OPRESSION ON WOMEN IN PAKISTANI CENIMA 1

Oppression on Women in Pakistani Cinema: Critical Analysis on Movies “Khuda Ke

Liye, Bol, Verna and Dukhtar”

Bisma Aslam (15684)

Media Science (Advertisement), IQRA University

HUM433: Report Writing

Syed Muhammad Shoaib Sajid

August 30, 2022

OPRESSION ON WOMEN IN PAKISTANI CENIMA 2

Abstract
Movies are an amazing form of pleasure in addition to a wonderful storytelling tool. It is non-

stop, and the particular coordination of the movie's communication is powerful. It also helps

the authenticity or unreliability of truth and its absolute untruth. The outstanding screenplay

contributes to the improvement of civilization. In countries in which studying comprehension

is low, this function is even extra significant. As a result, Pakistani movies are the maximum

outstanding form of enjoyment in the country. This research examines Pakistani movies

which include Khuda ke Liye, Bol, Verna and Dukhtar, especially from the attitude of

feminists and oppressive mentality. Researchers used descriptive evaluation as a technique in

their studies. The researchers observed that the movie's subject became very brave, sensitive,

and vital in today’s technology after comparing the chosen movies. The movie's issue relies

on is truly ambitious and difficult for society. In addition, the feminist worldview is

fantastically depicted. The movie is ready to produce and studying masses of questions inside

the audience's minds. Researchers mentioned that the cinema administrators and

manufacturers of the selected movies strongly challenge feminism and query our society's

oppressive mentality.

Domestic abuse is depicted in Pakistani movies which include Khuda Kay Liye, Bol,

Verna, and Dukhtar. The movies had been capable of a journey through relying on mass

media that portrayed them as subject matters of everyday social shame, which includes

depictions of women's conquests that have to now no longer be associated with politics, and

through ignoring or rejecting in advance Pakistani movies and coming into worldwide

markets.

Women aren't handled equally in our society. According to the research of the movie,

the screenplay is based on liberal feminist ideas and oppression difficulties.

OPRESSION ON WOMEN IN PAKISTANI CENIMA 3

Keyword

Oppression on female, Pakistani cinema, Entertainment, Women, Pakistani Society, Religion,

domestic violence, Khuda Ke Liye, Bol, Verna, Dukhtar.

Introduction

The film, and the cinema, is a source of knowledge, education, propaganda, and opinion

formation in addition to being a type of entertainment. The significance of movies in today's

world cannot be overstated. Cinema has the highest opportunity of becoming the most

effective form of mass communication. compared to other kinds of media, cinema has a

number of benefits. It generally combines audio and visual, making it significantly appealing

to the eyes and, as a result, the ears (Elsaesser, 2002). It's undoubtedly one informed other

media with the event of color cinematography and stereophonic sound.

After partition, the Pakistani film industry, known as Lollywood, began with limited

resources, as India had previously been the film industry's hub. Pakistani filmmakers and

directors have used films to depict social reality since the birth of the country's film industry,

producing hundreds of wonderful films about social, political, and religious themes. Until the

1980s, when Pakistani cinema was at its peak, an average of 80 films were made annually

(Gazda, 1997); but, the film industry in Pakistan has since dwindled due to a variety of

issues. As time passed, numerous changes were made, and interest in the cinema increased,

which formerly controlled the Urdu-relative-oriented loop of romantic stories. As a result, a

new wave of Urdu films emerged, although due to the adoption of a medium or dominant

subject, women remained underrepresented in films (Yousaf et al., 2017).

The move to a globally recognized worldview was difficult, and Pakistan's subsequent

rebirth of film experienced major changes in production techniques and themes. In 2007,

Shoaib Mansoor's "Khuda Kay liye" was created to create misunderstandings about Islam and
OPRESSION ON WOMEN IN PAKISTANI CENIMA 4

Islam. After a major breach and collapse of the Pakistani film industry (Rodriguez, 2009), a

series of films were produced in 2011, most of them radicalism, familyism, feminism,

women's rights and status, religion, etc. this study talking about issues like non-literary,

culture, prostitution, male dominance, corruption, and transgender ideals (Shahzadi, 2020).

This film depicts a tough scenario in which Pakistanis and Muslims have been trapped

in general after September 11th. There is a conflict between basic and liberal Muslims. Not

only between Westerners and Muslims but also in Muslim communities, such scenarios exist.

For the focus of life and its western clothing, the educated modern Muslim is in a difficult

situation. On the other side, they are punished, and the Western world views them as a

prospective terrorist threat because of their Muslim identity (Gershon, 2020).

Muslims who are looking to the future have suffered greatly as a result of this

conflict. This is the theme of the film "Khuda Ke Liye," which translates to "for God's sake!"

This title was mistaken as to its original name because it was developed for the South Asian

market, and it was written in Urdu(Sibtain et al., 2021)

What's amazing about this film is how it links together things that happened on three

continents. Unlike other Indian and Pakistani films, which focus on romance, dancing, and

song, this film addresses some important issues and explores the attractiveness of Muslims

today. Topics of sensitive discussion (Gender & Crime , n.d.)

In 2011, the film is Shoaib Mansoor's Bol (to speak or say). Bol is a social drama that

reveals the hardships, complexities and issues of life as a reality, focusing on the suffering of

women in society from birth to death. Bol is a building in a feminist environment with a

religious atmosphere.

