REBLAST 1 Episode 1 - 5

First Previous

Page

Next Last

Frequent Posters

aarwen

@aarwen

Dazzler

+ 4

Posted: 9 years ago

#691

Originally posted by: indi52
dance with me, live with me
episode 315

a dream had woken him again, a nightmare really. she wanted to calm him, let him know she was there no matter what. perhaps all that had happened since his grandmother had come and derided her, had built her confidence, for he had simply walked right up to that derision, that insult, that casting her out and said... don't you dare. and if you do, remember, i will be where she is... That one moment made me love the character so much more..as if that was even possible.. I love that quiet lethal assurance of cooly walking out..

perhaps because she had felt his overpowering abiding love as he had held her hand and taken her away with forceful stride. he was about to leave but then he had turned and given her a long look then before his grandmother's eyes, reached out, held her hand and taken her along with him... together. pati and patni. had she thought of that first time he had held her hand like that and walked out in front of all? the night of their becoming husband and wife? he had hated her then but yet, he had had to reach out and catch her hand and take the steps with her to their new reality.

and now he stood outside looking up, torment writ large on his face, and she so lost, for she knew him so little... it was a tense moment, there may have been many ways of dealing with it. but khushi knew only one... the one touched with the magic of innocent sanka. flaky, some might say silly, but some might see the power of the untainted in its heart. arnav singh raizada dealt with brutal betrayal and pain by wrestling with the animal, trying hard to keep it at bay, confronting it roundly and slamming into it, grappling with the whiplash head on. khushi on the other hand, tried to reach through pain and find some light... her taarey, her conversations with devi maiyya, her vishwas.

she could do that perhaps because that is how she was made and also no doubt because of the nature of the hurt she had suffered. both had lost their parents at one go, both were children at the time. but one's parents had gone in an accident, the other's in the denouement of betrayal, broken trust; in extreme violence committed on one's own self.
but this young girl who had just started to completely trust the relationship that had come into her life, was not to know that. all she knew was, her arnav ji was hurting and she had to make him feel better.

she did it her way.
with song, a nice hindi film song which said in a nice hindi film way, come, my lover, let me love you... let me take all your pain away.
she said it with a dance, a slow, not dance like dance. her arms flowing out, catching him and twirling him and stopping him and pushing him and holding him... her hands always reaching him, saying things she couldn't say in words.

might have been terribly corny this sequence, but the director was sensitive, the writer used a simple song to create another space, a hut was not available tonight, but the poolside was here where there was always magic by the shimmering water. though really it was sanaya irani's deep understanding of the moment and her graceful pirouette through it that made it all so moving and beautiful. and barun sobti moved in tandem, his expressions, his emotion never losing touch with the grim despair within and that love that had changed him forever. nice catch.. grim despair.. and love that changes him forever
a young girl and a young man, both vulnerable and yet so strong, in the midst of the vicissitudes and turbulence of life. the perfect time to break into a lilting song and some filmi loving.

aaja piya tohe pyaar doon
come, my love, i'll give my love to you
gori baiyya tope vaar doon
i'll put my fair arms over you
kissliye too itna udaas
why are you so forlorn?
sookhen sookhen honthh, aakhiyon mein pyaas
your lips are dry and thirst is in your eyes
kissliye, kissliye
why? oh why?
jal chooke hain badan kayin, piya, isi raat mein
much has burned, my love, in this night
thake huwe in haathon ko, de de mere haath mein
these tired hands of yours, give them to mine hands
sukh mera le le, main dukh tere le lu
talke my happiness and i'll take your sorrow
main bhi jioo, tu bhi jiye
(that way) i too will live and so will you
aaja piya...
come, my love
the song is sung by lata mangeshkar, lyrics by majrooh sultanpuri, music by r d burman... for the 1967 film, baharon ke sapne with rajesh khanna and asha bhonsle in the lead.

Good job Indi di !! (excuse use of exclamations that you don't like.. but thora break into hindi film dancing and exclaiming toh chalta hai).. Good to read.. lovely insight about both being vulnerable yet strong.

This is one special moment for me. the moment after this when she hugs him after hearing that his mother killed himself and this one, gives me such a lot of context into handling conflict or even tension.. there are times when words don't make sense.. but a little song and dance or anything that is out of love will probably find a way to soothe the despair.. these few episodes taught me some interesting things about handling my V wala laad governor..

