Tsmspj ep:31*8.5.17:My Impressions* unwise fallacy
There are countless instances in life where ones either sensibly or recklessly , is swept into areas where one prefers to be blind to seeing things as they are, rather they accept what seems. If it suits one and shields one from pain, then one often rather misinterprets both hardcore or subtle facts, than face them full front. This state of living through misconception, may prove foolish in the long run .As it may prevent one from cracking the delusion by fogging the truth. One has to wake up from the mirage, to realize reality,that enables one to move on from a misleading notion. Today's episode shows some moments where characters are taking things on the basis of how they seem rather than what they really are. Do they hold erroneous beliefs?
To begin with Kanak is taken in by the fallacy that now that Bhabo's papers are in her grasp ,her act with Uma Shankar is over and done with. Not quite. The man enters the room to interact with his wife. Within the eyes of the law and the scriptures, he has right over her, to seek audience with her in their private quarters, and this is not some mirage he comes across as a thirsty weary traveller, across the sandy wilderness of the desert. Kanak is for him a reality of a rejuvenating oasis. On the contrary for Kanak it's bite her cheek time. The reckoning that she has to tolerate his imposing presence now. How giddy she was with her victory. Uma bears a gift. Normal , usual for a shy man to speak sentiments with.. he says it a heavy gold necklace, of his choice. The preciousness and weight of the ornament to compliment the receiver from the giver, is in keeping with the traditions and customs where he hails from. A misleading notion, as Kanak sees it only as a weighty ornament which fails at keeping down the unholy buoyancy of his forced marriage to her.That will stay afloat in her heart and mind, as an unsettled sentiment, never coming to rest. Yet ,she has to dupe acceptance, keep up his fallacy, to suit her purpose. Uma besotted by her, progresses on, carried on the wave of misconception. He lets her know about why he advances.. although he admits she teases his brain ,gives him mixed messages! one minute she collides ,comes close.. shows willingness and the next minute she shows fear! For Uma her past and present actions gives him an understanding that accepts his wooing advances. Kanak too has her sense of perception shattered when he suggests she wear the ornament. It is humorous to see her hands behind her back clutch the deeds of the shop, tied down by her misconception. In a pickle, Kanak has to, much against her will, invite him to put the ornament her. Swept by his sweet fallacy he moves behind her back, swiftly Kanak moves her hands and letter against her in front. Tenderly Uma moves aside her hair, puts the necklace around her neck , a symbol of his love for her, an unsuspected illusion he willingly gets drawn into. Bravely he gathers her scent of sandalwood, it knocks his senses..ahhh, the lamp and the wick. Kanak lowers her eyes, as she feels the weighed down noose he puts around her neck. She bears his fantasy and her forced reality silently. Her hypnotic fragrance of sandalwood makes him commit more of what he wants to import to her. Uma's palms feel her shoulders and revolves her around to face him. Kanak once more moves the paper behind her. He lifts the pendant for her to see..her name carved in gold. Then the key falls! at the mention of Kerala!! the penny drops with Kanak! well what do you know! Lord Shiva is just great! He works in wondrous ways, muses Kanak, yet dear Uma font of all knowledge, is illiterate to the fact! The key, is not a fallacy for either of them! Uma questions how it got there? Kanak's sheer presence of mind! guns him for carelessness! Uma ,to me takes her chastisement too ,as a wife looking out for things related to her husband. For me the whole scene lacks parity of sentiments between Uma and Kanak. Contradiction lies, truth seems concealed and puzzles, as a matter of fact it dupes. Terms like riddle, mask Bhansali's film , all refer to a fallacy , insinuating difference between what is seen and is real. While, on the other hand Uma's emotions, the necklace and trip to Kerala seem real!.. out of this disparity will the lamp and wick co-relate? One thing becoming in this,is his willingness to adapt, according to her taste? Once his back turns, the papers are shoved into her bag ,that which she set out to do originally before he came in bearing a gift! The gift in one way is a peace offering , of himself to her in all honesty. But to her.. it's his mistaken belief that lays him open to being duped by her..
By now there is no fallacy about the fact that Suman is involved in keeping tabs on Kanak and Uma for Massi. The girl almost learns from Massi's reactions! This time too she tittle tattles about Uma gifting a gold necklace to feed Kanak's avarice, which is a fallacy! as Kanak is far from hankering for money! Mind you Maasi s mind churns like the curd she churns.. churns.. plots!
Golu's scene of being weighed in the Rathi household , is a regrettable scene. He is an spectacle of ridicule. His obesity is seen as negative factor since he will be rejected by a potential girl's parents. Meenakshi lives in denial that her son has an overweight issue. That he needs to lose weight not just to get married but to live a healthy life free from serious illnesses. This mother love is a fallacy, for if she cared for him she would support him in shedding off fat! For her getting him hitched matters most ,even though she loves Golu loads!
Kanak's fallacy will be corrected soon! So far she perceives this is goodbye to Ladnun! as from Kerala she will flee with the papers!Eating curds, a food associated with Lord Shiva! Polami feeds Kanak! who compliments her royal dagger wielding skills. Suman, as always stirs with a small spoon, mocks Kanak as being a bit looney! Maasi turns up and clears every ones fallacy! change of plan!! Payal and Saras to stay back and care for Maasa's. Since Kanak has bewitched her so much by her presence, that Massi has decided to accompany them along with Palomi! Maasi mocks and hopes Kanak has no objection? Kanak has none , but she does wonder ,as to why was also tagging along? This too is no fallacy that both the new DIL's are being monitored. Payal by Saras and Kanak has the Massi with her two hand maidens, Palomi and mole Suman!
The journey begins, into Kerala. For Uma his sweet illusion of love continues, this was the place where he came across, the sandalwood fragrance girl. For so long he lived in the fallacy that she was around him.. he looks at her through the rear mirror of the carrier, just stunning she is.. the light of his life. In all the sights of beauty around him, Uma only sees Kanak and her alone. He yearns to be seated beside her.. but familial decorum stops him. He moans about being excluded from the rest of them. Massi gives the invite to join them. His sandalwood fragrance fallacy makes him move to the aisle of the moving vehicle! Suddenly, he innocently lurches sideways into where Kanak sits! He contains himself from falling upon her. Accidental, permitted, but restrained body contact. But his hooded eyes turn into a pair of rebels and invade her raised eyes ,with silent words of being hopelessly besotted by her, like the lamp for its wick! Is this reality or an unwise fallacy for both?
For me it would have been a meaningful episode if love would have been reciprocated from both sides. Uma seems to take giant strides towards a mirage he equates with the ocean across the horizon. It's only his first time attempt at this never experienced sentiment called love. Kanak ,clearly jumps through the hoops, plays with the means to get to the end.. papers, case filed, and escape from Kerela back to her Bhabo. But before this happens.. the formula of how love conquers , anger , conflicting views in the precap as their hands collide.. Kanak enters presumably her hotel room ,finds a phone, contemplates contacting Arvind.. she looks at the deeds.. Maasi yells angrily at her! hamlet53 9.5.17
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