Posted:
Lashy my dear, as always, I enjoyed your post, and your beautiful interpretations of all the major scenes.
However, you are far more emotional than I am and that colours your responses to what you see. It also makes them more positive and heartwarming than the satire that comes most readily to me, and is an acquired taste. In fact, for my Great Mahaanta Stakes post, there were those who missed the satire altogether, and took the Mirza section at face value. I was stumped.
Here too, my take on the Jalal-Jodha scene is somewhat different from yours, and perhaps from that of most others here bar a few. But not because I am being satirical.
It was a powerful scene, leading up from the very moving one in Mirza Hakim's bedroom, so that the two formed a seamless whole. But the power in it was almost entirely because of Rajat as Jalal. As he tells her about what Mirza's khamoshi was hiding, his eyes, - she cannot meet them out of sheer shame, and lowers her own - are level and still on the surface, but the pain in his husky voice is reflected in their depths.
Later, as he looks at her just before he turns away , they were full of such deep, tired sadness that my heart turned over in empathy. And as he regards the sleeping Hakim earlier, there is such sorrow, such empathy in his eyes, that one can almost physically grasp his despairing helplessness at not having been able to spare his brother this anguish. .
No wonder he won that award.
Jodha, on the other hand is portrayed as shallow and self-centred, and I do NOT means this as criticism. It is just a factual statement. All that concerns her is her own guilty misery, which is what makes her hang about outside Hakim's rooms, and what makes her run after Jalal. '
One could see clearly that there was nothing more to Jodha at that moment than that. She has nothing to say beyond Hamari behen ne devarji ka dil dukhaya. Not a word to show that she is thinking beyond herself, that she is thinking about him and what he must be going thru. All she wants is that he should help her get over her guilt by chastising her and punishing her.
She cannot grasp the full extent of the damage Shivani has done, for she has no imagination, and no ability to think from the other person's point of view. Again, this is NOT her fault. I once wrote that Jodha is like a clear, babbling brook, clear and transparent to its depths, but shallow and with no understanding of what the storms in the deep ocean are really like.
It was the same yesterday. Jodha has no real idea of what Jalal is going thru on account of his affection for Hakim, apart from the personal and imperial humiliation. She never can. She could not understand what he felt after The Shove, and even now her comprehension of his feelings is very limited.
In that sense, Paridhi did very well, and while she cannot manage subtle nuances as Rajat can, there were here no nuances to be managed, so she looked good. She did not have to do more than cry - she looks lovely in tears as well, a rare talent - and look desperate.
Loveanime wrote once that Jalal is so far ahead in character development that he walks alone. It is the same with Rajat. He brings such incredible subtlety and finesse to his scenes that he leaves the rest not just behind, but out of sight. Yesterday, in that Jalal-Jodha scene, this was made clearer than ever before.
I wonder how it would be if he got a heroine who matches him nuance for nuance, or at least projects the kind of healing warmth that he could feel a mile away. That would be something. Paridhi could do it, I think, but the script does not allow her to do so, at least not yet.
You should see the Tara of Ek Boond Ishq. When she looks at her Mrityunjay from 20 feet away, you feel that she is cuddling all 6' 2" of him in her arms and trying to shield him from every ill wind. Thus would Savitri have been with her Satyavan. It warms my heart to look at them together. I wonder if Jalal and Jodha are ever going to get to that level, for all this talk of amar prem. Not with the renewed Benazir track, that is for sure!
To revert, I think they are going to drag this Jalal fighting his own feelings riff for the whole of the next week. He sees them more than ever as a crippling weakness, and has no desire to go down on his knees (Mirza made a capital mistake with that sentence!). I do not blame him, he does not want to be accused of SKLL (stree ke liye lalasa) and shoved hard again, so good for him.
And I was pleased to see Jodha running after him for once, even if it was only for a self-indulgent reason, to assuage her own acute sense of guilt.
Which is where the khaas tohfa, who presented a most unappetising spectacle last night, will come back again, with or without the poison. She must have enough stocked in her body to last out a few weeks without replenishment!😉
I do not think Mirza will get an answer from Jalal to his question in the precap, but will probably make it out by himself.But then, how can he play at Cupid if he is away at war? Maybe this war too will be over in 30 seconds, as when Munim Khan defeated and captured Sharifuddin and he will be back in Agra.
I have always felt that as in the movies, Jalal should have had a good friend to give him sound advice, especially after Abdul vanished from the scene. Mirza is now obviously cast for that role. He is far too sentimental, and his idea of all round forgiveness and an abundance of the milk of human kindness in naive and would be totally impractical for an emperor. But at the moment, he seems to be more a plot device than a person.
I agree with your earlier comments on the forgiveness issue . It is ridiculous. Then why not let Bakshi Banu off the hook and Sharifuddin as well? I think they will have to dodge this one by making the war a blink-and-you-will- have-missed it affair, so that they can get Mirza back to Agra before Shivani and her boyfriend are caught. That way, he can again demand the right to pronounce sentence on them, and set them free. Then Jalal will not have to do the marshmallow act himself and will be spared looking even more than ever like a lallu.
