A couple weeks ago, I wanted to watch something but I didn’t know what. Then I came across this title, “Murdered by My Father,” which you can probably agree triggers your curiosity.
And what a good choice I made. After viewing this BBC British movie I felt thankful for the exposure but at the same time, I cried at the end when the statistics of honorbased violence appeared on the screen.
“Murdered by My Father” introduces Shahzad (Adeel Akhtar), a widower raising his two children, teenage girl Salma (Kiran Sonia Sawar) and younger son Hasaan in Britain. Shahzad is a hard working man who wants to be able to marry off his daughter to the right guy, so she can be taken care of and settle down. This is what he believes is the duty of a father.
The only problem with this mapped out plan is what his daughter Salma wants, who just happens to have a love in her life in the form of an old flame, Imi (Mawaan Rizwan). Ideally, all Salma wants is to create a situation where everyone is happy.
Like a principled parent, Shahzad wants Salma to get her education before marrying his friend’s son Haroon. But she is so happy to have Imi back in her life that she starts skipping school. By putting her love before her education, Salma has no choice but to put her father’s wishes ahead of her own.
During her engagement party to Haroon, he realises that Salma’s heart belongs to another and feels he has been made a fool. This is not reflected well upon Shahzad, who feels humiliated and then punishes Salma. Salma is pushed further away from her father but in doing so, she becomes closer to her hearts desires.
The performances by the three main protagonists are superb. Recently, Kiran Sonia Sawar who portrayed Salma received an Eastern Eye Award for Best Actress in a Film – a welldeserved award, in my opinion. Her depiction of a regular teenage girl torn between her own freedom and her family traditions is heartbreaking yet touching.
Given the title and the opening sequence of the movie, you already depict an image of what the father will be like. Yet Shahzad is not a monster or even a bad person, he is just someone who is so consumed with pride and honor that it acts as a doubleedged sword. Adeel Akhtar performance showed sincerity as a person but consumed with living up to society’s standards.
I was also blown away by Mawaan Rizwan’s performance. He was able to capture the heart of the audience feeling he is the guy to root for because he is a worthy candidate. He loves Salma and he would even sacrifice his own future to be with her. If you are familiar with Mawaan’s YouTube channel, you would not believe that this actor is the same person, his on-screen presence is endearing.
The title may have given the outcome away but it still manages to maintain all the ideologies that need to be addressed. Kiran spoke words of wisdom during her interview with Journals of the World saying,
“It’s amazing when you can use your heritage and culture to help educate and move forward people’s perceptions on a subject matter that’s rarely talked about.”
I guess what makes “Murdered by My Father” so different is that everyone can be seen as a victim. The father is not a bad man, he believes he is doing his best raising his children and had a lapse of judgement and saw red. The daughter was never deliberately rebellious about her freedom, she just wanted a choice in the matter.
Imi was never a bad influence – he was just caught up in the crossfires. You can even say Hassan and his family are victims – their naivety blocks their views from seeing the bigger picture and what is really important.
Though it can be said that the real monster of the story is society. People are so quick to judge others when they are not perfect themselves. Caring what others think is often a trait Asian families share. The extent of the velocity that this movie portrays may not always be the case but the issue sure causes conflict behind many doors.
I hope this type of exposure of brings more awareness of the issue of honorbased violence. For people in need, I encourage them to seek help and prevent further increase of these current statistics.
Haider wades his way through Karachi’s expansive beach, climbing and tumbling over rocks, in Mumtaz’s memory. The vast landscape is perfectly encapsulated in the 4:3 aspect ratio — an unconventional yet welcoming choice. He vanishes into the sea, leaving his storyline open-ended. The screen fades to black. The film comes to a close. The gentle humming and lapping of the waves disappear. However, I stay put. Stumped, and unable to comprehend the masterpiece that Saim Sadiq, director of “Joyland”, has blessed Pakistanis with.
“It’s so important to narrate these stories in today’s world, where we’re often divided and seldom united,” says producer Apoorva Charan during an exclusive chat with Brown Girl Magazine.
It’s her feature film debut as a producer, and she’s justifiably beaming with pride.
Joyland is such a win for South Asia, but particularly, Pakistani storytelling. Every person I met, I felt like there was some characteristic or quirk about them that mirrored our characters in the film.
Set in the depths of androon Lahore, “Joyland” primarily revolves around Haider (Ali Junejo) — a meek, unemployed house husband in a borderline, passionless marriage. He’s happily helping Saleem bhai (Sohail Sameer) and Nucci bhabi (Sarwat Gilani) raise three kids, while the fourth one breaks Nucci’s water in the opening scene. Another girl is born, despite the ultrasound’s previous declaration of a baby boy.
“If I were to receive an award based on my character in “Joyland”, it’d definitely be for “best at single-handedly increasing the population of Pakistan,” says Gillani, as we howl with laughter during our spoiler-riddled chat with the cast of the film. “I think that, combined with the ‘coolest bhabi’ — those two will have my name on them.”
