Originally posted by: sashashyam
Nandini jumps clear over Chandra in a bizarre manner, like a jack rabbit, or a pole vaulter without the pole😆, and when Chandra walks up a vertical wall to do an entirely unnecessary somersault before landing on his feet, which is where he was in the first place!😉
Again... something that made me go LOL... 😆 koranguthanam! I laughed for a good 5 minutes over this!
Lastly, to top things off, there is the Star Trekkie Amatya Rakshas
I haven't seen this... so why is he called the star trekkie, periyamma? Just a nick you gave him because he's a star gazer/astrologist?
He goes on to repeat the prem ya ghrina spiel , a very odd thing to say under the circumstances, but his main point is that a couple who get married at this conjunction of the moon and Rohini are leg shackled for life - in all absorbing love for or murderous hatred of each other. So what is new there for us, folks? 😉
Misleading spiel: To revert, this belief of mine, that Chandragupta was on to Nandini's deception very soon, was reinforced during their subsequent encounter, with her in a proper daasi outfit, when Chandragupta is on his detailed reconnaissance tour of the palace.
He treats the supposed maid of the princess to a curious spiel about how his real goal is to seize the rajya Magadha, by means fair or foul, by consent or by theft.
Vivaah karne kaun aaya hai? Hum use paane aaye hain jiski sundarta man moh leti hai..Jise dekhte hi use jeevan ka lakshya bana diya jaata hai..Jiske pas aakar rikht haathon lautna aasmabhav hai..Wo apni ichchanusaar aaye to theek, anyataa chura loonga main use..
Then, responding to the fake daasi's protest, Rajkumari ke baare mein baat nahin kar raha hoon main. Baat kar raha hoon rajya Magadh ka!
It was an extremely strange, indeed dangerous thing to say even to a maid, especially when he tops off this peroration and responds to Nandini's pitying reference to his not knowing Maha Padmanand, with Jaanta hoon, tabhi to aaya hoon! , while his lips curl in barely veiled contempt.
It sounded and looked exactly like a magician forcing a card on you while producing the illusion that it is your own free selection. But why this spiel at all?
Why, because by now, Chandragupta knows perfectly well that the pseudo maid is Nandini herself. As this is almost obvious, he deserves no special brownie points for that.
So now he wants, for some as yet obscure Chanakyan purpose of his own, to make her suspect him, either his bonafides or his intentions or both. Which is why he takes the turn towards Maha Padmanand's rooms, the opposite direction to the one Nandini had indicated.
What he said here has to be part of a deliberate plan. Otherwise it makes no sense at all, it would be simply inviting trouble for nothing and torpedoing his own plan. For after having said such explosive things, it would hardly be enough to change the topic and refer to the King's invitation.
Much as we want things to happen a logical way, it doesn't... I was reading your disappointed replies about this... kyaa karein if only the script writers thought like us...
Instead, they wanted it to just be a session of male here-I-am-see-if-you-can-stop-me bravado to a lady he just met?
The main players: Rajat's Chandragupta: He brings nuances to his eyes, his face, his demeanour, that invest his Chandragupta with more shades than perhaps the director ever dreamed of.
It is not only in the opening scene, which I had discussed in my last post. His shifting expressions before and during the duel are fascinating. Puzzlement, suspicion, hostility, curiosity, a grim determination to get at the real identity of the shubhchintak, the shock as her feminine identity is revealed, the total absence of any reaction as she seems to be hugging him - all these shades of emotion chase each other across a face that, in his Jalal, was always mobile, but is now always still and unmoving.
However, as I had noted the last time, he also manages to make it clear to the viewer that this stillness is illusory and that his mind is working beneath the surface at top speed.
I repeat myself, but I do love that parallel. His is the stillness at the centre of a spinning top. He moves, but nothing moves inside him.
Plus, he is a cinematographer's dream. Take the classic profile and the now lean, drawn face, free of the slightest hint of chubbiness. Take the planes under skin that is stretched tight, showing the fine underlying bone structure. Add an abundance of wavy, unruly curls framing that face, and every shot of his Chandragupta looks like a painting: a Van Dyke, a Franz Hals, or a sculpted head from a museum in Athens or Florence.
How beautiful Periyamma... What a way to be described! If only RT read this...
I am too old to go gaga over a handsome young man, but pure beauty entrances me still, and in Chandra Nandini, Rajat's Chandragupta is almost impossibly goodlooking in frame after frame after frame.
👏
I am not among those who love her chulbulapan, the girlish giggling, the teasing, the running around with her sakhis. As I noted elsewhere, I do not like giggling girls, whether in the 1970s films or now; they invariably look silly to me.
But there was one point where Nandini, though doing some of the same things that irritate me, came off very well. This was when the number of princely candidates stalls for a while at 14, and she is convinced that she has scared off Paravtak Malayaketu. As she chortles in pure glee and repeats delightedly that No.15 has been scared off, she is exactly like a naughty little girl so pleased that her trick has paid off. Delightful!👏
I've noticed one thing periyamma... correct me if I am wrong... you don't like giggly girls who are giggling on, without any purpose on end... but those types who are up to some real mischief... and do manage to pull out what they intended to, you DO like... don't you? 😆
Of course this joy is fleeting, for soon our hero saunters in on a very graceful white mount, making sure he is not one of the crowd, but a solo, standout entrant. Plus, he also has much more time to survey and assess the palace entrance and its security.
To revert, this Nandini will begin to shine once she is allowed to get out of this atipriya putri straightjacket, and can cut loose. There is promise, even now, of this. In her scenes with Chandragupta, she is neither coy nor arrogant, but simply matter of fact, which is a relief, and forceful when necessary. She does not rave and rant or start speechifying (as yet).
Please please please don't forget the all-important 'as yet'... this is EKTA after all.. 😆
Anupamaa
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