The new play Aap Ki Izzat, penned by Umera Ahmed, although only a couple of episodes old, has already set social media ablaze with the multiple social messages that have been highlighted to date. For a little background, the story revolves around a married couple, Tabish and Beena, who have been married for fourteen years and have two children.
A Rags-to-Riches Story
Tabish hails from a very poor background, but his ambition and drive, combined with his business acumen, help him in establishing a real estate business that he turns into a multi-million-rupee empire. It is a classic rags-to-riches story and, obviously, when men become rich and influential, what is the first thing that they do? Yes, you guessed it; get married again!
Tabish now has his eyes set on a career in politics, and he hires Naz, an educated and accomplished woman, to oversee his political campaign. However, the two start having an affair, and he informs his mother that he wishes to marry her. His wife, Beena, suspects that something is amiss, but when she confronts him, she is unprepared for the explosive reaction that follows.
It is a classic rags-to-riches story and, obviously, when men become rich and influential, what is the first thing that they do? Yes, you guessed it; get married again!
With Umera Ahmed at the helm of affairs, viewers expect nothing short of a masterpiece, and, as always, she does not disappoint! Only a couple of episodes old, this has already triggered a huge debate on social media about how men change once they become rich. His wife, Beena, the love of his life, does not interest him anymore, and now he wants an educated and cultured wife who can help to further his political career; in short, he wants an upgradation on the domestic front also, befitting his new economic and political status!
The Double Standards of Society
The mother’s role, essayed by Sania Saeed, is like any other typical mother; although she expresses her apprehension and reservations initially, she eventually acquiesces and stands by him. The double standards for men and women have been exposed very cleverly in this production. When Beena informs her mother-in-law that she suspects her husband is having an affair with Naz, she advises her to devote more time to her religious obligations; in fact, she advises her to pray tahajjud with her and not overthink things. This is a typical reaction of a mother who, rather than taking her son to task, starts castigating her daughter-in-law for levelling accusations at him.
Is religion only for women? If a man remarries, instead of questioning and berating him, why are the women made to feel guilty? Why are they forced to take the blame for their spouse’s transgressions and made to feel as though they went wrong somewhere? This is just another tactic to control, pressurise, and manoeuvre them into submission. Another glaring example is that when Beena leaves for her parents’ house without seeking permission from her mother-in-law, her husband raises a huge hue and cry, but he remains oblivious to his own indiscretions.
A Patriarchal Reality
This is a man’s world, and that has been portrayed beautifully in the initial episodes. Beena, once the love of her husband’s life, is now replaced by, to put it very crudely, a more modern version, just like everything else in the house. Tabish wants a woman who can move with him in society and suits his economic status and position, and sadly, Beena falls short of his expectations. She does not have the charm, charisma, and education that Naz has, and neither is she worldly-wise like her.
Portrayed as an extremely selfish and self-seeking individual, he is only concerned with furthering and cementing his career in politics, like he did in business. What is striking is that while her husband is busy planning a future with his new lady-love, Beena is still thinking about who will hold the fort at home if she goes off to her parents’ house in a fit of rage! She essays the character of a domesticated female, whose life revolves around her family, to perfection.
Top-Notch Execution
Urwa portrays a dutiful, loving, and obedient wife very convincingly. All the actors do an excellent job, and with an accomplished director like Saif e Hassan at the helm of affairs and a prolific writer like Umera Ahmed, we expected no less! This play opens up a Pandora’s box, and only a maestro like her could have skilfully woven and merged so many messages in only a couple of episodes. The initial episodes are superb, the acting is top-notch, and the dialogues are spot on!
The play makes you question, think, and ponder on the double standards that exist in this patriarchal society of ours, and how the fairer sex, through turning a blind eye or by condoning these indiscretions, is actually perpetuating and promoting them. Very realistic and true to life, this play is an excellent endeavour to make people sit up, question, and challenge the deeply ingrained prejudices in society. After all, katra katra hi samundar banta hai!