Liked an entire episode after ages - as in liked the first part very much, and the latter part was endurable by dint of hoping that a triangle won't be tried again for irritation quotient.
(The fire-rescue episode was appreciable only for the Rishbala scenes, with every other character an irritant in the episode.)
Charu, Shruti, superb points.
While there was a great deal of clunk at some points in the episode, it was almost nonexistent compared to the level of clunk involved in the nonsensical majbooris that were used to make the entire track possible but have now been conveniently forgotten for motivation and reasoning that might be inconvenient to remember.
One may presume that having used RK's uncharacteristic reactions and abortion-insistence to ensure the pregnancy was conflicted in possible hope that the couple's estrangement would then be accepted by mass-audience after the convenient miscarriage, the CVs have choked on that ploy and are now trying to bounce either occasionally or consistently on RK's more characteristic reactions to his child and the loss thereof.
His sudden bereaved sentiments for his child are rather less clunky than his manager giving him a speech about the wonderful hit 'they' have had and the huge profit, so that we may know that Bittuji is with Madhu in the land of amnesia about the reason they had both originally acknowledged verbally as to why RK had intended that film in the first place.
And if Bittuji did not think it necessary to advise either his stupidly acquiescent 'chief' or his naively enthusiastic 'bhabhiji' against the clobberingly backfiring idea of RK being sidelined out of the remaining 40% of the film instead of the film-story being changed to accommodate his handicap, then Bittuji's advices and opinions may be regarded as very much in the same category as Padmini's track-conveniencing gems of wisdom in the months prior to her disappearance from the series.
Anyway, if they are finally setting aside at least for a while the nonsensical majbooris and the 'unfeeling husband and father' gambit try for separation-permitting, then the Rishbala scenes on the lakeside and in the bedroom were the first time in many weeks that consecutive scenes of theirs didn't have such ludicrously clunky dialogues about helplessness, support and what-not other manufactured stresses as to make muting of the scenes seem a better option.
This series is in rather a unique situation in that separation is not advisable as a mass-viewership alluring worthwhile budget-expense in terms of multiple sets
Separation is a viewership draw as the variety in a couple's conjugally stable and united life.
Here, the couple have been in every variety of separation, estrangement and disunity for nine successive months with not even any five consecutive episodes showing them as a stable couple with understanding and caring demonstrated beyond merely big talk and grand proclamations by each.
If they get physically separated, then there is only the not particularly mass-appealing prospect of their not even being physically together, in addition to their emotional disunity.
The one point of actual concern is that the CVs seem to repeatedly go against mass-audience tastes rather needlessly even when those tastes could be worked with, and when inadequate TRP induces changing of track, they seem to set aside unfortunate points that they had hammered within those tracks, with the very empty hope that inconvenient points would be forgotten by mass-audience after the days or weeks that those points are no longer convenient to keep in mind beyond.
Showing Madhu as being proactively decisive about ensuring the film was a bad idea if the culmination of the 'film' in the serial was her being glorified above her husband (an intrinsically repelling concept for any track's majority-audience appeal), since it ensured his wealth and her advice resulting in her unintentionally benefitting and his not benefitting in the career benefit that was his reason for making the film. It would have been better that she benefit without her decisions being involved in the process.
But that clunky folly on the part of the CVs might somehow have been glossed over.
The nightmare-point was when they had Madhu lovingly and supportively tell her paralyzed husband that he should step aside and the film-story should be changed completely to focus on her role.
The very fact that he agreed to such a massive change raised the spectre of why not even one person - not even the wife who had considered making the film an urgent matter since it was a matter of preserving her husband's acting stardom - instead suggested the far less drastic change of changing the film-story to accommodate the handicap.
Not even a vamp in a Hindi series is ever shown telling her recently handicapped husband to move aside and let her take the burden of being in centrestage and the mainstay - not unless the marriage is intended to be finished soon.
