Saraswatichandra, Film and Form. - Page 2

Originally posted by: -Ivy-

Introduction:

Film Form asks you to seriously think about film/tv, as seriously as you would about literature. But why seriously think about it, at all? Many people, don't. We go to movies/watch tv to be entertained, to kill time, to be scared and grossed out, to have something to discuss afterwards. Outside of a film studies course, we rarely hear/see people engaged in a discussion of films/tv that goes much deeper than plot or characters.

The reason that attention must be paid to film is that most of us get our stories - our narratives and myths - from it, or from its close cousin, television. From late nineteenth century onwards, people have turned to film/tv as entertainment, escape and education - as an affirmation of the way they live or think they ought to live their lives. But even if film/tv were "only" entertainment, it would be important to find out how it works. Why does it entertain us? Why do we need to be entertained? Film/tv is part of world politics and national policy. Some governments support filmmakers and television producers as a means to express their national culture to the world.

All nations understand the power of film and television to influence their people, to propagandize values, and ideologies; discussions that we engage in whilst discussing each episode lately, but mostly, here, we will talk about the form - the way episodes are put together so that we, as viewers, understand what they are attempting to tell us and how they do so. We will come to this from the perspective of textuality - studying the episode itself and how all its parts work - which makes up a large, coherent construction of meaningful and interrelated elements that we can analyze - a text that we can read.

As Arshi has stated, let us all begin a new journey and gain a new appreciation, formulate an even nuanced critique of what we watch compulsively, helplessly, daily. One thing I promise, is that after this, as you become a part of this journey, you won't be able look at Saraswatichandra or ANY film or television show, in the same way. Ever again.

In effect, this journey will mark the end of your film/television 'innocence'. This is an invitation to discover a world in which nothing is simple, nothing is "just there," and nothing can be dismissed without, at least, your being conscious that dismissal has consequences.

Originally posted by: -Ivy-

Twila 🤗

So glad you could have a read of the present discussions and I'm really happy you appreciated the promo analysis, that was especially for you... 😳 Maybe you could, since I'm new to AK, point out some hallmarks of AK's direction, from the promo, when you respond to the analysis proper?

This is in CC because it is a reference manual, handy and accessible. Only the promo is going to be analysed here, as a starting example. All other scenes starting from Happy's suggested ones will be analysed in CB itself. But you make a good point and I appreciate your suggestion... I just am unsure of how this is going to be recieved in the forum, because Arshi too makes a good point, this goes beyond SC and other show comparisons will come in as well. CC gives us more latitude but less exposure... For me, it is always quality over quantity, but if SC folks are interested, I won't want them to be deprived... 😕

P.S. I have, actually... and I'm hoping this brings smrth Bhai back 😃

Originally posted by: -Ivy-

An Example of 'Mise-en-scene Reading'; Saraswatichandra Promo, September 24th.

The shot composition, gives an ambience of romance, as well as illumination and the breaking of illusions.

Starts off with a Medium Shot (MS, from waist up) of Pramad and Kumud. Notice the use of chiaroscuro, the background is enveloped in shadows. Why? Look to the placement of characters, Pramad is 'leading' Kumud, not by hand, but by a 'push'... The darkness and shadows symbolises, where Pramad has come from, Pramad's 'essence' - dark and evil. He is taking Kumud towards the light, but it is a light encased in 'glass'... Glass breaks, glass pierces, and glass hurts. Also the camera pans, from right to left. A sweeping effect, kind of like when someone is drowsy and can accidentally or not, get hurt/into trouble. All this means Kumud is in for a rude shock.

Pramad 'leads' Kumud, she is blindfolded, not by any cloth etc, but by Pramad's palm. This suggests that she will let him in, to the point that he will lead, and she will follow. Not by compulsion, but by volition. Once he takes off his palm, the shot tightens... Moving from a MS to a Medium Close-up (MCU, from shoulders up), becoming further intimate. This outlines the next part of Pramad's plan. Once he has Kumud trusting him enough that she will allow him to lead her, blindfolded (i.e. Kumud may/will take Pramad's side over Saras/BD), and then he will try to engage Kumud 'as a husband'... Note, when the 'blindfold' first is 'taken off' Kumud appears mesmerized by the 'light' that Pramad has led her to (meaning, he will very likely spin her a yarn) and then she gets distracted by the 'gold', representing her marriage. This is a two-pronged strategy employed on Kumud (the light and the gold)... Once Pramad tries to make moves on her, Kumud is going to be 'flustered/taken in' to the point where she will nearly 'capitulate'... Notice that she raises her hand by herself, accepting Pramad's 'token' to be her husband. But we never really see, right there, if Pramad succeeds in that respect.

