Hum Kahan Kay Sachay Thay draws you in like a good book. The title implies introspection and care and hopefully, the drama will go that way rather than employ the usual karma comparison.
Hum Kahan Kay Sachay was making a lot of attention, yet before it aired, and appropriately so because there are a few questions one can’t ignore about the show from the source. The star-studded cast, their new looks along with the soundtrack and background score quickly lead to getting viewers’ attention.
The story is an evolution of Umera Ahmed’s novella of the same name and Farooq Rind’s direction leads to recreating learned storytelling on screen. From the narrator’s voiceover in the first picture to the cliffhanger in the latest episode, this drama brings you in like a great read. It runs at a rather fast pace to match the power of the story.
There is nothing particularly new about the story since Pakistani dramas have made love triangles, cousin weddings and family politics commonly to death. But, Hum Kahan Kay Sachay Thay inquiries below the surface and into the systems, toxicity, and pain that characters in such storylines never really fully show on the screen. It leads to getting far into these sensations because the story supports three children into adulthood and the public doesn’t just watch time errors, it also displays toilet to the environment and conditions in which these children start to absorb the coolness of the men around them.
In fact, the very first scene opens with the storyteller forewarning audiences of the damaging effects that grownups and their communications can have on children and their maturity.
Three cousins Mehreen (Mahira Khan), Mashal (Kubra Khan) and Aswad (Usman Mukhtar) have a happy childhood collectively, but their beneficial experiences are regularly peppered by Mashal’s mother Shagufta’s (Zainab Qayyum) examples of the two girls. Shagufta is what appears to have become a standard and difficult offence for her sisters-in-law and that in turn is thrown onto Mehreen. Aswad is saved from this because he might be a possible suitor for Mashal in the future. Therefore, Mashal is built with a touch of unevenness with Mehreen and entitlement.
Matters become more dangerous than the random jibe when Mehreen’s father (Omair Raina), a government employee, hides a drug habit and revels in hefty crime at work. Divorce is chosen as the single solution, but just as Mehreen and her mother are about to give the family home, her father moves away. The young girl is that last look like to her heart always.
Shamin Hilali as Mehreen’s Nani never makes the girl leave her past. Shagufta and Mashal further this and soon Mehreen becomes irrationally branded by her late father’s mistakes. Her mother is required to remarry to evade being alone or rather a burden, and this gives Mehreen totally alone and at the aid of her Nani and family. Her single friend is her protective aunt Saleha, who, coincidentally, is Aswad’s mother.
Mehreen wishes for the protection of a loved one and often wakes up breathing heavily after observing her father in a dream. Mahira represents the pain, anxiety, fear and anger with such calm and natural shock that it angers one when other parts find her ‘stupid’. One just can’t support but feel outraged when Mehreen hunts for her inhaler and it is reported to have been deliberately planted by Mashal. The description of the hatred couldn’t be clearer and more serious.
Till of course there are hints of Saleha holding of Mehreen as a potential match for Aswad. This sets bells ringing for Shagufta and she quickly attempts to exercise influence on the grandmother to stop this from happening. Meanwhile, Mashal appears to have been working on this project for years as her regular calls to Aswad include a new sense of difficult infatuation for him and Mehreen’s even character killing. It is fascinating to note that while Kubra as Mashal has this new flirtatiousness in her character, Usman Mukhtar as Aswad is more or less non-reciprocal. Yet, he is simply dazzled by her penetration into Mehreen’s life.
One questions how Aswad believes each word and never cross-checks with his mother. But, then Hum Kahan Kay Sachay Thay plays slowly on the relationship both in its title and of the names Mehreen (sun-like), Aswad (black) and Mashal (torch). Aswad, for the most component, doesn’t remember much but absorbs all that Mashal issues. He does have some grey shades in times of fraud when it happens to Mehreen and complete obedience to his mother in which he admits to marrying Mehreen over Mashal.
In their common hatred, Mehreen and Mashal constantly try to outshine each other, especially when it gets to Aswad. Kubra portrays that passion and jealously not just really, but also emotionally. Yet, one can’t seem bad for her because she runs to portray the negative features of her character so well that as an interview it is hard to work past that. It continues to be discussed whether Mehreen’s consent for the project, which comes with the understanding that Aswad does not like her, will appear in her being ready to shine or will she now be overshadowed by the mystery of the hate within both Aswad and herself albeit for different people.
The title of the drama implies regret and thought, and I believe that it also points to improving action instead of the standard comparison of karma.
Zainab Qayyum and Shamim Hilali are the more important supporting cast parts, completely firm in their negativity and their greed while thinking of themselves as good and selfless people. Huma Nawab as Aswad’s mother always leads to casting an impact in her khala roles and here also there is no cause to love her.
Hum Kahan Kay Sachay Thay not only helps from excellent actors and a strong director but also styling, especially that of Mahira and Kubra clothes along with their rooms. It was visually so pleasant to watch the difference including the features of the most powerful but uncredited cast part: the diary.
So far, eight episodes of the drama have opened.