The recent venture, of renowned film maker and writer Sarmad Sultan Khoosat, is attracting attention and many things are taking round on internet regarding the themes and story line of film. The film is not a typical commercial movie but it is a masterpiece narrating the prejudices, social injustices and hypocrisy of Pakistani society.
The direction of Zindagi Tamasha was the most crucial aspect of the movie that gave it the appearance of being engaging. In contrast to all previous films made, this one was shot in a very distinctive and original way. The moments’ captivating magnetism held spectators glued to their screens. The androon setup of Lahore and its culture was exhibited in most authentic way. The cast did a good job in their roles, and director’s expertise was evident in each scene. The secret ingredient that gave this movie life was the use of the Punjabi language.
Zindagi Tamasha is unique on two levels; discusses religion and the standards of right and wrong promoted by clergy of Pakistan. Not only this, on a deeper level this film tries to find answers to the questions that no one dares to ask. It is for the first time that a certain class of society has been questioned; which has been deemed to be perfect and free from all malice. The film is receiving criticism because divinity of a certain class has been challenged. We really need to think whether Zindagi Tamasha is way ahead of its time or it is the right time?
Sarmad Sultan Khoosat said ‘the film is all yours’. In order to receive this movie we need to prepare ourselves as freedom seekers and process all kind of ideas before delving into the uncalculated decisions and hard narratives. With Zindagi Tamasha the claims of artistic freedom have flattened and even have become worse, and it is due to the political, social and economical structure of society. Artistic freedom is an asset for any society and helps improve social fragmentation. This is not what is happening here.
The shackles of constrained themes have created a suffocating environment for the creative industry of Pakistan. There is no right protocol for the expression of freedom. It is because we are not ready to face our inner devils and bitter truths. However, it has become more than important now to expose our follies and try to transform them. The problem is not with the movie the problem lies with us.
Although the entire movie deserved acclaim and admiration, it had to endure harsh criticism. The time has come to decide whether our society is prepared to accept such masterpieces or whether it will take another decade or even two for us to recover from the restriction syndrome.
