Episode 427 Discussion: 12th Nov 2013 - Page 4

Originally posted by: raj80

@red: Aradhana was such movie which became superhit...but yup with char like Anamika yeh toh sirf MC hi jaane...

Puja, outstanding suggestions for how they could have created believable majbooris for a heroine-centric film.
Any of these would have kept the focus on the film *and* the industry for a protracted track, with both husband and wife proactively involved.
And there would have been no clunk, the track would have been positive, and the leads would not have been in yet another defeatist and helpless theme after more than half a year of depressingly defeatist tracks.
But instead, they seem to be using the film and the industry as merely catalysts for an intended aftermath for the couple, with the career covered only cursorily and more as a mention and used as an effecting lever for the relationship, rather than the relationship being used as the viewership-luring base for the career-track.
The film was supposed to be done on a grand scale, with RK mentoring Madhu into acting despite her distaste.
Instead, they have stuck to very limited scenes and almost non-existent variety in sets and co-actors - an apparently bare-bones presentation with minimum expenditure since the TRP was not only already mediocre but also the track had no expectation of luring majority-audience to make largescale expense on the track worthwhile to the sponsors.

And the CVs/channel then apparently blundered by opting for trying to gain majority-audience support by portraying the husband as helpless and the wife stepping up, perhaps forgetting that the wife stepping into acting or modelling merely to salvage her husband's money would gain no sympathy factor from the mass-segment they have been trying to lure.
The other intended sympathy-lure - of the girl being prophesied as ill-omened for her husband and then persecuted by a saas figure - also didn't work since they ended up repeatedly circumstantially implying the prophecy's veracity rather than contradicting it.

The box-office fate of the film - despite its bizarre content or lack thereof - depends on which avenue of future misery the CVs are opting for.

If the film is a hit but with the heroine gaining more accolades in the clunkdonia scenario, RK may feel - justifiably - that the film intended to benefit him professionally has instead eclipsed his professional standing.
Madhu's becoming successful or popular is merely an unhelpful adjunct.
He would have been equally displeased if the newcomer Simmy and the director Mehul had benefitted at his expense.

If the film is a flop - with or without Madhu gaining critical acclaim -, then it will cost RK financially in addition to having already cost him professionally when he accepted the heroine-centric idea instead of instructing that the film be put on hold and that it would best to cut his losses since he wouldn't be gaining by the film anyway if it centred on the heroine.

The worst miscalculation by the CVs is that the wife is focussed visibly far less on working towards her paralyzed husband's medical recovery and is instead bizarrely intent on completing a film with him sidelined in it.
His physical wellbeing disastrously affected because of his role in the film so far, and his prestige will be similarly affected with his lack of role in the rest of the film.🥱

Were the CVs thinking of all the ways that a wife becoming an actress would be sympathized with as little as possible by mass-audience so that the reactions might better mirror the mass-support inclination from the previous tracks?
Madhu may avert financial loss for her husband and herself and also gain a career triumph for herself.
But her husband - who she is supposedly doing this for - doesn't gain in career (which was the purpose of the film) and has also lost in health, and his professional standing which was at risk at the start of the film will be wrecked by the completion of the film.

The CVs have painstakingly ensured - with the sheer unbelievability of clunk and the shoddy writing - that what Madhu is supposedly doing for her husband is transparently worse for him than losing his house and money.
This film has already cost her husband his health.
Her succeeding in her effort after he has got sidelined has the guarantee of costing him his prestige.
The spouse's health and prestige - two things that are expected to matter exponentially more than losing house and money.
Pretty much every serial, the lead couple end up losing house and money, endure poverty for a few weeks or months, and then become rich again.
The struggle through that phase is infinitely more sympathy-gaining than the riches preserved (even though inadvertently) at the cost of the husband's prestige.
It's no longer even a slightly critical point for mass-audience that it might be hoped to work as excuse for the wife's glamour-career if the husband's prestige is eroded as a result.

As for the ludicrous track-angle of the flop-director ensuring a heroine-centric story at the superstar's expense...
If they proceed on the path and don't scuttle due to audience-disinterest in the manner of the deceased character's disappearance-mentioned kin, then there are two ways they might make it work, with Madhu's inadvertent damage-causing definitely proven the result of conspiracy and not any fault of her nakshatras.

Either Mehul had a longstanding grudge against RK's father, and got a heads-up from Amar when every other director turned Madhu down.

Or he found Madhu as a naive champion who persuaded her husband to put in money and resources on Mehul's terms.
And then he saw Madhu decked up and only then saw her beauty, and decided she was ideal female lead for his bizarre 'unique' film-story.
The only problem was his dream-story had no place for anyone other than the heroine, and only the director and the heroine would benefit if the film became a hit.
A hero would only be an encumbrance in Mehul's story.
So Mehul *then* makes a deal with Amar Behl - whom he surely knows from earlier considering that both were in the same sphere as Mohan Kundra - that RK will be struck down and the film (which will guaranteedly not benefit RK's professional standing) will be allowed to complete without Amar continuing to sabotage it.

Mehul then manipulated Madhu and RK against each other to ensure the creation of a film that would be a guaranteed professional non-benefit for RK, worked alongside to corrode the couple's relationship equation, and even if the film becomes a hit, Mehul and Madhu would be the only ones to gain at all from it.
RK either gets taken down professionally or both professionally and financially.

