Posted:
Originally posted by: subashni
After a long long time it was relief to watch a clunk free episode. This should have been R.K's reaction when MC decided the crew, suggested Madhu as a heroine. etc. Finally he realizes he is the producer and one who should be calling the shots. Better late than never.and hope he sticks to that and makes business decisions. I loved the episode and SM's acting.Can't make up Madhu's expressions. Does she understand his anger is not for her late arrival and Soup?And Dips tale at breakfast table?what for is it? As usual Madhu is neither surprised nor suspicious. And even Bittuji did not think producer should be informed about screening.Did I say clunk free?Distributors are thrilled with the product which did not make head or tail to us.😆.Plot is getting interesting and I hope they come out of Sympathy for MAdhu syndrome and move the story from R.K's POV. Loved the precap more than episode and that dialogue showed the much needed mirror to Madhu. and I am glad it came from R.K. Tight script would bring us back the OLd MB though I don't expect much. let Madhu become Superstarni as per God's destiny(read. makers) but please spare me from studio and shooting scenes. It is downright boring.Read everyone's reviews. Nothing much to add.Dipali is right. R.K is damn hot when angry. And Vivian plays it right and subtle.without overacting and exaggerated body movements which I noticed in some episodes during Sultan track.
Subashni, excellent points all. Agreed - especially the lines in red.
But considering the staggeringly ludicrous amount of ban, loan and paralysis clunk they have used to make this point possible 🤢,
the distributors delight at a bizarre story shown by a director with several consecutive flops is absolutely nothing in comparison.😆
The level of the clunk is such that even if distributors are not even shown any part of the film, they would still be overwhelmingly impressed and absolutely confidently sure of the capability of the proven-failure flop-director and the unproven-marketability debuting heroine.
No matter what, the film will be released and Madhu will be a prompt legend. That much I'm sure of (especially since there is the spectre that the next several films - if there are any - will be shown on a similar one-or-two-sets each canvas).
The CVs look less interested in showing Madhu's glory and more in highlighting every miserable facet they can engineer, especially since the channel seems to be intent on not promoting the couple equally and the sponsors won't spend on a career-track that can never manage majority-audience interest except through either the couple's united proactive endeavour (nixed for the flop majboori theme) or through heavily counterweighing with other tracks to avoid career-track-focus which has a terrifying record of getting either track marginalized/closed or series closed on each channel everytime for more than a decade.
Whether the film will be a hit is less sure, since Madhu can be a hit even if the film flops.
The film becoming hit or flop depends on the CVs intent beyond that.
And while the channel originally tried to promote Mehul as Madhu's talent-recognizing mentor to sideline RK from the process, that has boomeranged at our expense. Mehul has not managed to gain even remotely adequate popularity, especially with his repeated derogatory comments about RK. It reflects poorly on either his sense or his character, since RK's career needed a ban and then paralysis to be hindered, whereas Mehul managed to create consecutive flops but still considers himself a vaunted director despite being unwanted even without being banned. And his vision is racing along on RK's financial support.
No one who wasn't banned ever tried to employ Mehul - yet another point of the stupidity of the lead couple in taking this particular director.
Better if they had forgot the challenge and not tried to make an RK-centric film.
In the CVs reign of character-butchering clunk and senseless track, Madhu and RK have managed to make a film that is heroine-centric, sidelined RK to supporting actor, and spent RK's money to destroy his professional legacy far better than Amar Behl could have ever managed.
Mehul is a rather stark reminder that even Padmini's considerable popularity was wrecked when she was used for a similar attitude.
In MEIEJ, the leads are loved and get forgiven. But supporting-characters who are used to guide the leads on a path that majority-audience then proves disapproving of find themselves and their roles in suddenly murky water.
Also, if RK is shown getting involved in the film decisively and interested as producer instead of only making frustrated and contradictory statements, it won't send the tracks careening down the CVs beloved depression-negativity path quite as fast and with the consistent absence of sense and positivity they have managed so dedicatedly through this and the previous tracks.🥱
And the set-scenes have been done with minimum focus and presumably thus limited expenditure - hardly a few scenes and 60% of the film completed, with a total of about five actors seen shooting as characters in the film.
Limited sets and logistics have been expended for the 'film', supporting roles that had been planned for the track have been jettisoned.
Since the TRP was already mediocre, sponsors are unlikely to have considered backing much expense on scenes that could not expect the interested viewership of mass-audience. 3+ TRP is worth risking expense on, but 2+ may be expected to prudently keep expense in check unless the track is something majority-audience may love enough to send TRP zooming to 3+.
Whether they'll show any other film shot at length or just mentioned as being shot (with or without a scene or two on a set) after this film is done is debatable.
So whatever major reactions have to happen to Madhu being at work have to be covered now, where the audience occasionally actually gets to see her on film-sets while RK is shown reacting about it.
If RK is shown himself actually getting treatment, and his wife is shown busy with her acting at the same time, it would simply highlight her 'unwifely behaviour' to mass-audience, especially considering this film's clunky journey at RK's expense, by Mehul's planning, for Madhu's - and presumably Mehul's - career benefit.
The mass-audience is used to seeing millionaire couple and/or families switching to poverty for a while - it's sympathizable, and their rise back to riches gets cheered for.
Here, the husband will lose his prestige at his own expense, and the wife will gain prestige while saving their money. It's a track guaranteed not to evoke any empathy in majority-audience, while they may definitely sympathize with the husband.
The CVs have opted not only for clunk but depressing clunk, where the wife ends up unintentionally wrecking the husband's pride and professional standing while preserving their house and money as the visualizable end-goal of the current travails.
Their major opportunity to show RK getting infuriated and gradually getting stoked to the inferno explosive point is during his temporary paralysis - while he is both helpless to do the needful and getting enraged to the point where the needful looks increasingly inadequate to assuage the increasing violence of his feelings.
If he is supported by or relies on others - even Bittuji -, his own reactions are more restrained.
It is only when they all fail to appear in his corner that his reactions finally get truly extreme.
So I would expect RK to make occasional sharp frustrated comments but never express himself with enough clarity in front of Madhu that she would then have no way of claiming she doesn't know his negative feelings about getting sidelined.
Right now, she can claim that he agreed, and that he was supportive.
If she can no longer claim that she doesn't know his actual feelings about the situation, it would further erode her mass-audience-support if she still forges ahead.
And the track needs her to forge ahead and *then* get flummoxed by RK not appreciating the film's success and actually caring about his professional image getting downgraded - as if the reason for the film ever even starting wasn't his trying to go against the ban.
That is why the wife who knows her husband's pride and herself has never cared for money has been shown caring about RK's cherished house and money and bizarrely unaware that the financial salvage will destroy RK's far more cherished pride with slow vitriol.
Nor is his character the sort to get slowly poisoned and yet contentedly watch the happy success of the ones who knowingly and unknowingly did the poisoning. If he gets hurt, then that hurt will be spread to everyone around so that he's not the only one hurting.
And Madhu being shown naively praising someone else, not reacting strongly when that person badmouths RK, and getting upset whenever RK is disinclined to be understanding of that respected worthy person's circumstances is also an unfortunate deja vu.
It is not her actual intrinsic characterization, and yet she has been shown behaving thus or helplessly frightened as and when her actions were needed to further a plot-point that was impossible without her behaving out-of-character. The same also goes for RK. Hail the untiring characterization-butchering of both leads.
Bigg Boss 19