But Nucci’s wasn’t just a bhabi who pumped out a new baby every year. Sarwat’s character was given some level of agency — a woman who reminisced about a career in interior design before marriage and kids while smoking a cigarette in secrecy.
I think my philanthropic work plays a part in how I started saying no to bechari roles. How can I be a role model to these women I’m trying to help, while playing the same characters? The change came about with “Churails” and I vehemently stuck to it. My characters need to have a voice; a backbone.
On the other hand, Haider’s wife, Mumtaz (Rasti Farooq), works as a beautician at the local salon, busy dolling up brides in Lahore’s unpredictable load-shedding.
Both Haider and Mumtaz seem to have a relatively stable marriage based equally on societal expectations and gender-flipped roles. While Haider stays home, helps in the kitchen, and attempts at searching for a traditional job, Mumtaz carves autonomy and independence for herself. This is in spite of an oppressive family life characterised and dictated by Haider’s overly conservative, traditionalist father and patriarch, Rana (Salmaan Peerzada), who wishes for the couple to procreate a cricket team of just boys.
But Rana, known as Abba Jee, is also layered with his own 50 shades of grey, struggling with loneliness and a lack of intimacy, mirrored in his relationship with next-door neighbour Fayyaz (Sania Saeed). His emotional desires are symbolised by his physical impediments — the former handicapped with “what will people say”, and the latter with a wheelchair. The rules that he has for his children are the same that his children have for him, bound by tradition, norms, and society. They are not allowed to stray from what is considered “normal”.
The film’s women are strong which is pretty much a reflection of the women in Sadiq’s life. While Abba Jee shuns the love and companionship that Fayyaz offers, she stands her ground until firmly asked to leave. The complexity of each person’s emotions versus expectations is what makes “Joyland” relatable on a human level.
Alternatively, Mumtaz’s relationship with Haider is based on convenience and habit, where two people share the same bed but sleep facing away (partially because one of Saleem and Nucci’s young daughters crashes with them every night, illustrating the confined space both Haider and Mumtaz are allowed to be themselves in). The dynamics of their marriage drastically evolve once Haider’s eye catches Biba (Alina Khan), covered in blood as she walks numbingly into the hospital where Nucci gave birth. The introductory scene mirrored the brutal reality of violence inflicted upon Pakistan’s trans community; one of “Joyland’s” most haunting moments.
Mumtaz is asked to quit her job once Haider lands a gig as a “theatre manager” — a cover-up for his job as a background dancer at the nightclub Biba coincidentally performs at. The film portrays the traditional Pakistani marital social dynamic; men must work, and women must housekeep. Even when some level of independence is allowed to a married woman, she must forego her right to a career later in life. Understandably, it leaves Mumtaz devastated.
“It’s so strange how that’s just an acceptable act in our society,” Farooq chimes in, voicing Mumtaz’s thoughts. “Even if a woman is good at a 100 things, ultimately, she’s expected to quit her job to be a homemaker because that’s ‘her job’.”
With time, Haider falls into a routine and rhythm of working at the theatre and spending more time with Biba, allowing him an insight into the widespread transphobia she’s regularly faced with. Biba confides her innermost desire to be what she termed as “a complete woman” in order to land the same dancing opportunities as her counterparts.
Haider’s daring closeness to Biba leaves Mumtaz — who at this point is reliant on him as a best friend more than the physical intimacy he fitfully provides her — alone, isolated, and depressed. For Haider, it is liberating to leave problems at home and escape into a secret world centred around his deepest desires. He doesn’t want to be a bad person. He doesn’t wish to hurt or leave his wife. But his happiness now seemingly lies in dancing and exchanging stolen kisses with Biba. Farooq agrees:
I think Mumtaz and Haider were best friends at this point. They had an unspoken love for each other, which stemmed from the sanctity of their relationship. They might not be in love but they did love each other. In the eyes of our society and otherwise, they were married, but they’d drifted so far apart. There was love but it wasn’t possible to return from how distant they were.
This point of no return brings Haider to a crossroads — one where he is torn between his loyalty to Mumtaz and his love for Biba. Ultimately and ironically, in a particularly passionate moment, it is his curiosity pertaining to Biba’s sexuality that drives her to throw him out of her life. Defeated and guilt-ridden, he comes face-to-face with a pregnant and non-confrontational Mumtaz, who, by now, is aware of what Haider has been up to but doesn’t have the mental capacity to verbally digest his infidelity alongside a child she doesn’t want.
Her apprehensions about bearing and raising children are indicated throughout the early days of her pregnancy. The clutching of her stomach, the tightening of the rollercoaster belt during a visit to Joyland park, and her unease during the ultrasound are just a few examples of Mumtaz’s angst.
Abba Jee’s 70th birthday was the straw that broke the camel’s back. Mumtaz, surrounded by family and friends and feeling emptier than ever, takes her own life. A tragic full circle where one life ends as the other begins. Her suicide is harbingered by Rana’s birthday speech as he recalls a palmist once saying his bloodline would end with Haider.
