The current debate in Pakistan over the execution of Shafqat Hussain illustrates a similar inability of differing camps to reconcile a humane perspective with the legality of the criminal justice system. The insistence on viewing everything through the prism of cold hard facts is sometimes too dismissive and can lead to a one-sided picture of social issues. A recurrent theme in the play is the way in which the expression of emotions is frowned upon in our times. The contrast is provided by Maskara’s turn as the suave Shankar.Īt no point in the play, does this become apparent that this is Maskara’s first theatrical and acting venture. The dilemma of women from affluent families is that the discrimination is so subtly ‘spread between the lines’ that it cannot be pinpointed. The internalisation of guilt that she so subtly depicts through the character of Maya is something she herself experienced and sums up the dilemma of modern-day women everywhere when Maya realises that it sounds like "All I want is everything." It is interesting to learn that the storyline is inspired by Das’s personal struggle to maintain a balance after the birth of her son. While answering questions after the screening, Nandita Das reiterated the point that "women need to be kinder to women". It also highlights the manner in which the prevalent mindset of society has conditioned women to view themselves. The play does not simply put the onus on the patriarchal nature of society that trivializes women. The script juxtaposes the personal struggles of two women from different ends of the economic spectrum and highlights the universality of their problems. The dialogues are pithy and portray the ambiguities in the relationships of urban couples very well. Representing a poor disadvantaged woman in court triggers Maya’s journey of self-realisation. But these two spheres of her life collide when she decides to represent the same woman her husband is prosecuting.
Sign in cineplay professional#
Maya is the multitasking urban woman trying to create the perfect balance between her personal and professional lives. The play exposes the multiple layers of gender inequality that have become embedded into our cultures’ patriarchal structures.
Peace projects often highlight the similarities between Indian and Pakistani societies, and though the script originally held up the mirror to Indian audiences, the storyline could just as well have been an observation of Pakistani society. Maskara plays the uber-successful lawyer-husband opposite her in this story about the subtle inequalities women experience in urban Indian society.Īrt, and human experiences, know no borders. Originally a stage production, Between The Lines was converted into a cineplay by first time producer-actor Subodh Maskara, also Das’s real-life husband. She is known for challenging conventions through her work, and the cineplay that brought her to Lahore was no exception.
Famous for her passionate commitment to social causes, Das has also been bestowed with numerous national and international awards including the prestigious Chevalier of the Order of Arts and Letters by the French government.
Recently, Lahore was the venue of a similar exercise in theatrical innovation when Olomopolo screened Nandita Das’s cineplay, titled Between The Lines, at their Muslim Town studio.ĭas is an acclaimed actor and social activist best known to Pakistanis as the female lead in 1947 Earth and the Indian screen adaptation of Bapsi Sidhwa’s novel The Ice-candy Man.
Media houses around the world are aware that they must find novel ways of garnering the interest of audiences in today’s digitalised global village.
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