A clear parallel can be drawn between the economic conditions in Pakistan and those of Europe and the US in the 1930s to assess their impact on society and people’s aesthetics.
During the economic depression of the inter-war period (1918-1939), a distinct genre of cinema known as Film Noir, or dark movies, emerged. These films portrayed nocturnal figures like gangsters, criminals, prostitutes, and femme fatales - women who used their beauty to lure men into dangerous situations or criminal activities. This genre evolved into a Hollywood film style, often shot at night with distinctive lighting, silhouetted figures, and shadows creeping across floors and walls, creating an eerie and unsettling effect. Double Indemnity (1942) and The Big Sleep (1946) are representative films of this genre.
Before this, horror films had become a hallmark of the Weimar Republic (1918-1933), officially known as the German Reich, which emerged after the Treaty of Versailles, following Germany's defeat in World War I (1914-1918). Films like The Cabinet of Dr. Caligari (1920), Nerves (1919), Nosferatu (1922), and Waxworks (1924) are well-known examples. It is not entirely clear why such suspenseful and eerie movies were produced during that period. One may wonder whether the Weimar Republic encouraged these productions to stimulate a certain kind of imagination, or if they were influenced by the political and economic turmoil of the time.
If we embrace the notion that films reflect society and depict the characters that surround us, we can deduce from both Weimar cinema and Film Noir that economic and political crises give rise to crime, immorality, and a somber aesthetic. People derive aesthetic pleasure from crime, horror, darkness, and desolation. In essence, political turmoil and a faltering economy produce unsavory characters, as can be discerned from these cinematic genres, or inferred from the current political and economic situation in Pakistan.
If we consider the Film Noir model as a product of economic turmoil during the early 20th century Europe and America, we can assess the impact of economic hardship in Pakistan in two key areas: rising divorce and crime rates, along with lowly and distasteful aesthetics in recent times.
A near-total collapse of the moral fabric of society is observable on Pakistani screens – television and social media. Television dramas, in particular, notoriously portray family conflicts, often involving love triangles within close-knit families and social circles. Television news is rife with sensationalized content, often disregarding standards of decency. Even more disconcerting is the situation with talk shows, where verbal disputes often escalate into a contest of hurling insults and, in some cases, physical altercations. Comedy shows, frequently hosted by professional jesters or 'jugat baaz,' make frivolous remarks about political and social affairs. With their growing viewership, some of these jesters, who previously performed crass stand-up comedy on stage, have risen to the status of television and even film celebrities. Regrettably, some of them have assumed prominent executive roles within television management and other national cultural institutions.
These spectacles on Pakistani screens reflect a social paradox: has the economic downturn produced a society devoid of moral values, or have declined societal values contributed to economic woes?
If we consider the Film Noir model as a product of economic turmoil during the early 20th century Europe and America, we can assess the impact of economic hardship in Pakistan in two key areas: rising divorce and crime rates, along with lowly and distasteful aesthetics in recent times.
A newspaper report from the previous year outlines several reasons for the increasing divorce rates, ranging from incompatibility to domestic violence. However, these reports lack an exploration of the financial aspects of couples choosing to part ways. A more thorough examination may reveal that the primary cause of these divorces is the inability to maintain accustomed lifestyles. Dating and building a family are distinct endeavors, and many young people today view marriage as an expensive idea they cannot afford.
As the economic situation worsens, the prospect of starting a family becomes increasingly unattainable, leading to a wayward lifestyle, prone to social and moral transgressions. It may be evident from the spectacles, where femme fatales and criminals emerge under the cover of night, congregating in seedy cafes and shabby tea houses. They are not hard to find, as driving around Lahore around midnight reveals young men and women frequenting these budget-friendly establishments. Altercations and violence are not uncommon occurrences at such places, where drug use is openly prevalent.
Where moral and social values deteriorate, aesthetic standards also decline.
According to a report, the crime rate rose by 2.34% between 2019-20 and a substantial 6.48% in 2020-21. With this alarming increase in crime rates, incidents of car and motorbike theft, mobile snatching, and other street crimes have surged in 2023 to 3.98, according to Global Organized Crime Index.
Even in the usually well-protected capital city of Islamabad, 63 cars were stolen in May this year. The situation in other cities is, without a doubt, even worse. The primary cause of this rise can be attributed to rampant unemployment and a high rate of inflation, which have made life exceedingly challenging for individuals.
At a social gathering recently, journalists and TV professionals from Lahore lamented the increasing popularity of low-quality content on social media, particularly on TikTok. One gentleman claimed, even argued, that a refined accent is not required for television news and current affairs programs any more. This isn't surprising, as where moral and social values deteriorate, aesthetic standards also decline. This likely explains the appeal of sensational content in Weimar Cinema and Film Noir too, both of which showcased sensational themes, which in turn also explains the correlation of a poor economy and social trends in Pakistan.
One needs not feel surprised to see lowbrow aesthetics and crass language on Pakistani screens – television and social media. Only jesters and the jugat baaz can cater to audiences whose aesthetic preferences have been corrupted by economic ruin.