Edited by aarwen - 9 years ago

Quote

indi52

@indi52

Stunner

+ 6

Posted: 9 years ago

#692

^^^

hi rhea,

great to see you and thanks for the exclamations.. did i ever tell you, i hate good job. hyuk.

yeah what worked here i guess was that they asked themselves, what would khushi do in a moment like this... and got a pretty good answer. ipk does tell one a lot about relationship and usually in a subtle way... it's gorgeously not heavy handed and a search for instinctive response from characters is often there... so things feel natural, they flow, even when the outer bigger story is kind of messed up.

i am dhinka chikaing seeing your green comments on my take. see, i have managed not to go too out of control. but well adat that it's become, i have broken it up into five posts. hehe.

Quote

Looks like you are new here. Register for free, learn and contribute.

Horizon

@Horizon

Dazzler

+ 2

Posted: 9 years ago

#693

Originally posted by: aarwen

Hey devi maiyya the memories Indu di.. of the sheer vibrance on screen. The sindoor on her.. Red against a creamy white. Pink and red gota laden chunaries on the girl and for her devi maiyya, his brown, on the outside and in the eyes.. Plus the mehendi.. another day his letter (and hers too samjhe aaap??) will be part of this mehendi.

Plus the smart camera work..the pans and zooms.. full length breathtaking visuals of two gorgeous people.. In this scene and the following one where even Payal and Akash looked sweet.

Very nice reminder of how they invested in portraying the girl and the garbar she felt.. the turmoil of hating a rakshas and still wanting to turn back and look at him.. felt real.. felt exciting.. Very interesting comparison to the 2 contracts. Silly me, I had not even given the similarity a thought before you pointed out. One does tend to simply get lost in the love story and forget logics and loops that close..

Love this run in.. thanks for bringing it here.. and just like Khushi and ASR, probably we were both deep in the thought of ipk, and look where we ran in..

Rhea,

Seeing up on your greens.. dil truly, literally garden garden ho gaya..😊

Musical what you say about those vibrant colors. Some times/many times I wondered that its all about two gorgeous people .. and our minds over worked to seek all kinds of symbolism and connections..nai??!

Thanks for commenting rhea..

Quote

Horizon

@Horizon

Dazzler

+ 2

Posted: 9 years ago

#694

Melodious tribute to the soulful lyrics /songs of yester years indi..so true what you say about the labyrinth of emotions they could reach and explore..

Kaifi Azmi is a poet par excellence..

The lyricists of those days were freelance poets primarily.. they were sought by film makers is another thing.. so throw them a ball park scenario and they would come up with the poignant most words for them..

many a times the discernment on the reel

didn't do justice to the profundity of those lyrics I thought, as i find many plots those days to be rather predictable with stereotypes..

But, look at some of them..

the lyrics of Chupa lo yun dil me pyar mera, the whole analogy of love to a a scared flame stuns me..

"ki jaise mandir me lau diye ki"

that love in one's heart is so pure and sacred that it is like the lamp lighted in the temple..

to celebrate, venerate..

In the stanza

ye sach hai jeena tha paap tum bin..

ye paap meine kiya hai ab thak

magar hai man me chavi tumhari

ki jaise mandir me lau diye ki

becos it is considered to be blasphemous not to light a lamp in the holy place..

.. the said even tho committing that sin..of not her physically around..yet is carrying her chavi ..her reflection/ essence always in his heart.. like the lamp in the mandir..

hard to find such sacred love or such pure words to ponder upon it..

Edited by Horizon - 9 years ago

Quote

indi52

@indi52

Stunner

+ 6

Posted: 9 years ago

#695

the circles of phere
episode 316

there was a story in every lift of floaty buoyant strands of hair, in the waft of air as a flustered girl walked passed an amused man, in a little pause before laughter came on a broken bed, in eyes going tender and soft before cheek was pressed into a back. in little smiles, in quiet looks, stories everywhere. as a man advanced upon a girl slowly his hand straying up, wonder what lay in its intention, its promise, it almost stopped one's breath.

and yet it felt like an episode which had a clear motive to take the viewer toward a destination. no, not sheesh mahal. remarriage.

as if everything was working to make sure we get there, without asking too many questions. i wonder when it was decided that it had to be a full blown remarriage and not a lovely private ceremony of dedicating a feeling between asr and khushi, one that took away the pain of a terrifying night from a young lovely wife and her devoted dutiful husband.

i wondered to if what asr told aman on the phone was a hint slipped in by the writer as to the situation at hand... "research pe zyada dhyan mat dena hamare figures achhe nahin hain. unhen facts batao." don't stress the research, our figures aren't good... tell them the facts. was research saying things not picked up by the facts? the trp? okay i won't dwell on that, since a very amused eyebrow might ascend and a crisp smart voice quip, "tum kitni intelligent ho!"

no, that would not be good for the already constrained breathing, let's dwell on the scene that established what a wonderful husband arnav singh raizada was. for that's crucial to the design of remarriage. because he is the way he is, because he will not let any slight touch his wife, he will agree to the marriage... so it's important we have his character underscored. for this payal was chosen. and she was a pretty neat choice. i have always found deepali and payal very attractive in their own way. payal always spoke up, and believed in doing the right thing, no matter what. and as she spoke i wondered if payal felt a little sad at the choice of husband she had made. one who rarely spoke up for her.

