Based on the Kharotabad incident of 2011 which resulted in the death of five foreigners and alleged suicide bombers, including three women, Abdullah — the Final Witness tackles the tragedy in its own unique way and presents a fictional solution that may seem acceptable to many.
The film revolves around Abdullah (Hameed Sheikh), the driver of the truck that was transporting the five foreigners to Quetta. There is an interrogation scene in the beginning that reminds you of countless foreign films but it has a local flavour as Abdullah is introduced to the interrogating officer (Sajid Hasan) to plead his innocence. He then recalls the ordeal in flashback sequences, the complete version of which isn’t revealed till the climax that comes 90 minutes later. There are moments where Abdullah agrees to give a false statement in exchange for his freedom but when he decides to speak the truth, it finally lets the cat out of the bag.
Veterans Hameed Sheikh and Sajid Hasan must be commended for their brilliant acting in the movie. They are amongst the most intelligent actors we have today. Fear is writ large on Hameed Sheikh’s face throughout the film while Sajid Hasan’s character searches endlessly for the truth, however bitter it might be. Imran Tareen who was last seen as an infiltrator in Revenge of the Worthless is impressive as a police officer in Abdullah as is veteran Asal Deen Khan who was seen in Aashir Azeem’s Maalik earlier this year.
Some excellent performances and cinematography and an engrossing treatment make Hashim Nadeem’s film well worth watching
Habib Panazai’s take as the collector reminds one of veteran actor Abdul Qadir’s excellent performance in last year’s Moor. Both the actors took their non-serious roles to the next level.
Sadly, Imran Abbas and Sadia Khan are disappointing in their scenes — be it romantic or serious. Imran plays the title character’s son who gambles, places bets and only has thoughts of marrying his lady love, a marriage her brother fiercely opposes. It would have been better had their romance not been a part of the story as it breaks the tempo of the film whenever they appear on screen. The song Mere Dilbarjaan also kept interrupting the smooth flow and it would have been better had it been played once instead of whenever ‘love was in the air.’
The cinematography by Saleem Dad, Melcome & Liaqat Ali is the highlight of Abdullah. Roger John’s and Sohail Keys’ background score often complements the mood. The script by Hashim Nadeem is gripping and well-written. Although the film is a work of fiction inspired by actual events, its execution seems life-like and keeps you engrossed.
Abdullah may not have all the commercial elements but it’s a wonderful piece of storytelling where the ending comes as a surprise. It is films such as these that keep the audience interested in the revival of Pakistani cinema, and that should be sent to festivals abroad when they seek entries from Pakistan.
Published in Dawn, Sunday Magazine, November 13th, 2016
