Dowry is a known social evil. Yet, we all conform to it one way or the other. The psyche is pretty much the same. We give in to follow the age-old practices, irrespective of their relevance and effectuality. The explanation in favour of our unfaltering obedience to social mores, whether agreeable or disagreeable, are aplenty Sometimes it is just the parent’s wish. Sometimes it is to execute a dream-come-true-wedding. Sometimes it is the bride’s/groom’s wish. And sometimes it is social pressures. Whatever the reason be, dowry has deeply entrenched roots in our socio-cultural fabric so much so that at times it is very difficult to segregate the necessary from the unnecessary. Heinous it is when the arrangements are as per the express and compelling wish of the groom’s family. Sensible and welcome it is if the bride’s father sends it as part of the trousseau without asking. But can anyone gauge what repercussions a dowry has on the family of either the bride or the groom in the long run? If not, then do please watch Aaina Dulhan Ka on Zindagi Channel, aired from 08.00 PM to 08.55 PM, Monday to Saturday, without fail.
Akbari( Ayesha Khan Sr.) and Asghari(Samina Ahmad) are sisters yet poles apart. Akbari believes in luxury, pomp and show while Asghari is sensible and cost conscious. Akbari has raised her granddaughter, Aayeza(Aamina Sheikh) in her own split image - she is arrogant, extravagant and impractical. Aayeza"s sister Aaima, like her mother, is extremely down-to-earth and humane. Aaima wants to marry Haashim, Asghari’s grandson. But before her wish can materialize, Aayeza gets married to Hammad(Mikaal Zulfiqar), Haashim’s elder brother. Aayeza’s wedding ceremony, grand and opulent, is something to be seen, notwithstanding the gaping hole it has made in her father’s pocket. However, it is this wedding that brings curse to both the families.
Now, Haashim(Ahsan Khan) and his sister, Hamna(Momal Sheikh), both want an equally opulent wedding which is beyond the budget of the family having already incurred heavy loans for the first one. As Aayeza’s true colours come to the fore, Haashim’s family is reluctant to welcome Aaima into their clan, not knowing that Aaima is absolutely unlike her sister. One incident gives way to another which drives both the families towards acute financial crisis. Will Aaima be able to get married to Haashim? Will Aayeza be able to realize her mistakes? Will both the families be content and happy ever again?
In today’s consumerist society, an individual’s worth lies in his/her purchasing power. Gone are the days when personal wealth implied priceless values, morals and principles. Richness of ideals has been overtaken by the magnitude of material possessions and worthiness by the capacity to acquire and amass wealth. Those who have had glimpses of that bygone era lament being part of a degenerating society. In this context, I am reminded of an old Hindi film, named Aastha, which got drawn into the vortex of controversy because of the boldness of its theme. Rekha, wife of a middle-income group professor, sells her modesty for a pair of shoes that catches her attention in a store. It may sound implausible and over the top yet the shameless and imprudent act is a powerful pointer to the gnawing human greed on which consumerism thrives. However, the implications of the act go far beyond when the lady starts deriving a kind of perverted pleasure out of her amorous escapades.
While Akbari encapsulates all the ills of feudal aristocracy Aayeza is no less than an extended version of the same malady of pointless squandering and shameless show of money manifest, in modern society in the name of brand consciousness, social competitiveness and such other variegated fashions. To assess an individual by his/her material possession is a deplorable human frailty trending nowadays as the most practical approach to judge the antecedents of a fellow human being. One of my colleagues paying me a visit when I was convalescing from a freak road accident was more concerned about my dining table than my health. When we conform, willingly or unwillingly, to the established scheme of things, we are not being trendy but reactionary.
In contrast to Aayezaa, Aaima has a mind of her own and sticks to her values However, it is the hardest for her to make a place for herself in her in-laws’ hearts. And that my friend is reality laid bare. In a society misled by collective prejudices and preconceived notions, it is honesty and sincerity which get duped and side-tracked the most. Either you go the way the wind blows or stand the maximum chance of getting blown over because you are just trying your damnedest best to be your good, straight self and not floating with the current, which may be the easiest trick of the trade for survival.
Based on the novel Mirat-Ul-Uroos(The Bride’s Mirror) written by Nazir Ahmed Dehlvi, the tele-serial, Aaina Dulhan Ka, is a clean, healthy and educative drama, fit for family viewing. A serious plot which has been at times perhaps deliberately underplayed by light hearted strokes and humorous touches here and there. The Director, Anjum Shehzad, has ridiculed the obsolete socio-cultural practices, held precious by the likes of Akbari, in a restrained yet effective manner. While preventing the seriousness of the issue from bearing down heavily on the psyche of the viewers, Anjum has at the same time, brought the point of imminent change in social outlook home in a sharp and precise manner. Need we say that performances are the highlights of the serial, especially, that of Saba Faizal as Aayeza and Aaima’s mother-in-law, Aamina Sheikh as Aayeza and Mehwish Hayat as Aaima. Again, I am glad to note the complete absence of adherence to stereotypes in selecting the cast and assigning roles in Pakistani serials. Mehwish Hayat as the smooth and vengeful protagonist of "Mere Qatil Mere Dildar" cannot be in any way compared to the acquiescent, dutiful and pleasing personality that is Aaima. So is with Ahsan Khan, the irresponsible and at times childish Haashim of this serial who is at an absolute tangent with the guilt ridden and doubting Thomas of a husband in "Mere Qatil Mere Dildar." It is heartwarming to see how Mehwish and Ahsan have again been paired up in entirely different roles against an equally opposite familial backdrop.
Pakistani serials, aired on Zindagi Channel, deal with contemporary issues which are socially relevant and meaningful conveying messages of reforms and change, which are the need of the day, without being didactic or resorting to moral policing. It is also pertinent to take notice how society is plagued by similar aberrations and dogmas on both sides of the LoC. Highly commendable is the step to bring to light the common social ailments through the format of tele-dramas, keeping aside for once, the political differences and misgivings of two rival nations. That is why the Channel’s tagline "Jodey Dilon Ko" befits the attempt that it makes to bridge the yawning gap between the two people through the medium of the small screen. It will be a half-truth if it is not admitted that Pakistani plays do not err by beating around the bush and are immensely more focused, direct and lucid in their treatment of the issues in hand and approach to the crux of the problems without wasting episodic time.
If your tentacles are up by now do raise the remote and flick on Zindagi Channel for an entertaining as well as introspective watch.
Cheers!.