No film in recent years has touched the audience’s heart like Asim Abbasi’s Cake has; it can easily be termed as one of the complete films produced in the country since the revival.
In fact, it is so power packed with emotions that you will end up teary-eyed as well as with a smiling face, simultaneously.
Cake revolves around the family of Zareen (Aamina Sheikh) who takes care of her parents (Muhammad Ahmed & Beo Zafar) who are aged but lively. When their father ends up in the ICU, youngest sister Zara (Sanam Saeed) returns to Karachi from London; their childhood friend Romeo (Aamir Malik) also reenters their lives as the father’s male nurse.
When all seems happy, tragedy befalls the family again and this time, all the skeletons in the closet come out with disastrous results.
Even the return of eldest son Zain (Faris Khalid) doesn’t smooth the proceedings and chaos reign supreme. Does the Jamali family get back its peace or do they struggle with their insecurities for the rest of their lives, every story is treated like a layer of a Cake.
Asim Abbasi the director must be credited for coming up with a story that revolves around a dysfunctional family that endures things that happens everywhere.
The best part about the film is that people are shown as normal human beings, with normal jobs and relationships.
I wonder how many people would have connected with the many characters in the film – there is a nosy aunty, a dominating wife, a foreign-returned kid, a lover who was deceived and above all, a father who has kept his family together by making unimaginable sacrifices. Every actor looks the part and not once scene (except for the Piya Tu Ab To Aaja clips) looks out of the plot.
Yes the girls smoke, a Roman Catholic roams around their house as one of them and the girls hardly agree on anything except their husband’s wife (played by Hira Hussain). The way the writer has used satire, wit and Bollywood songs to convey his message is exactly the way things should be done in Pakistan.
Here, we use the money on promotions but when it comes to making films, we claim that we don’t have the investment. This film was made with least possible investment and gives a brilliant image of Pakistan, internationally.
Acting wise, the film belongs to each and every actor, especially Adnan Malik who leads the pack, surprisingly. He is not the leading man here but the whole plot revolves around his actions. He looks a changed person with a mustache and even fans of Sadqay Tumhare would think twice before realizing he is the same person.
Veteran writer and actor Mohammad Ahmed raises the bar with his exceptional acting and you end up justifying his actions to others thanks to his convincing performances. Beo Zafar does get the most eccentric role of all but she justifies it with her natural acting and expressions.
Faris Khalid and Mikaal Zulfiqar may not have many scenes but they look the characters they play on screen, that are much different to their earlier work.
And then there are the two powerhouses of acting – Sanam Saeed and Aamina Sheikh.
Not only do they look like sisters they act like sisters too. One is raised in Pakistan and the other in England and their clash isn’t reserved to just that; they love to hate each other and that’s what makes the film interesting.
You may not know what was going through their mind when they were delivering a certain dialogue such as yeh gari kyon hai yahan abhi tak or yeh Romeo yahan kyon aaya hai but by the time the film ends, you will know exactly why they delivered the line like that. The two complimented each other as well make it worth the audience’s while.
Co-producer and Director of Photography Mo Azmi must be credited for the brilliant cinematography that keeps you involved in the narrative for the entire 2 hours. Even without an interval, the film grips the audience and doesn’t let them leave the theater. Credit for the amazing editing must also be given to Indian editor Aarti Bajaj who has kept the audience’s interest alive without dragging a second.
The one-take scene where everything is revealed is something I was least expecting from a Pakistani film but when the director has Faraz Alam on Steadicam, magic isn’t a probability but a possibility.
The Sketches’ soundtrack also makes you realize that music is now being taken seriously in Pakistan.
Overall, Asim Abbasi and his team must be applauded for the wonderful film they have come up with and although it might not do as well as other films, it will leave a mark in the industry as a film that was made with least possible resources and loads of common sense.
The post first appeared on Veryfilmi.com