Saraswatichandra, Film and Form. - Page 4

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-Ivy- thumbnail
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Posted: 12 years ago
#31

Originally posted by: happychappy

Just bookmarking...😊

Credits from Friday, September 27

Story - Ved Raj, Abhijit Sinha

Screenplay/Dialogue - Shilpa DeMello, Shruti Vaidya Bhusari

Exec. Producers (SP) - Radhika Vohra, Sakhi Banerjee

Creative Team - Megha Sharma, Shaabiya Ravi Waaliya

Director of Photography - Arjun Rao

Director- Arshad Khan



Special brownie points for completing homework One, Happy dost ⭐️ 👏 👍🏼

Is this the full credits, but? No mention of sound engineer, production designer, etc?
happychappy thumbnail
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Posted: 12 years ago
#32

Originally posted by: -Ivy-


Special brownie points for completing homework One, Happy dost ⭐️ 👏 👍🏼

Is this the full credits, but? No mention of sound engineer, production designer, etc?


Nope, this was all the information from the Friday credits... In SLB's stewardship, there used to be different credits, including Background Music.

Originally posted by: Arshics

...I know we sound like a mutual admiration society, but I insist on having the last word here, comes of being a teacher and a mother and a wife I guess,
...


@Blue...😆



Edited by happychappy - 12 years ago
Arshics thumbnail
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Posted: 12 years ago
#33
Ivy, though I have been a crazy IPK fan , remember every epi, every scene types

I have never done any analysis of this type, so though I have seen AK's work, I cant comment on it.

In earlier episodes IPK had 2 directors Lalit Mohan and AK, and so tho a lot of scenes were attributed to AK on the forum, i dont know whose stamp they really carried.

However when this scene was shot, AK was the only director on board.

so if you can look at it and maybe help us to understand more about his stamp and style


[YOUTUBE]http://www.youtube.com/watch?v=6XkUnmil2NI[/YOUTUBE]

https://www.youtube.com/watch?v=6XkUnmil2NI


here I have not given you any pre- info or context of the scene

will you need that to make any evaluation or is better to not know anything ?
Edited by Arshics - 12 years ago
-Ivy- thumbnail
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Posted: 12 years ago
#34

Originally posted by: happychappy


Nope, this was all the information from the Friday credits... In SLB's stewardship, there used to be different credits, including Background Music.


Hmmm... Thanks, buddy. Yeah, I imagine SLB would have been quite fastidious about credits =)
-Ivy- thumbnail
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Posted: 12 years ago
#35
This is awesome, Arshi. Thanks for this, it's a great help... I'm out right now, and can't view the video in present company but I'll have a look as soon as I come back home. No context needed, I'm just concentrating on the dominant style and techniques here, so narrative knowledge won't be necessary =)
Edit: It'll also act as my intro to the iconic Arnav/ASR and Khushi 😃
Edited by -Ivy- - 12 years ago
twila thumbnail
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Posted: 12 years ago
#36
Ivy ...


Instead of us students doing homework , i am going to add to your Homework ... 😃

Just like Arshii has given you a scene of IPKKND to watch , i am going to add to your burden too ... asking you to dive deeper into Indian Telly world ...

( It might appear that we are giving too much attention to AK... as if he is SLB himself ) 😆 but here goes anyways ...

I shall confess , i did think twice before posting it because it is from Arshad's Debut Show... the first show he directed for a Channel called Star One ... which was Star's channel for the Youth ... they had youth centric shows ... mainly Love Stories for Teenagers ...

This is from the first Show that he directed ... a Beautiful Gem of a show called Love Ne Mila Di Jodi ie LNMDJ in short ( Do discount the name ) ... i do not know whether anyone here saw that show ... it was notwidely popular like IPKKND cause Star One was niche channel unlike Star Plus ...with a very limited audience of mainly school and College going kids... but there were many of us who really Loved the leads and this Show and it continues to have a very special place in our hearts to this day ...


The techniques would obviously look a bit outdated cause the show came in 2009 ...

but the scene that i am posting here was the scene that made thousands us fall in Love with the lead pair and the show ... and made me sit up wanting to know who was the Director of the show ...


