Rajat's jalal's memories via shyamala's pearls.. links updated pg 1!

Hello folks this is a part two of RT's Akbar's farewell tribute which includes our one of the greatest writers honorable Shyamalaji, and along with rajat i am a huge fan of her writings, so this thread is in a way tribute to rajat's acting skills and shayamalaji's beautiful words of which she makes a beautiful pearl necklace which we all cherish and want to read again and again..

i am copy pasting her posts here from RT's first farewell thread as i do not want it to be missed nor i want her responses to be lost in the other busy thread..i want to cherish it and separate it..please post all your comment in regards to shyamala's post here..thank you once again ladies and gentlemen!

sorry shyamala putting this pic without your permission, it is the same as your DP..credit goes to anjali but putting it too early without getting your nod but pm me if you want me to take it out..thx!

My Farewell Tribute to Rajat's Jalal

Part 1

Folks,

That I am back here again after ages, to be precise after April 11, 2014, when I wrote my last stand alone analysis for Episode 220: The final meltdown Part 1, is proof not only of my abiding affection and admiration for Rajat and his many splendoured Jalal, but also, and even more so, of Mandy's tenacity. For I am in bad shape these days, what with a hurting knee that keeps me awake all night, plus great difficulty in typing for even half an hour at a time. So. much as I love Rajat and his Jalal, all I want to do is to crawl into a hole and pull it in after me. But Mandy will not take No for an answer, and she has a will of iron!

As many of you would remember, I have written an enormous number of episode analyses for Jodha Akbar, not only for the stand out episodes for Jalal, but also exploring the little gems that might otherwise be passed over. Because of this, and because of my aforesaid limitation, I shall be drawing heavily, in this tribute of mine, on these old posts. In any case, I could hardly better my then fresh descriptions of Rajat's Jalal in those episodes, could I? So, if there are large doses of dj vu for some of you, please do bear with me!

I plan to do this nostalgic ramble down the months, on which I invite you to accompany me, in parts. How many parts, I myself do not know as yet, but let us see. For now, here goes with Part 1.

1. The beginning:

I must confess that after suffering thru what felt like a bad overdose of khauf-e-Jalal on June 18/19, 2013, and watching Jodha run a 400 metre dash to save that pigeon, I seriously contemplated abandoning Jodha Akbar if it did not improve by the end of the week. But then the inevitable happened, and by Friday June 21, I was hooked.

Still, but for young Disha (disha15) , who knew me from my 6 week long stint in the DKDM forum analyzing a single, fabulous track, I would never have thought of writing in this forum. But she was a kind of Mandy Jr., plus she had a clear cut agenda of her own, to get me to defend Rajat from the charge of being too "stiff" in his portrayal of Jalal. The result was my first ever post here, on June 30, 2013, which I am reproducing here in toto, to give it its full flavor.

The striking thing about this post is that it has not become dated at all, and I hope you will enjoy it, even in a repeat reading, as much as I enjoyed writing it. Especially the take on the payal scene. Yes, there was the buccaneering, d'Artagnan quality of Jalal's insane venture into the heart of enemy territory, and the bold rakishness with which he looks up at Jodha in her palki, and the almost mystical, fey quality that he brought to the "face in the water" scene at the Ghangaur festival. But there is nothing like the payal scene to bring out the complexity of Jalal's character, or to showcase the subtle mastery that Rajat, for as long as he was allowed to do so by the scipt, brought to his interpretation of his role.

Ekta's Emperor Jalaluddin Mohammed: an assessment

https://www.indiaforums.com/forum/jodha-akbar/3647623/ektas-emperor-jalaluddin-mohammed-an-assessment

Posted: 30 June 2013 at 3:35am | IP Logged

As one who is, at 60+, far too old to drool over a handsome young man, also as one who has never seen Rajat Tokas on screen before, and finally as one who, as a history buff, has a pretty good idea of what the real Akbar was like, let me add my tuppennyworth to the vigorous debate in this forum about this Jalaluddin Mohammed, soon to become Akbar the Great.

I think the selection of this young man to play Jalaluddin Mohammed Akbar was one of Ekta's casting coups.

