Different drama serials help articulate the truth about society – its politics, economics, norms, and values. A good serial can communicate a thousand lessons about the human condition and expand our horizons for reflecting upon our history. Pakistan too has had its fair share of dramatic media content on different platforms, and this has played a significant role in shaping the country’s mindsets from all the way back in the 1970s to the present day.
Pakistani dramas from the 1970s are immortalized in people’s memories. This period is remembered amongst many as the golden era of Pakistan Television, the country’s primary source of television content. Flecked with serials such as Adhe Chehre and Shama, the channel has given audiences much to reflect over particularly because dramas like these were very diverse in their depiction of social issues. Where Shama offers us a perspective about people’s lifestyles in the pre-partition era, allowing us to notice differences and similarities between life before and after partition, Adhe Chehre is a commentary on the differences in socioeconomic status of classes in Pakistan. Keep in mind that it was not only television that was making progress in Pakistan but also radio. Radio Pakistan came into being when our country itself was born in 1947. Although it holds analytical importance as a platform which propagated nationalist sentiment amongst the masses by broadcasting about Pakistan’s victories in wars, it is also critical for its role in challenging other social issues. One of those issues is the idea of women and their roles in society. In the 1960s and 70s when it was widely believed that women must be confined within the four walls of the house, Radio Pakistan gave full-time employment to Farooq Jehan Taimuri, challenging this very notion. It further went on to promoting the music of Noor Jehan, making her one of our country’s most iconic musical superstars. Radio Pakistan, therefore, has played an important, if somewhat overlooked and undervalued role in opening the discussions on gender equality in the country.
The 1980s saw several classical Pakistani dramas being created, with quality script and strong acting being its hallmark. Millions of viewers were entertained independently by the one state-run channel, Pakistan Television (PTV), from 1964 to 1990, after which satellite television was introduced. The plots of the dramas were unique, the actors put tremendous efforts to bring the characters to life. Television dramas in those times were watched by all ages with great loyalty, who followed their favorite sitcoms and serials religiously. It is said that streets and marketplaces would have a deserted look when the entire population would be glued to their television sets to watch popular serials or comedy shows. Functions, marriages or appointments had to be adjusted, so no episode was missed. In a television interview, veteran actor Salman Shahid said, ‘In those days there was only one state-run channel. The population was much lower than it is today and one noticed how streets used to get virtually deserted during the evening slot of favorite TV plays. Some shopkeepers even temporarily closed down their shops to watch their favorite plays.’ Back in those days, television used to be a novelty and was viewed with great zeal, and people could easily relate it to their lives.
The 80s brought classic dramas like Waris, Ankahi, Tanhaiyaan and Dhoop Kinarey which gained a lot of popularity due to their touching stories, vigorous and memorable characters and captivating emotions. Women in those days were strong and independent, unlike the ‘bichari’ sentiment that mostly depicts the women of today. Women were not always seen to be quarreling and plotting plans to bring the other down, but were ambitious and had jobs, as we see in Tanhaiyaan and Dhoop Kinarey. In the former show, Zarah and Sania (two sisters) were running businesses, working jobs and made a living after their parents passed away and left them in great debt, therefore taking up the traditional role of men. Dhoop Kinarey shows the complicated life of Dr.Zoya and the struggles she had to overcome. Those were the times when Pakistani dramas were not shy in showing a mirror to our society and depicted the social evils that the society was entangled in.
However, the creativity of PTV suffered when women and other minorities became victims of Zia-ul-Haq’s Islamisation process. Islamic laws were enforced upon people that affected every institution, especially the media. Zia introduced strict media censorship board and a campaign against vulgarity and obscenity. Nonetheless, even during the presence of a strict media censorship, the play Dhoop Kinarey managed to defy the censors when Dr. Zoya takes and holds Dr. Ahmer’s hand – when any physical contact of men and women was banned on-screen.
Comedy-dramas and shows were also gaining momentum in that era: the 80s classic Sona Chandi, which focused on moral values with a bit of humor. The story revolves around a couple that moves to a city for a better standard of living where they work as domestic helpers and end up helping to solve other’s problems. The lives of the elite through the eyes of the poor are shown in this drama.
Then in came the 90s and satellite television was introduced to the public by mid-90s.