So here are the links to what can safely be called Arshad's first Romantic scene... hope you like it too ...😊

BTW... I am a complete novice and this is the first time i am posting any links ... hope it works ...


and

Edited by twila - 12 years ago
twila thumbnail
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Posted: 12 years ago
#37

Originally posted by: hotdogg



Ivy-
This track promises to be long-winded...

Why?
Typically I have seen SP flashes the Title slide used in between breaks focused around the theme of the tracks...with the theme running into multiple tracks over a period of a couple of months...

for e.g. (please don't Iaugh..I am trying to think along your guidelines 😳)
The Title slide used during Kumud's travails after her marriage starts (used till a few epis back just before it was changed to current version) with a light blue background free of any clutter, except Saras and Kumud... Indicating the story is essentially about Saras & Kumud...

Its a Two - Shot...Saras starts with a side profile, but then turn to fully face the camera...indicating a Saras becoming fully confident and sort of regaining his previous self / coming to terms with the situation...

From a Composition perspective...Both Kumud and Saras are shown in Medium Shot ...but with Saras almost as Medium Close-up and with Saras in the forefront...Kumud actually starts out with a Medium close-up and remains at the same zoom setting...but as Saras turns she is actually covered up by a confident, full frontal, Medium to Full Close-up confident Saras...indicating her confusion over the situation and being protected by a confident Saras...who then moves away slightly to show a complete Kumud again but still only in Medium Close-up ...and Saras expression almost defiant...and Kumud's expression switching from apprehension to bemused ...also indicating that Saras will be the active element and Kumud the passive in the narrative and that saras will give her space when he is on his mission

This is how the events turned out...but at the end of 1 - 2 month!

The current Title Slide is not a Two - Shot and shows 3 protagonists: Saras, Kumud & Pramad also against a clear blue background...indicating this will now be about these three...From a Composition perspective...only Saras is in Medium Shot ...and both Pramad & Kusum are Far-Out Medium Shot (I dunno if there is any such term!)...net effect is that Saras appears bigger than both and with a defiant & determined expression indicating he is on a mission and will not stop for anyone.. Also both Kumud & Pramad in the Far-Out Medium Shot (?) are at the same scale / zoom setting and closer together...indicating both will be aligned with each other and on the same side.. Pramad looks on with defiance / anger at Saras...indicating the fight is going to be between these two... Saras is dressed in Light Blue indicating purity of his purpose...Pramad is dressed in Black indicating Evil as his purpose...Kumud in the end starts moving away from Pramad indicating the possible end of this track..Kumud starting to come closer to Saras

So I think...this track will continue for 1 - 2 months...SP also should not have any issues since TRPs are coming up...and most likely show will get extended...

p.s.
Please point out if I have used the terms wrongly! 😳






Hgg Bhaii ...



Woww ... so fast ... 👏👏

Star Pupil indeed ... ⭐️⭐️
-Ivy- thumbnail
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Posted: 12 years ago
#38
Arshad Khan, Enumerating an Auteur's Evolving 'Stamp':

*this is based on the Arnav-Khushi, AK directed scene posted by Arshi.

1. Like SLB, is highly mindful of aesthetics. To recall Twila, his mise-en-scene is very 'beautiful' - full of colors and light. Is minimalist in a sense, but he never under-utilises or wastes a frame, does not clutter it either. Is very precise when 'decorating' and 'employing' mise-en-scene.

2. Is very conscious of the placement of actors in a frame. Uses long shots to achieve that. To show a scene and actors placed in full glory.

3. Favors continuity editing techniques and follows CE principles. Camerawork is fluid, uses dissolves to achieve this when transitioning from one setting to another.

4. Uses deep focus sparingly and for 'affect'... At 0.47 Khushi is in foreground, middleground has shiney, glittery hangings and Arnav is in background. All three are clearly defined, with middleground esp highlighted. So when Arnav and Khushi meet, the middleground is 'erased' and that acts as a signifier that some strain/tension in their equation has been removed too.

5. A very formidable example of how actors 'play off' how they 'dance' and 'mirror'... AK takes this further by having his actors mirroring gestures too... Khushi cups Arnav's face and vice-versa. Even make-up - red on Arnav and Khushi's cheeks both. This is also to suggest mutual affection and consent in their relationship. In sync, on the level of soul. Subtle romance, but with an undercurrent of intensity coursing right through.

6. Setting is as important to AK as the actors, uses establishing shots to highlight setting and to impress the vista upon viewers mind.

