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Women In Pakistan, Bol: A Movie Review

Author: Chandni K. Saigal


Introduction


As the title of the film suggests, Bol talks about the silenced voices of women in a male centrist culture, fitting in with cultural standards of a man-controlled society in Pakistan and afterward at long last raising the voice against the enduring shameful acts of the male centric framework. It is a Pakistani film which was released in 2011. The film is coordinated, created and composed by Shoaib Mansoor.




The Film


Bol is the narrative of a patriarchal family from Lahore, Pakistan. The patriarch Hakim is a customary medication dealer. The film is an ideal blend of viciousness dependent on sexuality and force that is exacted upon ladies by society. Albeit clear types of brutality like rape and marital rape, child sexual maltreatment, abusive behavior at home and murder are very widespread all through the film, however secret types of viciousness are additionally very predominant.


Zainab (the hero and the oldest girl of the family) is the exemplification of the expression, 'Where there's power, there's resistance'. In the whole film she supposedly raises her voice continually against all the shameful acts dispensed by the patriarch of the family unit. She left her matrimonial home when her better half opposes her choice to not conceive. She chooses so in light of the unsteadiness in the money related state of her home. She goes with her mother to the gynecologist and encourages herself to get a tubal ligation, so as to shield her from further undesirable pregnancies.




Zainab is likewise the wild contender who, incapable of taking the regular torment and physical viciousness allotted by her father to the family, slaughters him. Be that as it may, the inquiry which Zainab poses towards the end of the film, is the thing that blends us profoundly, if murdering is a transgression, why is conceiving an offspring without family planning not a wrongdoing. The inquiry is a type of tricky obstruction against the male centrist arrangement of the general Islamic public in Pakistan.


A reality is that, Islamic male-controlled society standardizes heterosexuality and henceforth everybody ought to follow that and just that. This angle is clarified perfectly in this film. Saifi, the seventh kid brought about by Suraiya (Hakim's significant other), is an intersex child. Saifi's sexual orientation character subsequently gets inadmissible to his father since his sexual personality is considered to carry disgrace to the family. It was a sorry stun then that Saifi was consequently killed by him, in this manner reestablishing that any sexual orientation character which is an obstruction to the cultural gauges, represents a danger to the

cis hetero-normative standards of the general public.


Gender discrimination is a worldwide issue, and the Khwaja Sira network is one of the most segregated and minimized in Pakistan. They are relinquished by their families, shunned by society, constrained into sex work, begging, or singing and dancing to gain a living.


There are a few scenes in the film that attempt to cause the idea that the destiny of the Khwaja Sira in Pakistan is in the long run is to dance, sing and accomplish sex work so as to endure. Khwaja Sira are portrayed unlike every other person nor are they allowed to have upbeat, 'typical' predetermination.


All cases of viciousness, the assault of Saifi, the nonstop conjugal assault of Suraiya, the abusive behavior at home on the women of the family unit by the patriarch, the endeavor to murder the eighth sister, limiting women inside the house, etc., all unmistakably call attention to the force separation among men and different sexual orientations, inside the general public.


All the women in the film appear to rehearse hijab, a demonstration which Zainab fights, subsequently requesting opportunity. The two mothers Suraiya and Meena are depicted as minor reproducers. Meena, who is a sex-laborer, is viewed as an improper lady since she wins for herself which is looked downward on by Hakim. Indeed, even Zainab is known as a harafa (prostitute) by her father when she tries to pursue her profession.


In the film, it's very clear that women who need to draw in the male look must appear delightful. Meena, who is a sex-laborer, is constantly dressed to stimulate male consideration. Meena's character is likewise pitched as the indecent lady, just like a sex-laborer her sexuality isn't constrained by a solitary man, she has her own voice. She is boisterous and oppressive, and her position is additionally debased as she's the second spouse of Zainab's father. Frequently women are accused for bearing young girls while we as a whole realize it is a man's chromosomes which choose the sex of the child.


Conclusion


Above all else, Bol must be seen inside an Islamic setting on the grounds that in spite of the fact that Mansoor manages the problems that are begging to be addressed of his time, especially of his own general public which he esteems his basic right to tear open for examination, the film's principal theme is Pakistan itself and Pakistan can never be talked about without its experience as a Muslim state. Mansoor takes head-on all major disputable points and when we watch the film, the inquiry that plays at the forefront of our thoughts is - is Mansoor talking in the interest of his nation or is this, a completely close to home vision enrolling his private sentiments and understandings of the Islamic structure inside which this film is set.



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