Bol depicts a family that is just surviving by. In the heart of Lahore, the film is set in a

house with several daughters. Life is full of energy, but the parent limits one's ability to

succeed. They agree on a set of values with weaknesses, while values that do not are
OPRESSION ON WOMEN IN PAKISTANI CENIMA 5

questioned. Bol called these values into doubt. Humaima Malick plays a daughter who

suffers the most from the family's issues. She respects her parents' restrictions, but she simply

wants to break them due to her logical reasoning and sense of justice.

Bol makes its way through this family's lives, highlighting their hardships, tragedies,

successes, and tough times. As families make choices to address their problems, they become

involved in even more complex issues. The difficulty of their situation turns into a life-or-

death conflict.

In 2017, the movie Verna which is directed by Shoaib Mansoor's, the film is based on

a life of a married couple who falls apart. The film discusses rape, it just casually mentions

rape and does not go into depth about it, and this film was written by a Pakistani man to

encourage males to listen to women. Its purpose is to inspire women to speak up. Verna is a

narrative of personal vengeance and political injustice in Pakistani culture, which is all too

frequent. The film highlights and questions the flaws that we discover in religious experts'

assertions, society beliefs, and cultural behaviors (Farhatullah, 2018).

In 2014, a movie by Afia Nathaniel is Dukhtar (daughter). The movie is based on

villagers in Pakistan's mountains who are on the search for a mother, son, and daughter who

escaped on the night of the girl's marriage to a rebel leader. Early marriage is a specific cause

for this film's topic, and forced marriage, particularly between young girls and older men, is

connected with numerous social, cultural, and religious traditions in Pakistan and globally.

Eventually, a new chapter in Pakistani cinemas began to emerge, and the general population

began to visit movie theatres. (Shah, 2020) Oppressive culture is questioned throughout

the film, and the dominant mentality is shattered.

OPRESSION ON WOMEN IN PAKISTANI CENIMA 6

Problem Statement

One of the most major issues of debate in Pakistan is the male domination society that has

been created. "People are not made by culture. Culture is created by people" (Adiche, 2014).

It's necessary to understand patriarchal oppression negative impact on our society, as well as

how women are abused and subjected to oppression and violent acts. Mary's independence is

taken away from her by her father in the film Khuda k liye, who refuses to accept her life

decision and imposes his own on her, and her husband marries her forcibly. The treatment

Mary's received from her father and husband illustrates how women in a misunderstood

Islamic community face discrimination, forced marriage, and marital rape. Bol is the story of

an oppressive male-headed family, although extreme kinds of violence, domestic violence,

and murder are common throughout the film, hidden forms of violence are also common.

Verna movie which is based on the sensitive issue “rape” shows female oppression by a rich

and powerful man. Dukhtar movie is all about early forced marriage and oppression against

women. Each film contains female protagonists who must deal with male oppression and

gender violence.

Literature review

According to Steve’s and Smith (1987) women are overrepresented in entertainment

programming. Women, wealth, and culture, feminist communists say, are increasingly widely

debated problems in the media. They believe that the feminist perspective does not

adequately reflect the majority of women's concerns. It mostly targets unmarried upper- and

middle-class women. Extreme liberals are mainly concerned with the message and are

unconcerned about the setting. The authors propose communist feminist as the most

beneficial to society. It has a wide base of knowledge in language, movies, theatre, play,

creative media, literature, and modern feminism. Weiner (1994) that feminist theory stated as
OPRESSION ON WOMEN IN PAKISTANI CENIMA 7

a dedication to improving the lives of women; it includes the questioning of unquestioned

stereotypes regarding women as a key way of understanding and doing, and it is focused on

building balanced personal and professional actions. As a result, the feminine study might be

described as analytical, social, and practice-oriented. Reinharz (1992) Research is both a

strategy and a vision. Its goal is to look into the unexplored and underappreciated aspects of

human life. It has had a substantial impact on the development of a number of key theoretical

notions. It leads to plenty of important conversations about women and culture. Reinharz has

proposed eleven feminist research objectives. She points out that feminist research is a matter

of perception rather than procedure. It includes a continuous analysis of non-feminist reports

conducted by feminist theory, with the goal of social transformation. In a similar sense, the

representation of women in movies is examined from a feminist standpoint. (Zatlin, 1998)

Spanish cinema Josefina Molina is a well-known and well-regarded film director who takes a

strong feminist position. Her films have the strongest portrayal of feminism, and the texts she

chooses are female-oriented. (Butler 2004), French women were represented as more

enthusiastic and attractive in British films. The most of women in films are shown as

housewives. Movies promote in teenage girls the belief that real beauty and fulfilment can

only be achieved at home. Nandakumar (2011) believes that if filmmakers and screenwriters

thought about movies from the perspective of women a bit more often than they do currently,

the negative cycle of categorizing and repetition that Indian commercial cinema is stuck in

may be broken. This could teach audiences to assume changing plot points with the period,

encouraging directors to create fresh ideas and improve the overall quality of communication.

