The recent episode of Aangan shows Salma eloping and running away to marry Subhan after her mother, the ‘Malkan’ whips her and declares her a blight on the family name. This obviously does not bode well as her mother lashes out by burning Salma’s belongings and forbidding anyone from associating with her again. The family dynamics and the clash between the characters are highlighted further as we see the power and influence the Malkan has over what happens in the house. The episode continued to deliver the same level of breathtaking cinematography but without the introduction of any new characters, the audience are getting increasingly pressed to see the other characters who still remain shrouded in mystery.
We are shown from the get-go that honor and pride play a major role in the drama. The Malkan resents her husband for having illegitimate families, her own daughter for running away with a lowly servant and takes immense pride in her own power over everyone else. She is shown as someone who considers position and class to be perhaps the only deciding factor in one’s worth, hence her rage at her daughter loving a servant. Zeb Rehman acts out this personality trait of the mother in a very convincing way. In the end of the episode, she very dramatically burns Salma’s belongings while glaring off into the distance; it hints at further trouble developing for the people involved. The dynamics between the sons’ wives are also shown to be important, as secret conniving and plotting still is a regular activity in the households of older times. Only one of the sons makes repeated appearances, with the other two only mentioned in passing.
While the rate of the storyline development might not be as fast as we had hoped, the other aspects of the drama continue to put us in awe. Many times the scenes lean towards the dramatic side, but that only enhances rather than reduces the quality of Aangan; it is, after all, based on a romantic affair in a time period synonymous with over-the-top declarations and extreme gestures. The part where Salma talks to a pigeon asking it to convey her message to Subhan, however, is too sappy to be taken seriously. Other aspects such as the abundant use of shadows are genuinely pleasing to watch. By transferring actual dramatic devices from stage plays onto the screen, Aangan creates an air of ethereal beauty. Such things truly stand out among the multitudes that use the same old angles in dramas and must be appreciated.
Not much happens in the second episode except the Malkan emphasizing how everyone around her has smeared the honor of the family. Perhaps this will be a major plot device to be used later on but for now, we are ready for the drama to move on to other storylines with the same quality of set and filming.