“Bikhray Moti” is certainly a show that can be described as playing on the emotions of audiences. The show is a spectacle of misery, but manages to lure viewers into the lives of the main characters. We want so badly for the main characters (and the children) to be happy that it’s impossible to turn away from this show, despite knowing that there’s much worse in store. Neelam Munir, Wahaj Ali, Yasir Nawaz and Samina Ahmed are all doing a fantastic job in their roles, along with the incredibly talented child actors.
Episode 12 picks up where episode 11 left off. Things have been looking grim for Ayeza, having to give up her own dreams with Ahad (Wahaj Ali) in order to protect her niece and nephews. Ayeza is a character that comes from a background where women are kept quiet, expected to bow to the wishes of their fathers and husbands and are seen as a burden. But Ayeza has fought her circumstances without ever being disrespectful. Progressive-minded, Ayeza has always dreamed of marrying Ahad, a man who loves, understands and respects her. Instead, she finds herself emotionally blackmailed into married her brother-in-law. One almost expected Ayeza to fall prey to the same abuses her sister once did – but fortunately, the tide seems to be turning with Ayeza’s arrival in the house. Rather than turning Ayeza’s life into a miserable spectacle, it’s encouraging to see Ayeza take charge over the household. Ayeza has not only put a stop to Shehzaadi working (coming face to face with her ex classmate), but also stands firmly against Zulfi and his mother trying to marry Shehzaadi off. Neelam Munir has done well to take on this role and, along with the kids, she is the highlight of this show, playing a character who is cultured, but also confident and outspoken – because, surprise, one can be all of these things!
It’s clear that Ayeza’s influence is beginning to have an impact on Zulfi (Yasir Nawaz). Why? Well, there doesn’t appear to be any noble reason here. He is simply a man attracted to his young, pretty wife….who happened to be his young sister-in-law before Faiza’s (Nausheen Shah) death, a death which was practically caused by Zulfi himself. This disastrous forced marriage aside, is there redemption in store for Zulfi? Is he actually having a change of heart or is he simply doing what Ayeza says in order to win her over? It’s clear that Zulfi started off as a negative character, but one would still love to see him bond with his children and understand the importance of being a father – something which these children have been missing in their lives. On the other end, Ayeza is heartbroken after meeting Ahad and realizing that he considers her to have been disloyal.
Most of all, Jaanu continues to suffer, away from his family and siblings, working at the shop. After running away, Jaanu is ultimately found again by the very man he ran away from (his Chachi’s brother). He promises to take him back home, but threatens him with a knife, ensuring that Jaanu keeps quiet over why he ran away from him. Jaanu is beaten for running away, but the character of Taaya Ji is a conflicting one. He clearly seems to have a soft spot for Jaanu and doesn’t seem to be heartless. He cares about his feelings – and yet, he also believes in physical punishments and won’t allow Jaanu to go to school, so it’s very difficult to assess how one should feel about him. The little boy who plays Jaanu is simply a gem.
“Bikhray Moti” continues to gain momentum, particularly now with the introduction of Saleem Mairaj’s character. Playing the man who paid for Shehzaadi’s hand in marriage, Saleem Mairaj’s character will give Ayeza a lot of trouble in coming episodes as Ayeza’s mother-in-law has lost all the money given to her (stolen by Taaya Ji’s wife) for Shehzaadi. Will Shehzaadi be forced to marry this much older man despite Ayeza’s entry into the household? Will Jaanu find his way back home? Will Zulfi step in for his children or will he continue to be a hands-off father? There’s a lot of scope for this story and each episode gives viewers something to think about.