Cinema is a strongly emotional art, and it must play a useful role for people to know critically

and interact with other perspectives on life(Si, 2011). Ali (2012) examines the portrayal of

women in Pakistani major films in Urdu and Punjabi between 1988 and 1999, and it is a

thorough examination of 48 films. Applying a qualitative research method, he investigates the

OPRESSION ON WOMEN IN PAKISTANI CENIMA 8

female protagonists in Pakistani Urdu and Punjabi films. He finds that the portrayal of

women in Urdu and Punjabi films is not an accurate representation of Pakistani women, but

instead creates a negative impression of Pakistani women in the minds of audiences.(Ali et

al., 2014) These images do not address the issues that Pakistani women face, nor do they

provide reasons for the challenges they face. Bol is a "social drama based in the Urdu

tradition of critical realism," according to Bilal, but the themes delivered by these films may

not always appeal to the general public who "grew up watching extravagant Bollywood

thrillers, rom-coms, and pot-boilers" (Paracha, 2013). In terms of philosophy, films with

overt moral lessons, such as Bol and Khuda Kay Liye, are more "focused towards educated,

pro-establishment or liberal middle-class viewers" (Kirk, 2015). Rape comes to mind when

we think about criminality in these movies. Pakistan is a system of oppression where “women

are treated as slaves, 'given' or 'acquired' through arranged marriages” all too frequently

(Alavi, 2017). Another common element in Pakistani cinema is that the raped or tortured

women die at some point during the film, as a reflection of the unethical woman's fate and the

repercussions she must face. Khuda Kay Liye represented the rape culture in Pakistani films,

can also be considered as an exception because the lady does not die and is presented as a

victim of domestic violence, which is illegal in Pakistan. Shoaib Mansoor is an individual in

the country's film industry who uses his films to "question the mainstream perception of

specific societal concerns," a quality that isn't often found in commercial filmmakers

(Ahmed, 2016). Other than Shoaib Mansoor's work, we see entertainment being used to

promote moral education and "social consciousness" in film industries around the world

(Brown and Meeks, 2007). The ultimate concept that the "home is that the safest area for

women" is named into question by bhatla and Rajan, who criticize the normality of violence

as an "integral aspect" of any marriage. “Domestic violence is not regarded as an unusual, let

alone a crime,” they write (Bhatla and Rajan, 2004).

OPRESSION ON WOMEN IN PAKISTANI CENIMA 9

Significance of the study

There is a lack of literature on cinematic studies, mainly on liberals feminist thought in

Pakistani cinema, and there are enough works on stereotyped representations of women in

cinema. This research will open up new possibilities in film analysis, and a feminist method

that questions oppressive beliefs would provide as a research project, adding to the existing

literature. It will make it easier for media students and academics to look into cinematic

depictions of women, message transfer, and ultimately general education by movies. At a

moment when fresh themes are being told and various roles are being portrayed by women,

how is film undermining the country's deeply held male-dominated mindset, which is the

typical power of men upon women?

Research Objective

For media professionals as well as cultural research, films and women are significant and

attractive topics of study. Because this research is part of a wider piece of research that

focuses on determining how women are represented in films and how this affects oppressive

thinking.

The study's main objective was to look at how women are represented in films that

question the oppression of women (stereotypical male power in the home) and how cinema is

questioning widely held social beliefs of male dominance.

Methodology
OPRESSION ON WOMEN IN PAKISTANI CENIMA 10

This research looks at how women are portrayed in films, how beliefs are represented, and

how films can finally be used to educate people. This is descriptive research. The problems of

oppressive ideas in Pakistani cinema and female representation on the lead role were

analyzed using a thematic analysis method for the research. Lack of education,

unemployment, factionalism, oppression of women, women's issues, trafficking, religious

belief, corruption, respect men, marriage issues, large population, irresponsibility of the

power elite, the role of TV and movies, and so on are all difficulties and beliefs that are hard

to evaluate communally in the chosen films. Analyzing the movies Khuda k liye, Bol, Verna

and Dukhtar as a result, the research focuses mainly on the womanist portrayal, patriarchal

oppression issues, and its presentation. The goal of the research is to look into concerns such

as women's representation, oppressive thoughts, communication decoder, and the rights of

women.

The scholars repeatedly watched the films to find and document discussions, settings,

and backgrounds that depict women and how they can be represented in contrast to a male-

dominated society.

Analysis of Selected Movies

Film: Khuda ke Liye

Shoaib Mansoor wrote and directed the film Khuda Kay Liye. Mansoor and Sarmad, played

by Shaan and Fawad Khan, are two musicians whose lives are turned when terrorist attacks

occurred in the United States, and they misunderstand the lessons of Jihad.

Character’s Name Character Explanation

OPRESSION ON WOMEN IN PAKISTANI CENIMA 11

Maryam “Mary” (Iman Ali)
Female Protagonist
A young lady Mary, sometimes known as Mariam, is a free woman
in love with Dave, a Gorah (white) man. His father is strongly
opposed to it. Then he told her that they are going to Pakistan, and
there she forcefully marries her cousin, Samrad. They tie the knot
in Afghanistan.

Mansoor (Shaan Shahid) Mansoor is a student at the Chicago musical institution. He meets
Jenny there and immediately falls in love with her. FBI agents
arrest him and torture him because of his Islamic background

 Sarmad (Fawad khan)
Male Protagonist
Moulana Tahiri (Rasheed
Naz)
Antagonist
Sarmad (Fawad) has established himself as one of Lahore's
greatest vocalists. Sarmad is later persuaded by an Islamic activist
named Maulana Tahiri, who leads him to adopt a stricter Islamic
lifestyle and abandon his music profession, which the Islamic
activist considers "haram." Growing a beard and refusing to listen
to music.
Moulana creates the misconception about Islam and told Sarmad to
leave music because it's haram and also advises him to kidnap
Mary and forcefully marry her for the sake of god.