"dadi ji ka chattis ka akhda dikha, lekin arnav ji jka ganit nahin dekha?" you saw dadi's enmity but you didn't see arnav ji's reaction?

khushi gave one of the first little smiles... pleased is she with arnav ji. never seen him like that, she said.

"sabke samne kaise bole the woh... khushi hamari patni hai, woh chahe jo kar sakti hai, jahan chahe ja sakti hai... hume bahut achha laga. tum bahut khush naseeb ho khushi ki tumhe arnav ji jaise pati mile," how did he say before all... payal did an asr... khushi is my wife, she can do as she pleases, go where she likes. i liked that very much, said payal a somewhat wistful note in her voice, you're very lucky to that you got a husband like him.

that last sentence had me feeling suddenly a little sad for women in our world. so dependent is our life on the man we marry, for patriarchy the way it is practiced among us, essentially robs you of your significance, your individual status in society. as long as marriage means a girl will have to leave her home and become a part of the man's home and family, this unequal terrain will remain. you are somehow always at the mercy of your pati, he holds the real power, so if he's a baddie, had it. but if he's a decent strong man, you're fine... you are lucky. wonder what would change if it happened the other way round and men went to their in laws' homes, or better still if both stepped out and made an independent unit in which families from both sides had equal place and love and honour. but for that the whole universe will have to change and i will surely not be there to see that day.

yet a man like asr makes me think, such a day may be possible... even if trp will play with his ideals and dreams.

next in design was a spiking of physical desire. a khushi completely dreamy and in love, touched with beautiful sanka floated up the stairs and went to her room. where of course, a man stood at the wardrobe riffling through his clothes. a sight that had saanse ruk jaaygi effect on many. that lovely lovely reaching out and holding the man who loves her, honours her and protects her, that terribly evocative pressing of a cheek to his back, and his bemused response, wondering what''s come over her.

she said, forgive me, poignant and thrilling his you don't have to ask for forgiveness for anything.

but she is here flirting really, did she know that? she had found a picture in the store room earlier, and she has scene him without his clothes. how instantly alert the viewer must have been.

then came the cute play over a photograph. nothing is chosen by a director by accident. a little baby without a stitch of clothing, legs wide apart, and stuff visible... even in a fuzzy long shot, the viewer will connect all sorts of things, the mind is a crazy place, before you know it you think things. and that was wanted. then just to make sure nothing got lost, that leap onto the bed and a breaking... palangtod... bead breaking, again many connotations there.

this was needed if khushi had to add two and two and make jalebi pure.

then opened the whole story of saat phere. via, of course nand kissore, yes today krishna had to be part of the play, the baby too has bal gopal elements and from the moment dadi ji has appeared bal gopal is centre stage.

the character chosen to bring up saat phere and give it credence while explaining it, was nani, the beloved matriarch. it's janmashtami again, and everyone is preparing things for the prayers, akash included. of course, not asr.

nani pondered the eternal love of radha and krishna, "unka pyaar toh duniya se upar raha," their love was above the mortal world. "unki pyaar ko kauno naam ki zaroorat naahin rahi..." their love didn't need a name. a beautiful thought. did the writer slip it in unable to come to terms with where he had to take the script?

"na kabhi unhone saath phere liye..." they never did the saat phere, the seven sacred circles around the fire at most hindu weddings (i must point out, not all).

instantly, khushi remembered her wedding, "phere nahin liye the... matlab shadi bhi nahin hui?" didn't do pheres... means they weren't married?
this is stretching it a bit. khushi who knows so much about krishna, as we all know from last janmashtami, doesn't know radha and krishna weren't married?

she does, and here she is reacting to the saat phere idea, how marriages are incomplete without it... which means her marriage too is incomplete. but i thought she knew all along that certain things had not happened at her wedding and had now come to accept him as her husband. in fact, she was delighted at the way he was defending her right as his patni, she was hugging him, flirting with him, desiring him. hmm, i am confused by this writing.

sanaya chose a highly sanka inflicted khushi to convey her confusion. which was further compounded by mami ji and hp conversing about a broken bed... haan, what was being done on the bedwa athat it broke? was cricket being played on it? say cricket and i think fair play... alas nothing is quite cricket at the moment.

the man winked at her.

she turned to puddle and whizzed off, he looked at her as she passed him. a story just there.