Us, the 90s kids can easily recall the ‘90s PTV classics like Ainak Wala Jinn – Pakistan’s very own magical series that was thoroughly enjoyed by adults and children alike. I’m sure you all can remember some phrases from the drama even to this day like:
“Mujhe kaam batao, mei kia karoon, mei kis ko khaon?”
“Bil batori, naasa chauri, aadhi meethi, aadhi kori. I am sorry, I am sorry…”
“Mere haath pe haath rakho — Zaibeeeenaaa!”
One of the most coveted dramas of all times, ‘Alpha Bravo Charlie’ became an all-time favorite Pakistani drama to watch, being informative, entertaining as well as thought- provoking with a tinge of laughter. Other comedy sitcoms include Family Front, Shashlik, and Kollege Jeans, which we all remember watching eagerly on PTV. These shows were mostly popular with the younger audience but are enjoyed by all age groups alike as they depicted a commentary on family life, friendships, love and the arduous task of decision making which plagues all human beings.
The 2000s were all about picking up where the previous decades had left off, slowly and gradually stripping away censorship and regulatory policies which Zia’s regime had left behind and fully embracing content which had multiple truths about society to portray. The film industry mainly picked up its pace as decreased restrictions on production and reduction in taxes made this possible. Cinema that was awaiting audience started seeing it after the exhausting efforts of young directors and producers who embarked upon the mission of improving cinema of Pakistan which had seen the worst of its time in the previous few years. Ye Dil Apka Hua released in 2002 was the famous movie of its time, directed by Javed Sheikh; the film portrayed a story of a young Pakistani guy living in the West and his never ending love for the eastern culture which further incites his love story involving a Pakistani girl. This romantic movie revolved around the importance of Eastern Culture and its norms and values while comparing it with the west grossed over 200 million rupees across Pakistan and also won the Nigar award of most of the categories. That was the highest at that time for any film and this type of vast fortune collection from a movie attracted the much-needed investors to run the Pakistani cinema, they showed interest in production and became keen to work on it. Drama serial Ansoo aired in 2000 also boosted the drama industry as it had the daring concept of breaking the ice and choosing beautiful actual locations for the serials. The main reason behind its popularity was the shooting locations, as it had been filmed in Pakistan, Scotland, and Ireland and was the first ever serial to be shot entirely on a digital camera. The title song of the movie Tanha Tanha sung by Ali Azmat is still in the market and had received the fame one wants for itself. The story of the drama reflects the cultural differences of the people living in the East and the West and highlights it haunting effects on the families that are a part of it. It also depicts the consequences children have to face after their parents’ separation.
“Jinnah” released in the year 1998 had already paved the way for a collaboration of Pakistani and Indian cinema despite the opposition it faced as it had an Indian actor Shashi Kapoor in it. This led to the advancement of Pakistani cinema industry further as it attracted notable Indian directors like Mahesh Bhatt looking for talent in Pakistan. His visit to Pakistan was to attend third Kara Film Festival and later on hired Atif Aslam for a song in his film and Meera a lead role in one of his upcoming films. This lead to flourishing Pakistani cinema industry as more actors made their way across the border. A benchmark of the Industry was the film Khuda ke Liye, the first ever Pakistani film to be released on an International level, got fame due to its controversial yet fantastic theme involving the events like 9/11 and the tribal area issues and the wrong concepts revolving around Islam. The film subsequently won many awards for its acting, notably three Lux Style Awards, one Silver Pyramid Award at Cairo International Film Festival, one Roberto Rossellini Award, Italy, and one Fukuoka Audience Award at Fukuoka International Film Festival, Japan.
Pakistan New Cinema Movement launched in 2009, with around 1400 members PNCM is a grassroots organization that has been working on the revival of cinema. Pakistan also saw its first Cineplex cinema in 2002 and the period of 2000 onwards has mainly been an era of revival for the film industry giving movies a new light to shine and some pure fresh air to breathe.
