Take 0: Satyanashing 15[IO] - Page 21

Originally posted by: hain

Diya chakravyoh, Khushi sitting within in, unable to find her way out, Aranav walking in to help her out, the two of them walking out hand in hand - it is one of the most beautiful scenes I have seen concept wise, cinematographically, direction wise and acting wise. It is very difficult to say with IPK but I think it is my most fav. part of the entire show (don't hold me to it though, I change ever so often based on what I am watching 😉)

Arnav has extended his hand towards Khushi, so many times, in help but she has not taken it but for one time; the rangoli just a day back. This time though it is a little different. They are both standing, both as equals. He extends it as an equal, she takes it as an equal. As they walk out, they are both very aware of each other. Aranav's eyes don't look away from her even for a min but Khushi, a bit flustered, looks away . Can't look away for long now can she? The pull is too strong and as she gets caught in his eyes again, she loses her footing. The awareness goes up another notch, just like that.

Aranav finding about Khushi's payal bothers him so much that he rushes to get it while Khushi is left wondering if all that she is feeling only from her side. Why did he leave so quickly? Why was he not around? Was he not affected? Was she fooling herself in to believing that Aranav was felling the pull as well?

But then he comes in and the connection is established again and she is caught again. Dekhti hei jis tarah se teri nazrein mujhein, main khud ko chupaaoin kahaan. Till the connection is there they are both caught. But the minute the connection is broken she runs out of there.

Arnav, is caught two folds. Khushi is looking so beautiful, he can't take his eyes off of her. Her eyes are saying so much that he has the compulsive need to read it all. But but he has something of so much importance to give her, it is burning a hole in his pockets. He has to follow her, return it.

Khushi finds a safe place for herself at the poolside. Aranav is busy with his guests, so she can get her erratic thoughts under control. Alas Aranav has his own agenda. A sudden 'Khushi' from him and she stands up, not paying attention.

Till now, every time Khushi has pulled away Aranv has let her go. Even during the mitti eye blowing, he let her decide and come forward again. This is the first time when she pulls her leg away, he does not let her. Rather removes her hand and takes care of her feet.

And then again when she tries to remove her feet he holds her back and out comes the payal. He looks down, like a kid who has done a mistake and is coming clean, while she looks on in surprise.

Side note: Sanaya and Barun, what do I say about them. Even their hands and feet act.

Originally posted by: Vistaa

<div align="left"><font color="#006699" face="Georgia, Times New Roman, Times, serif" size="2">

Khushi is happy. The kind of happy that comes with
disbelief, elation, fear, excitement, trepidation, confusion et al. The kind of
happy where the absence of smiles and laughter is merely a faade to mask the heart
steadily glowing with love. She knows that her Laad Govennar is Laad Govennar
no more...he has become her Arnavji. His increasingly marked attentions to her,
his actions in Nainital, and most of all, his eyes, all stand testament to this
transformation. She is hesitatingly beginning to believe that this overwhelming
feeling in her heart is not one-sided after all. That she and her Arnavji are
really not denizens of separate universes, separated by huge chasms of
inequality, destined never to meet...that they can be together after all.

He walks towards her mesmerized by her beauty, offers his
hand and then draws her out of the ring of beautiful fire. Lavanya's
interruption serves a purpose, and informs him that the simple silver payal
that he had been cherishing all this while, holds a greater emotional
attachment for Khushi. It is her late mother's only keepsake. He rushes to
restore it to his Khushi, but Nani and Anjali interrupt to serve a different
kind of reminder. He is told that Nani finally approves of Lavanya as his fiance,
and that he will no longer face any opposition when he decides to marry her. His
mood ruined, he comes back down to the party and guests, and is enamoured
afresh by she who walks in beauty. His Khushi...a vision in red. His eyes follow
her relentlessly, and do not miss her helpless response. It appears that she is
as helpless as he, as affected, as completely fascinated with him as he is with
her. But all too soon reality intrudes and he turns around to see her gone.

She has been basking in his unwavering admiration, her heart
in turns, diffident and excited. But in the end, she cannot bear his relentless
scrutiny and pursuit anymore and escapes to the poolside. Just when she thinks
she is safe, he calls out her name, startling her into twisting her ankle. Just
the perfect excuse for him to shower her with his care. Gently, he sits her
down, and with minimum of fuss, but with a fair warning, sets her foot right. She
howls with pain and clutches his shoulder, but at his "ab theek hai?" realizes
that all pain is gone. Not just that, but her Arnavji is sitting at her feet,
looking up to her with a faintly apologetic expression on his face, and a
wealth of emotion in his eyes. She feels she is in heaven, but is having
trouble believing it.