The CVs should especially never have shown Madhu with that dialogue, considering her proactive actions in the previous track had also been appalling by majority-audience tastes.
Love does not cover everything, especially not for a female lead.
Here, the female lead was willing to go with another man to save her husband's life, and if she had any intent on killing herself afterward, it was pointless not to do it first.
Had she killed either her imprurient pursuer in defence of her wifely fidelity, or if she had killed herself with or without also killing her husband, her decision would have been appreciated and supported in either scenario.
Instead, her decision to stake her prestige (which was also her husband's) to save her husband's life (rather than upholding the more widely mass-supported sentiment that life is less important than dignity and prestige) was not one likely to gain her any approval or supportive sentiment from majority-audience.
For the prolonging of the previous track, the wife was shown deciding to risk her virtue for her husband's life.
For the existence of the heroine track, that same wife was shown deciding to save their house and money by convincing her loving recently handicapped husband and sidelining him and stepping into the centrestage in his place, bizarrely uncomprehending that it would save the wealth but downgrade her husband's prestige.
Yet again, a decision appallingly contravening majority-audience's tastes of acceptable sacrifices.
We have a female lead whose actions are somewhat memorable since no other series has ever dared to make such backfiring moves guaranteed to gain her disapprobation of mass-audience.
Both RK and Madhu have been recklessly characterization-butchered for the plot-convenience of tracks.
But while RK lost on several fronts exponentially in each consecutive track without gaining intent, Madhu's one shield for her mass-disapproved actions in the previous tracks was that she gained nothing herself from any of it, neither expectedly nor unexpectedly.
But in this track she has gained exponentially.
The female lead becoming heroine or model is anyway not luring for majority-audience viewership. And if she becomes heroine and overshadows her husband by her insistences and his wealth, gaining professional approbation and costing him in professional detriment, then it is rather like giving majority-audience a reason to hold her career ever resuming in specific averse opinion and give her husband an even longer extension on his very long rope, encompassing any unappreciable behaviours on his part with the understanding that his losses and detriment were due in considerable part to having been far too acquiescently loving a husband, with perhaps lesser professional detriment had he stuck with his original opinion and rejected his wife's enthusiastic but consistently backfiring advices.
Basically the CVs have messed up on a confounding scale.
If Madhu was to be shown in more than one film, without track-closing due to inadequate viewership, it was essential that she not be shown as more than her husband. Equal, yes. More, no. Instead, they did exactly the added demotivation to hold an already mass-unappreciated glamour career for the female lead in even further aversion and disinterest by mass-audience.
Male leads are generally forgiven even for adultery, depending on their extent of mass-popularity beyond being half of the couple.
So the worry is that if the CVs try to actually go on such a repugnant tangent for RK in the hope of getting Madhu the heroine-continuance mass-viewership support that her miscarriage did not, they may find themselves again at point non plus as regards mass-support for the wife (whose career took off consequent to her advice, at her husband's expense, and ended up professionally overshadowing him) even after having gone to whatever outrageous lengths in the process.
So rather desperately hoping the CVs don't try for such an unrewarding gamble assured of massively flubbing, and avoid trying to get RK mass-disapproval with outrageous actions that may instead be understood and condoned by most of the majority-audience, thanks to the sledgehammeringly appallingly helpless scope of the majbooris, followed by his manager, director, aunt-in-law and the media all crowing about his wife's success and referring as the producer to a man for whom his ego - represented in large part by his stardom - is perhaps dearer than his very life.
Wish the CVs/channel might be prudent at least after such a prolongedly depressing phase of so many months, maybe keep in mind the consistently backfiring outcomes of their unsuccessful gambits in the past nine months, rather than repeat blunders that would add distaste to the story when they consistently end up having to repeatedly backtrack due to inadequate massive viewership and consequently proportionately reined budget.
Edited by leelaa9 - 11 years ago
Kyunki Saas Bhi Kabhi Bahu Thi 2
