After such a lot of delays, Kamran Shahid’s film “Huey Tum Ajnabi” has in the end launched in theatres on Eid-ul-Fitr. During the promotional marketing campaign, Kamran stored reiterating that this one is his independent tackle true activities of Fall of Dhaka and also that it’s no longer a historical drama rather it’s about a love tale set inside the equal term of 1970’s and how the ones activities affected the lives of the lead characters. However, Kamran’s statements do not preserve proper as the movie, all through its runtime, provides one sided perspective so passionately that it leaves you wonder whether it’s absolutely an unbiased movie. However, offering one sided distorted history isn’t the best element that is going wrong approximately the film.
Absurd Story with a Dis-jointed Screenplay
The movie lacks a valid plot and attempts to narrate two parallel tracks; one among lead characters “Zeenat” (played by means of Sadia Khan) and “Nizam-uddin” (performed via Mikaal Zulfiqar) and the other music is that of events going on on kingdom-stage among India, West Pakistan and East Pakistan. The film actions between the romantic song and the historic drama in a maximum weird way. The story is everywhere in the region and the screenplay is extraordinarily incoherent. This can also be due to the haphazard modifying to cut down the unique duration as a lot is lacking in the narrative. The ninety’s Lollywood star Resham was additionally part of this assignment however she isn’t always there inside the very last released model. Similarly, Ayesha Omar who became purported to play the role of a journalist, never receives to set up that her position is that of a journalist as within the final model she is just there amongst many others held captives in Bangladesh.
Another Ridiculous Attempt to Distort History
The film additionally distorts history in a very ridiculous manner. But because the whole film is so absurd which you are not really troubled with this one-sided narrative. The filmmaker chooses now not to speak about what has been brewing in East Pakistan all alongside that in the end brought about the rise up by way of Bengalis towards the state; it as a substitute actually portrays the rebels as puppets of Indian time table. It also brushes underneath the carpet the atrocities that Punjabis ruled Pakistan army committed on its own people in East Pakistan. The movie simplest capabilities the characters of Indira Gandhi and Mujib ur Rehman even as Zulfiqar Ali Bhutto’s role is decreased to just one scene and guess what? There’s no General Yahya Khan anywhere.
Amateur Direction and Cheap Production
The movie is set primarily in East Pakistan however characters do now not speak Bengali. Everyone in Dhaka college is shown speakme Urdu without any Bengali dialect. Even a courtesan in Dhaka sings Jaun Elia’s “Kis say Izhar e Muddah Kijiye”, a exceptional Urdu poem in a Bengali brothel. This isn’t any greater ninety’s when even British officials were proven speaking in Urdu or Hindi to facilitate a mean cinegoer. They could have shown Bengalis changing a few dialogues in their personal language even as facilitating the audience with Urdu subtitles.
The manufacturing is cheesy too. Shafqat Cheema, who’s proven playing a man of fortune in Punjab, wears a reasonably-priced Sherwani which is also later re-utilized by a aspect person in a scene out of doors Lahori brothel. Similarly, a statue of Hindu Goddess Kali is also used in two distinctive scenes (once within the brothel in Bengal and later outside the equal brothel) to make the most out of the given props. The dresser is reasonably-priced with lead actress Sadia Khan carrying typically synthetic Jamawar in mujra numbers. Her styling too doesn’t replicate the era. Kamran should have taken a cue on dresser and styling from Hassan Tariq’s movies from overdue 60’s and early 70’s like “Anjuman” and “Umrao Jaan Ada”, the later additionally starred Kamran’s father Shaahid in lead.
Shamelessly Playing Religion Card
Just like politics, here in movie medium too they have got chosen to play faith card. A bunch of captive ladies in a essential scene start making a song and dancing on “Tajdaar e Haram” and bet what? It does miracles. Although such strategies have usually been employed in movies from Lollywood era that particularly catered unmarried screen audiences, however the use of religion card to result in feelings to your Muslim majority audience and to justify the striking stunts of Muslim characters towards antagonists of a exceptional religion and culture is the maximum shameless factor a filmmaker can do in today’s age.
