Shakespeare’s Romeo and Juliet has long served as a rich source for dramatic adaptations due to its potent blend of youthful passion and fatal familial conflict. However, Mann Mast Malang, produced by 7th Sky Entertainment for Geo TV, might make one question why Shakespeare never clarified the origin of the infamous “ancient grudge.” Perhaps he knew some explanations were better left to the imagination.
Written by Nooran Makhdoom and directed by Ali Faizan, the drama stars Danish Taimoor as Kabir Khan (Romeo) and Sahar Hashmi as Riya Asghar Ali Khan (Juliet). While Mann Mast Malang ambitiously attempts to provide a tangible reason for the family feud, it falls flat with a premise that borders on the ludicrous. A childhood accident — Kabir shooting Riya’s father while defending his mother — serves as the entire justification for decades of animosity. The scenario is emotionally undercooked and logically unsound, stripping the central conflict of any gravitas.
As the drama unfolds across 38 sluggish episodes, the absurdity compounds. Dialogue becomes repetitive — the word dushman (enemy) is so overused it turns meaningless. What’s intended as deep-rooted enmity comes off as a childish vendetta stretched to its limits. This bloated narrative makes one appreciate the brevity of Shakespeare’s five-day timeline.
Danish Taimoor, a seasoned actor, is visibly miscast as a man in his early twenties. His age, combined with mature dialogues, doesn’t align with the character’s implied backstory. Still, his undeniable star power seems to be the drama’s main draw — a fact reflected in its digital popularity. Unfortunately, star power alone cannot salvage weak writing or narrative inconsistency.
Sahar Hashmi’s Riya, meanwhile, is a troubling representation of the female protagonist. Painted as a repeatedly failing high school student who cannot recite basic multiplication tables, Riya’s character lacks depth, intelligence, or agency. Her blind trust in family rumors over Kabir further chips away at her credibility. The drama misses a chance to depict a strong, nuanced female lead — a particularly disappointing shortcoming given the writer herself is a woman.
Initially, Mann Mast Malang hinted at potential — from its stylish Bollywood-inspired visual moments to the early chemistry between the leads. But soon, it devolves into a tired loop of recycled conflict, melodrama, and empty threats.
Whether or not it was intended as a Romeo and Juliet adaptation, Mann Mast Malang borrows enough from the classic to invite comparison — and fails to deliver the tragic, poetic essence that makes such tales timeless. Instead of heartbreak, it leaves viewers with eye-rolls and exhaustion. If it ends tragically, it may just be a relief rather than an emotional climax.
