Mera Naam Yousuf Hai asks big questions: Do class concerns trump love?. As the curtains fall in Mera Naam Hai Yousuf, this drama shows one of the most exciting year of associations. Andaaz Khalil Ur Rehman filmi match Qamar stylish subtle direction of Mehreen Jabbar achieved a nice balance with the theatricality of the writer tempered by the realism of the director to create an exciting, fun but thought-provoking series.
Khalil Sahib once again managed to evoke a past world influenced by 1970s sensibilities. Larger than life events, characters with interconnected lives, old fashioned romance, and the thugs formulas, police beatings, villains, sacrifice, redemption and truly proven friends made for an entertaining ride.
While the story remains as old as the hills, was the combination of excellent writing, high-caliber performance, stellar production values and strong leadership that made for addictive viewing. Yousuf (Imran Abbas), the protagonist falls in love at first sight with Zulaikha (Maya Ali). However, Zulaikha parents are engaged in their own struggle for personal power to have his daughter in marriage to a groom of their choice. After her boyfriend of no-show, Zulaikha breathe a sigh of relief, but still Zalim Zamana conspire to keep the lovers apart.
A kidnapping, two marriages, two talaqs a Khula and multiple strokes later, what started as a cheerful farce turns into something much more sinister. The last episodes Zulaikha force back to her husband Imran Mugeez (Ahmed Taqi) but she succeeds in winning one and releases.
Meanwhile, (Waseem Abbas) betrayal of his father Mohammed Noor of his family and his second marriage creates ripples around. Wali (Faizan Sheikh), his son, tries to teach her father a lesson, you remove all your material gains, while Afia Begum (Hina Bayat) files for divorce and moved out of her house with her daughters.
Writer Khalil ur Rehman creates chemistry and romantic tension between the cables despite not sharing much screen time. Is pure mastery that accounts for conservatism
Although the circumstances now conspire to bring the lovers together, they seem to want to stand apart. Past history of their parents and Zulaikha reports of Yousuf relationship, but now seems to suffer from a twisted idea of sacrifice. Fortunately for them (and us) and in a surprising deviation bias toward Khalil Ur Rehman Qamar unrequited love and tragic ends, the end love does conquer all.
Script to screen chemistry
It is remarkable that Khalil Sahib created as chemistry and romantic tension between the cables despite not sharing much screen time. Is pure mastery that accounts for conservatism, but does not diminish the ideas of love and longing. The subtext of the dialogue works wonderfully to convey romance and this is its strongest point. They were also managed to turn the historic pairing of these characters inside out with references to ideas of “yr ko mein qaid Yousuf Kharid kar diya kar reha ‘and’ Yousuf bik raha hai use what Kharid ‘.
Cables also infuse their characters with the pain and pathos. Imran Yousuf Abbas as the lover has a dreamlike quality about him and conveyed his anguish effectively. Maya Ali also failed to show arena, common sense – even if it was only superficial – and moments of vulnerability. Mehreen Jabbar deserves credit for maintaining excellent driving performance and the cast.
Khalil Sahib also carefully tends to the family relationships and friendships. These are not peripheral to the story, but are displayed as plot points and each character is important in its own way. The top players Afia Begum, Waji Ahmed, his wife, Noor Mohammed and his sister Kausar Parveen all are portrayed as individuals with motivations and history long before they became parents. Actors Hina Bayat, Behroze Sabzwari, Seema Seher, Waseem Abbas Akbar Perveen and make the best of their characters, channeling anger, resolve, impotence and a vision of masterful performances, but Mohammed Noor and Kausar Parveen were firmly typecast as villains.
The drama makes important observations about power: in our patriarchal society and its unequal and unjust ways, people use power to perpetuate their own interests and maintain the status quo
Sibling relationships between Madiha (Mansha Pasha) and Taji (Ali Sheikh), Yousuf and Imran Mahrukh and even Tehmina Mugeez and explore different aspects of the relations between brothers. It’s refreshing to see all these actors he pays and this is a good reminder to all playwrights out there to create memorable characters, no matter how small the role.
Khalil Sahib also makes important observations on power.
No doubt that is a mirror of our patriarchal society and its unequal and unjust ways, but in doing so, he shows how people use power to perpetuate their own interests and maintain the status quo. Noor Mohammed extends his power and control not only his house, but for a price, have the police do their will. However, he succumbs to the power of his sister’s about it. The police, in turn exert their authority over Waji Ahmed and gave the power of Lahti.
