” Life under the red light ” | GNN INFO

PUBLISHED
March 17, 2024

KARACHI:

Consistently delivering experimental films on a shoestring budget, Ali Sajjad Shah, also known as Abu Aleeha, has carved a niche for himself in the Pakistani film industry. With a list of 12 movies since 2019, including titles like Tevar, Kataksha, Once Upon a Time in Karachi, Shotcut, and Javed Iqbal, Shah’s prowess in film making is evident, averaging two releases annually. Despite varying box office results, Shah’s persistence underscores a crucial message: filmmaking in Pakistan is feasible with resourcefulness and a decent budget.

His latest movie, Taxali Gate, has generated considerable buzz, primarily for its narrative set in the infamous locale of Lahore’s Heera Mandi, also known as Taxali. Featuring a diverse ensemble cast including Babar Ali, Yasir Hussain, Ayesha Omer, Nayyar Ejaz, Iffat Rahim, Maher Bano, and Aly Khan, among others, the film promises a compelling exploration of this culturally rich yet notorious area.

While specifics about the plot remain undisclosed, the film holds promise for offering audiences a glimpse into the multifaceted dynamics of Heera Mandi. With Shah’s track record of tackling unconventional subjects, coupled with the talent of the ensemble cast, expectations are high for a thought-provoking and immersive cinematic experience.

The movie not only exemplifies Shah’s ability to navigate the challenges of low-budget filmmaking but also highlights his dedication to exploring narratives that push the boundaries of conventional storytelling in Pakistani cinema.

The movie presents a gripping narrative that digs deep into the disturbing realities of sexual assault and the arduous journey towards justice in a society entrenched in systemic biases. The film follows the story of a young girl, portrayed with raw vulnerability by Maher Bano, who resides in the gritty streets of Taxali alongside her father, masterfully portrayed by Nayyar Ejaz.

The film takes a harrowing turn when the protagonist, visiting her boyfriend, becomes a victim of a brutal rape by him and his friend. Bano’s portrayal of the shattered and traumatised girl is nothing short of heart-wrenching, particularly highlighted in a poignant scene where she struggles to unlock her home, her trembling hands reflecting the turmoil within.

Ejaz’s performance as the concerned father is equally compelling, his perplexed gaze upon seeing his daughter’s bruised lips encapsulating the anguish of a parent confronted with such a horrific ordeal. The film navigates the aftermath of the assault as the girl, supported by her father, uncle (Yasir Hussain), and his girlfriend Muskaan (Ayesha Omar), bravely decides to pursue justice.

The visit to the police station exposes the harsh realities of the legal system, with Inspector’s (Iftikhar Thakur) probing questions laying bare the pervasive victim-blaming and societal prejudices. Thakur’s refusal to file the complaint upon learning of the accused’s privileged background portrays the entrenched class disparities and injustices prevalent in society.

However, amidst the despair, the intervention of another officer offers a glimmer of hope, symbolising the resilience of those fighting against a flawed system. The film masterfully captures the complexities of seeking justice in a society plagued by power imbalances and societal biases, provoking profound reflection on the enduring struggles faced by survivors of sexual violence.

Taxali Gate unfolds a riveting narrative that explores the intricacies of power, influence, and the pursuit of justice. Central to the story is the Babar Ali, with a commanding screen presence as the father of the accused — a father whose influential status in society becomes a formidable obstacle in the path to justice.

As the plot thickens, Ali’s character attempts to wield his influence by offering a substantial sum of money to the girl’s father in exchange for withdrawing the case. However, the refusal of the girl’s father to succumb to such coercion sets the stage for a spellbinding confrontation that forms the crux of the film’s storyline.

The refusal to compromise on principles in the face of intimidation sets the tone for the film’s exploration of morality and resilience in the face of adversity.

The movie is a poignant exploration of the stark disparities between social classes, shedding light on the dynamics between the influential elite and the marginalised underclass. This thematic backdrop serves as a powerful lens through which the film confronts harsh realities and societal injustices, delivering a narrative that resonates deeply with audiences.

