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At first there was only sand and sky as far as the eye could see. Then the shimmering blur at their join darkened into a wedge. And after a breath, the wedge resolved into a caravan. The bridal caravan had come into view.
To the lookout at the check-post, the caravan was a resolutely advancing army, spread ominously wide across the sand, seemingly unstoppable. And then, as if by magic, a posse of camels apparated over the dunes.
In the middle of the caravan, the inconsolable bride was momentarily distracted by the mounted camels racing towards the border. The caravan checked as the men took note and alarm spread, but at a word from the groom's uncle, they picked up pace.
The baraatis were right to worry for, minutes later, the camels took up position in front of the border facing them. And even as the baraatis pondered this move, the border was sealed; the men atop the camels flung off their blankets to reveal their uniforms and lined up like a defending army, albeit without a leader. But that absence was rectified moments later as a motorbike growled to a stop before them. The rider dismounting and surveying them from behind gleaming shades was undoubtedly the enemy king.
The border crossing was not a done deal!
This then was one of my favourite moments in today's episode. This link sequence between the doli's bidaai and the fight. The calm before the storm, where you sit tight, hold your breath and everything else for all hell to break loose.
đđđHajaar claps to the cinematographer for giving us those epic big-screen scenes of the build-up to the battle, and to the CVs and the director for ratcheting up the tension until it explodes.
Rudra's determination to raise Cain with the doli is broadcast loud and clear from when he leans against his quiet bike asking Aman to get ready to receive the baraatis, to his command to search first the caravan and then the bride's trousseau.
But it is in the reaction to his commands that the escalating tension is cued. đđ Kudos to the actor who plays the groom's uncle, who starts off tense yet reasonable, even eloquent, like any traveller questioned by the customs. And then the call to open the bride's trunks sparks repeated, desperate arguments that deteriorate into incoherent pleas of "...huzoor, huzoor..." and blaze out of control.
Fantastic work CVs!! And especially, because through all the chaos and fireworks we were never allowed to forget the living, breathing people involved.
We couldn't forget Paro's heart-break as she bids farewell to her home and loved-ones; couldn't help but remember the unfortunate Bindi whose face Paro would now only ever see in her dreams; or hold back our sympathy for Mamisa, all at once left without both Paro and Bindi. The poignancy of the occasion splendidly picked out by the slow notes of the piano.
Sanaya is completely believable as the overwrought bride, her hands trembling as she breaks the final ties. And again as she cowers in her doli from the bullets; when she abandons its questionable cover to jump into the melee shielding her ears from the sound of death and destruction all around her in her search for her groom. Her portrayal of slowly-building terror as she comes face-to-face with Rudra brandishing death and is enveloped by her old nightmare is convincing and evocative. đđđ SI take a bow!!
My Rudraaah moment today has to be when he had his revolver pointed at Paro! The freeze as realisation dawns that this is the girl whose life he'd saved; that she is the bride; that she is terrified; that he should protect her; that she is the enemy; but still...; that she is falling...
đđđAaah! what an episode!
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