hi jj,
good to see you, i am indi.
i see thread has come alive with that harvard question of yours. wonderful. as for me, i don't think where you got your business degree from has any real impact on how who or what you are as a person.
but yes, had that moment of a man wrecking within had been acted with any less beauty, i too might have found the whole thing utterly melodramatic and difficult to gel with the educated driven completely in control man asr had been presented as.
and yet in life enough harvard grads have done enough irrational things, not that they havn't.
but this is a show, and for me, the response comes without even asking me at times, straight from my gut. if you convince me there... i go with it.
for in life actually the strangest things really do happen. it does not play out a rational linear timeline despite the human being's excessive accent on the rational aspect of existence for the past five hundered years or maybe more.
if you ask me, it is because we are not rational that stories happen in the first place.
so harvard grad or not was never the point for me. in fact at a logical level and with rudimentary maths i think we can pretty much even validly question that very claim itself.
but asr was more than his qualifications and even his two-suit tycoon wardrobe.
he was a huge living breathing character. because someone perhaps felt him beyond his brusqueness, his lopsided smirk, his shut up get out arrogance, and the many things that were the physical signs of asr.
an actor went right into his character and found things no one had possibly thought of.
just my guess.
what i know is however, at that moment when asr stood at a terrace door and saw his faraq padta hai girl in shyam's arms, the first jolt hit him. then she screamed to shyam that he should divorce di in which case.
something came apart in the man watching.
after that only extreme mayhem was possible... that's what i felt.
i remember jumping up and sitting on my bed almost yelling archaic words like thespian. because as asr stood at the door and without saying a word went into shock and then broke... only expressions and that too the slightest merest changes recording a tsunami, i realised barun sobti was really this compelling because he was a fine actor.
i waited for his next move.
and then it came, despite his emotional upheaval, a brave, struggling hard to be rational man's reaction... he spoke to his brother in law... who easily fooled him given asr's emotional state, he believed the evidence of his eyes and ears and they clouded his judgement because his heart was in turmoil... he tried to speak to khushi but that was not to be, he went to tell his sister and guess what she is pregnant...
completely torn between conflicting emotions and unbearable pain he let mayhem win. he saw it as the only thing he could do... protecting his sister became the task he gave himself to find focus in that gashed up night. gussa became his mate in somehow facing the madness because otherwise he'd be swept away.
and he took a wild, obviously irrational, and yes, wrong step. he coerced the woman he loved in the most horrible way.
i would not have been surprised if he had even forced her to live with him.
it was a night like that.
and really the acting is what did it for me.
300 onwards story goes totally haywire, often making no sense. yet, if i watch and still write it's because of those unbelievable moments two actors created. in that is all the story all the logic all the love.
was good you made me think. thanks and see you again. my mind says othello... just a hankerchief and where his passionate love and his feelings of insecurity took him, he the valorous, extremely intelligent strategic thinker and warrior. there too, critics raise questions of logic, and reams are written to defend and take apart the plot. but it's really about a feeling. pyaar in essence is extra logical and makes us do extra logical things. even making us believe in hamesha. one of those things they perhaps don't teach you at harvard.
Edited by indi52 - 10 years ago
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