Blast from the Past Thread #25 Extn ** Khushi, I... ** P 119, Ep 274 - Page 36

Maarning Maarning ma, hamari halat kuch teekh nahin hai!

Originally posted by: indi52

more ramanchi.

how she kept striking the match, something completely disturbed in her at the sight of him opening la's fast... and how he just could not stop looking at her. and how good did they look.

Oh my sweet Lord!
Aisey toh na dekho...ting... ki humko nasha ho jaaye...ting ting

❤️

(Oh mere episodes...ting... lo main aa gayee...ting ting)

You all managed three pages.. Oh if only you all knew how you all help me be sane. ..err ..if sane is what we can call ourselves..😆

Originally posted by: cinthiann1758

BRAVO!!!!!

well said. 100% agree

Now why can't i agree with above in Red?

I may be completely wrong but i don't believe ASR was written better...my sense is that they were both "written"...only initially. And she, in the earlier episodes was for me, written better, more nuanced.

One of the two actors applied interpretation, even worked in words and lines that sounded better, felt better...and he did this throughout...the other, played it remarkably well but diligently by the book.

Later of course, the writing started getting lazy, started depending solely on performance and chemistry...decided to "focus" as it were on the cyclical pattern of keeping them conflicted with each other while sprinkling some seriously scintillating showers of Rabba Vey along the way to whet and wet our hearts and appetites...till they reached a point where they had dumbed things down to the extent that nothing could be interpreted, worked on anymore.

I don't know the depths of things as much as you guys do, i have to confess... Just my sense, is all.

PS: I've never had bhang...so may i also join the party?

Originally posted by: IssK.

Now why can't i agree with above in Red?

I may be completely wrong but i don't believe ASR was written better...my sense is that they were both "written"...only initially. And she, in the earlier episodes was for me, written better, more nuanced.

One of the two actors applied interpretation, even worked in words and lines that sounded better, felt better...and he did this throughout...the other, played it remarkably well but diligently by the book.

Later of course, the writing started getting lazy, started depending solely on performance and chemistry...decided to "focus" as it were on the cyclical pattern of keeping them conflicted with each other while sprinkling some seriously scintillating showers of Rabba Vey along the way to whet and wet our hearts and appetites...till they reached a point where they had dumbed things down to the extent that nothing could be interpreted, worked on anymore.

I don't know the depths of things as much as you guys do, i have to confess... Just my sense, is all.

PS: I've never had bhang...so may i also join the party?

hello, bhang girl,

i have to agree with you that asr was not entirely written. and i know not much, just what i feeleth as i watcheth.

in fact i have chatted with indu on this earlier... yes the young actor involved, despite the 30/40 takes mentioned of the early days, interpreted powerfully... but i get the feeling they took cues from that and grew with him too...

by episode 24, between barun and i must give it to this... his dialogues... and yes the direction, they have created a full character whom you almost know instinctively.

and i do like the character they painted in their heads too, it was always shaded. but no, it did not have the scale nor depth that barun's acting and teh very intensity of his being brought to it. he was to be mills and boon not some mythic (almost) figure that women write reams about and fantasize about at a level almost scary for all concerned.

khushi in the initial days is enchanting... but i have no idea when exactly, they just stopped feeling her. her look, feel, mind, words, everything was so gorgeous... different. of course that they had had to choose a very metro very non lucknow girl with flowing bone structure and a natural inborn sophistication created a delightful contrast with the middle class set image, and made khushi more. beauty of it... she was second choice, ah kismet.

she cut across... any guy, who happens to catch sight of her, mainly of course because his wife is obsessed with the show, is known to fall for the girl. the strictly not hindi serial type man i live with never forgets to say, oh sanaya irani is very good. i even know girls who started watching for her, not for him and then the inevitable happened.

i suspect, however, she was always the "support" character... often used to bring out nuances of his personality... i seem to remember barun saying somewhere that like in all our dramas, the male character is the main one. he ha ha maybe he doesn't watch hindi serials so has no idea about the cloying and cruelly bent to shape to suit patriarchal fantasy type of female "protagonists" tv doles out incessantly.

but you could be abs right... and yeah, they preserved all their energies to write prithvi detective agency, masala mama, babli, paternity test, sheetal, basketball, and other such rare delights. 😆

dumbed down. at last i come to what hit me most when i read your nahiiin.

that was the thing.

total dumbing down. to a point that even dumbing down sharmaoed.

amazing how anyone can start where they did... and end at 398. mystery shall remain unsolved.

^^^

I may have missed your earlier chats on this... I agree that in the visual medium, there's always a give and take between writers and actor and that maketh the character ultimately. The writing could certainly have been endorsed and enhanced further because here, the actor was in sync, perhaps more than they had imagined to begin with, and was adding layers to the character...making him go beyond the m&b TDH type. Khushi to my mind, was also delivering wonderfully then, and giving the Sanka colorful playful hues though within the scope of the writing. She touched me those days...and hooked me. I don't really agree that she was the "support" character -- again this is just my sense but this seems to be in the very nature of female-targetted romances. The power ultimately lies with the man. Nothing she does is valid enough unless his gaze is involved, for instance. His approval is desirable, is something to sub-consciously aspire for, almost...and he calls the shots at every level. The power equation and gender roles are never really switched between him and her. However much you "liberate" the girl superficially, she is there to respond to his actions, hardly ever independent of him. Given that unwritten rule of love-story-telling, IPK did offer some interesting moments with Khushi...she had a lot more spunk than i've seen in romances in a long time...and she mixed tradition and novel, individualistic thinking with ingenuity in the early days...it was lovely, ambitious writing. One that ultimately fell prey to factors of asli duniya.

Just my two cents of course..

In serious need of bhang now,
sincerely,
handsome sapna ladki part infinitum 😆

Originally posted by: IssK.

^^^

I may have missed your earlier chats on this... I agree that in the visual medium, there's always a give and take between writers and actor and that maketh the character ultimately. The writing could certainly have been endorsed and enhanced further because here, the actor was in sync, perhaps more than they had imagined to begin with, and was adding layers to the character...making him go beyond the m&b TDH type. Khushi to my mind, was also delivering wonderfully then, and giving the Sanka colorful playful hues though within the scope of the writing. She touched me those days...and hooked me. I don't really agree that she was the "support" character -- again this is just my sense but this seems to be in the very nature of female-targetted romances. The power ultimately lies with the man. Nothing she does is valid enough unless his gaze is involved, for instance. His approval is desirable, is something to sub-consciously aspire for, almost...and he calls the shots at every level. The power equation and gender roles are never really switched between him and her. However much you "liberate" the girl superficially, she is there to respond to his actions, hardly ever independent of him. Given that unwritten rule of love-story-telling, IPK did offer some interesting moments with Khushi...she had a lot more spunk than i've seen in romances in a long time...and she mixed tradition and novel, individualistic thinking with ingenuity in the early days...it was lovely, ambitious writing. One that ultimately fell prey to factors of asli duniya.

Just my two cents of course..

In serious need of bhang now,
sincerely,
handsome sapna ladki part infinitum 😆

while abs loving what you say in pink, i will still continue to believe asr was given thought to and conceived as an individual while khushi was not, not entirely. she was somehow the lesser half... there to serve a purpose, never quite enough in herself.

yes a lot of interesting and fresh writing for her often, which again sanaya enhanced much with her interpretation and performance. khushi became much more than what writing alone may ever have achieved. and sanaya created a seemingly resilient character too... one would have thought it would hold strong.

but one look at what they did to her after the wedding and a sinking feeling, she was just a tool, not really viewed as a real character. no one there to fight for her and say, no, she would never do that. that is not sanka, that is stupidity... her look changed, her feel changed, her age changed. again, really if she felt like khushi at all, it was thanks to sanaya, not the writing. every once in a way though she'd appear as you knew her and completely floor you, then back to some weird place she'd go.

holi was one such phase, ah how i fell for the bhang drinker there... she was outstanding. so cute and irresistible. by the way, just skimmed through this interesting article on how women in ancient india drank alcohol and it was quite acceptable socially, esp women of the north... then came manu, almost as bad as sp nuns.

she had a lot of flight in her as a character, but what anchored her, who was khushi deep inside... i never really did figure that out. whether that was an issue of writing or acting... i can't tell.

actually, the more i see ipk, the more i feel, no one really cared... by the time we are at 260, it's all blame game and let's find scapegoat. i mean are ipk writers and producers the only people to face channel interference and/or actor problems?

now that we have disagreed and are still alive to tell the tale, let us go looking for the man in white linen shirt with red stuff on the sublime rises and planes of his cheeks.

Originally posted by: indi52

more ramanchi.

how she kept striking the match, something completely disturbed in her at the sight of him opening la's fast... and how he just could not stop looking at her. and how good did they look.