First of all, Jalal here is 19 or 20 years old. He has been the Emperor since he was 13. How on earth can one cast a more mature actor? It would be totally unsuitable.

Second, Rajat has the one intangible quality needed to play a young emperor. He has presence. This is something that is either there or not there; it cannot be taught. He looks every inch a king, one born to command, one born to rule. A couple of inches more in height would have been even better, but it does not matter, and Akbar was not tall in any case.

As for the rigidity that seems to be the major cause for complaint, one has to take into account the character to be played. This is a young man who has his world at his feet. So arrogance comes naturally to him, as also the attitude of one who habitually dominates lesser mortals. The stance, the hands behind his back (exactly like the great Dilip Kumar playing Prince Salim in Mughal-e-Azam, incidentally), the slow walk to pick up Jodha's payal, the way he picks it up, with a slight hesitation before he does so, it is all part of the consciousness of being a Mughal ruler.

Jalal is not used to bending at all, for anything or anyone. It would normally never occur to him to stoop and pick up a girl's payal as a token. Women have always been his to take as he chose, he would never dream of chasing any of them. Still he picks it up, which means a lot more than with an ordinary man.

He does not kiss the payal as any ordinary lover would. It would be not be like the Shahenshah at all. He tosses it up in the air, but he always catches it, and when it falls into the fire, he burns his hand to retrieve it. This is not so much, as some have thought, a sign of passion for Jodha. He is not yet aware that he is falling in love with her, he does not know what love means. It is rather the possessiveness towards her that, as the line has it, uske parvaan chad gaya tha. For him, the payal symbolizes Jodha, and he will not let go of it or her, even if he has to burn his fingers to secure it.

It all comes thru beautifully, and far from being unnaturally rigid, it is all spot on for who Jalal is.

Jalal sneers so often because his whole approach to life and to most others is sardonic; he has never had to adjust to anyone at any time. His mirthless smile just before meting out punishment is terrifying, and in his interaction with Sharifuddin, when the latter tries to get him to take rest, he is all smooth menace. Perhaps the sneer is too pronounced at times, but that is a matter of degree, and not too serious.

Rajat has deep set eyes, so I cannot see how such eyes can be 'bulging'. They gleam in their depths when he gets close to another and sneers, and the whole effect is meant to put the interlocutor off balance. It might seem overdone at places, but in an Indian TV show, where hamming is the rule and not the exception, it seems to me that the complaints on this score are excessive.

Surely one does not see a Dilip Kumar or an Amitabh Bachchan or a Balraj Sahni on TV these days? At least I have not seen any. Male leads in most TV serials are routinely shortchanged in what is basically a woman's medium.

This one might be the exception, though the scriptwriter seems to be confusing the young Jalal with either Mahmud of Ghazni or Mohammed Ghori, given to ransacking temples for the jewellery and abducting any female within reach. Probably this was done to give Jodha that much more credit for reforming him. But it is historically totally inaccurate. Akbar was born in a Rajput kingdom where his father had taken asylum while on flight from Sher Shah Suri, and he spent his early years among the Rajputs. It was this exposure to a different culture that shaped the broadmindedness of his policies towards the Rajputs and towards Hindus as a whole once he had begun to set his own course.

To sum up, nothing is really lacking. It is not the actor's fault, and not even the director's. Rather Rajat's performance is related to how Jalal the Emperor is visualized and developed. He is now part an arrogant warrior, used to victory, and part an impulsive young man, following a desire of the heart that he does not as yet understand, and struggling with unfamiliar emotions.

One of the best scenes so far, which showcases the actor's ability to project a complex, emotionally deprived character, was the one between Jalal and his mother Hamida Banu Begum. The bitterness in Jalal's voice, as he talks of when and how he remembers her, sears the screen.

Of course Rajat is not perfect, but then what is perfection? There were those who criticized Dilip Kumar's Prince Salim in Mughal-e-Azam as being too, what else, stiff. They wanted him to be like Pradeep Kumar in Anarkali, a besotted lover dragging himself all over the ground to get to Anarkali. But then Mughal-e-Azam is a classic, and Anarkali has been long forgotten!