In between, Madhu was used to stab forcefully at RK in the lung with an unserrated knife, ensuring he would be out of commission.
Here, Amar may have counted on RK's immediate demise, and Mehul may have counted on RK being helpfully bedridden and non-dead for at least a while and out of the film so that Mehul could then persuade the naive Madhu to change the film to heroine-centric and complete it "for her husband's benefit".

Notable is that with or without Mehul's deliberate or conspiratorial intent, his actions are all nevertheless consistently selfservingly malicious, with a constant emphasis on sacrificing others for his own gain.

He never even made a slight effort to risk himself to the police as the actual insistent origin of the stabbing-scene to defend Madhu of any culpability.
Instead he remained at the hospital where he was useless, rather than at the police-station where Madhu was in a mess that he could have explained that she hadn't even known of any stabbing-scene until the last moment.🥱

And he had the unmitigated gall to suggest to his producer-hero the very day after the latter is paralyzed resulting from Mehul's "crucial" scene that that character now suddenly go from crucial to sidelined and the story become the heroine-centric one Mehul had championed even before RK got paralyzed.🤢

RK was temporarily partially paralyzed.
The obvious way to maintain RK's starpower-benefit for the film-release and also maintain RK's presence in the film throughout would have been to turn the stabbing scene into real, and 'Karan' paralyzed similarly or more in the film-story so that RK - who is the producer the film's existence depends on - could continue the role.
If the film flopped, RK and they all lost.
If the film succeeded, RK and they all gained.

Instead, Mehul promptly came and suggested that RK get sidelined completely and let the film focus on the heroine.
It ensured that whether the film is hit or flop, RK loses either way.

And when first Madhu and then RK were shown clunkily witless enough to go for the option rather than stop the film and cut losses, the film was finally what Mehul had actually wanted - totally focussed on the heroine.

And best of all, the producer-hero would no longer be a major part of the film, but would still be ensuring the film's continuance and release with his money and house at stake to finance Mehul's story.🤢

Whether they shift blame at the track-denouement onto Mehul or choose to make that dratted prophecy accurate with Madhu unintentionally wrecking her husband's professional standing by eclipsing him in his most recent film that had been intended solely to preserve his professional standing, either way it does not promise an optimistic or positive resolution to the mess.

The one point of concern is that RK is merely self-destructive at most extreme provocations or hurts.
But his ego - on any of the points that he has achieved on his own strength - being threatened, and Madhu's fidelity wavering from him, are the two things which cause him to react with a raging self-absorbed vindictiveness.
If he feels himself facing the loss of either or both, he has tended - even during the characterization-butchering of the past few months - to ensure the rectification of such situations in ways that take no consideration of anyone's feelings.
And all three extreme situations - the aftermath of his getting four-days in the lock-up for the hit-and-run when Madhu pursued the case despite the victim and his family having wanted to accept settlement, getting slapped four times in front of his crew, and much later the aftermath of Holi - occurred in very different contexts, but each time with Madhu having no idea of her actions chalking up reactions that she was then shown astounded by, but was quite a gradually and steadily reassuring effect on TRP than prior to RK's extreme immediate reactions in all three cases. Developing the utmost faith in the series powers-that-be for perpetual depression and defeatist angles with the leads determinedly exercizing their wits and spirits only against each other but never fighting or winning against the antagonists until the last few minutes of a track, and sometimes not even then.
Would prefer that if some such thing is intended, Mehul be targetted with greater intent, rather than both idiots (when will either or both of the leads get even a little sense back?😒) expending their hostilities exclusively on each other to the delight of the unhelpful almost entire roster of people associated with either of them in any way.🥱

Let both leads finally go through the furnace at full-blast if need be, if that will restore their sense and keep them from playing senseless dancing puppets to every dratted antagonist that comes along and pulls their strings.

Wasnt jaya bachchan's first movie heroine oriented? Guddi? It was basically her story of how a school girl was obsessed with an actor Dharmendra... But am not sure if the movie was a hit but it established her as an actress right away.
Ofcourse previously she was quite a reputed child artiste.

Originally posted by: _charu_

Aradhna had Rajesh Khanna in 80% of the movie , it was a romantic movie by and large with good songs...ru talking abt Aradhna or the movie in which Sharmila Tagore played a prostitute?😕 woh I h hate tears wali?

in the recent times, the movies which showed modern women (Anamika type characters), like Namaste London, love aaj kal etc. etc. the leads were Indians but not frm India...majorly, Karan Johar movies do not work in states like UP Bihar, Bengal, it's a fact...the urban modern movies...is MC making shudh desi romance?🤣

aaj se MC ka naam hi MC hai...😡 chun ke rakha hai naam CV's ne, kuch toh akal ka kaam kiya hai

@bold:that's Amar Prem but still both these movies were heroine oriented...in both it was a story of woman,one where she was Aradhana of her lover and in other she was prostitute...



TBH,agree with zoya the CV's were not interested in showing anything about the shooting... they r interested in showing drama of how it will affect RM's relationship...though i wished they could have shown RK mentoring Madhu before paralysis track but here they have shown Madhu as a one take actress...

Originally posted by: zoya_naziya

Cvs pehle apne show ki Dhang se script likhe- yahi kaafi hai... baad mein hum show ki andar ki film ke baare mein baat karte hain!

Why hasn't MC already suggested a change of his movies name?