"okay... kya nahin hua..." only barun's asr can be that droll and heart attack giving. khushi is in frenzy... um so she just now remembered the circumstances of her marriage, i really am shaking my head... that marriage none of us could forget but she did. strange. and having remembered, she instantly went to the high drama conclusion: our marriage isn't complete... what exactly is a complete marriage? either it is a wedding or it is not. writing struggles to make sense of this whole thing and fails.

but what the, eyebrows are shooting up at "hum dono pati patni ki tarah rah rahe hain..." and one has to stop thinking.

we are living like husband and wife.

"that's because hum pati patni hain?" that's because we are husband an wife, a voice rises and falls setting off heart beats racing.

"aur yeh ahsas tumhe achanak kyun hua?" and why did you suddenly have this feeling? shatir asr, same question as viewer.

"sabse mahatwapoorn phere nahin hue hain..." the most important thing, pheres aren't done, so shadi ain't done. like that, magic, it was brought in and made into a central angst.

"ek pati patni jo bhi karte hain humne kuch bhi nahin kiya..." we haven't done all the things a pati and patni do... what does that line even mean?

anyway, he decided to play a bit... yeah, time to do what pati and patni do... i have to smile and gosh, that intimate teasing.

as she reeled off the many rituals of a wedding, he waited. at suhag raat he went "yup."

while asr played havoc into kkgsr and me with all the murmurs and suggestive pauses and pounces... a part of me wondered was a wrecked suhag raat the only way to take story to remarriage.

"that's it... tum kitni intelligent ho!" no one can forget that moment, and that indulgent sexy very male flirting. condescending devil is this pati, but he elevates you practically with it, you know you sit bang in the centre of his heart and he'd do anything for you. ah such contrary communication.

"suhag raat..." she repeated.

"yeah... that one. but we'll start backwards... shuruwat suhag raat se karte hain..." we'll start with suhag raat. i had giggled hysterically the first time. smart writing and of course super acting. think writers wanted to have some fun while the painful process of reworking track went on. and nothing is more pleasure giving than writing a classic asr khushi moment.

this was absolutely that.

she was so so flustered. that desire rising up again and the trepidation at the very thought of the wedding night. and he had to get after her a bit.

she walked backward, he forward, now he knows that is what will happen.

"haan matlab nahin matlab suhag hag raat..." yes means no means suhag raat, said she incoherently.

"c'mon khushi main tumhe kha thodi jaaonga?" i'm not going to eat you... oh how they pushed the desire angle. the second time he has said this to her...

"it's a deal! kal raat hamari suhag raat hai."

"nahin!"

on the first watch, i had really thought, they would work out the issue of pheres differently and there would be the most wondrous suhag raat.

thoughts

~ that opening scene, there was so much of a brother, an intense emotional man there... i particularly loved his urging his sis to forget the past as she often told him to... something so asr in the way he said, "di, jo kuchh bhi hua... bhool jao usse."

~ "bhashan nahin bhasha!"... nice touch. even dadi ji is not immune to nk our very own nand kissore's ways. he gets through to her and frazzles her too.

~ please note manorama listens to bhajan and not trashy songs with her earphones on...

Edited by indi52 - 9 years ago

Quote

indi52

@indi52

Stunner

+ 6

Posted: 9 years ago

#696

episode 316

haw. that naughty ladki khushi, she started that bina kapdon/without clothes conversation teehee. oh the cutest flirting by khushi. how happy she actually was about that arnav ji of hers.

and is there any need for arnav ji to do that tie knot a little loose thing paired with that look in the eyes, more exotic than any wine pairing. to be consumed very very... very slowly, if you want to live.

Quote

indi52

@indi52

Stunner

+ 6

Posted: 9 years ago

#697

that killer 'scuse me? okay no problem, who wants to live anyway. episode 316 and a memory from 159.

Edited by indi52 - 9 years ago

Quote

indi52

@indi52

Stunner

+ 6

Posted: 9 years ago

#698

flowers and pearls
episode 317

she was in a state... and who wouldn't be after a man had walked up to you with that loping animal stride and promised in husky smooth voice that there would be a suhag raat... a wedding night. tomorrow. and now tomorrow had arrived.

she poured water into nani's milk and apologised to dadi, she wore her kurta the other way round, she made jalebi instead of kheer. everyone was mystified, surprised. dadi was grimmer still.

somewhere in the middle of all that, at a precise moment in fact, he realised what this was all about.