“Joyland” is replete with polarity. There is a seamless hand-in-hand flow of happiness and devastation, longing and antipathy, birth and death. Pakistani society’s struggles with misogynistic gender roles are depicted in the most gentle, sensitive, and nuanced ways. The struggle is also ironic, considering Pakistan has one of the most progressive transgender legislations in the world. Trans people have the right to self-identify their gender in Pakistan – a right still denied to the trans community in many progressive countries, such as the UK.
A deeply reflective film with memorable and emotional characters doing justice to their performances. It’s currently running in cinemas here in the UK, and we highly recommend watching this poignant piece of art.
“Ghoomer,” R. Balki’s latest directorial venture, had its world premiere at the Indian Film Festival of Melbourne 2023 (IFFM), earlier this month, and the moment was nothing short of memorable. Lead actors Abhishek Bachchan, Saiyami Kher, and Angad Bedi, were present to unveil their labor of love to the world, and all three were left speechless at the reaction of the global audience; the film received a standing ovation on opening night, leaving the team extremely emotional — a feeling that Bachchan tells Brown Girl is one he cannot put into words.
“Ghoomer,” tells the story of Anina (played by Kher), an exceptional cricket player who loses her right hand in an accident. Downtrodden and with no will to live, Anina finds a mentor and coach in Padam Singh Sodhi (played by Bachchan), an insensitive and brash failed cricketer who helps her turn her life and career around; Anina also has the unwavering support of her husband, Jeet (played by Bedi). Sodhi teaches Anina unorthodox techniques to make her mark on the cricket ground once again. Enter, ghoomer, a new style of bowling.
Balki checks all the boxes with this feature — his protagonist is a female athlete, the film is his way of giving back to cricket (a new form of delivery), and he highlights the idea that nothing is impossible for paraplegic athletes. The heart of Balki’s film is in the right place — Kher mentions that the film is meant to be more of an inspirational movie and less of a sports-based movie. One can only imagine the impact that a film like this would have on an audience that’s hungry for meaningful cinema.
And, to chat more about “Ghoomer,” Brown Girl Magazine sat down with the stars of the show. Bachchan, Bedi, and Kher came together to talk about their inspiring characters, the filming journey, and how their film aspires to change the landscape of cricket and paraplegic athletes in the country. It was all that, with a side of samosas.
Take a look!
The featured image is courtesy of Sterling Global.
“How could the British bring the Indians without the cows?”That’s one of the jokes you’re very likely to hear at comedian Priya Guyadeen’s show. In fact, the 53-year-old just wrapped up a set of shows with her troupe: Cougar Comedy Collective. The Guyanese-born comic spearheads the group of mostly women of “a certain age,” as she puts it.
She says the group was formed in 2021 but she started dishing out jokes back in 2020 during the pandemic, over Zoom. She was always labeled the “funny one” in her family and decided to take her jokes to a virtual open mic, hosted by her friend, where she says failure was less daunting.
Cut to 2023, and the comic was able to take her show on the road. Guyadeen and her fellow performers recently hit the East coast for a set of shows called “Cougars on the Loose!” The shows even featured two male comics.
Guyadeen’s comedy routines touch on her Indo Guyanese background, highlighting stereotypes and a clash of cultures. In one of her jokes, she tells her audience that her Guyanese mom is bad with names when she introduces her white boyfriend, Randy, and he gets called Ramesh.
Out in the Bay Area — where she spends her days now — she tries to connect the sparsely Caribbean population to her jokes.
That includes talking about the 1978 Jonestown Massacre which had ties to San Francisco and ended in Guyana. She uses this as a reference point — trying to connect her audience to her background with historical context. She says this does come with its challenges, though.
The single mom also practices clean jokes. Once she finishes up her daily routine with her eight-year-old son and day job as a project manager for a biotechnology company, she tries to find time to write her material.
It’s a balancing act. I’m like the day job-Priya for a few hours or for a chunk of time. And then I’ve got to put on my comedian hat and do that for a period of time because with comedy, I’m not just performing. I’m also producing, managing the shows, booking talent, seeking venues.
Though it’s not easy, she says she’s learning through it all — the business side of comedy and discipline.
Guyadeen, who’s lived in Brazil and Canada, says her young son really contributes to her comedy. A lot of her material focuses on jokes for parents, and single parents like herself, because she feels:
[We live] in a society that doesn’t really create a support system for single parents.
Her nonprofit, Cougar Comedy Collective, was born out of all the great reception she received. She noticed a “niche market” of women in their 50s who loved to get dressed up and come out to the shows to hear jokes that related to their own lives that aren’t typically touched on. These were jokes about menopause, aging and being an empty nester. Guyadeen says her nonprofit,
…bring[s] talent together in our age group to celebrate this time of life; celebrate this particular juncture in a person’s life.
As Guyadeen continues her comedic journey, she says she hopes she’ll be a role model for other Caribbean women to follow their dreams despite their age. She also hopes to see more Caribbean people carving out their space in the entertainment industry.
Featured Image of Priya Guyadeen taken by Elisa Cicinelli Photography