7. Uses props to inventive ends... Not simply to beautify, signify or connote... But also to hinder and limit (blowing curtains), to brilliantly give the sense of a stolen moment being witnessed.

8. Shifts between steady and pan-camera as per 'affective requirement'

9. Lets a sequence 'breathe'... Even despite it being edited, you get the sense (courtesy of languid camera work, dissolves, continuity editing, impressive actors) that scene is being played out in real-time.

10. Uses 'shots' (long, medium, close) not for economy or practicality, but 'affect'... Is not partial to any camera technique and appears willing to 'experiment' if he can get a better result.

Ergo, In an Arshad Khan direction, everything is placed, employed and executed for a reason, to word out a 'specific vision'... "Nothing is just there."

Edited by -Ivy- - 12 years ago
kaadal thumbnail
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Posted: 12 years ago
#39
Iviji a stadin-frikin ovation for this absolutely stunning post. Ovation is not enough actually. Wow thussi great ho. hggbai, you are the next. Absolutely loved your questions and analysis. I am just going to be the last bencher here hearing everything the toppers are asking and trying to understand some of the concepts. Thankfully I found this post, otherwise would have missed a masterpiece.
From a layman's eyes my first thought about the promo was a happy Pramad leading Kumud blindfolded to a room where the ambience is romance. She is confused but is ok to be led by him. I didn't feel she gave her hand for the kangan, he took her hand to place it on but the fact remains that she didn't resist. The size of the kangan for me denoted the power he had, the money is back with him I suppose. And like Arshi said, the way it was put on was like she was handcuffed. After putting the kangan he is still smiling at her but Kumud still doesn't look happy to me. She is actually dazed as to what is going on. If we see the promo till here we can see AK's direction, the romantic aspect of SC playing a trick on the audience to almost make us believe that Pramad has reformed.
Saras at his usual place outside the door, he was there in the last promo as well rightly denoting his place is still as a third person. His thoughts will make someone almost think ye haddi banke hamesha Kumud ki zindagi mein rahega kya. Pramad is reforming, they are having a romantic moment and why is he thinking that Pramad is cheating Kumud and not true love. We can almost think Saras doesn't want to see them together. But then the last shot leaves me with questions-- Does Pramad knows Navin is Saras or is he gloating that he now possesses Saraswathichandra's love ?
Pramad gloating "kisi aur ke pyaar ko paane ka mazaa hi kuch aur ho tha hai" states he is enjoying himself having the prize n his hand, taming of the shrew retold. He still is arrogant in his attitude, an attitude showing he is almost winning the battle he had almost lost, so does that include Kalika as well ? But the TRP factor for me in this scene was the million dollar question is still left blank..is Pramad reformed, will he reform or is he using Kumud to taunt Navin/Saras or his own bruises ?
Saras doesn't seem to care about what Pramad has achieved. He still doesn't believe Pramad PERIOD. Now it remains to be seen whether he will keep supporting Kumud or not ?
As per the current track it is Kumud's blind belief that Pramad can be changed gives the advantage for Pramad to make her fall in his trap that he is changing. The day her belief is broken she will be out of this loop. I think I got carried away with the promo, no technicalities in this...I am still a student there but this promo did catch my eye when I saw it and those questions my curiousity. So I have to say the new writers are doing their work absolutely well.
kaadal thumbnail
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Posted: 12 years ago
#40

Originally posted by: Arshics

Ivy, though I have been a crazy IPK fan , remember every epi, every scene types

I have never done any analysis of this type, so though I have seen AK's work, I cant comment on it.

In earlier episodes IPK had 2 directors Lalit Mohan and AK, and so tho a lot of scenes were attributed to AK on the forum, i dont know whose stamp they really carried.

However when this scene was shot, AK was the only director on board.

so if you can look at it and maybe help us to understand more about his stamp and style


[YOUTUBE]http://www.youtube.com/watch?v=6XkUnmil2NI[/YOUTUBE]

https://www.youtube.com/watch?v=6XkUnmil2NI


here I have not given you any pre- info or context of the scene

will you need that to make any evaluation or is better to not know anything ?


Arshiji this gazebo scene tho hamare jaan nikali thi. I absolutely love this scene, that holi was the best:) still leaves me nostalgic. I had always felt Arshad had a huge hand in Arshi's romantic scenes.

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