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Loved the 5th (Tuesday) and 6th (Wednesday) Jan. 2013 eps (though would have probably appreciated them more minus worry on future news distracting from all current stuff).😳😊
The leads gave superb performances - effortlessly charming individually, and the chemistry mindblowing together.😳⭐️ There was also one delightfully romantic dance sequence. And was I the only one too distracted to appreciatively revisit any of it?
On a purely visual note, Madhu was looking even more lovely than usual, with the kumkum in these two eps like the red bindi on Ganesh visarjan highlighting her magnificent eyes.😳
And RK looks absolutely gorgeous in anything, even non-fitted plain white kurta and dhoti.😳
But seriously, the RK-Madhu scenes were *all* gorgeously well-etched and exquisitely characterized, even despite the irritating foreboding.😳⭐️
And there seems no smirk, no viciousness or triumph from RK whenever his face is not visible to Madhu, only a grim tenderness when he holds her close.😕😳
In every scene, the emotional warmth is still there between the couple, but restrained from RK's side.😳
Where once he basked and delighted in the playful and yet absolute nature of her love, now there is a subtle push from his side to create an emotional distance - a shield, a boundary between the two where for so long now they have had no emotional offbounds to each other.😳😕
The leads gave superb performances - effortlessly charming individually, and the chemistry mindblowing together.😳⭐️ There was also one delightfully romantic dance sequence. And was I the only one too distracted to appreciatively revisit any of it?
On a purely visual note, Madhu was looking even more lovely than usual, with the kumkum in these two eps like the red bindi on Ganesh visarjan highlighting her magnificent eyes.😳
And RK looks absolutely gorgeous in anything, even non-fitted plain white kurta and dhoti.😳
But seriously, the RK-Madhu scenes were *all* gorgeously well-etched and exquisitely characterized, even despite the irritating foreboding.😳⭐️
And there seems no smirk, no viciousness or triumph from RK whenever his face is not visible to Madhu, only a grim tenderness when he holds her close.😕😳
In every scene, the emotional warmth is still there between the couple, but restrained from RK's side.😳
Where once he basked and delighted in the playful and yet absolute nature of her love, now there is a subtle push from his side to create an emotional distance - a shield, a boundary between the two where for so long now they have had no emotional offbounds to each other.😳😕
Wish Kaaki wouldn't have gotten euphemistic about the meaning of those green glass bangles. Madhu isn't Marathi, so she probably wouldn't know anything beyond what Kaaki said. Kaaki should have straightforwardly told Madhu that it's a 'suhaag ki nishaani'.
Madhu putting on the bangles - given to her by a woman for whom their meaning is clearly apparent - was like putting on a mangalsutra, as the background music for that shot attested.😳😊
It's a representation of the husband being alive, plain and simple. It has nothing to do with love, as with mangalsutra.
One or two of the bangles breaking is fine, not the whole bunch.
And if Madhu for any reason breaks the whole lot under the misapprehension that they are a sign of love rather than suhaag, then going by Hindi serials standards, she'll probably find out sometime thereafter that RK is dying.
And if RK is that sort of ill, then that would also explain the warm smile giving way to a smirk when Madhu was wearing the bangles to protect her love and suhaag.
It would be more of a defeated cocking-a-snook at fate.
RK was not smiling easily at any point in the 5th Jan. ep.
He was either not smiling at all, or he was starting with smirks but unable to stick with them and ending up smiling.
It was as if he was trying to avoid warmth, but also unable to stick with a snarky mien.
The CVs ruined a track-point that was so long awaited (and in the next ep, the wall of pillows also changed position and abandoned purpose as if it were an insignificant development).😲😕
The suhaagraat came and went, and I was *relieved* that they didn't consummate with the current darkness hanging over the damn track.😕
It would be more of a defeated cocking-a-snook at fate.
RK was not smiling easily at any point in the 5th Jan. ep.
He was either not smiling at all, or he was starting with smirks but unable to stick with them and ending up smiling.
It was as if he was trying to avoid warmth, but also unable to stick with a snarky mien.