"yeh ladki bilkul pagal hai!"
this girl is completely mad.

that playfulness in his voice when he made the connection and yes, again his falling in love with sanka. that crazy element in khushi kumari gupta (now very singh raizada) was always his undoing. he could never resist it and it pulled him more and more in... deep sunk gone drowning in love. poor fellow... hard hearted shatir arrogant mean nasty khadoos rakshas laad governor tycoon paisa is power man, and he had this chink in his armour... couldn't resist lunacy. even nk gets away with things. but khushi's brand of sanka... just slayed him. he had to stalk her, he had to be her smitten callow lover too. he is delighted she is truly pagal.

at one point he pounced on her from behind a pillar and we had another scene of flower shower and the two of them together. at preeto's wedding the scenes had reminded me of suhag raat in fact. here, krishna was getting decked for janmashtami just on the other side of the pillar. all elements leading to dhakdhak were in place.

i should have loved all these scenes, but something, sigh, never ever did gel here.

the writing didn't feel right for some reason. would khushi pray to devi maiyya because he had mentioned suhag raat, and that too in that cutesie pie way? would he have said to her dar toh nahin lag raha hai... you're not scared, are you?

what was it about these scenes that sort of felt stilted. done up... and just aimless time pass.

pitted against the pyaar, the love, and its rise was the taqraar, the clash, and its rage.

here story may have had something, but an essential went missing.

chemistry.

i suddenly realised what it was about dadi that totally riled me. it was perhaps not her character... it was really the acting. many said swati chitnis was a good actor... i had never seen her before. but here, she just felt wooden and loud. and she and barun just did not connect at all... or so i felt.

i recall his phenomenal clashes with nani in the beginning... each one memorable. established character. both characters. showed generation issues, but more, the issue of love, especially between two strong people who were stubborn and had their own opinions, their fabulous will. who were right in their own way.. sometimes wrong too.

nani and chhotey.

they were deadly together. possible because jayashree t and barun sobti, beside being smart strong actors, had chemistry.

when dadi mentioned, he used to sleep on her lap and follow her around, i thought, yeah, so he did love her. that first walk up to dadi from the door had shown so many emotions, i had felt i was looking at a little boy who perhaps once loved this woman. dadi's dialogue established that... writers were underscoring everything... including her patriarchal attitude, her belief the problem lay with her daughter in law and her son was not to blame.

they exchanged bitter words about shyam, the past, many things... dadi said, "aaj phir ek baar aap galat paksh ka saath de rahe hain..." today, once again you are taking the wrong side. i wondered if that was the start of a story... a door opening that would lead us further into sheesh mahal.

he said "stop it, dadi!" in the way he does. he even said, "enough, dadi!"

and yet... i couldn't get into it.

i was thinking... not losing myself. because something was just not their in the asr-dadi equation, the body language, the pitch.

when i saw it the fist time, i really didn't believe shyam had engineered dadi's return... and even when i did, i felt it was too un-ipk... too ordinary hindi soap.

anyway, i did feel asr's mind and pain and struggle at certain points in the long scene. and barun's expressions at moments were devastating again.

"waqt insan ko bahut kuch sikha deta hai, dadi..."
time teaches human beings many things, dadi.

barun took you to the heart of desolation and helplessness... and grim battle with reality.

"main apne pita ke bina bada hua kyunki unhone khudkushi kar li thi!"
i grew up without my father because he committed suicide!

he whipped around and spat out that libne... did asr have a longing for his father at times? an unresolved love there? where he knew his father was wrong but yet a little boy found it so very hard to let him go... and yet an adult knew how very irresponsible the same man was.

"meri maa ko bhi mujhse cheen liya..."
stole my mother from me...

how clearly a son he is here, a son who adored his mother. it was not her fault... his father was the perpetrator, hers was a mere reaction...

"bikhar gaya tha..."
our lives were torn asunder... whenever he says "bikhar" i see the pearls scattering on the floor, dancing, their rat ta tat sound hits some spot inside... that snap of a string. his mother's death almost that in his life, in all their lives. harsh, sudden, irreversible.

perhaps with khushi, having found the will to look at happiness once more, he was trying to carefully put back those pearls onto a string... but life seemed determined to interfere.

why do you keep reminding me of those terrible days, the past... he asked his grandmother.

the humongous struggle of a human being to overcome his circumstances... isn't that what the essence of heroism is?

"mera faisla tab bhi sahi tha... aur aaj bhi sahi hai."
my decision was right even then... and so is it today.

i just like the way this character always take ownership of his action, and to be sahi is a terribly important thing. here that vis a vis with an essentially galat person... his father. archetypes in this construct no doubt, but somehow asr stands apart as an individual.