Shyamala B.Cowsik

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2.I loved this one for the sheer chutzpah, the reckless daring, and the icy courage plus incredible resourcefulness that Jalal displayed. It was a marvellous exercise in derring do, all the more so because of the boyish delight that he clearly took in dicing with death, a delight that Rajat brought out flawlessly, and more important, without overdoing it.

Jodha Akbar 10: Revelation!

https://www.indiaforums.com/forum/post/86829406

Posted: 01 July 2013 at 3:12pm | IP Logged

Jalal was in top form, and despite the Damocles sword of having to rescue Abdul hanging over his head, he seemed to be enjoying himself like a lively, resourceful schoolboy playing truant.

Carrying Jodha's palkhi in order to be able to peep up at her; it had me in stitches. Staring with wide-eyed disbelief at Jodha as she recites all his misdeeds to Suryabhan. Rushing to Abdul's cell and abusing him loudly in order to attract his attention.

The Shahenshah standing to attention in front of the cell, eyes discreetly lowered, as Jodha approaches, but still casting sidelong glances at her. The suppressed mischief in his eyes as he looks at her full in the face and, asked where he is from, answer, truthfully but deviously: Umarkot. The fluent rural Rajasthani dialect, undoubtedly a carryover from his childhood in Umarkot. The cheekiness with which he comments, after having 'proved' himself to be a Rajput soldier, about the perils of doubting.

The astuteness with which he locates the identifying mark on the dead guard's arm and duplicates it on his own with the point of his knife. The attention to detail shown by the fact that before going into the prison as a soldier, he turns all the three rings on his right hand inside , so that the valuable stones do not show and thus betray him as not being a simple soldier.

The superb swordsmanship that could overcome and disable at least 11 soldiers - this was my count, but there might have been a couple or so more at the sides - and then the sheer physical strength needed to bend those thick prison bars so that he could enter the cell, cut the chains and rescue Abdul. This last reminded me (and Holmes aficionadas will bear me out) of Dr, Grimesby Roylott in The Speckled Band, who could bend a steel poker. And of course Sherlock Holmes himself, who could straighten out the bent poker!

Finally, the arrogant declaration of both his identity and his intent in the message (bilingual, obviously for the benefit of the Rajputs and us, but why then the Persian version?) left on the prison floor, and written in the only medium available, blood, presumably that of the 11 incapacitated guards. This is vintage Jalal all over, for by doing so, he further jeopardises his already tough escape, and in the pre-cap, is getting ready to fight a round dozen opponents with a limp Abdul on his hands to boot. But of course we know that, like d'Artagnan in The Three Musketeers, our boy wonder will emerge a winner, which is the only saving grace!

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3. This one was as different from the previous one in Amer as chalk from cheese. It did not crackle with tension as we held our collective breaths for Jalal to escape unscathed. There was no derring do, no breakneck horseback rides thru the dark countryside, a desperately wounded man clinging for dear life to his master and protector. There was no 1 against 20 swordfight, as Jalal drew on all his reserves of sheer strength (it is said that among the Mughal emperors, it was only Babur and Akbar who had tremendous physical strength, though Babur was a short man and Akbar only of medium height) , skill and lightning reflexes to put paid to the whole lot, and then ride off, leaving a neatly stacked pile of bodies for Suryabhan Singh and Jodha to find.

The jung of the title here was between two fierce opponents - Mahaam Anga and Bairam Khan - feinted and circled each other as each strove for supremacy in her/his hold on Jalal. But what stood out, when all was done, was the range of emotions - from icy, unforgiving rage towards his Khan Baba to the hidden craving for tactile affection as he cuddles in his Badimmi's lap, displayed by Rajat as Jalal reacts to their manouevres, and with equal felicity.

And yes, for a boy emperor who delights in describing himself as heartless, who can forget the gentleness and the abundant affection that Rajat brings to the scene of Jalal, still far from safe and hiding under an overhang of rock, wiping the face of the wounded Abdul whom he has cradled in his lap? The very delicacy of the touch as he comforts his companion - for Jalal never thinks of Abdul as a servitor - speaks volumes.