Hussain khan Hussain Shah, he is the father of Mary, can't stand the idea that his
(humayun kazmi) daughter is interested in a white lad (Dave) who is Christian,
Antagonist despite spending his life with Christian white women. He
symbolizes hypocrisy.
Jennie (Austin Marie Sayre) Mansoor meets Jennie in Chicago, they fall in love with each other.
She quit drinking and marries Mansoor.

Dave (Alex Edwards) Mary fall in love with Dave they want to marry each other but
Mary's father is against that marriage because Dave is Christian

Khuda Kay Liye premiered in Pakistan on July 20, 2007, and has since screened at several

international film festivals. As a result of its performance, the film received several awards.

The film was rated a super blockbuster by the Pakistani cinema box office, and it became the

highest-grossing Pakistani film of 2007.

OPRESSION ON WOMEN IN PAKISTANI CENIMA 12

Mansoor and Sarmad, two famous singers from Lahore, are the protagonists of the

movie. Sarmad is later inspired by an Islamic advocate named Maulana Tahiri, and wants to

live a more Islamic lifestyle, quitting his music profession, which the Muslim faith considers

"haraam." Maryam (Mary), a British Pakistani girl who has been globalized, finds love in

Dave, a member of the British culture. This, although, frustrates her father, who, while

holding a live-in relationship with an English woman, is a hypocrite. Meanwhile, Mary's

father intends to send her to Pakistan to see Sarmad and Mansoor. Her father exploits her into

marrying her cousin Sarmad when she is exploring FATA. Mary is illegally married and left

alone in her home. In FATA Mary didn’t happy and a try to leave the town, Mary wants to

leave but is captured by Sarmad. Shershah advised Sarmad if Mary (her Muslim is Maryam

now) have a baby then she will never try to escape. As a form of punishment, he later initiates

their relationship by pressure to avoid Mary from leaving anymore. Mary wants a baby boy

because she doesn’t want to treat her daughter like that.  Mansoor decided to enroll in a

Chicago performing institution, where he loves Janie. They soon form a relationship, and

Janie even gives up her drinking to be with him. Although, shortly just after the terror strikes,

Mansoor is captured by the FBI and jailed for over a year because of his Islamic culture.

Mariam writes to her lover, saying that she is in the village without her permission and wants

to rescue. Under the cover of the British authorities, Mary is saved by Sarmad's parents.

Maryam claims she will never let this go lightly, and she accuses Samrad of rape and

kidnapping. In Pakistan, a traumatized Mary brings her father and cousin to court. Wali

(Naseeruddin Shah), a Maulana, later describes to the court what Islam is being

misrepresented for the sake of hate and violence, portraying Islam in a genuine and calm

light. He wants to prove that music is neither forbidden nor harmful to Muslims. He further

claims that Mary's father is powerless to stop her from marrying a non-Muslim because the

restriction only applies to Muslims. Mary was adapted to live as a Christian, and her father
OPRESSION ON WOMEN IN PAKISTANI CENIMA 13

broke Islamic law by having a kid with a Christian lady he never married, therefore he can't

force her to follow Muslim law. Sarmad disconnects from the case, disturbed by the grief he

has witnessed and created. He's also aware of the harm he's been forced to cause for the sake

of religion. Mary has been set out and will back to the town where she was imprisoned to

teach the local women. Meanwhile, after a year of abuse, Mansoor remains in FBI arrest,

with the last act of abuse causing lasting brain trauma. He is expelled and reconnected with

his family in Pakistan after a bad treatment effort, where he sets out to change his situation.

At the end with the support of an Afghan man from the village, Mariam establishes a school

for females in the village because she wants to make women educated and strong (Khuda ke

Liye, 2007).

Film: Bol

Shoaib Mansoor directed and produced Bol, an Urdu feature film, in 2011.

Character’s Name Character Explanation

Hakeem Sahib (Manzar He played the role of the father which always desired a boy so
Sehbai ) that he could help with the family's financial problems; Women
Antagonist working for a living are frowned upon by the father.Hakim
dislikes his son because he is transgender.

Zainab (Humaima Malik)
Protagonist
Surraya Jehan (Zeb Sajjad)
Zainab, the eldest daughter of her house. As evidenced by the
opening scene she's a powerful figure in the film. In the
beginning, she's executing and before that, she tells the journalist
what happened, why she is here? And in the end, she raised too
many questions.
Surraya is the wife of Hakim sahib, and give birth to 14 children,
6 daughters then she was born a transgender child, and She is the
film's most oppressive character.

Sabina “Meena”, (Iman Ali) She portrayed a courtesan, Sakha's daughter, and Hakim Sahib's
second wife.
OPRESSION ON WOMEN IN PAKISTANI CENIMA 14

Dr. Mustafa (Atif Aslam) He played the role of a doctor who aspires to be a musician.He
has two loves in his life: music and a girl from the
neighbourhood.

Chaudhary Ishaq "Sakha", He played the role of Imaan Ali’s father. Shafqat Cheema was
Panderer (Shafqat Cheema) fantastic in every scene, and the sequence in which Iman Ali
transforms from an Umrao Jan Ada want to be - a hardcore
slangy Punjabi was beautifully portrayed.

