DVD's performance was superlative. Also, the ensemble cast were stellar today.👏
VD was absolutely outstanding throughout the ep, especially in the touches of ambiguity and covert hints he had to maintain as a baseline for any later development.⭐️
And DD managed to hold place in her every scene and make lack of dialogues (though *really* hoping that the silence doesn't stretch on interminably) seem immaterial by sheer fantastic screenpresence.⭐️
A definite thank you to the CVs for three things that meant that after the emotionally horrid 9th (Saturday) and 11th (Monday) Feb. 2013 eps, this ep was *far* less traumatic.
Firstly, some tiny bloopers in today's major scene. But since the focus in the scene was not almost entirely on two or three characters, and maybe the ability to sustain intensity at maximum point was taking its toll on everyone, teensy little flaws in this one ensemble cast scene (I'm not counting the chawl ensemble) were a relief from the tautness this damn track has maintained.
I'm *not* complaining about bloopers.
If there had been actually *major* bloopers (such as crew members peeking out from behind pillars maybe) during the past two eps, I would have been much more grateful and noted them as well.
Secondly, RK called Radha 'maa' and addressed her directly.
He clearly didn't intend to keep his treatment of Madhu secret.
So if he had been pretending with Radha alongside his supposed pretence with Madhu, he could have simply reverted to his previous behaviour vis-a-vis Radha.
But he *is* maintaining coldness now with everyone.
Whatever the reason that he was willing to devastate Madhu for, his mother holds not a fraction as much hold over his heart.
So if she tries for a repeat performance of her rant on the party-night, she may succeed in anguishing him but she is unlikely to be at all effective.
RK may adore his deceased father, but he was willing to make him part of his claims of pretence in order to convince Madhu of the depth of the 'love-deception'.
So there is nothing Radha or anyone can use against him that he has not already prepared to bear or lose.
Thirdly, the CVs did a zoom-in on RK's face from sideview on two occasions, each time more than general close-ups range.
With Madhu in the background, he closed his eyes as if he was nearing the end of his rope.
I don't count the swallowing because that can be an actor's reflex.
But that long a blink twice in close-up? The CVs meant for the viewers to see it.
If RK has been acting (which I absolutely believe to be the case), he has been acting in every glance and every nuance for the past several hours.
This may be the longest no-second-take-possible, high-emotional-draining-quotient, most difficult scene-shot of his life, and that too where he has to direct himself and any error may be noted by the audience he is performing for and fail his entire act.
Mention of Bittuji using the same excuse/reason that RK and Madhu had used (shoot wrap-up party) seems to imply rather strongly that Bittuji knows what his 'Chief' is doing, disapproves, but accepts the necessity.
He might therefore stay away until the debacle is done to avoid having to see his Chief's and bhabhiji's nightmare unfolding, and may perhaps in the meanwhile make arrangements for some other aspect of this current situation.
And again the possibility (belatedly held in abeyance by the CVs) of Madhu finally coming out of shock and going to RK but having Bittuji tell her RK has left for London and going silent and fainting comes to mind.
Pallavi's performance as 'Padmini' was excellent, as was the entire 'Bhatia' supporting cast's.👏 But I didn't feel on emotional tenterhooks probably because at least my surfeit-level for melodrama had unfortunately been reached by that point. Should be rejuvenated and up for more by tomorrow.😕
Padmini's behaviour was very much in character, though I was hopeful that Madhu would be shaken at least out of numbness to halt her mother's pleading on her behalf.
Padmini is heedless and unmindful of dignity or any other concern in fighting for her children. And being willing to grovel and plead takes a depth of love and courage as much as - perhaps more than - firing a gun.
But after the promo and precap highlighting Padmini's baddua, I admit to being somewhat disappointed by the actual scene.
Really wish the CVs had not had Padmini do this. Trishna's curse was already around.
And Hindi serial curses work just fine even if given by absolutely new cameo characters.
The CVs never introduce a curse into the story unless they have a track planned to make that curse look effective for at least a while.
Padmini's curse was the gentlest mildest most unpromising curse I've ever heard of in the context, especially considering who it was aimed at.😕
This curse has been RK's routine even at the highpoints of love with Madhu.
He smiled and laughed only because of Madhu, he felt truly loved (despite doubts and insecurities) only by Madhu.
He has sent Madhu away.
This is the equivalent of someone has been poisoned, but returns the only antidote to you, and you curse him "You're going to suffer because of the poison".
Padmini's curse was already in effect before she ever said a word.😕
Better if Madhu were to have cursed him. It would have had dramatic effect. And if anything happens to him, she'll end up blaming herself somehow at some point anyway.😳 So the curse might as well have been hers to give in the style of Hindi serial heroines in the throes of raging misunderstanding.😊
But thanks to Padmini having uttered the words (which should please TRP audience for drama effect), whensoever RK ends up hurt and misunderstandings are cleared, poor Padmini is very likely to blame herself for whatever the problem as if her curse had caused the situation.
Also, never curse someone in the throes of your antipathy if someone you care about loves that person.