Although bullying is kept away from your audience, his words leave an indelible mark. Fortunately, Khalil Sahib is not above entertaining us so we got a lot of dialogue pointer, along with humorous and often well-rounded observations about life.
But for all that Khalil Sahib get it right, there are some things that rankle. While he exposes double standards, hypocrisy and challenges that women face, his statement about portraying strong women deflates. This idea does not stretch beyond the appearance of the language of colors and a lot of positions. Afia Begum and Zulekha were prime examples of all talk no action. Instead of taking control of their lives, they were content to let events unfold as they can and made decisions only when forced by circumstances to stripping them of any semblance of the agency.
In a time when more and more women are choosing to leave home to study, work and contribute to society, why most of our dramas are only interested in closing back inside and shows us women in the home?
Although toys with the idea of the class, also strengthens his characters firmly in the status quo. This class division was definitely sharper in Pyarey Afzal. The sisters were Loubna Farah and upper middle class girls who could come and go at will in chauffeur-driven comfort. There was also an appearance of different aspirations of marriage. Afzal, a child of lower class, falls in love with a girl from high school, and despite their ill-gotten gains to climb the social ladder, and finally break the imperious will of Farah, Afzal’s death meant that this division of classes He did not have to be overcome.
If all what a drama is to reiterate the choice of marriage is the only option for our girls, does a disservice to the incredible potential and creativity they have and restricts the lives that can aspire to
In Mera Naam Hai Yousuf, both protagonists are firmly placed in environments middle class train travel, modest houses, Vespa scooters and white-collar jobs. Yousuf leaves his youthful dreams of being a musician to hold a job supposedly better-paying office. Hajra zulaikha and are confined to their homes with little hope of reviving their education, much less seek a life outside marriage. His mother Afia Begum seems less interested in securing the future of his daughters in anything other than a good game. She only earns his freedom once your child gives financial reins. So much for the lessons learned.
We turned to fiction to show us the way to other ways of being, to challenge the status quo and seek to inspire change in our lives. If all what a drama is to reiterate the choice of marriage is the only option for our girls, does a disservice to the incredible potential and creativity they have and restricts the lives that can aspire. This was a total lost opportunity.
Still, the two most empowered female characters were Madiha and Hajra. Instead of plot see through Madiha was to get the two protagonists together. She had too much self-respect to settle for being the second option and confirm the assumption about the intentions of Zulaikha Madiha. Madiha was a sensible girl from the start and even though she was in love with Yousuf, it was more prudent to let him go. Mansha Pasha shone in this role.
Hajra other hand, had the most lucid of all despite being the youngest around view. Objectivity, demand action and request the agency about the life and choices of an era and again by both his mother and sister frustrated inaction. One gets the feeling that if she were the central protagonist; history would have been very different. From Mizna Waqas breathed a lot of life and youthful exuberance in his role.
Despite these shortcomings the story was even more wonderful visual treat for the excellent photography. Vérité fire station and Qasim Ali DOP mureed, careful use of interior lighting and supports a visual layer to the story add and emphasize the experience. The production values of first class care in the choice of locations and scenery were stellar. The attention to detail in his drama is noteworthy. For example, in the last episode of Yousuf black sherwani matches the black dress and roses Zulaikha its echo in the red garland her lipstick all reference to his last marriage. The OST also complemented the story perfectly.
While a romantic drama output and output could be coming out of the comfort zone of Mehreen Jabbar, it is quite admirable success. His style of underplaying melodramatic moments adds an air of seriousness to some pretty filmi situations. Tempered with this realism, the plot lines were somehow more credible. Brownie points also to create moments of tension with a nonlinear narrative and not bucking the trend of the 25 episodes!
However, there are signs that marks Mehreen Jabbar fans find their work is missing. In its previous successful dramas as VASL, Daam, Doraha, Kahaniyaan, Maat-e-Jaan, Coke Kahani and Rehaai, his work includes forward arguments, independent women, a shared brotherhood and perhaps most important and women who lead by action and less talk. His last match in Jackson Heights, both Michele (Marina Khan) and Salma (Aamina Sheikh) were self-employed women who end up making their own decisions and not yield to the convention.
Of course, the director is guided by the script and there is no doubt Mera Naam Hai Yousuf had Mehreen Jabbar stamp everywhere. This is precisely why this diametrically opposed pair brought these amazing results.
The biggest surprise was that perhaps Khalil Sahib allowed fans to collect, though not without a near-death experience! If you are willing to turn the tables on us, hopefully in future projects allowing their wives to leave the gharelu dyara and find their place in the world in general.