Seema Ghazal, a prolific writer of these days recently said what probably she believes in. At a recent function, she was heard saying, "a TV writer should project what is going on around." If her approach is correct then the viewers didn't find anything 'that is going on around' in her recent script which she wrote for the drama serial 'Mehndi', produced by Sajjad Gul for Evernew Entertainment Ltd. The writer has used rather an unconventional technique in developing the story like four daughters being married at one time. Is it based on actual trend in life or does she want that society should follow this fictitious world of TV? Then, there were the 'hard to swallow' names of the four girls like Sajal, Laiba, Alishba and Malaika.

TV production has in fact become quick money making venture these days. It looks like every producer is trying to beat other in churning out pieces in shortest possible time. The element of reality is grossly ignored and the burden of criticism is shifted to the writers. This is what that was visible in this instant drama script of 'Mehndi'. Still the writer had made every effort to craft the story into a screenplay, which was sweet but mallow. She has kept a blend of sentimental moments and comic, human relationships and emotions.

The story itself was simple with no suspense and mostly predictable. Ali Hasan (Abid Ali), a prosperous man had four loving daughters. Laiba, the youngest was a playful type of girl. She loved to play cricket. Ali Hasan arranged the marriages of all four at one time while every daughter had her own feelings and issues in her life as they discussed them among themselves before marriage.

After the marriage, each daughter had to endure a little storm in her cup before adjustments arrived in life.

This is not uncommon, since understanding each other; coming in contact with new people; having expectations from the new entrant in the family requires some time, patience and above all forbearance. As problems with each one got off simultaneously, it shook the father Ali Hasan and mother. Confronted with troubling news from all sides, Hasan called himself unlucky in the matters of his son-in-laws. Jana Bi (Tamanna Begum) an elderly sister of Ali Hasan was the only soul to run all around.

She used to pacify the worries and tensions of Hasan, and to attend the daughters as far as she could go in resolving their family problems.

The problems and confusions of each one were solved gradually except those of Sajal (Ayesha Khan) as it was of totally different nature. Her husband, Dr. Shahzeb (Humayon Saeed), a loving nephew of Ali Hasan, whom the couple had brought up like their own son, dies of stomach cancer. That was a tragic part of the serial for every one in the family and in particular for Sajal.

A notable point during all these stormy events was that neither of the girls ever tried to revolt nor left their husbands and said goodbye to them as we occasionally notice in our society. Although they had to repent later in their lives, but they kept on going. That was because of proper education and brought up of the girls by Hasan and wife Sauleha. In particular, the virtuous daughter Alishba tried her best to uphold the traditions of the family.

Her husband Rameez was in fact interested since long in another girl Ramsha, but was forced to marry Alishba because of age long friendship between his father Iqbal (Qazi Wajid) and Ali Hasan.

Rameez wanted to divorce Alishba, but she in any case tried to save her marriage. The relations between the two families brought more damage to her life. She was ready enough to share her house with Rameez's second wife at the cost of the arising consequences. However, she is shown succeeded in averting the great mishap.

Another touch of real life problem in the serial was the child adoption. This being a complex psychological issue of our society often gives positive result.

The behaviour, affection and love from both sides are exhibited in complex ways, and one should not expect the same attitude and behaviour from an adopted child as from his own biological child. Jana Bi was living with her adopted son abroad. According to her, she did every possible thing for him, but as soon as she came to Pakistan to attend the marriage of Ali Hasan's daughters, her son communicated her not to return.

Likewise, Malaika was the adopted daughter of Hasan and Swaleha. She was taken over, not because of any demand by the couple, but due to accidental death of her parents (who were a close acquaintance to Ali Hasan's family) in her infancy. She was never disseminated and received equal treatment as other daughters and was made to feel well at home. It was sometime after her marriage that accidentally she came to know about the truth of her biological parents. The disclosure shattered her trust of love, relationship and sweet feelings with Ali Hasan and family.

However, after rowing in mental wilderness for a short while she returns to normality since she had no one else to lean on. Ali Hasan and wife, who brought her up and cared for 28 years got quite perturbed and sad by her decision.

It was a pleasure to watch two veterans of the performing art after a long absence i.e. Abid Ali and Tamanna Begum.

Tamanna Begum was quite and passive against her usual firebrand deliveries. Laiba and Ahad were more a comical couple otherwise the drama itself was not at all exciting. As the title suggested it was more a feminine affair. The best part of the drama that kept the impact alive was the long played theme song taken from the original sound and video tracks of Jawwad Ahmad with a lot of faces to be seen.

The sixth episode was, however, notable for very good musical and poetic rendering. Each stanza of the poetic composition depicted some aspect of life of either a boy or girl.

The serial, a comedy as may be called, with a weak and ineffective story, was only a combination of visual imagery on dramatic scale.

To further mar the effect were the marketing gimmicks, since advertising spots were clamouring after every 30 seconds, and those breaks were even longer than the segment of the programme that the viewer could attempt to watch or enjoy.


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