Written by: Nayha Jehangir Khan
Posted on: August 12, 2021 | 
| 中文
(L to R) Sheheryar Munawar, Mahira Khan, Zahid Ahmed
A classic romance is commonly crafted with elements of fantasy and idealism. Rose-tinted glasses are adorned, offering audiences an escape from reality. However, Pakistani cinema has evolved in recent years and often plays a role in redefining our sense of self and enhancing our ability to understand others. The short film Prince Charming encapsulates the social and psychological burdens of marital life in just 12-minutes. The film had a digital release on 6th August, and is accessible on Youtube for local and international viewership. The actor turned director, Sheheryar Munawar Siddiqui, is focusing on the sensitive subject matter that revolves around the emotional exhaustion of a time-weathered marriage. The protagonist, Sheherzade (Mahira Khan) can be seen in a dissociative state brought on by post-marital depression.
Sheheryar Munawar, the director of Prince Charming
The storyline follows the interactions between Sheherazade and her family. Shown as a dutiful wife to Akbar (Zahid Ahmed), the film begins with her waking up and going through the motions of a morning routine on autopilot. Khan is seen brushing her teeth and getting ready for the day. This scene has an internal monologue simultaneously being narrated that allows audiences to understand the emotional state of Sheherazade. We instantly feel nostalgic remembering our own mothers managing the household, feeling neglected by a workaholic husband, as has become endemic in our culture.
The symbolic vintage radio transmission playing in the background, acts as a kind of subconscious voice prompting the audience with playful questions and banter. The simplicity of the set is further enhanced using natural light and a purposefully ordinary wardrobe. Initially we are shown Akbar sleeping in the bedroom, while Sheherazade tiptoes to unlock the main door. She is conveying some sort of a secret invitation, alluding to dubious intentions. Gradually it is revealed that Sheherazade is caught between reality and the hallucination of her husband’s former self. The stoic and cold attitude of Akbar in the present, is contrasted by the intense, romantic and affectionate embrace of perhaps a younger and carefree illusion of him. Munawar layers the narrative with Ahmed Faraz’s ghazal, Suna Hai Log Use Aankh Bhar Ke Dekhte Hain, featured in the film Jannat Ki Talash, released in 1999. The subtle references in the film nudge the audiences to dig deeper into the meaning of love.
Sheheryar Munawar and Mahira Khan on the set of Prince Charming
The colour grade is kept soft and dreamy throughout the film, creating an air of mystery. Each area of the house seems to convey a different emotion. The bedroom and dining room, where Sheherzade interacts with present-day Akbar, feel cold and empty, whereas the kitchen, the corridor and the dimly-lit pantry, where she sees the idealized Akbar, are less dismal.
The theatrical staging is purposeful as we see Sheherzade unravelling through each sequence. Her inner monologue is anxious, strained and nervous. Khan has taken on roles of domesticated women in the past with exaggerated plot devices, but in this film we see her play a character who is pensive, passive, and unable to confront reality. She is lost in self-doubt, unable to snap out of her confusion throughout the film. We start to understand that perhaps Sheherazade is coping with life, with the support of her delusions.
Mahira Khan as Sheherzade and Zahid Ahmed as Akbar
The physical and emotional exhaustion in her facial expressions and body language is quite evident. Khan is generally seen as a glamorous superstar, and cast as the quintessential girl-next-door because of her girlish charm and sweet smile. In this film, we catch glimpses of her melodious laughter and innocence that is infectious on-screen. Her happiness feels fleeting as it is eclipsed by an internal conflict. She is met with indifference from her husband at the dining table. In those final moments, we understand that Sheherazade is looking for validation and love but is left alone. Unrequited love has been seen in cinema as an age-old tragedy, but Prince Charming focuses on it from an entirely new lens, choosing to show the loss of love after several years of married life. Even with a beautiful child and a picturesque home, the couple is disconnected and in two separate worlds.
A poster for the film
Munawar is an all-rounder having plenty of experience in acting, scriptwriting and production. His directorial debut is now pushing the boundaries of local cinema. He is creating a unique cinematic experience that skips television and the cinema screening format, directly connecting with viewers worldwide through SeePrime’s Youtube Channel. The decision to highlight post-marital depression instead of a mainstream romantic storyline, shows Munawar is interested in exploring more than the conventional themes surrounding marriage in Pakistani cinema.
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