At its core, the film battles with the theme of consent. While previous films like ‘Pink’ have addressed this issue, director Ali Sajjad Shah approaches it with a distinct perspective, infusing the narrative in his unique storytelling style.

One of the film’s strengths lies in its sharp and impactful dialogues, which serve as potent vehicles for conveying the underlying themes and emotions. From biting one-liners to touching reflections on society, the dialogues in Taxali Gate pack a punch, leaving a lasting impact on viewers.

For instance, a scene where Yasir Hussain’s character of a pimp, delivers a cutting remark to a young boy wandering the alleys of Heera Mandi encapsulates the harsh realities of exploitation and objectification. Similarly, Ayesha Omar’s character offers a sobering observation about the police force, drawing a parallel between their actions and those of individuals in marginalised communities.

The film emerges as a showcase of stellar performances, with each actor bringing depth and authenticity to their respective roles. Leading the pack is Nayyer Ejaz, whose portrayal once again reaffirms his status as one of Pakistan’s most versatile actors. Ejaz’s performance exudes raw emotion and depth, capturing the nuances of a character who struggles with societal disrespect and marginalisation. His performance is a testament to his remarkable talent and dedication to his craft.

Yasir Hussain delivers a remarkable performance as Ejaz’s younger brother, infusing his character with warmth, compassion, and a palpable sense of familial love. His portrayal shines in scenes where he exhibits unwavering support and concern for his niece, evoking the tender dynamics of paternal love.

Ayesha Omar surprises audiences with her portrayal of Muskaan, showcasing a remarkable leap in her acting prowess. Shedding her previous on-screen personas, Omar embodies the complexities of her character with sincerity and conviction, leaving a lasting impression on viewers.

Maher Bano delivers an effective performance, particularly around the court scenes where her portrayal shines with authenticity and emotional depth. Bano’s nuanced portrayal adds layers to her character, enriching the overall narrative of the film.

Babar Ali, a seasoned veteran in Pakistani cinema, delights audiences with his presence and charisma on screen. His portrayal is imbued with charm and depth, with each scene he appears in leaving a lasting impact on viewers. His delivery of the iconic line “Chal Rehnday” harkens back to his beloved character from Landa Bazaar, evoking nostalgia for fans of his previous work.

While Taxali Gate boasts impressive performances and tackles weighty themes, its execution falls short of expectations. One of the glaring weaknesses lies in its rushed pacing and lack of depth, which leaves crucial emotional beats feeling underdeveloped. The courtroom drama, a pivotal aspect of the narrative, suffers from this rushed approach, coming across as preachy and half-baked.

Unlike other films that have successfully navigated the complexities of courtroom dramas, Taxali Gate fails to fully engage viewers in the legal proceedings. Instead, the focus seems disproportionately skewed towards verbal sparring between Aly Khan and Ayesha Omar’s characters, side-lining other pivotal figures like Iffat Rahim’s character, who represents Maher Bano in the case. The lack of dialogue for Rahim’s character in such a crucial scene feels jarring and detracts from the overall authenticity of the courtroom setting.

Furthermore, the film’s constrained runtime of just 90 minutes exacerbates its shortcomings, leaving little room for essential scenes to breathe and develop organically. With a slightly longer runtime and additional scenes to support key narrative moments, the movie could have achieved a more cohesive and impactful storytelling experience.

Additionally, the film’s censorship compromises the intensity of certain scenes, further detracting from its overall impact. While censorship is often necessary, in this case, it inadvertently dilutes the power and potency of pivotal moments, robbing the film of some of its emotional resonance.

The movie defies comparison with other films, standing out as a unique and original exploration of the notorious area of Lahore and the intricate power dynamics at play. Unlike narratives that may draw parallels to films such as Gangubai Kathiawari or Pink, Taxali Gate offers a fresh perspective on the complexities of life in a red-light area.

By centering its narrative around the characters and events of Taxali, the movie provides a rare and authentic portrayal of life in this marginalised community, offering valuable insights into the socio-economic landscape of Lahore and the challenges faced by its residents.

Shafiq Ul Hasan Siddiqui is an avid movie buff, and film and drama critic and a digital inbound marketer. He tweets @shafiqulhasan81

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