Written by: Hala Syed
Posted on: August 24, 2018 | 
| 中文
Fahad Mustafa as Raja and Mehwish Hayat as Meeru
Load Wedding is not a bad film. It’s quite watchable, well-structured, has some great performances and touches upon important social issues. I am disappointed in it only because it was so close to being a withering indictment of capitalism and the patriarchy, but stops short at simply a palatable message of, “dowry is bad.”
There are quite a few moments in Nabeel Qureshi and Fizza Ali’s fourth film that ring true, and it feels like the movie has found the perfect balance between expression and activism. Then those moments pass, in favour of extended scenes about a game show, an interrupted honeymoon, or a completely unrelated flashback.
We are introduced to the setting through a voiceover by the hero’s best friend, Qaiser Piya, who provides much of the humour of the film, as well as a running commentary. He informs us that Raja (Fahad Mustafa), is the sole provider for his mother (Samina Ahmed) and sister, Baby (Faiza Hasan), and has been in love with Meeru (Mehwish Hayat) since childhood. A troubled Raja has little confidence and even less money, resulting in the loss of his only dream, an innocent romance that blossomed in the streets of Nirali. Fahad Mustafa is pitch-perfect in this role: relatable, charming and funny, he sells every moment and is easy to root for. His heartache and burdens come across as the price of a system that he and the entire society are complicit in.
The problem with focusing on Raja is that we get very little perspective of other characters. He is devastated because Meeru is married to another, but admits that his prayers were answered when her husband meets an untimely death. Her legitimate anger is portrayed as overreaction, and instead of him apologizing for his insensitivity, she apologizes. His mother and sister serve only as obstacles in Raja’s love story, rather than women with their own genuine issues and problems.
However, that doesn’t mean they aren’t entertaining to watch. As the obnoxious, interfering sister, Baby is played to perfection, if with a heavy hand by Faiza Hasan. Her somewhat unsympathetic character provides the through line for the film. The financial load of weddings is discussed, but the emotional load is just as heavy, and is squarely on the old and unmarried Baby’s shoulders. Samina Ahmed drills in social pressures and emotionally blackmails both her children, perpetuating the idea that a woman’s value lies in marriage.
It is easy to feel like we too are a member of this family, such is the magic created by the now familiar spell of Qureshi’s vision, and Rana Kamran’s exquisite cinematography. Baby’s knit caps, a bangle wind-catcher and a hand-made kite, are minor details which give these characters life beyond the pleasant but forgettable songs. The movie is at its best when it honestly depicts everyday life. When it tries to make a statement, the results are mixed.
Tackling social problems with humour can be effective when done well, but comes across as shallow otherwise. A person in Raja’s position, who feels his responsibilities are at odds with personal happiness, might very well feel overwhelmed. His decision to drink poison, however, is played for laughs. The narrator calls him clever, and his family gives in to his demands. But in a world where so many people struggle with suicidal thoughts, is it responsible to turn it into a joke?
While commenting on the status of widows in society, it is made clear that Meeru’s husband dies the day after their marriage. She's a widow without baggage, who can easily fit into the role of a heroine. Mehwish Hayat sometimes feels too glamorous for the girl-next-door role, but is praiseworthy when she stands up against the stigma which surrounds her. She is discouraged from attending a wedding because of her “bad luck,” but when her luck turns, the same people want her to pick lottery tickets. What is left unsaid is how destructive this superstitious nonsense is in the first place.
The running joke of a suspiciously familiar game show serves as a mirror for society at large. The exploitative nature of these shows, which encourage contestants to embarrass themselves for money, is embodied in the host, Ashiq Rafaquat (Fahim Khan). Khan’s impression of a certain television personality turned politician is spot on, but the joke goes on for far too long and becomes tedious.
Meeru and Raja believe winning things will solve their problems. They struggle to collect a dowry for Baby, but do so without questioning the concept. While prospective in-laws demanding material goods are generally considered greedy, thankfully Load Wedding is making a deeper point. The only reason people get away with such blackmailing, is because we live in a society where being ‘married’ is considered better than being ‘unmarried.’
The logical conclusion that the movie is not able to convey, is that as long as women are thought of as commodities, marriage will be a transactional institution. Aiming to abolish dowry is like mistaking a symptom for the disease. Treat women like people who can make their own choices, and the question of dowry becomes immaterial.
So watch Load Wedding, and take someone along when you do. Once it's over and you’ve had a good time, use it as an opportunity to discuss its incompleteness, and then dig beyond the surface to start the conversation.
You may also like:
