Originally posted by: Doodle
Please read the instruction below on how to read this piece.
'How to be both' and BALH 2
In the Bridges of Spies, Abel, a Russian spy on the bridge to be exchanged with another spy, compared his lawyer James to a man he knew as a child. When James was eager to know what was special about that man, Abel called him – Stoikiy Muzhik. "There was this man who was caught up in some protest and the police were beating him up. Every time he was beaten down, this man got up again. This went on repetitively. After some time, the tired police left him on the streets. While leaving him alone in the protests, they called him – Stoikiy Muzhik." How can a normal person who seems so ordinary on the exterior project such extraordinary ability of resilience when faced with adversity?
Camera:
On the Diwali night, when she was walking to the temple at the foot of the bridge, she compared him to it – "Aap iss bridge ki tarah hai Mr. Kapoor. Beech samundar mein akele khade hai; aap ke shaan, aap ke uchaiyan toh logon ko dikhayi deti hai magar aap ki gehrayi, woh koi nehin dekh pata, akele hi khade hai aap. bina kisise koi umeed kiye.”
We were shown a bridge, an engineering marvel representing a successful industrialist, which not only has depth but stands tall out of everyone's reach. Just imagine how it would feel when you have built an empire, and then everyone around you always sees you through what you have made as if the thing you have made became you.
Eye:
What did she mean by uchaiyan (height)? Is it not the tip of the iceberg? The success that everyone sees. "The mind is like an iceberg;" Freud explains that "it floats with one-seventh of its bulk above water." What did she mean by gehrayi? A select few only see the soul of a being. Eighty-five percent of the iceberg is underwater. Our psyche resembles an iceberg. The primitive forces, the id, lying completely hidden in the subconscious, technically known as unconscious. He bared his soul that Diwali night to her; The subconscious acts as a receptacle for ideas and memories that are powerful and painful for our mind to process.
Camera [conscious and audience] showed [saw] us the bridge, but the eye [subconscious and director] portrayed his inner turmoil – "main akela soch soch ke kitna sochunga; ek insaan kitna kuch kya kar sakta hai?" He lost his father at twenty-four; his shoulders were burdened with the responsibilities of caring for siblings and stepmom. She reminisced – "kitne akele hain, woh."
"And which comes first? Ali Smith writes. What we see or how we see it?" ~ How to be both
Camera:
He won the battle after 15 years. His enemies usurped the land that his dad gifted his stepmom. That same time he learned it was the same day his dad died in the accident. The two events are eerily connected. While he was engrossed in thoughts about the linkage of the two events, he didn't notice a stranger driving him to his office. Who was that stranger who had asked all the right questions to him? That stranger was surprised at his recklessness - "Tumhari laparvai dekh kar; I mean seriously man, koi yeh jane bina kaise reh sakta hai ki 15 saal pehle uski dad ki death kaise hui?" He was stunned! How did he know what was in his thoughts last fifteen years? The stranger told him to search for the truth. He reiterated that it could be possible that it was not an accident or that it was. When he met her in the elevator, she said – "Socha nehin par aap ke subconscious mein hai; aap ko closure mil jayegi." He was stunned by this revelation. Was that stranger a figment of his imagination? How could he read his mind? The stranger told – “ho sakta hai ki tumhein uss accident ka vajah pata chal jaye.” Was he for real? How can a person be conscious and subconscious in the same frame? He challenged Ram Kapoor to bring justice. “Socho, sach ko khonjo; jo 15 saal mein nehin kiya woh ab karke dekho; isliye jawab usse maango jo asal ghere mein, sawalon ke ghere mein.” He and not Adi [Valmiki] ordered the investigation. He gathered the courage [haan woh sahas dhoond raha hoon main] to open the box to see if the cat was alive or dead. "Courage doesn't always roar," then Mary Anne Radmacher adds that "sometimes courage is the little voice at the end of the day that says I'll try again tomorrow."
