‘Chain Aye Na’ review: Derangement masquerading as love

Syed Noor’s latest celebr­ates harass­ment, making such behavi­our not just accept­able, but even admira­ble


KARACHI  : It starts with a wedding to be: Guy meets girl and serenades her with both a saxophone and guitar. So far so good, if somewhat clichéd. They dance their hearts out (back up dancers in tow) at a mehndi.

The guy – our ‘dashing hero’ – is quite obviously smitten but the girl, not so much. Guy confesses his ‘love’, girl lets him down easy. That should be the end of it right? Nope. Not so fast.

Against all odds and despite all her protests, the guy is convinced that the girl (who is already engaged) and he are meant to be. He pesters their mutual friends – to their obvious discomfort – for her number and follows her to her city, to her home and then, to her very bedroom. At each point, she repeats “NOT INTERESTED” first amicably, then sternly and finally with wrath. The guy’s sole response each time is, “Tum meri ho (You are mine)”.

Shahroz Sabzwari reassures fans ‘Chain Aye Na’ is not a bad film

Driven to a breaking point, the girl finally lashes out and slaps him – twice. Better late than never, I suppose. But then things take a turn for the really grotesque. The guy slaps her back thrice – because who’s keeping count – and threatens to “knock her down of her high perch.” Because “tum meri ho.”

Such is the plot of Syed Noor’s latest big screen offering Chain Aye Na. But is this love? Noor certainly seems to think so. None of the characters ever even chastise his protagonist for this deranged obsession with the female lead. The latter, on the other hand, is repeatedly told that the hero truly loves her and that she is being too harsh. Victim-blaming at its finest.

As a general rule, a critic should avoid commenting on and criticising an idea behind a story, movie or any art form. Everyone reserves the right to express their self freely, without any thought-policing.

Sometimes though, an idea can be so toxic that it can have troubling, even morbid consequences. Not pointing that out would make the critic complicit in that sin.

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South Asian cinema has long equated love to deranged, often one-sided, obsession. More often than not, it has been male protagonists who harbour it for the female lead. Heroes, in many of these films, behave like jealous stalkers, resorting to what is…

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