You'll end up blaming yourself for your loved one's pain as well.😭
That's off the basic trackrecord of curses in Hindi serials, polished and defined from being utilized repeatedly umpteen times as successful plotdevices.😕😛
RK remained on the stairs until Madhu and Padmini had absolutely left before he turned and headed up the stairs.
He seems intent on ensuring that he controls the quantum of humiliation to Madhu and those supporting her so that there is not an inch in excess of what is wretchedly required.
By not even excluding his mother from the ambit when he directly pointed out that it was his house, he commanded the scene.
And while he held place, the three Bhatias who had previously mocked Madhu this time stayed back and silent.
Madhu and Padmini endured not a word from Dipali and the kukkad duo, nor - if RK's self-damaging performance at the chawl has its due effect - will they have to endure questions or any pointed allegations of blame from any of the chawl residents.
As regards Madhu's mangalsutra, Hindi serial rules for the leads in certain matters are not the same as for other characters. Madhu is not Padmini.
Padmini giving up her symbols of being married to Balraj was not likely to be a problem for the TRP audience.
Padmini is the female lead's mother, not the female lead. And she had abided by those symbols for two decades and honoured a marriage to a monster.
Madhu is the female lead. If she discards or breaks a 'suhaag ki nishaani' for anything less than decades of hurt, it will place her on the backfoot for the rest of the story in the opinion of the largest mass section of the audience-base.
If either Madhu or RK tears that mangalsutra off, regardless of whether the mangalsutra then simply breaks at one point or all the beads scatter, that scene may appear to the niche audience as self-respect or discarding a bond (depending on which of the couple does it), but will simply cause the mass TRP audience to focus entirely on waiting for peril of some sort to RK's life.
So while that scene may happen anyway, it would place only momentary focus on Madhu and then shift almost entire focus onto waiting to see what further developments are associated with RK.
Really hope that after the amount of absolute focus that needs must be maintained on RK at this point in the current track to preserve the damnable suspense, Madhu's actions and reactions do not end up getting pegged into symbolism points that the TRP audience will have very definitive understanding of (regardless of what the actual intent of certain scenes might be in the MEIEJ context).😕
RK returning to his room, remembering Madhu, and tossing the wall of pillows onto the floor with snarky comment was very much in character.
As he had once told Madhu, his making a dramatic moment of everything has absolutely nothing to do with his acting profession.
This scene actually brought to mind his missing Madhu while she had gone to her maayka, but on the phone he firmly denied it, turned the imputation on its head and suggested that his saasuma should help Madhu get some sleep if she was having trouble sleeping.
The more he misses her, the more he will cover for it even when alone. That has not changed despite the very different circumstances.
RK's scene with Dips emphasized at much greater length what had been briefly indicated when he stood on the stairs after making his self-damaging performance, remaining sideways and keeping his gaze away from Madhu.
His closing his eyes twice for a long moment each, with the camera including only Madhu in the background to his side, while otherwise controlling his expressions, was all the vent he could permit himself in that situation.
His being visibly angry or upset would have spoilt the image he was presenting then of the triumphant betrayer.
But Dipali intruding on him with her presence and attentions was a situation that he could react to without worrying too much that she might read more into his reaction.
Nevertheless, his reaction was in excess beyond anything that the same sort of behaviour from her had ever merited from him previously.
Even when she had instigated his insecurities and prompted him to test Madhu's love, he had reacted with vulnerability.
This time, there was only rage - no vulnerability, no uncertainty about himself or what he could or would do.
Today, for perhaps the first time that we have seen, he was in control of his interaction with Dipali on every level.
His threat to her this time included a reminder of just what he feels for her, and the perhaps never before voiced possibility that he might give Dipali a very different sort of due if he were to relive his past with her - not a re-established romantic relationship that would get her everything she thinks she deserves, but rather vengeance for her mercenary betrayal.
Even his words about Madhu placed her beyond Dipali's league without ever revealing any emotional inclination of his.
There was no compromising weakness in his tone or manner that Dipali might latch onto.
He seemed like someone who had suddenly lost so much that his previous losses and insecurities - which had once been an open wound for the three Bhatias to salt at will - were now set aside as immaterial.
And in this frame of mind, he may perhaps not be someone Radha should go heedlessly with.
If she tries to assert herself as mother or mother-in-law in the current situation, he is not in a position where he might afford to be gentle.
Despite Padmini's strong performance, the melodrama-excess effect after the past two eps meant that it was two other things that made the most impact for me in this ep.
One, the invisible cord that held RK and Madhu during their scenes together - chemistry and characterization mindblowing.😳
And two, RK's character development as made evident in a scene with Dipali of all people. It's the only good thing I can see so far in this miserable track.😊Nevertheless, a great ep, and the first in this track that I would watch again before the track-storyline gets to the promised 'sorting out' point.😊
Edited by leelaa9 - 12 years ago
Kyunki Saas Bhi Kabhi Bahu Thi 2
Bade Achhe Lagte Hain