"tab galti dad ki thi... aur aaj shyam ki hai!
then it was dad's fault... now it's shyam's

shallow me loved the way he did away with pita ji and called his father, dad. maybe he called him that even?

oh how i wish i knew a little more about the story of sheesh mahal. maybe in the next season?

Edited by indi52 - 9 years ago

Quote

indi52

@indi52

Stunner

+ 6

Posted: 9 years ago

#699

what has any meaning
episode 318

what was in his eyes when he looked back. was there memory of things he didn't remember? a dupatta, gossamer light, brushing across his cheek, lingering over his nose and lips, touching him... he had turned his face without thinking, the girl had walked away, he had not even paused to wonder who she might be...

she stood there now, hiding beside the wardrobe, covering herself with her arms, a frown on her brow, a complaint ready to escape her lips, a girl he had never known he'd ever meet. a girl he hadn't wanted to meet. and yet she was the light in his eyes.

what instinct had made him hold onto that dupatta of hers, the one without which he knew she would be in complete disarray, yet he had kept it back. with him. what instinct had told this man who didn't know how to say things men are supposed to say to express their feelings that this was how he would tell her all that he wanted to, this was how he would reassure her, he would cherish her, make her understand how terribly precious she was to him... how she was really his hamesha... and this was their first night together, it meant so much to him.

and this night wrapped in flowers and and fears and all kinds of set ideas for centuries was much more than a ritual, a name to him. more than taking, it was a night of giving.

he had waited long to make her part of his life. he had erred, and he would do everything to set things right... she was his patni... he so wanted her to forget her fears, reach out and exercise her right over him, take her place beside him, become part of him. in his mind and heart there was no doubt that he indeed was his wife. that's why he knew he could hold onto that dupatta maybe. he had returned it to her with averted gaze on a road to an unknown destination once. he had placed it on her shoulder with infinite care on a clifftop later, looking her in the eye for he knew she was his destination. tonight he wanted to bring her home in a way only two lovers can... two people who have committed to a notion of hamesha.

if it were just sex, there would be no need for all this. in her head it had become perhaps only a physical act, an act about which she knew too little, and so extreme trepidation filled her when she saw the bed, her eyes widened in a million worries, crowding out any excitement, any emotion... khushi kumari gupta had no idea what exactly this whole thing entailed... and suhag raat possibly was bedecked with too many ideas whispered in giggles and dread.

and though he had teased her mercilessly, even stalked her, he had noted her state of mind... the girl he had thrown onto a cold flagstone floor on a suhag raat once, and stayed up the whole night suffering with, ripping streamers of the the flowers decorating a bed, tonight he had put up those same flowers for her, readied the bed on which he'd like to bring and lay her and yes, make love to her. but before all that he would calm, treasure, hold near, honour... he wanted to place that dupatta on her head and tell her she was everything to him, she was his respect even... he would protect her honour, her izzat, for that is what love means to him...

"aap sabke saamne humpe kaisa chilla sakte hain..."
how can you shout at me like that in front of everyone? she sounds so much like a wife. and why not, she is that... she has even pulled that jhula, the swing, of infant krishna with him.

"kabse tumhe bula raha tha, tum sun hi nahin rahi thi!"
i was calling you for so long but you wouldn't come! he is gruff, impatient. arnav singh raizada for the first time in his life wants something for himself... his life with khushi... and tonight he has plans... enough of this being good, hanging out with family, ignoring his command. yeah, he da boss.

"yeh kya hai."
what's this?

"tumhare liye hai... pehenke aao!"
it's for you... wear it and come. yeah, keep it brusque, especially because you are puddle inside. and why is my breathing getting laboured at that pehenke aao!

"yeh tohfa hai?"
is this a gift? she is still angry. good.

"haan... tumhare liye..."
yes, for you. terse, oh yes.

"yeh koi tarika hota hai apne patni ko tohfa dene ka!"
is this any way to give a gift to your wife! so... she is his wife, please note, milord.

"main aisa hi hoon... jaakar isse pehenkar aao!"
i am like that... go, wear it and come! yes, he is indeed like that... and there's no one quite like him. mere paas, mere saath, mere paas aa jao, pehenkar aao... near me, with me, come to me, wear it and come... he calls her to him in his words, in his heart... and just look at those eyes.

every little thing i was seeing before my eyes was portraying only one thing. love. and the active absolute feeling of this emotion by one person for another.

she came out of the bathroom looking hassled, in a quandary. in a khushi like way, she flipped and turned and walked along the wall trying to find a way out of this situation. where was the dupatta? her hands clutched at nothing, fingers showing her discomfort... so khushi like... right from that day in a red chiffon saree in a strange young man's office whose arms she had fallen into one night. lovely signature's from moments gone by.

i was delighted by the beautiful dress he had chosen for her... red and pink and sparkling lightly, there was passion and innocence and youth in it, and a tenderness... yes, a fashion guy might choose just such a lehenga with its chiffon and sequins and simplicity. and there were doris at the back too... the dori, always in their story, wasn't it.

he heard her, he turned. a look in brown irises. then that getting up, the starting... the noticing of the bed...

