Before I even attempt to writing a movie review (air quotes), I feel it is my responsibility to tell you all that I am no Anu Aunty (Anupama Chopra) and I can hardly distinguish between cinematic brilliance and commercial paranoia. And the following is just my personal rant on the movie in-question.
However, I can say without a shadow of doubt that ‘Manto’ introduced me to the genius that my country is capable of. The story of a man who wrote beyond reason or rhyme has managed to do the unthinkable: made me want to read Urdu Literature.
Before we even begin to explore the many layers of this picturesque masterpiece, I want to take this moment and forward my gratitude to Sarmad Khoosat not because he chose this subject but for the sole reason that he decided to portray this infamous protagonist. His commitment to his character not only translates on-screen but also reminds us of the phenomenon that the writer was.
The opening sequence of the movie in hues of grey, with vivid red splashed all over is nothing short of sheer genius. I hope the people, and the film critics of this country understand and appreciate how beautifully this sequence has depicted everything that is bad about our society. I felt as if I was watching some Hollywood, Oscar winning direction and little did I know that there was more to come.
The first half of the movie mainly deals with the many characters that Manto penned and invited the wrath of many simultaneously. The presence of many familiar yet celebrated faces of the small screen pretty much adorn Manto’s characters in essence and soul. I was particularly moved by Sania Saeed’s performance as Safiya/Beghum Manto who did full-justice to illustrating unconditional and patient love of a wife (including lighting a cigarette for her husband). I don’t know why but I just kept feeling sorry for her character – even more so than Manto himself. Does that make me a Feminist?
I have no authority to critic on Saadat Hasan Manto’s writings but his very writings for which he had to face trials multiple times stand true today as they did back then. His writings though perceived obscene and ghastly are in my personal view perfectly raised with this movie.
No review of this movie will ever be complete without endless praise for the cinematography and editing. The intensity of Manto’s stories and darkness his characters carried are shown in the rawest form possible and that is perhaps the best feature of the entire experience. Near the end of the movie, I did feel a little drag surfacing, you are certain that a scene displaying his insanity is the end and then bang – you are back to the storyline. The end did however come with some astounding voice-over.
The end credits precede with a short history of the writer and I thought that was definitely a nice, international touch or may be I just like reading a lot even in a movie.
Another thing that is of no-cinematic significance but seized ‘my attention’ is the attention to detail and I am not talking about costumes or the backdrops. You are completely convinced that you are in the 1950s right from bleeding lipsticks to the green-white cream cake. The ‘cigarette ki dabbi’ and the clipboard were too authentic to be just film-props.
All in all, you need to get up from that comfortable couch, start your engines and go to your nearest theatre. I was sincerely and not entirely swayed by the current revolution of Pakistani Cinema but this movie has ensured me that Lollywood is here to stay!
And if Sarmad Khoosat by some miracle, lands on this review, please for the Love of God, dub the movie in English, not just subtitles but dub the entire movie and release it worldwide!!!
Thank you Mr.Khoosat for Manto. Thank you so very much.