On Laughter

I think it’s interesting how both Jannat Ki Basharat and Hatak make use of a women’s laughter as a symbol of power/control. Both the Maulana’s wife and Sougandhi are shown laughing at critical moments where they seem to be in control as compared to the male character, the maulana’s wife’s laughter is instrumental in breaking his reverie and Sougandhi’s “teekhi and nokeeli” laughter is instantly marked by nervousness in Madho’s character. How substantial this power is can be debated, but in both instances the uninhibited and the unapologetic nature of the laughter can be seen as a stand against their own condition. In both cases the laughter is a result of a rejection, a tool wielded by these women to try and overcome the injustices of their situations.