Jodha Akbar 12: Siyasat ki Jung

https://www.indiaforums.com/forum/jodha-akbar/3652114/jodha-akbar-12-siyasat-ki-jung

Posted: 03 July 2013 at 2:55pm | IP Logged

...

It is proof of Mahaam Anga's tactical skills that she brings out the whole Zaheer atrocity without showing her hand at all- she does not even mention Bairam Khan's name. As Jalal explodes in rage and anguish at Zaheer's condition, the impenetrable barrier that Bairam Khan had built around the Shahenshah, allowing access to no one but himself, suffers its first ever breach.

The scene that follows, between Jalal and his Khan Baba, is a remarkable display of rigidly controlled but still barely suppressed fury on Jalal's side, and a desperate rearguard action on Bairam Khan's, ending in a last ditch attempt to to salvage the situation as he kneels at Jalal's feet and offers an eye for an eye as retribution. Jalal refuses to punish him, but so unyielding is his condemnation of what was done to Zaheer, as he turns away from his mentor of many years, one can practically hear the door closing in Bairam Khan's face.

...

Today we saw the two extremes of Jalal's persona, and both came across equally convincingly.
He was at his gentlest yet with his Badi Ammi, and when he stretches out, with his head in her lap, one can glimpse the emotional deprivation he suffers from, and his need for simple, tactile affection. It was, in a way, an extension of the very touching scene yesterday, when he cradles Abdul's head in his lap and wipes his face with cool water. Jalal has affection, deep and in abundance, but only for the very few who have the key to his heart: his conviction that they care for him, really, truly, deeply.

Immediately afterwards. the raging, impotent anguish with which he watches Zaheer writhe in agony is matched, if not exceeded, by the icy, rigid aloofness with which he treats Bairam Khan. Both segments have been beautifully visualized and impeccably performed.

Equally well done, and extremely plausible, are Jalal's restlessness and his discomfort at having had to snub his lifelong mentor. It is not possible to sever the ties of a lifetime in an instant, no matter how deep the revulsion and anger that he feels against the father figure who has dominated his life for as long as he can remember. And so he turns to his other support system, Mahaam Anga. ..

Jalal now realizes, for the first time, the true burdens of kingship, torn as he is between a father figure, now sadly defiled, and the only mother he has ever known.

Standout moment:

Jalal's characteristically cocky comment to Abdul that if he had carried off Jodha instead of him, he would have made her naayaab (incomparable) and boosted her ehmiyat (value or importance). He obviously believes that she should not be paid so great a compliment, as it might go to her head! I then visualized the likely scenario if he had carried her off. Careening all over the Rajasthan countryside in the dark, trying to control a woman who would all the time have been trying to scratch his eyes out, if not decapitate him with his own khanjar. Nice going!😉

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4. This one is an exception to my overall brief as given by Mandy, for it is basically a tribute to Smiley's Ruqaiya. There is no one whose exit I have mourned more, apart from Jalal's Man Friday, the unflappable Abdul. Why, oh why were they jettisoned so pointlessly?

Jodha Akbar 13: Sheh, par mat nahin

https://www.indiaforums.com/forum/jodha-akbar/3653462/jodha-akbar-13-sheh-par-mat-nahin

Posted: 04 July 2013 at 1:59pm | IP Logged

...

The one between Jalal and Ruqaiya Begum: This is the most fascinating of the three, and no wonder.

For Ruqaiya Begum is that rara avis, a woman who can hold not just a man, but an emperor, effortlessly. Not by her beauty, for that is no more than passable, but by her intelligence, her political shrewdness, and her total self-possession. Plus the fact that thanks to a lifetime of knowing him, she can read his mind like an open book. Jalal must be having a lot of affection for her, as much as he can have for anyone, but as he says, the vital point is not that she is his wife, but that she is his friend. And he has very few friends.