The CVs ruined a track-point that was so long awaited (and in the next ep, the wall of pillows also changed position and abandoned purpose as if it were an insignificant development).😲😕
The suhaagraat came and went, and I was *relieved* that they didn't consummate with the current darkness hanging over the damn track.😕
While the 5th Jan. ep held foreboding like a tint in every scene, in the entirety of the subsequent (6th Jan. 2013, Wednesday ) ep, the only damnable foreboding I could feel (quite overwhelmingly even without ep-impetus) was extraneous to the actual scenes in the ep.😕😊
The dialogues were excellent (except in the Padmini-Madhu scene where Padmini's dialogue-cohesion was sacrificed for catalyst-effect).⭐️
The best were RK's contemptuous dialogues to Dipali, and gently teasing dialogues to Madhu with supportive caring evident.⭐️
And Madhu's poignant fluid straightforward dialogue narrative in every scene was heartwrenchingly effective.😳
Sikki and Dipali had dialogues that fit well.😊
Padmini's scene with Madhu felt clunky, as if the scene was intended to hit two key-notes, there was no catalyst available except Trishna, so fit her into the conversation even if like a square peg into a round hole.😕😛
First key-note:- RK can talk anyone into believing anything.😳
So how well he is going to talk his wife into believing his next performance is forthcoming.😭
Second key-note:- A daughter's bidaai, the parting when she leaves with her husband.
And unfortunately, there was no one else as a marriageable daughter who could be introduced into this conversation Padmini was having with her married daughter Madhu.
Padmini had no reason in the context to think of bidaai in connection with Madhu.
And the word 'bidaai' (which Madhu later used in her farewell letter to her mother) *had* to be introduced to remind Madhu overtly of her upcoming leaving with her husband.
So, Trishna (who actually gets hysterical at the thought of giving up her heroine-dream and getting married) got shoehorned into the conversation.😲😕
And Padmini talked on as if Trishna was someone else altogether, which - for the purpose of this conversation - she might as well have been.😕
And then Padmini discussed plans for festival after festival, and added a Satyanarayan-puja for good measure, so that Madhu could have an even better reminder of just how much of a timespan she would probably be missing events with her family.
Madhu's dialogues and need to bask in her mother's love before a parting of indeterminate duration salvaged this scene with beautiful poignancy from the Trishnafest plot-clunk.😳😊
RK was - in all his scenes - as he had ever been in recent times, but with energy levels visibly dimmed, and a grim caring for Madhu visible in his every interaction with her.😳
His teasing comments were charming as always, but reflexive and almost halfhearted.😳
Every moment he was with Madhu, there was a subtle but constant cherishing air from his side.😳😊
And when he read aloud Madhu's letter to her mother, there seemed to be more of a comprehension of so near and yet so far, of everything he had been about to have, of just how much he was about to lose - a reminder of the sheer depth of Madhu's love for him.😳
Which would mean that the laughter in the suitcase scene, the childish insistence in the car on the way to the picnic-spot, and his soon settling into the rhythm of village life and enjoying every moment with Madhu was in the nature of a last idyll of happy memories he was preparing for himself.😳
His attitude to his mother, Sikki and Dipali are clearly understandable, and unchanged except for the reconciliation with his mother.😊
Dipali is still the linchpin who can hurt his mother by destroying Radha's determined delusion of her 'happy family'.
Not the fact that Radha finally told her son she had married to provide him with a father, nor her son clearly showing he does not accept the three relationships she has foolishly inserted into his life like a rusted nail - none of it has made Radha inclined to show any thought of terminating her marriage with Kukku Bhatia, however little happiness she may have had from it for herself, and however much hurt she inadvertently ensured through it for her son.
And RK's reticence as a son has meant that he has never worked proactively in his mother's matter as he did in Padmini's.
Both women are conservative and mindful of appearance.
Neither would of their own volition consider a divorce from a miserable marriage.
Both would need to be talked round to it, repeatedly, with tact and insistence.
Radha backed her son's move to aid Padmini with all the verbal skill and force she could bring to bear.
But the thought of decisively acting for Radha as he did for Padmini has apparently never occurred to RK.
Both women have insisted on abiding in wifedom to a scoundrel of varying level.
But while RK swept aside Padmini's stifling compulsions, his filial hesitance has ensured that he has simply accepted his mother's similar words and attitude rather than do anything to rectify the matter.
Sikki is an endurable presence, not particularly malicious except when provoked or instigated.
But Dipali🤢?
She is the person who could force RK into a course of action which would force his mother to choose at the final count between him and her Bhatia family.
