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Home > Entertainment > ‘Can’t Tolerate’: Ismail Darbar Slams Gauhar Khan Working After Marriage, Recalls How His Wife Quit Career For Family

‘Can’t Tolerate’: Ismail Darbar Slams Gauhar Khan Working After Marriage, Recalls How His Wife Quit Career For Family

Renowned composer Ismail Darbar sparked debate by opposing women working post-marriage, citing his wife’s sacrifices. His daughter-in-law Gauhar Khan continues her acting career, symbolizing modern women’s independence and the clash between traditional values and evolving gender roles.

Published By: Bhumi Vashisht
Published: October 9, 2025 17:31:59 IST

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Renowned music composer Ismail Darbar triggered controversy through his radical views regarding the working of women post-marriage, which included specific references to his daughter-in-law-the actress Gauhar Khan. While the work of Gauhar continues to flourish, Ismail Darbar confessed to the fact that personally he is not okay with the idea of a daughter-in-law working professionally after marriage.

It reflects a very serious generation and cultural difference with the view of the role of women in a family after they are married because it would be both very high in professional commitment as well as visibility. Darbar’s remarks were rooted in personal history, given how he remembered the path his wife walked when they started their family together.

Traditional Family Values

He drew direct parallels between his beliefs and his life history, mourning the sacrifices made by his wife, Ayesha Darbar. He narrated that right after marriage, his wife worked for a big government agency but chose to resign to devote herself to raising their children.

For Darbar, this was a perfect example of what a wife and a mother should be, and this had established in him the conviction that a woman’s primary concentration should change to the family and the household once she is married, making a stark contrast to the continued working life of Gauhar Khan in acting and modeling.

Modern Career Dynamics

Gauhar Khan, the better half of Zaid Darbar, son of Ismail Darbar, is an ideal modern working woman juggling her time between work and family. A familiar face in the Indian television and film fraternity, Gauhar has stuck to her professional convictions by proving that marriage does not mean suspension or termination of one’s professional ambitions.

Her work after her marriage greatly symbolizes the changing times in which many women require financial independence and professional identity. Darbar’s acceptance that their views differ his love notwithstanding helps set up the age-old dilemma between the confines of inherited family expectations and the pursuit of modern individualistic ambitions.

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