Faseeh Bari Khan, a popular yet controversial playwright of Pakistan has contributed to the revival of Pakistani cinema by penning down a film, the shooting of which has commenced.
Saat din Mohabbat In being directed by Farjad Nabi and Meenu Gaur comprises of actors which people love to see on screen such as Mahira Khan, Sheryar Munawer, Hina Dilpazeer and Javed Sheikh. Popular model Amna Ilyas and the budding lovable actress Meera Sethi also happen to be the cast members.
One thing, however, which has everyone’s curiosity piqued is the fact that this writer who has shown indifference to restrictions while writing for television has been given the big screen now in order to show his talent, and it remains a surprise how bold Khan will be this time, for there has been no such taboo phenomenon which this writer has not addressed and no personality trait he has not depicted through his characters, be it the flirtatious nature of young girls or the sexual frustration of old age men.
Moreover, topics like prostitution and forbidden relations and transgender characters recur in Faseeh Bari Khan’s drama serials. His boldness even resulted in the banning of one of his serials on Geo television. However, Khan continues to write and gain respect owing to his fine use of Urdu language and a deep insight into the psychology of human beings.
The film, whereas promises to be a treat owing to its cast comprising of renowned performers, has also inculcated the fear that where people might love to go to the cinemas to watch the film, they might be shocked at the possible flagrance in the film. The big screen has seldom cared for limitations. Commercialism has always induced people to put an item song or a bedroom scene in films. It is due to all this that a piece written for the big screen, and that by a writer who valiantly enters dark realms has engendered a lot of excitement.
One ineluctable fact related to Faseeh Bari Khan is that whatever he has penned down, he has done it in a realistic manner, be it in ‘Quddusi Sahab ki Bewah’, ‘Behkawa’, ‘Mohabbat Jaaye Bhaar Mein’, ‘Chimgaadar’ or ‘Taar-e-ankaboot’. Therefore, one does not expect unnecessary or forcefully incorporated item numbers in Faseeh Bari Khan’s film, nor inappropriate scenes only for the sake of commercialism. It is hoped that every aspect of the film will have realism associated to it.