Syed Saifullah Khan (Amr  Syed Saifullah Khan or Saifi is their intersex kid (khawajah sara
Kashmiri) in Urdu).

Master Aktar Hussain (Irfan Master is a father of Mustafa and Hakeen don’t like him.
khoosat)

Master’s wife (Naima Khan) Master's wife supports Zainab and her sister.

It is about a religious Muslim family that is experiencing economic problems as a result of

having too many kids and changing circumstances, with the main story including the father's

wish to conceive a boy and his denial of his current transgender gender girl. On November 8,

2010, the Central Board of Film Moderators in Lahore examined the movie and approved it

the next day. Bol movie is based on Lahore city, Zainab seems to have been executed at the

beginning of the film. Just before this occurs, she tells the media about it. She had six sisters,

as well as a mother and father when she was growing up. The father had constantly desired a

son so that he might support the family's economic troubles; the father will not accept women

working for a living. Syed Saifullah Khan, also known as Saifi, is their transsexual kid.

Because Saifi is transsexual, his father (Hakeem) dislikes him. The remainder of Saifi's

relatives is devoted to her. Zainab is married to a man who constantly criticizes her for still

not having children. As a result, she returns to her father's home. Zainab's mother gives birth

to dead kids. Zainab arranged for her surgical abortion. When Hakeem knows about it, he is

furious. Zainab is upset when she sees Saifi clothed in women's clothing and Saifi said he
OPRESSION ON WOMEN IN PAKISTANI CENIMA 15

likes Mustafa. Hakeem, the owner of a little conventional pharmacist, is contacted by a guy

who requests him to study the Quran Pak to children because he is a devout Muslim with ties

to the mosque. Like this man, Sakha (Is-haq), runs a hostel, Hakeem refuses to agree to that.

Furthermore, the mosque offers him to be an accountant because they believe he is

trustworthy. Mustafa, a beloved country, finds Saifi work at a truck-decorating shop.

There, Saifi is abused by people who are biased towards her due to her identity. Saifi is

molested one day. Almas Bobby (who is a transgender person in real life) plays another

transgender man who finds her and brings her home. Saifi tells her mom and Zainab about

what happened, and Hakeem overhears everything. Hakeem sucks Saifi to murder with a

trash bag after everyone has fallen asleep. He'll have to pay the fare of two lakhs to the cop to

keep it hidden. Hakeem is compelled to drop cash from the masjid's financial institution

account. The masjids appropriate person requests finances, but Hakeem lacks the necessary

funds. To get something, he is going to Sakha's house for accepting his offer but educating

youngsters does not provide them that much money, Sakha provides him with another choice.

Hakeem is forced to marry and have a kid with Meena, a courtesan and Sakha's younger

daughter. Hakeem has a lot of daughters, and Sakha reminds him that the male is the one who

generates the baby girl. Meanwhile, Zainab meets Mustafa parents and ask them to fixed

Ayesha marriage with Mustafa. Hakeem married Meena at the same time. When Hakeem

knows about Ayesha's marriage, he is angry yet powerless to stop it. Meena has given birth to

a girl, which means Sakha will get to keep the child. Hakeem encourages Meena to hand over

the kid to him such that the child will not have to suffer a terrible destiny. When Sakha hears

this, he throws Hakeem out. Meena later arrives to raise the child to Hakeem. Sakha arrives

late at night to steal Meena's daughter, which she was not intended to give to Hakeem. Hakim

attempts to murder the daughter to spare her from a terrible destiny. Zainab kills him with a

deadly head injury. They keep the newborn hidden. Zainab tells Sakha that Hakeem

OPRESSION ON WOMEN IN PAKISTANI CENIMA 16

murdered the newborn and left her outside; she also informs him that she's the one who

murdered Hakeem, that she's facing criminal charges. In the current, a journalist keeps

attempting but failing to justify her innocence. Zainab concludes by questioning why only

murder is considered bad. Why is it a crime not to have children if you haven't planned your

family? She is then executed. When the President (Rashid Khawaja) hears the journalist's

broadcast, which concludes with that issue, he calls a meeting of the same issue as the query.

Finally, the other sisters create a café titled Zainab's Café, it becomes a huge success (Bol,

2011).

Film: Verna

Verna is Shoaib Mansoor's 3rd film as a director, following the widely praised Khuda Kay

Liye and Bol. The film simply touches the surface of the rape issue. Verna's storyline is about

how the males in her life use her perspective to suit their own limited story.

Character Name Character Explanation

Sara (Mahira Khan) Mahira Khan portrays a loving married woman who attracts the unwanted
Protagonist attention of a powerful politician, is raped, and fights back.

Ammal Khan, Aami Haroon Shahid will portray a married pair in the film. Sara's disabled
(Haroon Shahid) husband and a music producer.
OPRESSION ON WOMEN IN PAKISTANI CENIMA 17

Sultan (Zarrar Khan) In this film, Zarrar khan portrayed the antagonist.
Sara's rapist; son of a governor standing for Prime Minister
Antagonist

Mahgul Aami's sister She played Mahgul role, Aami's younger sister and who’s with them when
(Naimal Khawar) Sara kidnap to saving her.

