Written by: Hurmat Majid
Posted on: January 14, 2024 | 
Ahad Raza Mir and Dananeer Mobeen in Meem Se Mohabbat
When Farhat Ishtiaq’s name is attached to a project, expectations are bound to soar. Known for weaving magic with her words in Kabhi Main Kabhi Tum, a blockbuster hit just months ago, her latest offering, Meem Se Mohabbat, arrived with an air of inevitability: would it match her previous triumph? Four episodes in, the answer remains elusive for the optimistic, for those grappling with pessimism, the show may already have disappointed. While the show possesses moments of brilliance, it struggles to capture the enchantment that made its predecessor unforgettable.
Directed by Ali Hassan and produced by Momina Duraid under MD Productions, Meem Se Mohabbat stars Ahad Raza Mir as Talha Ahmed and Dananeer Mobeen as Roshi Suleman. The ensemble cast also includes Asif Raza Mir as Talha’s father, Naveen Naqvi as Sadaf (Roshi’s mother), Khadija Saleem as Mahi Suleman (Roshi’s sister), and Zarrar Khan as Umar (Roshi’s cousin). The drama explores themes of identity, societal expectations, and self-discovery—classic Ishtiaq territory—but its execution is uneven.
Ahad Raza Mir and Asif Raza Mir
One of Meem Se Mohabbat’s greatest strengths lies in its cast. Ahad Raza Mir delivers a nuanced performance as Talha Ahmed, a man of few words yet brimming with untapped emotion. Mir’s portrayal of Talha’s relationship with Mohid, a child who sees him as a father figure, is heartwarming and layered. The tenderness with which Mir navigates these scenes showcases his maturity as an actor.
Dananeer Mobeen embodies Roshi Suleman with an effervescence that feels authentic, but sometimes too over the top and performative. Roshi’s struggles with academic failures and familial expectations are relatable, and Mobeen captures the character’s frustrations and aspirations with charm. The chemistry between Mir and Mobeen is yet to fully bloom, though audiences see some potential there.
Dananeer with her friend
The supporting cast also shines. Asif Raza Mir’s portrayal of Talha’s father adds depth to the story, highlighting the generational tensions at play. Naveen Naqvi’s performance as Sadaf, effectively conveys the worries of a mother caught between societal norms and her daughter’s happiness. Zarrar Khan’s Umar and Khadija Saleem’s Mahi inject lighthearted moments, providing a welcome respite from the heavier themes.
Visually, Meem Se Mohabbat captures Karachi’s bustling streets and serene interiors with finesse, while the soundtrack, featuring Asim Azhar and Qirat Haider’s soulful Beqarrar Yeh Dil, complements the narrative beautifully. The production design deserves praise for creating a new world for the audience.
For all its strengths, Meem Se Mohabbat struggles with pacing and narrative coherence. Farhat Ishtiaq, celebrated for crafting emotionally resonant stories, presents a plot that often meanders. Roshi’s character, while endearing, risks becoming one-dimensional. Her primary motivation, to escape academic pressure through marriage, feels reductive, especially given Ishtiaq’s history of writing complex female leads. Although Dananeer Mobeen’s spirited performance adds charm to Roshi, the writing frequently undermines her potential. The first four episodes focus heavily on introducing characters, portraying Roshi as an excessively cheerful, carefree girl who often lands in trouble. Yet, the stakes remain unclear. Will Roshi evolve? If not, her antics risk becoming more grating than endearing.
Ahad Raza Mir and the kid
Meanwhile, Talha’s past trauma is hinted at as a central conflict but lacks the depth expected from Ishtiaq. His backstory, teased through brief flashbacks and restrained conversations, remains frustratingly vague. While Ahad Raza Mir’s compelling performance keeps viewers intrigued, the ambiguity surrounding Talha’s emotional scars makes it difficult to fully invest in his journey. Furthermore, the dynamic between Talha and Roshi feels underdeveloped. Four episodes in, their interactions are too sparse to build a convincing connection, leaving viewers craving more depth in their budding relationship.
Another issue lies in the secondary characters. While they add color to the narrative, their arcs often feel disconnected from the central plot. Umar and Mahi’s comedic exchanges and possible romance, though entertaining, seem to be leading nowhere. Saleeqa (Faiza Gillani), Roshi’s aunt, is a missed opportunity; her advice to Roshi about marriage could have been a poignant commentary on societal expectations, but it comes across as superficial.
Faiza Gillani and Dananeer Mobeen
The thematic exploration also lacks the emotional weight one associates with Ishtiaq’s work. While Meem Se Mohabbat touches upon important issues like generational conflict and societal pressure, it does so superficially. The dialogues, though occasionally poignant, often lack the poetic quality that elevated Kabhi Main Kabhi Tum.
The expectations placed on Meem Se Mohabbat were always going to be high, given Ishtiaq’s track record. However, the show’s inability to fully capitalize on its potential so far has left audiences divided. The question remains: can the drama find its footing and deliver the magic we’ve come to expect from Ishtiaq?
Arshad Mahmood, Faiza Gillani and Beo Raana Zafar
Meem Se Mohabbat is a drama with undeniable potential. Its cast, visuals and music lay a strong foundation, but its pacing and narrative coherence need refinement. Farhat Ishtiaq’s return to television after Kabhi Main Kabhi Tum was met with immense anticipation, and while the show hasn’t quite lived up to the hype, it’s far from a lost cause. With 26 episodes to go, there’s ample time for the story to find its rhythm and deliver the emotional depth that fans crave.
For now, Meem Se Mohabbat remains an intriguing, if imperfect, addition to the landscape of Pakistani drama. Whether it can transcend its current shortcomings and carve out its own legacy remains to be seen. As viewers, we are left with cautious optimism and the hope that Ishtiaq’s magic is merely waiting in the wings.
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