"wahan kyun khadi ho... idhar aao!"
why are you standing there... come here. again that call. his whole voice had changed... what was in it now? a man a lover a worshiper a playmate he. guttural, trying hard to stay in control...

"hu--humare paas dupatta nahin hai!"
i don't have a duppata!

exquisite to and fro, a sense of the inevitable in the air. directors and writers crafting with intensity and intuition. actors completely slaying it... this could have gone all wrong, a bit silly...even too sexual, but no, this here is love... and all its vastness and glory and beauty can be delineated with the smallest, most insignificant of things.

"isske saath dupatta nahin diya?"
didn't they give a dupatta with it?

that smile.

will you come or shall i...

if a man loves a woman this must be the way he looks at her... a light shines in him and reflects off his irises... he's a dark man with only torment in his self... a man torn between sahi and galat who doesn't give faraq but then faraq comes calling... the dupatta had warned him, he didn't listen... and look at him now.

rabba vey had already come in before, now gust of wind enters frame... all the tellers of their story congregate... dupatta, rabba vey, gust of wind, dori...

that slow walk up to her, the touch, his first touch tonight... on her shoulder... things i'll never forget.

the camera so intimate, going closer, finding the bated emotion, the expectant note in undirectable, unwriteable (had to make those up) things, movement, turns, pauses, looks, holds, touches... the language of the body when love has lain in your heart.

the wind rose again after the song... what was he telling her with his hands, his body, his wait, his quiet? she tried to hear, she needed to hear the right thing. hands came up and tucked away strands of hair.. echoes of diwali... that desire building here... wanting to lose control...

it was on rabba vey he gathered her close, his longing and his ferocious protectiveness and his need all in the way he held her. making space for her in a thought she had not thought straight about ever perhaps.

the look on his face as he placed her dupatta on her head had been unfathomably intense, and yes, tender. the intensity grew deeper and there was a letting down of guard along with it... there was no longer the teasing husband, the commanding laad governor on that visage... only a man who loved. with all of himself. a man who cared, who gave a damn, a man who perhaps worried for her tonight as much as she worried for herself, a man who knew what her first time with a man would mean to her, a man who was almost humbled by the fact that he would be that man.

the emotion on screen was not thick and gooey awkward and unclear, the actor had pondered this moment and adorned it with the most beautiful unforgettable expression. those flowers were not the only thing asr had brought to decorate the night.

at last her hand went up his back, accepting... acquiescing. wanting.only when he was sure she was ok, he lifted her up.

she let him lay her upon the petals, gentle and slow was he, giving her time, letting her enter the momoment.

"nahin, arnav ji!"
no, arnav ji. she sounded strident, in panic.

"kya hua, khushi? you okay?"
what happened khushi? you okay? who wrote this adult little response? that beautiful you okay? yeah, you... tonight is really about you, don't you see?

perhaps she could. but the writers had decided otherwise. why though we'll never know. much has been said about why she refused him, how this was her young innocent self, how she was not comfortable they'd never had pheres. and even more has been discussed. i couldn't agree with any of it... my shock as great as his when he bellowed, what do you mean...

"tum mere ghar mein mere saath meri patni bankar rah rahi ho... aur tum yeh believe karti ho ki hamarai shadi nahin hui hai?"

you are living with me in my house as my wife... and you believe we are not married? she had called herself his patni just moments before that too with a patni like moue and huff.

now she said, this was not all right because "hamari shadi poori nahin hui..." khushi was never a silly girl. she understood things. she knew they had been legally married... and above all, she loved him with all of herself, willing to die for him.

i can understand her feeling a little lost and confused, even saying "no" tonight... but not in that way. a note of hysteria in sanaya's voice, acting quite forced, maybe because the actress who had created the fantastic girl called khushi knew something was just not right with what she had to say...

i can see him understand her reasons and set up a small beautiful ceremony with her where he could "marry" her the way she felt was true and auspicious, with his mother's kangan being slipped onto her arms under a sky glinting with stars being a major ritual of the ceremony... but not the "remarriage" that got concocted.

after all they have been through... after that moment of him giving her a string of pearls... after everything... phere? that too introduced via krishna and his eternal lover radha who never married? never got the writing, I am afraid. ceremonies and weddings are the usual ways of raising trp by channels... wonder if this one worked. the story was so wrong.

anyway... it took us straight to some good old raizada anger, dragging, pulling...

