made him commit this heinous act. They all believed in their own versions of truth but interestingly none of these truths had virtue in it.