Written by: Hamad Ali
Posted on: June 11, 2019 | 
| 中文
Neelam Muneer as Zoya and Sami Khan as Omar
Directed, written and produced by Yaasir Nawaaz, Wrong No. two released this Eid across Pakistan. In the film, Zoya (Neelam Muneer) is the defiant daughter of a wealthy businessman Gul Nawaz (Javed Sheikh) who hopes to realize his political ambitions by arranging her marriage to a powerful Chaudhry Sahab’s son (Hassan Ahmed).
Gul Nawaz hires detectives to find out who Zoya is dating, only to discover that they have the wrong guy; Mehboob (Yasir Nawaz) is a middle-aged white-collar officer, tired of hustling to raise funds for his daughter’s expensive cardiac treatment. When he is paid off to leave Zoya, he reluctantly accepts the sum as God’s way of saving his daughter’s life. In the meantime, Zoya runs away with her boyfriend Omar, only to be kidnapped by the father of her stalker Shaukat (Danish Nawaz), who has been jailed for harassing her. They demand Shaukat's release in exchange for Zoya’s safe return. An even more convoluted course of events follows and this motley crew of characters converges at Gul Nawaz's house, where more madness ensues.
Neelam Muneer played a central role as Zoya, however her character was far from original, and seemed modeled on ‘Geet’ from the Bollywood film, Jab We Met. Besides being over the top, like Geet, she even has the strong desire to run away with her beloved to the mountains. Sami Khan looked tired for most of the film, and even his romance with Neelam Muneer seemed slightly forced. Perhaps, Nawaz was going with the idea that being poor equals being exhausted, but this only added to the incoherent plot.
The film surely dials all the wrong numbers when it sets out to entertain as a family comedy film. The screenplay does not keep up with the coherence of the subplots, leaving the audience as confused as the characters themselves in certain scenes. Although the love story of Zoya and Omar was the premise of the film, more screen time is given to the plot of Yasir Nawaz’s family, specifically his own character. With an array of scattered plotlines and the need to bring them together, we see no character development of any kind, hence we cannot empathize with any character. This calls for an improvement in script writing, with a focus on characters rather than on witty dialogues.
Furthermore, there is a dominant male gaze which runs throughout the film and makes it entirely impossible to watch it with one’s family. There are many scenes of men, young and old alike, leering and lusting over women’s bodies, with close-up shots which make for an uncomfortable viewing experience. With evident and very suggestive sexual jokes, the film ticks the wrong boxes for a family comedy film. In particular, the unnecessary scene of the brothel and old age promiscuity added to the crass comedy.
You may also like:
