Miyan Kal Aana brings out the human in you. From the first
scene itself in which the men are shown playing cards, you are so hooked onto
the movie and you know exactly what the movie will be about. Gender
discrimination. Derogation of women. This is nothing unheard of, in fact it is mostly
overused in the arts department but this film is very different than anything I’ve
ever watched. It’s so raw and it strips down the Muslim law to its basics of
inequality. The Halala law states, on the off chance that a man discretionarily
divorces his wife and atones it later, his wife needs to remarry and consummate
that marriage first. Furthermore, only when the second spouse divorces her,
would she be able to return to her first husband. The lady has nothing to do
with it, and Miyan Kal Aana depicts this exasperating reality in an intense way.
Drawing a captivating parallel, a standout amongst the most
momentous scenes of the movie is the point at which a visibly sad Imtiaz is giving
away his mare as collateral, and he looks at Shagufta. This is to show how his
wife has an animal-like existence. Next scene, he’s taking her to Mullah Meher
to do the transaction. Her commodification is very evident. Women are not
treated as people. We see her new husband locking the door as he leaves for his
daily work which shows how the woman has no say in her life and is supposed to
live in any condition her husband expects her to. She is only used as a sex
slave and a propriety commodity. Her condition in the movie is unjust and
inhuman. Shagufta doesn’t speak a word in the entire movie which stays with you
and is used as symbolism to show how the Muslim women don’t have a voice.
Divorce in the Muslim law, as shown in the film, is possible
even when the wife is not present and the talaaq is unilateral, oral and
instant. It is something between a man and a community. The wife is not being
treated as a party at all in this transaction. The woman is stripped off of her
basic rights as a human being- the right to be treated as an equal, the right
to occupation etc.
The climax of the film fails to come across as a heartfelt
message that begs for a change in Indian mentalities but seems more like a
political agenda and lines that political leaders would use for votes and their
own upliftment trying to show how modern they are.
Triple talaaq, happens not as a result of religion but
rather, patriarchal society and powerplay taking on the appearance of religion.
Commonness of triple talaaq is the most dominant representation of lawful
oppression of Indian Muslim women. The Hindu Marriage Act, 1955; the Hindu
Succession Act, 1956 and the predictable alterations to the Christian Marriage
and Divorce Act which has been revised as of late as 2005, have empowered
ladies from various groups to get lawful equity to an impressive degree. Muslim
women suffer in issues of triple talaaq, Halala, polygamy, authority of children
India only recently abolished the Triple Talaaq practice
while many countries had already reformed the law completely. Pakistan
presented a Muslim Family Law Ordinance in 1961, making it mandatory for the
husband to give a notice to the union council if he’s planning for a divorce
and a 90-day cooling period is also allotted to the couple.
In perspective of the dynamic measures taken by most of the
Muslim nations in securing the privileges of women, the Supreme Court ought to
proclaim the malicious routine with regards to triple talaaq as unlawful and
illegal. The religious laws need to head in the direction of reform and gender impartiality.
The court should amend the Muslim Marriage
Act so that more ways of repudiation of a marriage can be awarded to a woman and
the law is not just male-centric.