@bold: this was the biggest thing for me.This was not some deep art house type Shakespearean classic that warranted the need to dissect it layer by layer. In those types of movies and dramas I can get the multiple interpretations and layered meanings. Here in this show, I felt the dialogues were added to give the impression of some deep script…only to never address most of those dialogues later or use them properly. Even the overused symbolism was very contrived and I felt after awhile, like ok…are we going to stuff symbolism and meaning in everything now.
The audience had so many different interpretations which I enjoyed because they breathed more substance and beauty into the show for me. But by the end, I wasn’t buying it. It was simply just a poor lazy script. The whole “he has a plan” thing solidified it for me; Banda had no plan. Fans literally made him into a better, smarter, more complex character than he was because we wanted that. Maybe he was at the beginning when Nooran wasn’t rushed in writing the script. Maybe not. But that turned out to not be true at all - he was just a regular dude in the end.
I have to look at the whole picture to call her a good or a weak writer.
Like I've said before, the concept and character outlines are amazing. Both alphas, go getters, leads on par with each other in terms of everything, both complement each other’s qualities perfectly, a never-seen-before flawed and bold FL, so many family dynamics to explore, wonderful basis for conflict with their feudal set up. I absolutely love this outline. But she did not utilise them. It's a lost opportunity, sadly. She had it all. Wish it had been explored well.
And I appreciate how she ventured into some unexplored territories on PTV like identity crisis and passion. She is to be credited for all of that. And I love the dialogues in the initial epis. Poetic and to the point. She also did some wonderful foreshadowing throughout, which elevated the viewing experience. I enjoyed the treasure hunt.
I can overlook the inconsistencies and flaws of moving the plot ahead. That's a given in mass entertainers. I knew the standard of the script when I started watching this show. It was a wacky show with a meaningful journey for a couple. Perfect combo of entertainment to me. I get something fun and meaningful.
And cinema is a visual experience., and we should not rely only on dialogues to interpret the meanings. But the dialogues SHOULD substantiate the visuals. By the end of the show, we did not see it happen. That is a huge flaw. I chose the best perspective, best case scenario that satisfied me based on the cues provided, and I interpreted everything that way. I was satisfied. Everything made sense to me. I even understood the whole MK-H marriage subplot, the Rohail angle, why MK reacted how he reacted, and everything.
But what about the majority of the audience? A show meant for entertainment, watched to unwind after a long day should not demand relentless effort to understand. I understand keeping the audiences guessing until the end, but a good script will not make the audience second guess every single thing even after the end. I believe the narrative change after E47 is to be blamed for that too.
Also, I cannot for the life of me forget how they never gave the leads upper hand in any situation. No masterstroke even at the end. That was disappointing, especially since the characters were supposed to follow the alpha template and were described to be intelligent in the show.
Anupamaa
Pocket Mein Aasman
Cricket
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