So she teases him ruthlessly. There is the arrogant gliding walk - like a model these days on the catwalk - with which she slides past all the simpering females who line the upper terrace for a glimpse of their lord and master, and ensures that his eye not only catches hers, but stays with her, right until she glides back and out. It is a delightful display of control, and no wonder the other aspirants to imperial attention turn a delicate shade of pea green!😉

When he appears in her chambers, she does not run to him and fawn over him. She stays where she is for one long minute, leaning back against the bolster, her left arm negligently outstretched. Clearly the lady has Attitude with a capital A. Especially when she is smoking a hukkah, with ease and elegance.

She makes Jalal resume the game of chess that he had left unfinished the last time , declaring Zid hamara haq hai. This not said with pretty coquetry, but with unhesitating certainty. He knows her very well, so he is not riled, plus he is a natural, self-assured dominator who, as he says, hates to lose. Ruqaiya then displays the ready talent for repartee that must have won his heart and, even more so, his mind: Hamein jeet pasand hai, isiliye to dil har kar aapko jeet liya hai.

When he does make a winning move, the pun in her acknowledgement Yeh to kamaal ki chaal thi, refers as much to his disappearing act, that she has already found out about, as to the chess game. Her unfailing instinct tells her that there is something new in the air. When Jalal reveals to his friend that he had gone to Amer, her eyes narrow as she looks into the distance, and their expression is hard to read. He is leaning forward, fastening her e yes with his own. Can he read them?

All in all, Ruqaiya is the most fascinating woman I have seen on TV in a long, long time and Ekta's team should be felicitated for having portrayed her as such an enigmatic, astute and intellectually superior individual. She is clearly an original, and she will be a delight to watch. (famous last words, alas!😭😭)

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5. This one is perhaps the first of the high watermark scenes for Jalal, not one of the little gems I had mentioned at the beginning. The title of the post, from which this is an extract, fits like a glove, and what impressed me the most was the absolutely controlled display of domination by the young Shahenshah, with his anger being calibrated to precision, and never allowed to degenerate into the loud, bull ready to charge, head lowered and snorting with fury kind of hamming into which poor Rajat was later forced by unskilled directors.

Jodha Akbar 20: Coming of Age

https://www.indiaforums.com/forum/post/87911015

Posted: 15 July 2013 at 1:47pm | IP Logged

It was High Drama all through today, as Jalaluddin Mohammed, the erstwhile protege of Bairam Khan and de jure Mughal Emperor, finally came into his own, staring down his Khan Baba in a fierce tussle of wills. It was a watershed on the long road that would lead him, and us, to the Emperor Akbar the Great (a patent verbal redundancy, as Akbar itself means 'the Great'), and it lived up to all our expectations and more.

That was not the only moment to remember in an episode studded with them: Jalal burning Jodha's portrait, Bairam Khan self-destructing in a vortex of impotent rage and bitter ranting, Ruqaiya once again showing her mettle as a smooth, subtle intrigante. But it was clearly the high water mark of the evening, and a very high one at that.

Jalal and Bairam Khan:

As Jalal listens to Takhatmal's soldier pouring his heart out, we can practically feel the rage rising in him like molten lava. The narrowed eyes have a manic glare. A hand clenches on the hilt of his sword and almost crushes it.

Eventually, he stands up, and we see, with somewhat of a shock, that his face is smooth and inscrutable. The rage that was consuming him only minutes ago has disappeared without a trace, and as he leans back in his seat, the whole body is loose and relaxed. The change in the body language is as startling as it is eloquent. The Shahenshah has made up his mind, and he knows exactly what he has to do and how.

The scene that follows could have been scripted by a Renaissance dramatist. Jalal never once raises his voice, but his level tones have a force and a finality to them that none of Bairam Khan's high pitched rants can command. When Jalal effectively ignores him, and issues a stream of orders to rehabilitate the Takhatmal family, Bairam Khan seems to lose it totally. The crude putdowns of Jalal, and the self-glorification he indulges in reach their nadir when he derides the Emperor Humayun as totally ineffective. Which leads to Jalal making it clear to his former mentor, with unprecedented bluntness, that

(a) he is the Shahenshah,

(b) that Bairam Khan's right to issue orders, and his very title as the Wazir-e-Ala, were granted by him, Jalal, and

(c) that while he would never wage war against his Khan Baba, he would do so unhesitatingly against a rebel.

