Wo Humsafar Tha
I recently rewatched the Pakistani show Humsafar, having watched it first in 2014. That time, of course, I was in ninth grade and lacked the kind of critical analysis I have now. Of course, I am so much older than I was then.
This time, I think I understood better the depth of South Asia’s obsession with this drama. It’s the first crossover hit in the history of Pakistan television. That is not surprising really, I am sure the show will remain as beloved 50 years later as much as it is today.
In many ways, it is a classic opera with the good heroine, evil mother-in-law, suicidal female best friend, a time leap, so on and so forth. It also touches upon gender and class dynamics, but it is the way it is done that makes the difference. A pedestrian level plot is elevated to an all-time classic because of the direction and performances.
Poor girl (Mahira Khan) is married off to her rich maternal cousin (Fawad Khan), initially against both their wishes. Fawad’s maternal cousin and his best friend is desperately in love with him. However, as they gradually start sharing a live together, they come to a deeper understanding that gradually evolves into love. However, his mother (who never made peace with the fact that her son was married off to a nobody) conspires against Mahira and throws her out of the house. In a radical turn of events, Mahira returns to his house years later. Through a series of clues, Fawad finally learns the truth. His mother goes insane and his best friend (who is still obsessively in love with him) kills herself once she discovers that his broken marriage has been mended.
The plot is tight and the editing sharp. You will never feel “was this scene really needed? or this? or this?” Maybe this is why we do not see Mahira and Fawad’s characters consummating their marriage, partly because Indian and Pakistani family audiences would not be comfortable with sex scenes and partly because it is not needed. We know that the pair are husband and wife in all ways possible, that is all we need to know.
Characters have a personality that does change over time, but some elements remain pleasantly static. Mahira is introduced as a quiet, proud girl reluctant to seek help from anyone. Although her character goes through several life-changing circumstances (sudden marriage-mother’s death-falls in love with husband-uncle’s death-whole life falls apart stuff), she remains essentially the same. She may have become more straightforward, and anger may be simmering beneath her quiet demeanor, but she is, in more ways than one, exactly the same person as before.
My knowledge of fashion and clothes is far better than what it was when I was a pimply teenager. I noticed Mahira’s simple, plain cotton kurtas reflect her humble upbringing. After marriage, affluence creeps in. Instead of cotton, she is now in gorgeous chiffons and silks. Her ankle-length Anarkali kurtas are complimented wonderfully with colour contrasted dupattas of the same length. One thing, however, does not change, her clothes remain completely plain - devoid of any design. She is a plain person, completely honest, nothing hidden inside. The qualities would ultimately make her husband hopelessly besotted with her.
The titular song, “Wo Humsafar Tha” is a dangerous addiction and has contributed immensely to the show’s timeless appeal. Originally written after the fall of Dhaka, the song is beautifully perfect to depict love, loss and longing.
Iam sure I will watch the serial again sometime. I saw something at 14, I saw something else at 22 and I will take away something else at 30.