Eye:
The number 15 signifies deliverance; it means to rest. Deliverance of what? Deliverance of the land. Rest from what? Rest from knowing the truth if his dad's accident is indeed an accident and not murder. On the Diwali night he told her – “pata nehin dad humhein chod ke … agar uss din uss aadmi ki gadi dad ki gadi se nehin bhidti naa, toh aaj.” The situation is precisely like Erwin Schrödinger's famous experiment with the cat trapped in a box with a poison that will be released if a radioactive atom decays. As per the story, before the box is opened the atom has both decayed and not decayed, leaving the cat in a limbo. What if the box is not opened? Does the cat experience being in a superposition – between life and death? We won't have closure if the box is not opened. What should Ram do now? For fifteen years, he has been battling this indecisiveness. He told Adi the day he had a big fight with her that he wanted to know the person – "jiske vajai se hum sab ki zindagi ujar gayee." He lamented to Adi – "aaj tak pata nehin kar paya hoon woh kaun insaan tha jis ke vajai se dad ka yeh …" He thinks he failed his dad. He knows everyone will look up to Ram Kapoor to bring justice. He ordered Adi [Valmiki] to get the culprit to him so he could clear his guilt of not being able to solve the car accident. He knows it's been fifteen years, but he cannot forgive himself for this guilt for not being able to bring justice to his dad and family. “Yeh saare sawal mujhe ek nakaamyab beta hone ka ehsaas dila raha hai, Adi.”
"It is like everything in layers. Things happen right at the front of the pictures and at the same time they continue happening, both separately and connectedly, behind, and behind that, and again behind that, like you can see, in perspective, for miles. Then there are the separate details, like [Kris as a charioteer and as Ram's subconscious]. They're all also happening on their own terms. The picture makes you look at both--the close-up happenings and the bigger picture." ~ How to be both
Camera:
The charioteer offers the help - "Mr. Kapoor main tumhare puzzle ka woh khoya piece hoon jo tumhare har sawal ka jawab bann sakta hai." He accepts the challenge – "chalo milte hai, iss baar teri muh dikhayi ho hi jaye." The meeting of the conscious and subconscious was inevitable. In the words of Carl Jung – "by understanding the unconscious we free ourselves from the dominion." As an intern, the charioteer followed the case fifteen years back, but then after the case was closed, he had to stop investigating. Then life happened, and the dust settled on the case, but then he realized that there were many coincidences with this case; so many coincidences cannot be mere coincidences; they definitely are planned.
Eye:
On the day of the accident, he was working at Babbar & Kumar Const. as an intern. Then life happened to him. “Ek pal mein meri puri zindagi badal gayi thi, mom ko sambhalna, apne chote bhai behen ko sambhalna, khud ko sambhalna, sab mujhe hi karna tha.” He could not salvage the business his dad had invested. The dust settled on the case due to his priority toward his family. After sharing the good news about winning the land with his mom he wondered – "kya aap ko bhi lagta hain ki zameen pe kabza hona aur ussi din dad ka accident hona yeh mehez ek ittefaq hai, coincidence hai."
"All we are is eyes looking for the unbroken or the edges where the broken bits might fit each other." ~ How to be both
Camera:
He and his charioteer are meeting in the bakery, but he is surprised to know that the investigator wanted to meet him in his own bakery. Why did he mention that? Isn't he a Kapoor? Or, as Nandini says – "Ram hai toh mera sautela beta hi naa? He shouldn't feel I am neglecting him. Aakhir, ab hum hi uska parivaar hai.” Yes, she warned her biological son that if he is not responsible, she will be left with only one son, who is not her own. The charioteer was stunned – "tumhari bakery? Yeh bakery Kapoors ko belong nehin karti." The name of the bakery is 'Baked by Love.' The art of baking is fascinating. It mixes all the raw ingredients to transform under a certain temperature into a product that is not only unique but has a distinct quality. Don't we need love to raise bread or raise a child? Lord Krishna was born in captivity but was raised by Yashoda with love and care. On the MS revelation day, Meera maa told Nandini – "Sach kahoon toh, Ram mere damaad se kai jyada mere bete hai." He knew he lost his mother very early, but destiny has given him a second chance. He found his Yashoda mom in Meera maa. Albeit, Meera is the namesake of Krishna's devotee. In his words – “main apka woh beta jispe aap utna hi haq jata sakti hai jitna ek janam dene wali maa.” Ali Smith says it best - 'It was all: it was more than enough.'