The final denouement seems scripted to sum up in itself the essence of the scene. As Bairam Khan is storming out of the Diwan-e-Khas, Jalal calls out Baba! Khan stops, hoping against hope for a reprieve, some shred of pride that he could perhaps salvage. There is none.

After Jalal has delivered his final warning - that he would fight to win, no matter what - he sweeps past Bairam Khan and exits, in effect preempting him. Immediately, all the courtiers stream after the Emperor, forming a double wave that flows past Bairam Khan as he stands, still and isolated, in the centre of the hall. It is as if all his vaunted powers were flowing out of him with that double wave, leaving him a hollow shell bereft of all but life.

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Well, folks, that is it for today. I hasten to reassure you that we are not about to delve into every one of the 220 episode analyses I did here😉, though, truth to tell, there was not, in the early days of the show, even one such episode which did not have something remarkable to show by Rajat. If we have covered only 20 episodes in Part 1, it only goes to prove how lavishly Rajat spread out the rich resources of his talent for us to enjoy.

More follows, once I have recovered from the strain of this one! And if it feels like an overload, blame Mandy, not me!😉

Shyamala/Aunty/Di/Akka


will be updating all the links given by akka here as i get them...

LIVE LINKS FOR ALL THE PARTS IN THIS SERIES

Part 1 : https://www.indiaforums.com/forum/jodha-akbar/4426792/rajats-jalals-memories-via-shyamalas-pearls-links-updated-pg-1
(Up to Episode 20)

Part 2: https://www.indiaforums.com/forum/jodha-akbar/4426792/rajats-jalals-memories-via-shyamalas-pearls-links-updated-pg-1?pn=3
(Episodes 21-34)

Part 3: https://www.indiaforums.com/forum/post/124971511
(Episodes 35-41)

Part 4: https://www.indiaforums.com/forum/post/125028347
(Episodes 41-50)

Part 5:https://www.indiaforums.com/forum/post/125124249
(Episodes 51-59)

Part 6: https://www.indiaforums.com/forum/post/125325934

(Episodes 60-65)

Shyamala B.Cowsik

Shyamala Aunty. ...🤗

Originally posted by: ---Khushi---

Shyamala Aunty. ...🤗

Awesome post as usual. ...so nice to see you back on IF...that too for us all to sing our dear RT's praises...😳

I hope your health recovers soon...love you Aunty...🤗

khushi, i still have to do the proof reading..let me know if i missed anything from the original post!

Dearest Shyamala,

Originally posted by: Coolpree

Dearest Shyamala,

I cant express how thrilled I am to read your farewell post to JA ( or is it?😉).

Anyone who doubts the "Power of the Pen" needs to just read your posts on both JA and Mahakumbh.

There isn't much to say about this post except that it is quite simply perfect but then nothing less is expected of you dear Shyamala. I have told you before but you really need to write your memoirs. I know that anyone that can write with such color and substance must have some amazing life experiences to share.

Yes Rajat's Jalal was magnificent in its myriad of hues but he is fortunate to have a fan like you. One who can bring out the finest of nuances in his character and acting which maybe even he is not aware of and certainly goes unnoticed by mere mortals like me ...that is until you highlight it of course😛

I am dismayed that you are still batting pain even 2 months after surgery and sincerely wish you a speedy recovery ( mainly for your sake but also for my own selfish reasons😆). I fell off the wagon with Mahakumbh ( and JA) and missed your last few posts. When I finally came back I found out that you had gone in for surgery and had stopped writing. I look forward to following your future posts in perhaps a new serial that catches your eye.