The decade after brought with it the latest glamor, bold stories and prolific writers to our television industry. So much so, our dramas are now being aired and loved in India. Just like our lifestyles, the local Television content is also embracing Modernism. Much has changed in the drama business from the ‘80s, ‘90s, and 2000s such as production, attire, scripts, and consequently audiences. Some new narratives have been much appreciated while others have received intense criticism. Culture has taken over while religion lurks in the background. Many dramas now confidently revolve around taboos such as sexual abuse, drugs, and divorces that were introduced on Pakistani TV a while back but are now being explored in more light. Samina Peerzada, Saba Hameed, Bushra Ansari, Atiqa Odho have been replaced by the likes of Mahira Khan, Sajjal Ali, Sanam Saeed, Mehwish Hayat and Sohai Ali Abro in lead roles. The number of female writers, producers, and directors has hiked in the last six years. The 2010s sees dramas highlight bold topics infused with present and past traditions surrounding betrayals, family households, and gender roles and so on.
While more and more writers are destroying the stigma attached to sensitive topics such as physical and sexual abuse and rape, others have used divorces, extramarital affairs, unconventional pregnancies, and polygamy as themes for entertainment. Some TV shows may be bringing out awareness regarding these issues, but others use them merely to create a dramatic plot, generating much disapproval among viewers. Dramas like Udaari (2016), Firaaq (2014) and Aik thi Misaal (2015) have touched upon the issues of child abuse and broken homes. Risthay Kuch Adhooray Se showed the lead characters, Sohai Ali Abro and Ali Rehman Khan, living under the same roof as a married couple but not being legitimately married. Mera Saaein, starring Fahad Mustafa, tells a tale of a traditional Lord who openly desires women and power and affluence. In Dolly Ki Aaye Gi Baraat, both mother and daughter from a respectable family are pregnant at the same time while a similar story was being told on a comedy show Bulbulay. The topic of divorces has not been a recent entry to Pakistani dramas but has been the subject of nearly every show aired recently. A blogger Saud details in his article, ‘Sensitive issues in Drama’, instances where men conveniently divorce their wives to marry another, usually to fulfill the requests of their cruel mothers. These contribute further to the abundant and repetitive narratives of the emotionally abused wife and the wicked mother in law. Mann Mayal, Zard, Mausam, Mera Yakeen and much more have depicted or as Saud says “sensationalized” divorces whether unreasonable or valid.
Two positives emerging in the last six years (after the relative slump during the censorship years of Zia’s regime) are the increased involvement of women in the writing, creating and the direction department and the exposure of Pakistani dramas to international audiences as well as to social media. The success of masterpieces like Humsafar, Diyar-e-dil, Sadqay tumhaaray and Mann Maayal is owed to the massive talent of their writers. Umera Ahmed is the writer behind Maat, Shehr e Zaat, Durr-e-Shehwar, and Mere Zaat Zar-e-Benishaan. The mastermind behind Humsafar, Mata-e-Jaan and Rehaii is the romantic Farhat Ishtiaq. The architect of Television, Momina Duraid, is an absolute brilliance as a TV Producer, Writer, and drama and movie Director. She has produced over 50 shows since 2005. Sabiha Sumar and Mehreen Jabbar are other notable Directors behind Khuda Dekh Raha Hai and Mera Naam Yousuf Hai respectively. Many of these Pakistani dramas have been given international recognition. Audiences have shown appreciation for dramas like Humsafar and Zindagi Gulzar hai in the Middle East, India, America, Canada and the UK with Humsafar, Mera Naseeb and Malaal being dubbed in Arabic and aired on MBC Bollywood (“Humsafar Now to Air on Indian Channel Colors UK.”). Shows like Mann Maayal, Humsafar, Pyaare Afzal have gained much hype through the memes that went viral on social media. Because such shows remain the topic of discussion for a prolonged period of time in almost all households, even the young generation, especially guys, seems to know about the plot and subplots and the results have been the spread of hysterical memes.
There can be no mistake made when saying that Pakistan has changed through the ages. Evolved in some ways and devolved in others. And through it all, the media and primarily drama serials have been an effective platform vocalizing all that is improving or needs to be improved in the society. They have been mirrors held up to our everyday reality and at the same time vehicles for change. What will the future of drama bring? In the ever changing landscape of reality, no one can be certain of the answer. However, one thing which is quite predictable is that those people passionate about the platform will create dramas which showcase what happens in this country – warts and all. Others will make shows that sell. And others still will be part of productions that challenge and question social norms, attempting to bring change.