Humera (humi) A lawyer Sara's only friend in her struggle for justice is Irum Rehman, a convincing
who is Sara's friend (Iram lawyer who has the moral bravery to stand by her side.
Rehman)

Khan Sahab Father of Aami decides to take revenge and made a plan for killing Sultan

Sara’s father Father of Sara who’s kills himself in the basement because of shame.

Sara’ mother She chose to travel to America after her spouse committed suicide.

Khanzada (Rasheed Naz) Lawyer of Sultan who proves with fake evidence that Sara is lying and she
is evolved with Sultan.
Raees ( Malik Ata Governor, father of sultan, who tries to save his son with his power and
Muhammad Khan) money.

The movie starts with a married couple Aami (Haroon Shahid), Sara (Mahira Khan)

and Aami's sister Mahgul (Naimal Khawar), they are singing, dancing and enjoying in an

empty park. Sara try to save her sister-in-law and give herself to kidnappers and kidnappers

tell Aami don’t report to the police, and they will return her in few days without any harm.

After 3 days Sara is returned but showed that she has been raped in hidden manners, family

decide to be silent because of Sara’s safety. The family doesn’t want any investigation, so

Verna begins the journey of difficulties that will end with disaster. Sara’s husband complexes

the situation and didn’t consider a normal that he had a kidnapped wife. He develops his

character as a self-centered, insecure failure to someone with empathy, intelligence, and

seeking for isolation, and he’s thinking Sara marry him for sympathy because he had polio as

a child, and Aami had expressed anxiety in the beginning that Sara married him out of
OPRESSION ON WOMEN IN PAKISTANI CENIMA 18

sympathy. Aami doesn’t want to face Sara after releasing from the kidnapper. He blames her

and relates her three days of pain to previous relationships, rather than clarifying her

situation. Aami didn’t understand the condition Sara and slap to Sara. Sara becomes enraged

and attempts to murder her husband. After 2 weeks they try to make thing normal, but Sultan

sent gifts to Sara and write a letter marry me and leave your disable husband. This thing

makes the situation make more complex and their marriage is falling into parts. Sara consults

with a lawyer friend and recommends to Aami to give some space to her. Sara

and humi (lawyer) unite to solve the crime and see that she receives justice. Started a couple

of circumstances, Sara calls the Sultan and ask for a meeting. When she goes to ‘Date” with

him, they become a friend. In the house of the Sultan, Sara finds out from the pictures Sultan

is the Governor's son and standing with the Prime Minister of Pakistan. The cause for Sara's

rape is revealed. It flashes back to the Governor's visit to a school, and the routes are closed

including the route where Aami, Sara and Mahgul. They are going to park and Sara loses her

temper and asks the governor, "you're unfairly blocking the road, we are not your servant."

She meets with Sultan for the medical report as evidence. Aami’s father wants to take

revenge and planned to kill Sultan but Sara files FIR but is late and the Sultan leaves the

country. Officials in the government feel the whole thing is a set-up organized by their

enemies. Sultan's family and political connections threaten and bribe Sara and her family to

go to Dubai or things will spiral out of control. Despite the challenges, they choose to stay.

Sara brings the case to court with the evidence. They caught Aami and torture him and bring

evidence from him and also removed all the evidence from the lawyer side. Televisions

mentioning her as an example of how certain women are "asking for it." She is brave, driven,

and aggressive from the moment she gives herself to Sultan's flunkies to protect her sister-in-

law, Mahgul. The lawyer of Sultan proves that Sara and Sultan are lovers and Sultan did

everything with the permission of Sara but nothing changes when she divorces her husband
OPRESSION ON WOMEN IN PAKISTANI CENIMA 19

continues to defend her case and protects her life. Sara's father kills himself one day in the

basement, apologizing to his family and acknowledging that he was a shame. Sara's mother

decides to flee to America. Sara, Mahgul, and Aami make their plan to kidnap Sultan. While

on his boat, Aami swims and beats him with a bat. Sultan is tossed away and dragged out to

sea, where Sara kidnaps him. Along with Sara's father, he was imprisoned. Sara places Sultan

in a cupboard once he stops breathing. Sultan has no chance of escaping. Aami sent a text

from Sultan phone to his father and media that he is embarrassed by his actions and Sultan is

going to Afghanistan he will never come back. Sultan is imprisoned in the basement and will

not be released until he dies. Although no one else was available to help her, Sara finally

receives her justice. At the end of the story, Sara and Aami go on a trip together (Verna,

2017).

Film: Dukhtar

Afia Nathaniel directed the Pakistani dramatic mystery Dukhtar in 2014. Mohib Mirza,

Samiya Mumtaz, Asif Khan, Saleha Aref, Samina Ahmad, and Ajab Gul are among the cast

members.

Character’s Name Character Explanation

Allah Rakhi (Samiya Samiya Mumtaz depicted a selfless mother with compassion and
Mumtaz) conviction. She saves her daughter from early marriage. She doesn’t
expect her daughter life will be a carbon copy of her life.
Protagonist
Sohail (Mohib Mirza) Sohail is a truck driver who's taking Allah Rakhi and her daughter to
Lahore by truck and he’s a former Mujahid. Who unwillingly accepts
them on board and becomes their target.

Zainab (Saleha Aref) Saleha Aref's performance as Zainab prevents her from becoming a
child bride. They originate from a little village in Pakistan's northwest.

Daulat Khan (Asif Khan) Daulat Khan (Asif Khan), Allah Rakhi's much older husband, fixed
OPRESSION ON WOMEN IN PAKISTANI CENIMA 20

antagonist Zainab nikah with Tor Gul who's the leader of another tribe for ending
the enmity.