So he deals with Dipali as he always has, contemptuous, vulnerable, and enduring a brazen self-deluding stalker who does not consider that her power is only at his sufferance.😡
On the rare occasions when RK has exerted his authority and reminded Dipali that she is dependent on him for her continuance in luxurious life, he has always won.😃
And through the entire ep, Madhu's reactions held weight - gentle, emotional, tender, and yet unwaveringly resolved.😳
Her determination to leave with RK is not even a whit affected by her realization of how much she will miss her mother at al.😊
Nor did any of the emotional dialogues from Radha or Padmini shake Madhu's intent even a little or weigh her down with the usual Hindi-serial-heroine staple diet of 'family before husband' guilt.😳
For Radha and Padmini, Madhu and RK respectively have ensured a happiness that each woman had been in need of for over a decade in Radha's instance, and two decades in Padmini's.😊
Now, Madhu is focussed on fulfilling her husband's stated need, which has become her fondly held dream as well - to leave and have an indeterminate time only for each other.😳😊
The dialogues were excellent (except in the Padmini-Madhu scene where Padmini's dialogue-cohesion was sacrificed for catalyst-effect).⭐️
The best were RK's contemptuous dialogues to Dipali, and gently teasing dialogues to Madhu with supportive caring evident.⭐️
And Madhu's poignant fluid straightforward dialogue narrative in every scene was heartwrenchingly effective.😳
Sikki and Dipali had dialogues that fit well.😊
Padmini's scene with Madhu felt clunky, as if the scene was intended to hit two key-notes, there was no catalyst available except Trishna, so fit her into the conversation even if like a square peg into a round hole.😕😛
First key-note:- RK can talk anyone into believing anything.😳
So how well he is going to talk his wife into believing his next performance is forthcoming.😭
Second key-note:- A daughter's bidaai, the parting when she leaves with her husband.
And unfortunately, there was no one else as a marriageable daughter who could be introduced into this conversation Padmini was having with her married daughter Madhu.
Padmini had no reason in the context to think of bidaai in connection with Madhu.
And the word 'bidaai' (which Madhu later used in her farewell letter to her mother) *had* to be introduced to remind Madhu overtly of her upcoming leaving with her husband.
So, Trishna (who actually gets hysterical at the thought of giving up her heroine-dream and getting married) got shoehorned into the conversation.😲😕
And Padmini talked on as if Trishna was someone else altogether, which - for the purpose of this conversation - she might as well have been.😕
And then Padmini discussed plans for festival after festival, and added a Satyanarayan-puja for good measure, so that Madhu could have an even better reminder of just how much of a timespan she would probably be missing events with her family.
Madhu's dialogues and need to bask in her mother's love before a parting of indeterminate duration salvaged this scene with beautiful poignancy from the Trishnafest plot-clunk.😳😊
RK was - in all his scenes - as he had ever been in recent times, but with energy levels visibly dimmed, and a grim caring for Madhu visible in his every interaction with her.😳
His teasing comments were charming as always, but reflexive and almost halfhearted.😳
Every moment he was with Madhu, there was a subtle but constant cherishing air from his side.😳😊
And when he read aloud Madhu's letter to her mother, there seemed to be more of a comprehension of so near and yet so far, of everything he had been about to have, of just how much he was about to lose - a reminder of the sheer depth of Madhu's love for him.😳
Which would mean that the laughter in the suitcase scene, the childish insistence in the car on the way to the picnic-spot, and his soon settling into the rhythm of village life and enjoying every moment with Madhu was in the nature of a last idyll of happy memories he was preparing for himself.😳
His attitude to his mother, Sikki and Dipali are clearly understandable, and unchanged except for the reconciliation with his mother.😊
Dipali is still the linchpin who can hurt his mother by destroying Radha's determined delusion of her 'happy family'.
Not the fact that Radha finally told her son she had married to provide him with a father, nor her son clearly showing he does not accept the three relationships she has foolishly inserted into his life like a rusted nail - none of it has made Radha inclined to show any thought of terminating her marriage with Kukku Bhatia, however little happiness she may have had from it for herself, and however much hurt she inadvertently ensured through it for her son.
And RK's reticence as a son has meant that he has never worked proactively in his mother's matter as he did in Padmini's.
Both women are conservative and mindful of appearance.
Neither would of their own volition consider a divorce from a miserable marriage.
Both would need to be talked round to it, repeatedly, with tact and insistence.
Radha backed her son's move to aid Padmini with all the verbal skill and force she could bring to bear.
But the thought of decisively acting for Radha as he did for Padmini has apparently never occurred to RK.
Both women have insisted on abiding in wifedom to a scoundrel of varying level.
