Writer : Naila Zehra Jafri
Director: Saba Hamid
Producer: Six Sigma Plus Production
Channel: ARY Digital
Jaisay Aapki Marzi had my undivided attention right from the beginning because of its fast pace and interesting plot. As the narrative unfolded, I found myself drawing parallels with the drama serial Khaas, which also had the same theme. Nevertheless, I must say that certain characterizations in Khaas exhibited a higher degree of authenticity and engagement, distinguishing it in terms of narrative depth and character development when compared to Jaisay Aapki Marzi. Weirdly enough, Mashal Khan played the same role in this drama which she did in Khaas and her character rejected the proposal in the same manner as well! Are the scenes being copied now?
Sherry and Alizay’s end however was different altogether from Khaas. Alizay’s story ended from where it started, the best thing about this ending was Alizay’s perspective toward everything she had been through which was presented in the last scene. However, the authenticity of this scene was seriously compromised because of Dur-e-Fishan’s flawed dialogue delivery and the inaccuracies in the pronunciation of basic words. Furthermore, a pivotal dialogue was compromised, significantly affecting the overall integrity of the performance. Dur-e-Fishan is making commendable strides in securing substantial acting projects despite her noticeable shortcomings in dialogue delivery. That does not change the fact that there is room for improvement.
In my opinion towards the end, the story lost some of its initial appeal. This happened, especially after Shehna’s revelation and Alizay deciding to go back to Sherry for the sake of their child right after deciding to take a divorce. Natasha, who had some complexity to her character, was made to look entirely bad towards the end, taking away from the earlier negative but balanced portrayal. Also, Meerab’s involvement in an affair and his plans for the second marriage were unnecessary and uncalled for while he was married to Natasha.
This is going to be a comprehensive review of the entire drama, not limiting my observations to the final episode. Your understanding is valued as I delve into the various aspects that warrant discussion.
In my opinion, Jaisay Aapki Marzi’s writer Naila Ansari did a fantastic job, for the most part, in creating the negative characters in the drama. These characters were written exceptionally well, making them more interesting and memorable than the positive characters. The meticulous selection of actors for these roles also played an important part in elevating their portrayal to a level of compelling resonance. The ‘villains’ in the story were given more attention and thought, both in terms of writing and casting, which made them stand out. For the most part, Sherry and Natasha kept me glued and coming back for more.
Mikaal Zulfiqar and Kiran Malik’s performances were noteworthy from the outset. Skillfully portraying their characters, they provided viewers with compelling reasons to dislike their roles while simultaneously earning admiration for their prowess as performers. From the beginning, the duo blended the negative aspects of their characters with a commendable display of acting proficiency, offering the audience a nuanced and captivating viewing experience.
Sherry’s father was another flawed character in the household who was not entirely honest with Alizay but he gave the viewers enough reasons to like him towards the end and even throughout. However, it was slightly outrageous that he left that house to Alizay when he could easily have left her fortune in terms of a share in the business or some other tangible asset. Overall, this was a well-written character which was translated on-screen superbly by Javed Sheikh.
The female protagonist Alizay consistently left me in a state of perplexity, with her character seeming somewhat underdeveloped and lacking depth. The repetitive dialogues further detracted from the overall impact. In addition, Dur-e-fishan Saleem struggled to infuse vitality or subtle nuances into the portrayal, contributing to a somewhat lackluster performance. Numerous scenes after she got married to Sherry demanded a heightened emotional intensity, an aspect where Dur-e-Fishan, regrettably, fell short of delivering the required depth.
The rationale behind Alizay’s decision to stay with Sherry remained elusive, as the narrative fell short in convincingly portraying her ‘alleged love’ for him. Despite the script’s emphasis on verbal declarations of affection, the tangible emotional depth needed to convey Alizay’s sense of entanglement was notably absent. While Alizay’s consistent reminders to Sherry regarding his behavior offered viewers an insight into his character, it failed to provide a coherent understanding of Alizay’s mindset. Instead of clarifying Alizay’s motives, this approach added confusion, leaving me continuously perplexed about the true nature of her connection with Sherry.
As the director of this drama Saba Hamid introduced a refreshing element to the scenes by deviating from the conventional breakfast and dinner routines. The actors involved were spared the challenge of convincingly sitting through these scenes while pretending to be busy consuming biryani in every scene. The menu presented consistently reflected a healthier and more aligned choice with the depicted characters’ lifestyles. The absence of the ever-present orange juice jug also contributed to a departure from the norm. These thoughtfully crafted layouts not only added practicality but also facilitated a more seamless integration of the dining element.
