Written by: Muhammad Suhayb
Posted on: February 29, 2024 | 
| 中文
Meherbano, Nayyar Ejaz and Yasir Hussain in Taxali Gate
As I entered the cinema to watch Abu Aleeha’s latest film, I had not expected much from a director, whose last film Super Punjabi, was anything but super. Abu Aleeha belongs to the fresh breed of directors who have been churning out films in an era, when various factors have kept people away from theatres. Taxali Gate is a bold film for Pakistan cinema, which tackles a subject rarely attempted on the silver screen. It is part a story based on revenge, part dark comedy, and creates awareness among the youth regarding sexual consent.
With an intent to watch actors who are versatile, like Alyy Khan, and all-time favorites like Khalid Anam, Nayyar Ejaz and Babar Ali, I entered the cinema. However, I was stunned by the performances of Ayesha Omar (who also co-produced the film), Yasir Hussain and Meherbano (of Churails fame). Meherbano has come of age and her expressions are good. Yasir Hussain and Aisha Umer were exceptional, and have been around for over a decade.
Nayyar Ejaz and Meherbano in the film
The film explores the life inside the Taxali Gate, a.k.a. Heera Mandi, and focuses on the most common issue faced by the residents: self-respect. One gets a brief introduction of Lahore and why the place was called Heera Mandi, until Yasir Hussain as a well-known pimp Shafiq, gets hold of his first client. He brings that chap to meet Ayesha Omar’s character Muskaan, a sharp-witted prostitute, who runs a brothel. The camerawork is engaging in the opening sequence where the audience not only gets to see the inside of the place, but also is able to relate to the film, just like the hesitant client.
Yasir Hussain as Shafiq and Ayesha Omar as Muskaan
As the story goes, the daughter from a low caste was gang-raped by the son of an influential and his friend. Umer Aalam as Chaudhary Kamran, and Shehryar Cheema as Babar Jatt, tarnish the izzat (the respect and reputation) of Zainab (Meherbano), whose father Nayyar Ejaz (Meeda/Abdul Hameed) was away, dancing at weddings. As if this was not enough, Shafiq turns out to be the uncle of Zainab, and takes her to the local police station to register a complaint. Abu Aleeha’s favorite, Iftikhar Thakur as ASI Saeed, fails to register an FIR, after finding out how influential are the rapists. The muscleman of the neighborhood is Chaudhary Shehryar, played by Babar Ali, father of Chaudhary Kamran. Babar was superb in his role, and not surprisingly, because he is one of the most experienced actors of the film industry.
Umer Aalam and Babar Ali
The issues faced by Kanjars (a low caste) provides the writer, Aleeha himself, a big margin to add humiliating dialogues, insulting behavior and double entendre to the script. Zainab navigates the justice machinery as a lower-caste plaintiff, and experiences corruption and indifference. She is aided by a lawyer, who keeps her updated with the realities she has to face. The humiliating process through which the kanjars (a tribe involved in prostitution and entertainment in South Asia) pass through, are addressed in the film. The pitfalls in the system have been exposed by Abu Aleeha, whose brief stint as crime reporter came in handy for the movie.
(L to R) Nayyar Ejaz, Babar Ali and Yasir Hussain
In order to make a short film (just 95 minutes), that could be regarded as a thriller about revenge, boasts of a powerful court-room scene, attacks the elite and preaches about consent and womanhood, but failed in conveying its message.
The one-day court scene, where all the characters required were present on time, was faulty. Despite odds of the family succeeding in court, legal proceedings commence within three days of the crime. Those who know our legal system, can vouch for the delay tactics used by lawyers. Khalid Anam was wasted in his short role of a biased judge, as he was mostly mimicking Bollywood actor Saurabh Shukla from Jolly LLB movies, when he could have performed better. International star Alyy Khan was good in his role as Malik Yaqoob, yet he was speechless when Muskaan delivers a monologue at the end. After hitting out at movements like #MeToo and Mera Jism Meri Marzi (my body, my wish), the defense lawyer was found wanting, when Muskaan enters the box and counters him brilliantly.
(L to R) Nayyar Ejaz, Ayesha Omar, Khalid Anam and Aly Khan in the court scene
Writer/ director Abu Aleeha was partly successful in navigating one of the most sensitive themes on screen, yet technical glitches and weak story-knitting made some scenes drag. It felt as if the editor slept during the work hours and forgot to edit out scenes that were irrelevant to the entire story. The fade out scenes were in abundance, and could have been avoided with clever writing. In some places the focus was not on the character, while some scenes seemed never-ending.
The journalist-turned-filmmaker does manage to bring to the fore, societal norms and intricacies of law enforcement. From registering a complaint to acquiring justice, Taxali Gate takes the viewer to the lanes that many have never visited before. The speed at which Abu Aleeha is making movies, we hope that the day is not far away when he will make really good films. Currently, he seems to be only experimenting with ideas.
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