But while RK swept aside Padmini's stifling compulsions, his filial hesitance has ensured that he has simply accepted his mother's similar words and attitude rather than do anything to rectify the matter.
Sikki is an endurable presence, not particularly malicious except when provoked or instigated.
But Dipali🤢?
She is the person who could force RK into a course of action which would force his mother to choose at the final count between him and her Bhatia family.
So he deals with Dipali as he always has, contemptuous, vulnerable, and enduring a brazen self-deluding stalker who does not consider that her power is only at his sufferance.😡
On the rare occasions when RK has exerted his authority and reminded Dipali that she is dependent on him for her continuance in luxurious life, he has always won.😃
And through the entire ep, Madhu's reactions held weight - gentle, emotional, tender, and yet unwaveringly resolved.😳
Her determination to leave with RK is not even a whit affected by her realization of how much she will miss her mother at al.😊
Nor did any of the emotional dialogues from Radha or Padmini shake Madhu's intent even a little or weigh her down with the usual Hindi-serial-heroine staple diet of 'family before husband' guilt.😳
For Radha and Padmini, Madhu and RK respectively have ensured a happiness that each woman had been in need of for over a decade in Radha's instance, and two decades in Padmini's.😊
Now, Madhu is focussed on fulfilling her husband's stated need, which has become her fondly held dream as well - to leave and have an indeterminate time only for each other.😳😊
And where at the start of this week, we were hoping for something - anything - to happen to prevent the happy couple's departure so that the stardom-track could be finally moved to the front, these past few days have starkly defined that 'anything' was an unintendedly broad parameter.😭
And in the current phase of this particular depressing track, the preponderance of suhaag-ki-nishaanis is another implication-bank considering one of Hindi serials' most mandatory rules. 'Damage to suhaag ki nishaani' = husband's life in peril.😕
So Madhu, who does not wear sindoor and has till now had only the mangalsutra to wear as a suhaag ki nishaani, is suddenly wearing green glass bangles as well just in time for a potential dark track to cast its shadow on her love and her marriage?😕 A little too ominous in symbolism.
The mangalsutra Madhu is wearing is being mentioned in news-items as an effecting-agent in the storyline.😕
And the Marathi green glass bangles - screen symbolism near equal to mangalsutra - have also now been introduced into the storyline.😳
Madhu's mangalsutra - will RK take it away?😕
If he believes he is dying, he may wish to release her from that bond under other pretences.😳
So Madhu, who does not wear sindoor and has till now had only the mangalsutra to wear as a suhaag ki nishaani, is suddenly wearing green glass bangles as well just in time for a potential dark track to cast its shadow on her love and her marriage?😕 A little too ominous in symbolism.
The mangalsutra Madhu is wearing is being mentioned in news-items as an effecting-agent in the storyline.😕
And the Marathi green glass bangles - screen symbolism near equal to mangalsutra - have also now been introduced into the storyline.😳
Madhu's mangalsutra - will RK take it away?😕
If he believes he is dying, he may wish to release her from that bond under other pretences.😳
Which would be a 'chicken and egg' situation in the Hindi-serials-rulebook.😕 He's already in peril, and he removes the 'auspicious thread' representing his lifeline.Or he removes it, and then Madhu finds out what sort of peril he is in.
Or - conversely - he may leave the mangalsutra as a social protection to her to use as a shield in the near future.😳😊
And the green glass bangles, whose smashing en masse is associated with the husband's death?😕If Madhu loses her mangalsutra, will she continue to wear the bangles as a partial substitute?😳
And the green glass bangles, whose smashing en masse is associated with the husband's death?😕If Madhu loses her mangalsutra, will she continue to wear the bangles as a partial substitute?😳
Or will she be shown breaking the bangles to symbolize heartbreak or betrayal, and then have the Hindi serials' mandatory cause-and-effect reaction ('damage to suhaag ki nishaani' = husband's life in peril) come up at some point thereafter?
Sorry for going so much into the redoubtable plotdevice of item-symbolism.😛😆
And I am inclined to believe the revenge theory is definitively off the table except as a mask.😊
Though how unbearable that mask is going to be until Madhu manages to tear through it...
Sorry for going so much into the redoubtable plotdevice of item-symbolism.😛😆
And I am inclined to believe the revenge theory is definitively off the table except as a mask.😊
Though how unbearable that mask is going to be until Madhu manages to tear through it...
