In the ever-evolving world of Pakistani dramas, occasional slips are all but inevitable. Audiences often respond with memes, comments on the absurdity, and have fleeting questions about the art we’re churning out. In this constant loop and unbreakable cycle, we overlook a forgotten truth-the impact of these scenes and their influence.
Sirf Tum Divorce Scene
A recent scene from the 42nd episode of Sirf Tum has caused a stir among the audience. Hamza, the notorious villain in the drama, divorces his wife Amal in the heat of the moment.
Sitting in his father-in-law’s office, Hamza gets in an argument with his wife and divorces her saying, “mein tumhein talaq deta hoon, talaq deta hoon, talaq deta hoon, BOOM.” (I divorce you, divorce you, divorce you, BOOM.)
The execution of this scene was nothing but insensitive. The way Hamza ended his sentence with the word ‘boom’ implied how he felt in control and victorious, as if divorcing his wife was synonymous with child’s play.
Unfortunately, this is not a one-time incident in Pakistani dramas where we have seen the male character divorcing his wife thrice, in one setting, due to a burst of anger. We look at all the other instances where divorce has been delivered this way:
Ghalati:
The 2019 drama revolved around the plot of Zaira and Saad, a married couple whose life falls to pieces after Saad divorces his wife in an impulsive moment. The drama sheds light on the repercussions of toxic in-laws and a short-tempered husband which leads to chaos in the life of the married couple.
Nand:
Another drama showing this recurring plot is Nand. In episode sixteen, with a dramatic turn of events, Saqib divorces his wife Rabi thrice after being instigated by his sister Gohar. The drama depicts Gohar as the evil sister-in-law who can’t tolerate his brother’s wife and is adamant to make the life of Rabi a living hell. The divorce scene was executed in the most dramatic way possible, with Gohar accusing Rabi of extramarital affair and threatens to kill herself if Saqib does not take action, who eventually ends up divorcing his wife.
Kashf:
Kashf garnered praise for its effective storytelling and brilliant execution. In addition, Wajdaan’s unwavering support for Kashf was adored and idealized by the audience. However, tables turned after Wajdaan and Kashf get married and problems arise due to their different objectives. To the audience’s surprise, Wajdaan ends up divorcing Kashf, after she refuses to go with him, in front of her entire family. Wajdaan is instigated by his mother and challenged by Kashf’s father that he is not capable of taking action, due to which he ends up vocally divorcing his beloved wife.
This scene not only shattered a beloved on-screen couple that was praised by the audience, but also did not set a good precedent of a woman encouraging his son to divorce his wife.
Mann Mayal:
Even the beloved series, aired in 2016, couldn’t escape the clutches of this unsettling trend. The narrative unfolds around Mannu, forced into an unwilling marriage with Mikaeel. Mikaeel, a wealthy and arrogant young man, subjects his wife to mistreatment. Despite Mannu’s valiant efforts to salvage their union, a single day sees Mikaeel, fueled by anger and malice, divorces her and callously expells her and their children, leaving them homeless. This portrayal once again underscores the sensationalism perpetuated within such scenes.
Khaas:
The narrative orbits around Saba Faraz (Sanam Baloch), a resolute and ambitious young woman, and Ammar Saud (Ali Rehman Khan), a charismatic and attractive businessman who conceals a narcissistic nature. Captivated by Ammar’s charm, Saba eventually falls for him and agrees to marry him. However, it is only after their marriage that Ammar reveals his true colours. He subjects her to disrespect and belittlement, casting shadows on their relationship.
When Saba receives a job offer from Ammar’s own workplace, his jealousy over her burgeoning career exponentially increases, and his disapproval manifests in the most callous manner imaginable. Fueled by his wounded ego and fiery rage, he impulsively utters the word of divorce, leaving Saba shattered.
Far-reaching effects of these disturbing trends:
These instances just highlight how frequent it is to see the portrayal of husbands giving vocal divorce to their wives. This is not only toxic but wrong at many levels, sending out a wrong message to the masses, most of whom are not entirely aware about the nitty-gritty of divorce laws and Islamic rulings related to divorce.
Moreover, this narrative trend also plants seed of fear within women, due to divorce threats. In doing so, it inadvertently diminishes the sanctity of what should be a cherished and unblemished connection between partners.
Legal proceedings of divorce in Pakistan:
According to the available information available on divorce laws in Pakistan it is stated that:
As per Muslim Personal Law and under section 7 of the Muslim Family Law Ordinance the husband can pronounce talaq orally as well as by way of Deed of Divorce. The husband is duty bound to send written notice by registered post to the Union Council or concerned government office in charge of the issuance of divorce certificates.
In the said notice the husband must mention the address of his ex-wife, thereby enabling the government office to issue notices to her by registered post and it shall constitute arbitration Council within 30 days of receipt of notice for the purpose of reconciliation and settlement if possible.
A verbal talaq is not recognized by law and the husband’s failure to send written notice to the government office is treated as no divorce in law. However, it is also important to note that as per Islamic scholars, divorce once pronounced by the husband and khula once obtained from the court of law is effective and binding.
Our Verdict
There is a thin line between adding a dramatic touch in narratives to make it appealing to the audience and going overboard where we either hurt the sentiments of the audience or signal towards a wrong message.
Divorce is a grave situation that must be dealt with sensitivity, especially in a society where women already struggle to have their demands and rights fulfilled. Dramatizing verbal divorce, and to some extent encouraging it, is damaging to society.
It is here that the makers of dramas must truly recognize their profound social responsibility. It’s essential that they refrain from weaving such distressing scenes merely for the sake of sensationalism. Balancing entertainment with ethical storytelling is the hallmark of mindful content creation, and this responsibility must not be taken lightly.