Shyamala Aunty
However, you are far more emotional than I am and that colours your responses to what you see. It also makes them more positive and heartwarming than the satire that comes most readily to me, and is an acquired taste. In fact, for my Great Mahaanta Stakes post, there were those who missed the satire altogether, and took the Mirza section at face value. I was stumped.
Here too, my take on the Jalal-Jodha scene is somewhat different from yours, and perhaps from that of most others here bar a few. But not because I am being satirical.
It was a powerful scene, leading up from the very moving one in Mirza Hakim's bedroom, so that the two formed a seamless whole. But the power in it was almost entirely because of Rajat as Jalal. As he tells her about what Mirza's khamoshi was hiding, his eyes, - she cannot meet them out of sheer shame, and lowers her own - are level and still on the surface, but the pain in his husky voice is reflected in their depths.
Later, as he looks at her just before he turns away , they were full of such deep, tired sadness that my heart turned over in empathy. And as he regards the sleeping Hakim earlier, there is such sorrow, such empathy in his eyes, that one can almost physically grasp his despairing helplessness at not having been able to spare his brother this anguish. .
No wonder he won that award.
Jodha, on the other hand is portrayed as shallow and self-centred, and I do NOT means this as criticism. It is just a factual statement. All that concerns her is her own guilty misery, which is what makes her hang about outside Hakim's rooms, and what makes her run after Jalal. '
One could see clearly that there was nothing more to Jodha at that moment than that. She has nothing to say beyond Hamari behen ne devarji ka dil dukhaya. Not a word to show that she is thinking beyond herself, that she is thinking about him and what he must be going thru. All she wants is that he should help her get over her guilt by chastising her and punishing her.
She cannot grasp the full extent of the damage Shivani has done, for she has no imagination, and no ability to think from the other person's point of view. Again, this is NOT her fault. I once wrote that Jodha is like a clear, babbling brook, clear and transparent to its depths, but shallow and with no understanding of what the storms in the deep ocean are really like.
It was the same yesterday. Jodha has no real idea of what Jalal is going thru on account of his affection for Hakim, apart from the personal and imperial humiliation. She never can. She could not understand what he felt after The Shove, and even now her comprehension of his feelings is very limited.
In that sense, Paridhi did very well, and while she cannot manage subtle nuances as Rajat can, there were here no nuances to be managed, so she looked good. She did not have to do more than cry - she looks lovely in tears as well, a rare talent - and look desperate.
Loveanime wrote once that Jalal is so far ahead in character development that he walks alone. It is the same with Rajat. He brings such incredible subtlety and finesse to his scenes that he leaves the rest not just behind, but out of sight. Yesterday, in that Jalal-Jodha scene, this was made clearer than ever before.
I wonder how it would be if he got a heroine who matches him nuance for nuance, or at least projects the kind of healing warmth that he could feel a mile away. That would be something. Paridhi could do it, I think, but the script does not allow her to do so, at least not yet.
You should see the Tara of Ek Boond Ishq. When she looks at her Mrityunjay from 20 feet away, you feel that she is cuddling all 6' 2" of him in her arms and trying to shield him from every ill wind. Thus would Savitri have been with her Satyavan. It warms my heart to look at them together. I wonder if Jalal and Jodha are ever going to get to that level, for all this talk of amar prem. Not with the renewed Benazir track, that is for sure!
To revert, I think they are going to drag this Jalal fighting his own feelings riff for the whole of the next week. He sees them more than ever as a crippling weakness, and has no desire to go down on his knees (Mirza made a capital mistake with that sentence!). I do not blame him, he does not want to be accused of SKLL (stree ke liye lalasa) and shoved hard again, so good for him.
And I was pleased to see Jodha running after him for once, even if it was only for a self-indulgent reason, to assuage her own acute sense of guilt.
Which is where the khaas tohfa, who presented a most unappetising spectacle last night, will come back again, with or without the poison. She must have enough stocked in her body to last out a few weeks without replenishment!😉
I do not think Mirza will get an answer from Jalal to his question in the precap, but will probably make it out by himself.But then, how can he play at Cupid if he is away at war? Maybe this war too will be over in 30 seconds, as when Munim Khan defeated and captured Sharifuddin and he will be back in Agra.
I have always felt that as in the movies, Jalal should have had a good friend to give him sound advice, especially after Abdul vanished from the scene. Mirza is now obviously cast for that role. He is far too sentimental, and his idea of all round forgiveness and an abundance of the milk of human kindness in naive and would be totally impractical for an emperor. But at the moment, he seems to be more a plot device than a person.
I agree with your earlier comments on the forgiveness issue . It is ridiculous. Then why not let Bakshi Banu off the hook and Sharifuddin as well? I think they will have to dodge this one by making the war a blink-and-you-will- have-missed it affair, so that they can get Mirza back to Agra before Shivani and her boyfriend are caught. That way, he can again demand the right to pronounce sentence on them, and set them free. Then Jalal will not have to do the marshmallow act himself and will be spared looking even more than ever like a lallu.
Shyamala Aunty
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