Karachi:
Spoiler alert and trigger warning!
When a beloved series is at an arc far from drawing its curtains, the public must attack the confrontation mixing between anticipation and fear – the anticipation that their favorite program will end on a highly deserved highlight in relation to the fear it cannot. The truth of this manifested itself after the end of Qarze Jaanwhich sparked an online debate.
What started as a strong drama with a powerful story and a large casting quickly collapsed, becoming a clear example of the way of not managing sensitive subjects such as sexual assault.
For silence
Qarze Jaan There follows many stories, some buried under the weight of domestic honor and others which are silenced when they dare to fly. He focuses on the sifted life of Nashwa and his mother of his home after the premature death of his father, an unforeseen consequence of the patriarchy. He also follows the brutal manufacture of an attacker, Ammar, who is guilty of many conscious crimes – an unhappy but expected consequence of the patriarchy which is authorized to prosper.
Nashwa’s gusts of resistance inside the house belong to his despotic uncle and authoritarian grandmother is only a flicker in his overall fire for justice. His relentless pursuit of the law is presented in strong contrast to the lifestyle induced by his reckless cousin Ammar.
Refer to a “lifestyle induced by alcohol and drugs” treats drug addiction as an instigator rather than the attacker. Even when it is personified, there is only one macabre part of a much larger and more revolting. The distinction between the real culprit and the inanimate accomplice is crucial – a nuance that the drama does not recognize.
The author became a victim
For Qarze JaanAmmar is not only an attacker, but a product of his environment. Insolement, this is not a bad approach. The nuance is the key ingredient to make a villain scary, real enough to be considered a danger to society. The cycle of abuses is vicious and tends to open the most vulnerable of its victims. It’s as saying the saying: people hurt people.
But there is a clear difference between a serious representation and completely losing the plot. Giving the rapist a platform in a court and lowering him his tragic education is definitely a choice. And, just to be clear, it’s poor.
When the end means that your audience considers the attacker as a “winner” and someone who is worth crying, he spares a certain place for the reassessment. While the performance of Nameer Khan as Ammar deserves praise to stand out from a range of brilliant performances, she leaves with a lot to be desired in terms of the character’s arch.
For a man written to be devoid of pity in the previous episodes, the confession with the remorse of Ammar to his heinous crimes presents itself as a non -sincere. As he breaks down the many times his father put a veil on his crimes, he says: “Maybe all the parents protect their children. But I am sorry, father. Your approach was false. Your thought was false.”
At the moment, Ammar is no longer a predator responsible for rape, murder and sorrow of many bereaved people, including his own sister. Instead, he became the voice of the reason for the drama, an innocent who broke out of the Hi Sez who made him commit these deplorable crimes.
Here is the fundamental problem: the inappropriate grace. The drama means that it is not a shot in redemption, that Ammar will certainly serve his sentence, but not without rejecting the blame of his actions on someone else.
Admittedly, the family patriarch, Bakhtiar, indeed carries the features represented strongly in Ammar. Admittedly, catalysts perpetuate systemic problems until it becomes difficult to separate them from culture. But Bakhtiar is the only character who remains faithful to his character bow, therefore underlined as the only real villain in the show.
You don’t need to believe me as a law. The romanticized changes of Ammar as an misunderstood hero, a jealous husband straight out of Booktok, and an underlined “victim” who deserves tears on all speaks of themselves.
Do better, be better
There is nothing intrinsically badly with the fictitious stories ready to take a risk. But an explanation is not a justifiable excuse. In a world infested with men like Zahir Jaffer and Imran Ali, creators must be cautious to really do justice to the growing number of victims and survivors subject to sexual assault and murder.
At the very least, Ammar deserves no grace and absolutely no tearful discourse to reduce the gravity of his offenses. Even if he benefits from the doubt that his actions were premeditated, this does not distract from the fact that he has committed these crimes.
The problem is not only in the end, in this case. It is in all these high scenes with sweet background music while Ammar takes a break to be an attacker who rages in the joke with family members – yes, which includes the discouraged Nashwa who is forced to marry him. As if to say: “Hey, do you see these traces of humanity? This is not a lost total cause!
And then there is this moment in the courtroom when Ammar kneels before his sister, his sister, and his son and, excuses of poor quality later, reassures her as well as us that her nephew will grow to love the uncle who killed his father. Maybe Ammar is right, since he kills Beend’s husband before their child can even memorize his father’s face.
The truth is that the violence of this degree is motivated by a lack of empathy towards the victim. It is not difficult to imagine that the aggressor does not even have after the world became aware of his crimes.
Maybe Ammar was created as an alarm clock for catalysts, urging them to control their boys before it was too late. But his last speech raises this question: did this have to be done while absorbing an adult of his responsibilities?
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