Cheers and the warmest of regards

Preeti

PS Thank you Mandy for this post 😛

thank you dear! hang in there..this is just part one she will continue posting and we will go very well into august and her posts are so brilliant that they need a separate thread! and i hope to see rajat in some other show or a movie and would again look forward to hear from her..as far as her health is concerned we all fans will pray for her speedy recovery!

shyamala, now i got the chance to respond to your yet another wonderful post and you did it for me or for rajat or for your fans i cannot thank you enough for that my dearest🤗

to begin with you got hooked after watching the payal scene..and i must confess here that i did not get hooked until one of my friends who too is a vancouverist suggested me to watch..she forcefully made me watch few scenes and i belive jodha was married to jalal then..but none of the actors impressed me much..! for evening walk i used to stop at her house every evening and then we used to watch the show together as she would not leave the house before watching the show and i used to get bored and watch it half heartedly then my eyes laid upon the BT scene where jodha is pouring water on jalal and i kinda liked that scene..now the first thing that attracted me was the sizzling chemistry of the two and then from there on i started watching with bit more interest..and then i watched all the previous episodes in one go and was quite impressed!..slowly rajat's jalal was seeping into my heart and when the scene came of amer ki shehzaadi har baar kuch aisa kar jaati hi jo hamare dil ko choo jata hai..something in those lines..with a goblet of wine in his hand..the way he gets up from the bed..the way he pours wine into the goblet and the way he stands and recites that dialogue..he made his way into my heart through his this very flawless act and then many more after and before this as after this scene i looked at him with different eyes..and i too being a middle age woman cannot drool over him but yes there is a lot of respect and love for this kid in my heart...and will remain till eternity!



now coming to the payal scene..no one can explain it better than you shyamala..your observation is remarkable..i loved reading your post again and the way you explained his feelings is bang on..i loved it when you said that its not his passion for jodha but its how he wants her by hook or by crook..! and he who had the whole world at his feet did bent to pick her payal and the way rajat did is again impaccable👏

and yes i agree that akbar's liberal policies were not just because of jodha he was in fact born and raised among the rajputs which also helped him in being secular! but then this is ekta's show what can one do!

and then the way you explained how he took care of abdul and his interactions with bairam khan were a delight to watch and who can forget smily's rukkya..i too till date miss abdul and smiley suri..! she had a perfect attitude of a royal blood and what chemistry these two had..! the harem of those days looked like harem..the dances..the whole set up was just out of this world and really commendable as per tv standards!


and also agree with a heart full of pain that rajat although is actor par excellence the unskilled directors and script writers that trailed later finished the larger than life charisma of the character and what was left was just a skeleton with no life in it...rooh lai gaya dillan da jaani e hudd sanu chukna paya ni jinde meriye..amrita pritam's lines so aptly show ours and rajat's situation when the direction and script went kapoot!

Mandy, this thread will bring back memories. I remember a time in late 2013/early 2014 when I would save each of Shyamala's posts to a separate folder on my computer. It still exists.

Originally posted by: Donjas

Mandy, this thread will bring back memories. I remember a time in late 2013/early 2014 when I would save each of Shyamala's posts to a separate folder on my computer. It still exists.

Since I started watching this serial in mid Oct 2013, the early posts when the serial was at it's peak will be new to me and so much fun to read.

People say that video is the most visual medium, I disagree. The imagery that your imagination can create has no equal. Visual medium is inadequate to explain the motivations and feelings of characters.

Shyamala is one rare writer with the ability to infuse such color in her writing, which in combination with your imagination allows you to relive the episode with sometimes greater enjoyment than when you watched it.

And since her posts are all about Rajat, my ramblings fit in this thread.

I hope she gets well soon. We need her, Rajat needs her as the chronicler of his future exploits.

By the way, is there some way Rajat could read all this. If he could, I believe he will treasure it almost as much as the many awards he has received.

donjas a very good idea, let me get in touch with some fans that are active on facebook/twitter and somehow have few links and yes i do want all the threads in his appreciation reach him esp this one! hang in for more from shyamla donjas..she will be writing in parts as i am not letting her go so soon😆

In this labour of love posts akka you have created, I am reliving the great ecstasy RT's Jalal(Arrogant but stull JUST Emperor) brought to the table. Your posts glitter for those awesome episodes.

jaya i too want her to continue pouring her wonderful thoughts on our wonder boy and then i will save this thread and cherish the memories for the rest of my life! uff i have never felt like this for any actor before..only for amitabh and now its rajat!