Shehbaz Khan (Ajab Gul) Shehbaz Khan (Ajab Gul) is pursuing a party is led by Daulat Khan's
leader of the tribe, he knows Allah Rakhi since birth and he likes her.
After escaping Allah Rakhi and her daughter he found them in the end.

Tor Gul (Abdullah Jan) Tor Gul is a leader of the tribe and enemy of Daulat khan, he offers
Daulat Khan if he fixed his marriage to his little daughter then he will
finish their enmity

Ghorzang Khan (Adnan Ghorzang is an important man of Tor Gul, who's trying to find Zainab
Shah Tipu) and Allah Rakhi but he ditches Tor Gul and killed him.

Afia Nathaniel directs and executive produces the film, which is her debut feature-length

effort. It tells the story of a mother and her 10-year-old daughter who escape their village to

protect the girl from being forced into getting married to a tribal leader. On September 18,

2014, Geo Films released the film across Pakistan. When Allah Rakhi was 15 years old, she

married Daulat Khan, a significantly younger cultural leader who took her away from Lahore

to live with him in the mountains. Now after 20 years, Daulat Khan is expected to have the

ability to improve relations with Tor Gul a leader of the tribe, and he protects the

arrangement by marrying his and Allah Rakhi's 10 years old daughter Zainab.

Allah Rakhi escapes from her house, troubled by the possibility that her daughter's life will

be a carbon copy of her own. Allah Rakhi tries to catch a lift for herself and Zainab while

being chased by Daulat Khan and Tor Gul's soldiers and realizing that she is easily

recognizable as a single-handed lady on a mountainside route by pretending to be a friendly

truck driver. In this movie is Allah Rakhi facing oppression and now the husband of

Allah Rakhi is doing the same with his daughter. Allah Rakhi saves her daughter from early

marriage with an old man.

OPRESSION ON WOMEN IN PAKISTANI CENIMA 21

At the start of the movie Allah Rakhi dreaming she is an independent woman, and she

woke up as the wife of Daulat Khan. Allah Rakhi daughter Zainab is in class 5, and she is

teaching her mother. Daulat Khan is a leader of the tribe, and he had enmity with another

leader of the tribe Tor Gul, they killed each other men, Tor Gul tells Daulat Khan if he wants

to end this enmity then he will give his little daughter as a wife of Tor Gul. Shahbaz likes

Allah rakhi, but her marriage is already fixed with Daulat Khan that time, in the day

of Nikah Zainab is ready for Nikah is an illusion in a real

after Nikah Allah Rakhi and Zainab is escaped. Shahbaz and Ghorzang are trying to find

them. Allah Rakhi and Zainab are hiding on the roof of the truck but when the driver feels

someone is on the roof he stops the truck and said to them to get down and leave them on

road. Allah Rakhi tries to stop the truck and convince him to give lift. When the driver asked

them about the problem she told him, my daughter, is the wife of Tor Gul and then the driver

asked them to leave. Allah Rakhi takes out the gun and says to him if you did not help us I’ll

kill my daughter and also myself. Ghorzang found the truck, but he did not find

Allah Rakhi and Zainab because the driver hides them under the driver seat. Driver stops his

truck in the hotel, Zainab go to the washroom and people saw them and tell everything about

them to Ghorzang. Driver (Sohail) takes them to the house of his friend, and they are living

there peacefully, Ghorzang changes his plan to finding Allah Rakhi and returned to the home.

He ditched Tor Gul, killed him and became a leader of the tribe. Allah Rakhi wants to meet

her mother and Sohail take them to Lahore for meeting her mother but Shahbaz found them

and said for going back home and Allah Rakhi doesn’t want that, so Sohail tries to help and

shoot a gun at Shahbaz but in that situation, Allah Rakhi was injured, and she is the

ambulance going to the hospital and holding her daughter's hand is the last scene of the

movie (Dukhtar, 2014).

OPRESSION ON WOMEN IN PAKISTANI CENIMA 22

Findings

Women were not usually shown in repressive and controlling ways in chosen movies,

according to cultural studies, but oppression was questioned in chosen movies through

conversations, scenarios, and settings. Men did not describe women as demands. The usage

of typically represented was avoided, and it was a move forward towards portraying a strong-

minded woman.

The film "Khuda Kay Lye" was mostly about the misunderstanding about Islam, but

the outstanding part of Iman Ali in fighting her domestic abuse left an unforgettable impact

on the viewers.

Humaima Malik's role in Bol was significant and bold in speaking out against

injustice. She took a stand and refused to surrender after being severely beaten. Women play

a very significant aspect in this film, as evidenced by the amazing performance, strong

personality, and conversations.

Verna is a tragedy of revenge and personal oppression that is all too common in

Pakistani society. The film shows women who face a lot of difficulties if she's strong she will

face everything and get justice by herself.

Dukhter portrays a mother who lives in a terrible region yet is unaffected by the

violence. Only a mother (woman) can defend her kids from injustice, and the mother still

controls the country in she grabbed the kid and did everything possible to save her.