Because if RK is set on turning Madhu against him, then - considering the lengths he is capable of going to - this is going to be a very difficult next several episodes to bear.
If RK is ill or even in an extreme peril of any sort, he would want Madhu out of the way, and hopefully *hating* him enough to not involve herself to help him.
He has proven just what lengths he can unilaterally decide to go to in Madhu's interests without even considering telling her - not when he was making his last (effective) attempt to make Padmini realize her feelings for Shamsher, not while trying to help Trishna for Madhu's sake, nor indeed ever.😳😊
RK has no sense of proportionate action or reaction, more so in his love for Madhu than ever in antagonism.😳😕
He has proven just what lengths he can unilaterally decide to go to in Madhu's interests without even considering telling her - not when he was making his last (effective) attempt to make Padmini realize her feelings for Shamsher, not while trying to help Trishna for Madhu's sake, nor indeed ever.😳😊
But this time, that sort of secrecy is very definitely not a good thing.😳
RK has no sense of proportionate action or reaction, more so in his love for Madhu than ever in antagonism.😳😕
A man who thinks his *life* is worth less than *her* pain, how bad a reason must it be that he will *cause* her pain?😭
And with such a reason to drive him, what will this man not say or do who twice fought death off to save Madhu, and counts her wellbeing more dear than every other person in either of their families?😳
(Exhibit A:- His mother and parents-in-law all bound and at the mercy of guntoting thugs, and RK was as absolutely focussed on Madhu being in danger as if everyone else were safely somewhere else.😳😕)
(Exhibit A:- His mother and parents-in-law all bound and at the mercy of guntoting thugs, and RK was as absolutely focussed on Madhu being in danger as if everyone else were safely somewhere else.😳😕)
He knows how precious a gem Madhu is😳, but hopefully he underestimates her ability to act with shrewdness once she gets past the immediate shock.😊
This time, as with Dipali and Trishna, Madhu needs to surmount manipulation with confidence, obduracy and certainty.😳😊
But this time will be far more difficult, considering that it is the man she loves that she must face down *for* their love, and the manipulating is going to cut to the core as only these two can to each other.😳
A very different playing field from disbelieving Dipali or Trishna, which means that Madhu may take a few counts to find her footing.
She is going to have to draw on reserves of faith in herself to believe against all illusory effect that her love *is* reciprocated, and she was not played for a fool before, but her idiot love is definitely playing that game now.😳😊
I'm *not* worried that Madhu will be perpetually in the dark.😊
But the love-test idiocy was proof that until Madhu finds out just what motivation is driving RK, the situation just gets more and more devastating for them both.
So definitely hope she manages to shake off the stun and figure out things soon.😊
Adore this couple, individually and together.
But as the two of them separately dealing with Dipali and Trishna has proven, RK's deviousness and Madhu's innocence in most matters notwithstanding, they *both* give apparently neverendingly long ropes to their most unworthy 'relatives'.
And yet at the final count, Madhu manages to be more focussed and effective - and far less constrained - in protecting the one thing that should matter most to both - their relationship and their love.😳😊
Have been really looking forward for ages to the stardom track taking off once the romance was established. The stardom as focus, with the romance as a superb panoramic backdrop.
But now, with this potential negative-twist, can't think of anything beyond getting through the duration of this 'twist' until these two get back together.😳
Could the CVs please get this damn emotional mess happily sorted, the couple reunited, and then focus properly on the stardom? Pretty please?😳
Because if that will was ever put into effect, Dipali would have 60 crores to manipulate for, and Trishna 30 crores, and we'd have a film each with those two ladies instead.😡
Couldn't a separation track have been worked out some other less atrociously distracting way *after* Madhu becoming a star?
Just wish that the MEIEJ CVs maintain their trackrecord for not dragging out tracks the one time where the dragging out is likely to be absolutely excruciating.😭Surely they have many other ideas for tracks once this damnable (probable) forthcoming twist and separation track is done, so hopefully it'll be as brief as every other big track and wrapped on as happy a note for the lead couple before proceeding on to the next track.😳😊
Of course, loveliest of all things in the current context would be if this entire brouhaha is simply to get us to watch the Saturday ep this time, as CVs revenge for relatively less TRPs for the mahaepisode. Paraphrasing a song from "My Fair Lady", that turn of events really *would* be lovely.😛😊 Alongside 'if wishes were horses', 'fingers crossed', and sundry other assorted thoughts.😕😊