Can there be any doubt that these scenes are what TV history is made of? ⭐️ Words can do no justice to what the cast and crew accomplished in creating⭐️👏⭐️ Take a bow Team. Even after innumerable re-watchings, the impact does not lesson even the tiniest bit. And who would have believed innocuous words like "thoda dard hoga" could redefine the term 'loaded statement'?😃


Edit:
Maanfi for the typos😳

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Originally posted by: Vistaa

Khushi is happy. The kind of happy that comes with disbelief, elation, fear, excitement, trepidation, confusion et al. The kind of happy where the absence of smiles and laughter is merely a faade to mask the heart steadily glowing with love. She knows that her Laad Govennar is Laad Govennar no more...he has become her Arnavji. His increasingly marked attentions to her, his actions in Nainital, and most of all, his eyes, all stand testament to this transformation. She is hesitatingly beginning to believe that this overwhelming feeling in her heart is not one-sided after all. That she and her Arnavji are really not denizens of separate universes, separated by huge chasms of inequality, destined never to meet...that they can be together after all.

He walks towards her mesmerized by her beauty, offers his hand and then draws her out of the ring of beautiful fire. Lavanya's interruption serves a purpose, and informs him that the simple silver payal that he had been cherishing all this while, holds a greater emotional attachment for Khushi. It is her late mother's only keepsake. He rushes to restore it to his Khushi, but Nani and Anjali interrupt to serve a different kind of reminder. He is told that Nani finally approves of Lavanya as his fiance, and that he will no longer face any opposition when he decides to marry her. His mood ruined, he comes back down to the party and guests, and is enamoured afresh by she who walks in beauty. His Khushi...a vision in red. His eyes follow her relentlessly, and do not miss her helpless response. It appears that she is as helpless as he, as affected, as completely fascinated with him as he is with her. But all too soon reality intrudes and he turns around to see her gone.

She has been basking in his unwavering admiration, her heart in turns, diffident and excited. But in the end, she cannot bear his relentless scrutiny and pursuit anymore and escapes to the poolside. Just when she thinks she is safe, he calls out her name, startling her into twisting her ankle. Just the perfect excuse for him to shower her with his care. Gently, he sits her down, and with minimum of fuss, but with a fair warning, sets her foot right. She howls with pain and clutches his shoulder, but at his "ab theek hai?" realizes that all pain is gone. Not just that, but her Arnavji is sitting at her feet, looking up to her with a faintly apologetic expression on his face, and a wealth of emotion in his eyes. She feels she is in heaven, but is having trouble believing it.



Can there be any doubt that these scenes are what TV history is made of? ⭐️ Words can do no justice to what the cast and crew accomplished in creating⭐️👏⭐️ Take a bow Team. Even after innumerable re-watchings, the impact does not lesson even the tiniest bit. And who would have believed innocuous words like "thoda dard hoga" could redefine the term 'loaded statement'?😃


Edit:
Maanfi for the typos😳

Originally posted by: Newbiesoapfan

Beautiful Visi... one question ... the first La interruption does also make Khushi understand that La is still there in the equation ... as does La's crowing over winning over Naani... so what does Khushi feel when Arnav approaches her... the La factor is there ... but does she forget it all in the heat of the moment and the heat of his gaze?

Originally posted by: savvy05

Watched aaj ka JA. Agree with Heinken, well done episode with a quite a precap making sure that one is tuned in at least to read the WU on Monday.

Howie, I felt for your soap bestie Ruqs, I really did😛. She was vulnerable, her lowest low, the very pride of being Jalal's numero uno begum being shattered with her marriage threatening to end. Both scenes with Jalal -Ruq, Jalal- Jodha was well done. It really is a pity that a historical is giving what a modern day soap should - tough questions being asked, men and women treated with respect. The soap is really in a good place at this point😃

Originally posted by: Vistaa

And don't forget, later on in the evening, when she comes to her senses, she demands answers from Arnav...specially because she knows that Lavanya is in the equation.

Originally posted by: .Sama.

Was it so ? Then why was there no guilt ... not then not ever. She was heartbroken but never guilty of the act.

Isn't the writing done when the show was on and still written on the line of "she knows" is more of our own interpretation than what was actually shown. Neither in screenplay nor in acting. 😊

You are of course right here Sama.😊 We all see everything through the prism of our own sensibilities, perceptions, notions, and prejudices. Two people could look at the very same piece of art, a bunch of brown spots on a blank canvas, and walk away with dramatically different impressions. One could marvel at the artist's skill in capturing the colour and texture of polka dots , while the other could dismiss it as nothing more than a rather poor rendering of bird droppings on the ground.😃. So it goes without saying that there is subjectivism in what I write. Moreso, because some of the best Arnav-Khushi scenes are sans dialogues. They are what you see them to be.

That said, coming to the substance of your objection, the way I know that "she knows" as you put it, is because of the scene in this very epi where Khushi is helping Lavanya put on her jwellery, and La mentions now that Nani has given her seal of approval, ASR will marry her. Notice Khushi's reaction then...she is saddened...and is very aware that Lavanya is soon to be Arnav's fiancee.

Originally posted by: .Sama.

Other than the libaas there isn't much historical stuff being touched. Its a work of fiction and Ekta is writing her own story ... BW ho ya DesiBox ho bechara Akbar - The Great phas gaye 😆

But giving it a historical covering lots of things are out of question like multiple marriage ...

Par jo bhi hai JA is churning one good episode after the other ... Now that there is no time for OTT comedy either entire 22 minutes is enjoyable.