Written by: Hurmat Majid
Posted on: December 26, 2023 | 
| 中文
Iqra Aziz and Talha Chahour in Mannat Murad
In the expansive landscape of television dramas that unfolded in 2023, marked by the successful launch of Green Entertainment television channel, and notable performances from industry leaders, the conclusion of the year brings with it an unexpected disappointment, Mannat Murad. As viewers bid farewell to a year filled with exceptional narratives and innovative concepts, Geo's latest offering falls short of the expectations set by its predecessors, delivering a perplexing tale that struggles to find its footing although, it has a star-studded cast.
(R to L) Ali Rehman Khan, Tipu Sharif, Uzma Hasan and Noor ul Hasan in Mannat Murad
The drama attempts to navigate the familiar terrain of a rich girl falling for a poor guy, a trope that when handled adeptly, can offer nuanced insights into love, societal expectations and class dynamics. However, Mannat Murad takes an unfortunate detour, transforming what could have been a compelling narrative into a sheer mockery of love, relationships and familial bonds.
A critical aspect that immediately demands scrutiny is the central premise of Mannat's inexplicable love for Murad. The viewer is left questioning the authenticity of their connection, as their divergent social statuses and Murad's unremarkable character fail to justify the intensity of Mannat's feelings. The lack of a convincing foundation for their relationship, raises the first red flag in the narrative.
Parveen Akbar and Noor ul Hasan
Adding to the narrative’s puzzle is Mannat's elder brother, portrayed by Noorul Hassan. While protective siblings are a common theme, this character's overbearing nature teeters on the eerie. The writing struggles to reconcile his controlling character with an apparent leniency that allows Mannat to transgress familial boundaries. The result is a character that fails to contribute to the intended exploration of relational complexities and instead adds confusion to an already convoluted plot.
Talha Chahour and Isra Ghazal in Mannat Murad
A noteworthy flaw in Mannat Murad is its clumsy attempt at injecting humor into serious situations. The drama's treatment of weighty issues appears condescending, as if the makers are patronizing the audience for considering these matters significant. From Murad's sisters' unmarried status, to the absurdity surrounding dowries and haq meher (financial commitment of the groom to the bride), the narrative undermines the gravity of these issues, sacrificing depth for an ill-conceived sense of humor.
One of the most disconcerting turns in the drama unfolds in the latest episode, where Murad resorts to physical violence, slapping Mannat. While advocating strong female characters is commendable, the portrayal of violence in a casual manner within an already nonsensical plotline is deeply unsettling. The drama's apparent endorsement of such behavior detracts from any potential positive message it might aim to convey.
Sachal Afzal, Iqra Aziz, Talha Chahour and Rabya Kulsoom
Moving beyond individual elements, the overall trajectory of Mannat Murad's storyline lacks coherence and purpose. The central theme of a rich girl marrying a financially disadvantaged man, only to discover that he remains unchanged, fails to offer any meaningful exploration of character development or societal dynamics. The narrative raises questions about its ultimate destination and purpose, leaving viewers wondering if the meandering plot will lead to a satisfying conclusion, or a mere union of two unsuitable individuals for the sake of a predictable happy ending.
(L to R) Talha Chahour, Noor ul Hasan, Tipu Sharif and Uzma Hasan
In examining the cast, which includes seasoned performers such as Talha Chahour, Iqra Aziz, Noorul Hasan and Uzma Hassan, a curious lack of sympathy emerges. These actors, well-versed in discerning a good story from a bad one, leave viewers questioning their decision to sign up for a drama riddled with inconsistencies. The absence of any discernible rationale behind their involvement deepens the disappointment, as one wonders why objections were not raised during the filming process.
A glimmer of hope emerges in the form of viewer responses. The comment section on YouTube is flooded with queries echoing the same concerns raised here. The collective dissatisfaction among viewers suggests that in an era of abundant television choices, audiences are becoming increasingly vocal about their expectations for quality storytelling. This phenomenon raises the intriguing possibility that discerning viewers are now more assertive in their rejection of substandard productions.
As Mannat Murad struggles to maintain viewer interest, one can only hope that Geo learns from this misstep and endeavors to present more thoughtful stories in the future. The drama's shortcomings underscore the importance of a well-crafted narrative, compelling character development and responsible storytelling. Only time will reveal whether the audience's heightened discernment will usher in a new era of quality television, or if dramas of this nature will continue to be produced, perpetuating a cycle of disappointment for eager viewers. As we look towards the future, the industry must strive to rise above the pitfalls exhibited by Mannat Murad, recognizing the evolving expectations of an audience that demands substance and coherence in its television narratives.
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