"phere? that's the problem right?"

slow mo... asr music. he is taking her somewhere.

it's the terrace again.

oh that magnificent breaking of wooden stools on the bare floor, with angry hard kick, the lighting of fire.. something in that moment... brilliant acting by both of them and the feeling of the wedding night in it all somewhere. shiva, tandav, ocean, turbulent waves, annihilation, birth, love, passion, grandeur...

"ab toh fire bhi hai... chalo... phere lete hain. jo tumhare liye itne important hai."

now we even have fire... come... let's take the pheres... whch are so important to you.

he lifted her up again... this time in rage. and started walking around the fire.

"saat ya aat?"
seven or eight? that fabulous imperviousness to ritual.

and again i wondered if the actors knew this was just a tv soap they were not supposed to take acting to such a height... and those directors, how keen their grasp of the moment... of the characters... even if they know the story is not what they had thought it would be. or perhaps to tell that convincingly, this had to be done with such conviction.

once he had stood on the terrace and read the situation wrong. now his grandmother stood there and khushi reacted to it all in the most un khushi way... okay, we had to get to elaborate remarriage, writers set it up clumsily.

but again what came later was utter beauty.

"kya ho gaya hai tumhe!"
what's happened to you? he asked of the woman he loved and knew to be much smarter and deeper than this.

"aur kya hai yeh phere?"
and what are these pheres?

"aur hamari feelings se zyada badkar kaise?"
and how are they more important than our feelings.

key question. great question. the dimaag man told us about the place of feelings, the dil's domain... in all our riti riwaz/rituals oriented ways are we forgetting the really important things, humey kya chahiye usska koi meaning nahin hai kya? what we want, does it have no meaning?

as our society stands at a crossroads, the older traditional norms of being rule bound and always thinking of the group, rarely the individual, begins to change, and we start to look at our own desires and not always treat them as sure signs of devilish selfishness, as we begin to give ourselves value, which is so very important, non negotiable actually, if you're to value anyone else... asr poses this wonderful question. are we able to value our feelings, the human being's greatest asset perhaps, over human made norms imposed from the outside? what is the place of emotion in life itself...

thirty episodes down in a farmhouse, the khushi i know will reappear for a memorable night... and give him the answer to that. she will not give ritual the control, the say... instead hold dear, hamari feelings.

"riti riwazon ka koi matlab nahin.. shadi ke vidhi ka koi matlab nahin... toh aap hi humey bataiye kis cheez ka matlab hai?"
rituals mean nothing, she yelled back at him tonight though, the customs of marriage mean nothing... do tell me what has any meaning then!

and he told her.

his words split the night. my knees got the goosebumps... my heart raced. a world full of clutter, and a man holds up what matters really.

"that i love you dammit!"

hadn't he been telling her just that, all through the evening... in many ways, some hard to decipher, some impossible not to see and feel? an episode about that dammit love it was. that dammit all love.

his raise of decibel and single forceful sentence felt like a sudden absolute yank, a snapping of something... then it was a dori... now a man... that time the pearls had scattered. tonight they seemed to be strung back again, just like that.

perhaps that's why... that night there was a lone tear, but tonight, she smiled.

thoughts

~ episode was carefully designed i thought and also sanaya was told khushi will be uncomfortable, irritated, even angry all through.. only breaking into a smile right at the end. great in terms of designing maybe, but i think she struggled a lot with the long takes minus any lightness...

~ so asr would say i love you in the way the fans had been clamouring for. i loved his phone call i love you too and wondered if anything else would match that beauty. then came that moment in the night. he said it the way everyone would love and the writer wrote it brilliantly... the actor aced it. classic moment there.

~ truly only one thing has matlab in this world.

that
i
love
you
dammit!

Edited by indi52 - 9 years ago

Quote

indi52

@indi52

Stunner

+ 6

Posted: 9 years ago

#700

episode 318

"tum hamesha kahti ho na ki bado ki baat manni chahiye... suna nani kya kah rahi hain?"

you always say, don't you, one must listen to one's elders... haeard what nani said?

this man is out to get her, isn't he... bad bad bad. poor khushi kumari gupta with her thoughts running amok. and so many thoughts that too, wonder if that's what she put in her painted decorated trunk... all those many unmentionable crazy making sigh thoughts.

Edited by indi52 - 9 years ago

Quote

1 ... 68 69 70 71 72 ... 93

REBLAST 1 Episode 1 - 5 - Page 70

Related Topics

Explore Topics