Discussion and Conclusion

Movies get an unbeatable presence in modern culture. Cinema has transformed into a strong

media for culture, learning, entertainment, and advertising. The storytelling and visual

qualities of the movie, gives it a fully independent kind of creativity. Cinema is a social

phenomenon, both now and in history, and its inventions must probably find up with
OPRESSION ON WOMEN IN PAKISTANI CENIMA 23

technology, but it can also inspire the nation. Cinemas are narratives; cinemas are individuals

who have concepts that they'd like to convey or persuade others. Cinemas are a sort of

connectivity, and that information sharing arises from cultures, but simply where they're at or

what they're doing, but also where they have been in the past. It's been like this for as much

as films have existed. It's no surprise that movies have a big influence on people's lives.

Cinemas have the maximum chance to be the most successful form of mass communication.

It can quickly be a method of general teaching and knowledge, in addition to providing

affordable enjoyment for the majority. Films are amongst the most effective forms of media.

You may lose yourself in fantasy and ignore your concerns for 3 hours while watching

extremist activities play or simply getting that old sensation of being encircled and

encouraged by your family members. The movie's producers and directors are brilliant and

poor, but they all keep you wondering for some time. Pakistani cinema has questioned

oppressive ideals in movies and has transformed the perception of typical women. The films

chosen have addressed a wide range of social concerns to beat Pakistani society's stereotypes.

The storyline of a few films has had an impact on society. Some may face difficulties to

acknowledge that they're seeing Khuda ke Liye, Bol, Verna, and Dukhtar because they are

strong films. The film's theme is unquestionably bold, questioning the oppression of women

and wonderfully portraying gender stereotypes. The concept of the movies is extremely

brave, emotional, and vital in current times, according to the experts after examining the

chosen movies. The movies raise a lot of questions in the minds of the audience and are

insightful. The researcher performed qualitative research of the films with an emphasis on

oppressive and progressive ideology. The authors found that the chosen films' directors and

producers actively promoted feminism while also questioning oppressive beliefs in our

environment. Women are not treated fairly in our culture. The analysis of the films reveals

that the narrative is based on liberalism philosophy and oppressive concerns. Modern
OPRESSION ON WOMEN IN PAKISTANI CENIMA 24

feminism, for example, is a women's position that advocates for women's rights. Basic

freedoms, religious freedom, fundamental human rights, property rights, self-realization, and

other rights are among them. The result reveals the metaphorical women's role in the film

material, and the examination of data extraction reveals that women protagonists in the films

powerfully reflect progressive feminist and oppressive concerns. All-female characters speak

in a manner that facilitates their awareness of their own identities and skills. The research of

the chosen film reveals that the film's protagonists, both men and women, are reflecting

specific ideals. The lead actors are portraying oppression and male dominance, while their

actions, views, behavior, and dominating manner effectively represent the oppressive

character's ideals. They are represented as having absolute control over their family and

making all choices from childhood to adulthood to represent an oppressive mindset. Instead,

women protagonists convey various feminist beliefs and are the embodiment of liberalism.

They are successful people who have a solid understanding of themselves, and they are

questioning oppressive views. Khuda ke Liye, Bol, Verna, and Dukhtar have all set standards

in Pakistani cinema. The film's dramatic plot is matched by similarly strong graphics that

combined display the best of Pakistani creativity. Khuda ke Liye, Bol, Verna, and Dukhtar all

focus on different issues that need to be addressed in our culture. Khuda ke Liye, Bol, Verna

and Dukhtar highlights the qualities of the Lollywood cinema as a starting material too much

'Rebirth of Pakistani Cinema.' The rebirth of Pakistani film has been achieved mainly by a

solid script, fantastic soundtrack, talented actors, and solid direction. Even though the films

have received a lot of critics, appreciation outnumbers critics. Women are oppressed in our

society, they are suppressed and tortured. These 4 films show violence in a different ways. In

Khuda ke Liye, the woman is forcibly married in the movie by taking her to FATA. In Bol,

women were imprisoned at home and they were not given any right in the name of religion.

In Verna, the woman was abused by powerful man. In Dukhtar, a child’s marriage is declared
OPRESSION ON WOMEN IN PAKISTANI CENIMA 25

with a 60-year-old man. These violence are shown in these movies because somewhere these

are present in our society. These violence are part of our society, so these oppression have

been depicted in these movies. Movies are reflection of our society because cinemas show

what is happening in our society. Oppression is a great part of our society, women have to

obey the father and brothers before marriage and have to live husband’s will after marriage.

Women are pushed to marry, and strong males kidnap any woman they find attractive. In the

past, the sons of ministers abducted and tortured women and left them home. Such incidents

have been in the past and present, these movies are made by keeping in the mind these

events. The cinemas show the same violence and oppression that our women are facing in our

society. Khuda ke Liye, Bol, Verna, and Dukhtar are determined by a variety of public

concerns such as Violence, illiteracy, oppression, women having positions, and finally their

explanation with religious references.

Recommendation

After conducted this research, recommended that violence against women should be

eliminated from our society. Women should be given freedom to do their professions, they

should be appreciated, supported, give independency and their rights, and they should not be

imprisoned in the name of religion. Women are an important part of our society so they

should be valued and respected. These movies are based on social issues, shows the real

incidence of our society such as corruption, a lack of education, women's oppression, early

forced marriages, violence, male dominating society, etc. and then justifying them with

religious references. In future make further these type movies which are on based women and

shows the reality of our society and generates new researches about women roles in our

society.
OPRESSION ON WOMEN IN PAKISTANI CENIMA 26

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