Eye:
What could be a better place for the ego and the alter-ego to meet other than the bakery to discuss the hidden unfinished work? He replied to his alter-ego cum charioteer – "lekin iss bakery ko main belong karta hoon," The bakery is his haven. Yes, finally, he found his refuge in Sood house and their bakery – "Aare aap ka namak khaya maine." It is because we don't have the slightest idea of our existence, who we are or were, not even ourselves – except, as Ali Smith says – 'that is, in the glimmer of a moment of fair business between strangers, or the nod of knowing and agreement between friends.' On the Diwali night, in his subconscious, he bared his innermost cry to her that he knows his stepmom and his siblings are nice to him – "woh bahut pyare hai, unke dil mein mere liye bahut daya hai." Deep inside, he knows he is not their own; he has no right on them; he is grateful for their pity – "daya hi toh hain? Kisi sautele ko itna pyar dena, daya nehin toh kya hai?” Even his subconscious knows he has no right over his stepmom and siblings – 'Adhikar nehin. Jitna mila hai naa? Kismet se jyada hi mila hai mujhe.’ He is like that painter who wanted more money [love] because he was greedy. Or the painter [he] who wanted more money [love] because he knew his worth. He found his place in Sood house, his refuge, where he easily entered without any hesitation and walked into the kitchen telling his alter-ego – "iss waqt mujhe talab ho rahi hai cupcakes ki so I am gonna go, and you better have something good for me."
"You know."
"Know what?"
"That I only have eyes for you." ~ A Thousand Splendid Suns
Camera:
There is no such thing as a coincidence. Two old acquaintances met at his refuge, which happens to be hers. Was it predestined? He was startled as to how they knew each other. "Even a curse can be a blessing," Chitra Banerjee asks on behalf of Krishna, "don't you agree?" He snorted to his friends about how she recalled the name of her old classmate instantly. On the contrary, the old acquaintance complained to her – "Shayad tum mujhe pasand nehin karti thi. In fact, tum kisi ko pasand nehin karti thi.” On the Diwali night, when she was walking to the temple, she recalled his inner thoughts about her. What could she say to him then? All her life she has learnt to stonewall; her way of protecting herself from heart break is the only defense mechanism she is adept at handling. “Shayad meri berukhi ko aap ne nafrat samajh liya hai, par yeh nafrat nehin hai, apne aap ko bachane ka ek dhal hai.” When the subconscious and conscious met for dinner, the charioteer asked whether she hates Vedika. He replied with an affirmative no. Then her old acquaintance put his thoughts across – "College mein toh aisa lagta tha ki Priya sab se nafrat karti thi." He knows his wife best now. He is well aware of her defense mechanism; he had broken that wall finally. Her taunts; her stonewalling; her protecting her heart like a Venus flytrap. His alter-ego helped him to finally make peace between the subconscious and the conscious. He finally revealed – "Nafrat bhi ek tarika hota hai pyar chupane ka; defense mechanism, Pri-a." Later that night, he also revealed to his wife that he will never use the taunt coupon. She asked the reason and to that he proudly replied – "Kyun ki mujhe tumhare taane sunne hai, yaar. Acche lagte hain mujhe tumhare awaaz mein taane.”
Eye:
When he married her, he knew she was a no-nonsense girl. One tough nut to crack. How tough? Her mom describes her as a coconut. He told his friends his wish – “Main bas janna chahta hoon woh andar se kaisi hai; khud se toh batayegi nehin.” He knows she will always protect the ones she loves. She shows her care through actions and not empty words. On that Diwali night, we saw his wish, insecurities. Even though he claimed he would never open his heart to anyone in his consciousness, her strong force entered his soul. "Tell your secret to the wind," as Khaled Hosseini reasoned in A Thousand Splendid Suns, "but don't blame it for telling the trees." In his words she came to know his heart – “Kitni bhi koshish kar loon naa, tumhein impress nehin kar paunga; bahut tough hai.” She wondered who will not want him. His firm reply was – "Tum. Tum toh nafrat karti ho na mujhse, Priya?”
She - no, it's not true.
He - then why did you marry, because you had to, no?
She- why do you think so that I am not happy?
He – because you taunt me all the time.
Did you notice a loop closing pushed by the subconscious?
Krish is both conscious and subconscious. The conscious is the camera, and the subconscious is the eye. He is with Ram as a charioteer and, at the same time, not with Ram physically guiding his subconscious.
Instruction:
1. This piece is about the conscious and subconscious.
2. The camera represents the conscious what the audience is seeing; the scenes are upfront.
3. The eye represents the subconscious of what the director and screen play is projecting in the guise of the camera.
4. Krish scenes have two parallels that is both conscious and subconscious at the same time. Woh hai bhi [conscious] aur nehin bhi [subconscious] with Ram.
5. I have color-coded the dialogues with each section of the camera and eye pairing so it will be easy to see the mirror image of the dialogues told in both the conscious and subconscious realm.
I hope you appreciate the direction that has been a masterpiece in those three episodes last week. I hope this analysis will help you get all the Krish scenes coming forward.
Enjoy the read!
P.S. I would like to thank @Doc for helping me with the Inception movie and other various aspects of subconscious realms.
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