Because the foreground blurs and the background comes in focus (Saras, MS, then MCU)... He is standing behind 'glass' (again break, pierce, hurt) that obscures somewhat the doorway... He cannot go to Kumud, and Kumud is unaware of him. Suggests possible Saras/Kumud tension. He stares in shock/confusion and the voice-over explains his pov: Saras suspects but he is unsure as to whether Pramad is really sincere or not. This may mean also, that he lacks evidence and Kumud's support. Notice, he is placed all alone, while they are a 'couple'. Saras' background is also in contrast. It is evenly lighted, meaning Saras is on the level, and white, bright, because that is his essence: pure. And there, after Saras shares his suspicions, then only we see that Kumud accepts Pramad as husband via the token 'gold'. This means, Kumud goes against Saras' better judgement. And as she does, that very moment, Saras leaves from there. Maybe to gather evidence as to Pramad's true face or leave Kumud to her 'happy' fate.

Then there is a dissolve, to enable continuty editing and we see a MCU Saras in a car. Then a Close-up (CU) Saras as he remembers in flashback, what he saw, so recently in fact that the flashback is still in colour. The CU on Saras at this point, internalises him. Note, Kumud, is never in CU, which suggests the track will not show her in a dilemma, she will blindly believe. Only Saras will not and he may take active measures against it, alienating Kumud. Then we have an example of Parallel Editing to accomodate in the frame, Pramad and Saras both in cars. Both placed opposite to each other and both backlighted, one recedes into background as the other goes into sharp focus. Rivals. This is to highlight that this is a battle between the two men only, that Kumud is a prop/collateral damage. And the fact that their ways are opposite, but also note that they are so placed, that they can be heading for a full-frontal collision, in future. Pramad postures and flaunts his triumph, his lines suggest that he knows Navin is Saras, and Saras response to him acknowledges that he knows Pramad does and he doesn't give an eff. That cuts Pramad's triumph short... The reaction he wanted from Saras he is not getting. Saras purposefully looks away, straight, as though Pramad ain't worth his time anymore and a CU of Saras, as he says the last line declares that this is WAR.

Overall thoughts:

Promo overall is dark and ominous, not romantic. The 'romance' is all for Kumud's benefit. This is achieved primarily through mise-en-scene: props, lighting and camera shots. The use of chiaroscuro, which hinders Kumud from seeing beyond what Pramad wants her to see, parallel editing which pits Saras and Pramad as rivals. And only Saras in CU which suggests that he will be the only one in this whole track that the viewers will relate to. Kumud will be relegated to a prop only. And Pramad will not go beyond a caricature. This also fortells a possible Saras-Kumud 'break'. And the rain suggests, that when Saras leaves, he will do so under explosive circumstances, or if not, then he will bring back explosive news, to shatter the glass, which encased Kumud's light.

Originally posted by: tryforceful

Ivy, what a dose of awesomesauce!👏 In your own words, stand-frikkin'-ovation to ya😊⭐️⭐️

Call me a philistine, but honestly looking into the technical aspects of the show was a chore for me although I'll be trying hard to gauge all my attention to grasp the nuances and Easter eggs in every episode from here on. 😳 My confused background (engineer cum pre-med turned med student) needs to be blamed for the lack of interest in anything artsy, I guess

I have nothing more to add on here and you deserve all the accolades that come your way for this brilliant analysis. Now, I'll just sit back and try to assimilate the things you've said so as to not make a frikkin' fool out of myself!

This post needs to be under the grand topic of SC. Could you please, please do so?😉

Thanks all for asking great, thought provoking questions! Love this forum😊