In recent Pakistani dramas, there has been a trend of portraying affluent families grappling with distinctly middle-class issues. In Jaisay Aapki Marzi the writer, director, and actors managed to show a cohesive and authentic depiction of Sherry’s familial dynamics. The characters within this particular family were crafted with a keen understanding of the nuances that define their roles, making their interactions and situations feel authentic and relatable.
The paramount success of Jaisay Aapki Marzi lies in its ability to initiate crucial conversations about marriages where women feel suffocated and are pressured to relinquish their individuality. This drama brought to the forefront the often-overlooked challenges faced by women in such marriages. Jaisay Aapki Marzi broke new ground by portraying narcissism as a distinct character trait rather than integrating such traits into a broader problematic personality. This departure from conventional portrayals allowed for a focused exploration of narcissistic behavior, shedding light on its impact within the context of the storyline. Furthermore, the drama introduced terms like “gas lighting,” potentially for the first time. This deliberate inclusion of psychological concepts added depth to the narrative, demonstrating a commitment to portraying complex interpersonal dynamics with a nuanced and contemporary perspective.
Alizay’s characterization, though unimpressive for the most part, was tactfully used by the writer to shed light on Sherry’s behaviors. I saw her role as a strategic narrative device, allowing the audience to discern the subtleties of Sherry’s conduct and facilitating a more profound exploration of the psychological dimensions woven into the storyline.
My overall opinion about Alizay’s father is quite different from the majority of the viewers. In my opinion, Alizay’s father could have been the perfect embodiment of a supporting father in the drama but there were so many times when his approach was immature and at times stubborn. This character lacked grace and screen presence.
My views about Alizay’s mother might also be entirely contrary to the commonly held public opinion. Although, Alizay’s mother was the flawed one who consistently pushed her daughter to go back to Sherry and misread Sherry’s intentions as well this character was more consistent and had a better screen presence than the father’s role. Despite the character’s flaws and the moments when her actions irked me, Huma Hamid’s performance injected a compelling energy into the scenes. Her performance and presence sustained my interest and anticipation for her appearances, even during moments of frustration with the character’s decisions.
Ramza played a crucial supporting role in the drama, and the character had the potential for greater impact if Hira Umer’s portrayal had been less ‘aggressive’. While Ramza was consistently portrayed as her sister’s well-wisher, there were numerous instances where her character came across as annoying, perhaps more because of the performance than the actual character arc. Ahmer, on the other hand, remained a level-headed and likable character, played skillfully by Komail Anam. His portrayal was not only decent but it also captured the essence of the character with grace.
Despite my sincere efforts, I could not bring myself to like Meerab. I must say that the writer failed miserably in making me like the good guys in this particular drama ;)
The potential for Jaisay Aapki Marzi to be a more wholesome drama was hindered by inconsistent characterizations and subpar performances from key actors. This drama might have wielded a greater impact and garnered a broader audience if a different actress had been cast as Alizay. The choppiness in character development and the execution of important roles detracted from the overall cohesiveness of the story, leaving room for improvement in both narrative depth and the portrayal of characters. Dur-e-Fishan, Hira Umer, and Memoona Qadoos (Shehna) were the weakest links throughout in terms of acting. Their portrayals lacked the depth and conviction needed to elevate their characters.
The final episode of Jaisay Aapki Marzi left much to be desired, the opening and closing scenes were particularly disappointing. Even though Mikaal Zulfiqar’s performance was commendable throughout, the opening scene, in particular, fell short of expectations. The crying scene in the beginning lacked authenticity particularly because the director stretched it. There was no point in showing Sherry sitting next to his dad’s dead body and crying with his face completely covered. The director probably forgot to get this scene edited properly. The last scene was equally disappointing because the dialogue was not concise and lacked clarity. Dur-e-Fishan’s performance was the final nail in the coffin. Some of the other scenes in this episode were also stretched needlessly and I am still wondering why Meerab was given the most twisted happy ending!
Did you watch Jaisay Aapki Marzi? Do share your thoughts about it.
Jami wrote, “Yes HAMEED HAROON Raped me. I’m ready now. R u ready to print this @dawn_com ?”
