Directed by Rafay Rashdi, Deemak is an attempt to explore the age old conflict between a mother and daughter-in-law against the backdrop of supernatural events. How is the paranormal activity connected to the relationship between the two? Does it have any bearing at all? How is one linked to the other? Judging by the tremendous response this film has received and the rave reviews it has garnered, surely, something must have struck a chord with the cinema goers. Let’s see what that is!
Samina Peerzada (Kulsoom) is the bed ridden mother-in-law who is extremely possessive about Faraz (Faysal Quraishi), her only son and finds it extremely difficult to share his affections with another woman, her daughter-in-law, Hiba (Sonya Hussyn). The son becomes sandwiched between the two and finds it extremely hard to maintain a balance. Even after becoming a father to two children, his mother remains his first priority and everyone else comes second. His wife becomes increasingly bitter and discontented with her lot over the years and comes to resent her overbearing mother-in-law. (So, what’s new, you ask yourself? Read on to find out!)
One day, while holding a jug, she accidentally spills some water on the steps and Samina slips and falls. She goes into a coma but recovers. However, despite assurances by her son that with physiotherapy she will be mobile in a couple of months, she viciously attacks Hiba who understandably, is taken aback by this abrupt assault. Her mother is her pillar of strength, a role enacted by Saman Ansari, who reassures and offers her comfort and solace during this extremely challenging phase.
This is not an average run-of-the-mill film (as the story makes you believe!) where everything is spelt out in black and white. Each character has their emotional baggage which is to a certain extent responsible for how they behave and react to situations. The underlying message is that trauma manifests itself in different ways and leaves indelible and permanent marks on an individual’s personality. The flashbacks throughout the film about the domestic abuse (spoiler alert) witnessed by Faraz as a child set the premise for the narrative. Why does he behave the way he does? Why is Samina so vicious and so unforgiving as far as her daughter-in-law is concerned? Is it generational trauma being passed down or is there more there than meets the eye?
This film attempts to be different and although it borrows heavily from Hollywood, it appeals in parts. If you are expecting to leave the cinema with all the loose ends tied up, you’re in for a disappointment and maybe not the kind of viewer that is being targeted by films such as Deemak. The name appears to be a metaphor for how violence, abuse and mistrust corrodes relationships and how domestic abuse witnessed as a young child can damage an individual for life and leave behind permanent scars.
Even blood relationships can turn toxic and in South Asian societies, parents often emotionally blackmail their children who are taken on guilt-trips to pull them into line or induce them to do something against their wishes. This film raises a lot of issues and also explores the nuances of the relationship between the mother and son which borders on the obsessive. Does the son harbour this guilt for the way his father behaved? Is he trying to compensate for his father’s abusive behaviour? Does the mother use this as a weapon to constantly guilt-trip him into doing her bidding?
The film is fairly watchable before the intermission but begins to drag in the second half. Samina acts impeccably and is really convincing as the mother-in-law from hell who is fighting her own demons. Faysal as the only son is sandwiched between the two and with the paranormal activity in the house being experienced by the various inmates, feels as though he is on the verge of a mental breakdown.
Javed Sheikh and Bushra Ansari, in a cameo, are efficient as always. The lighting and sound effects are fairly adequate if a tad amateurish. The special effects team also needs to up the ante and everything would have had a far greater impact if the film had been edited by half an hour or so. The scenes in the house tend to become monotonous and repetitive after a while and as mentioned, the second half drags.
Direction is adequate. After the first half, the script goes haywire and the explanation offered at the end is not at all plausible or logical. In fact, in retrospect, maybe the explanation was not required and the film could have ended on a cliff hanger, paving the way for a sequel. Not all stories need a resolution; some are best left unresolved and open to interpretation. After all, it is very important to make the audience think and return for another dose of horror!
Samina delivers a remarkable performance. The supporting cast is efficient and lends adequate support in taking the narrative forward. Initially, Sonya does not impress but one of the scenes towards the end (when you watch the film, you’ll know what I’m talking about) explores her incredible range and depth as an actress and leaves you hungering for more. The remaining cast is functional.
This is definitely not for the conventional movie goer but judging by the critical acclaim it has received, movie goers are open to film makers experimenting with different genres in an attempt to push the envelope and shatter boundaries. A conventional story narrated unconventionally, complex and nuanced characters, the supernatural element and the underlying theme of abuse and trauma manifesting itself in various ways, would not really click with the average viewer. However, if you are content with not knowing all the answers, this might be worth a watch.
Proceed at your own risk!
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