Jodha Akbar discussion corner! - Page 38

Originally posted by: sashashyam

No, Mandy, she was not in love with him, for at this point, she knew as little as Jalal about what love is. She was simply comfortable with him, for he fitted perfectly into her conventional idea of a traditional Rajput royal groom, plus he was at least willing to envision the prospect of his getting Jalal ka sar for her!

Instead, of course, she got his sar, poor chap!

Shyamala

Originally posted by: ---Khushi---

🤣

Poor chap??!!!!!???...Aunty...u serious???😆😆

I can almost visualise Sunshine & Khyber doing a *hi 5* & a victory dance in heaven 🤣...both had such close shaves...😆😆

Originally posted by: ---Khushi---

Poor chap??!!!!!???...Aunty...u serious???😆😆

I can almost visualise Sunshine & Khyber doing a *hi 5* & a victory dance in heaven 🤣...both had such close shaves...😆😆

Jodha Akbar Episode 5&6

My Note:

A Beauty of Eastern Culture

Gangaur festival atmosphere that seeks to built by CV / director is good enough, but perhaps because of limited funds, the decorations seem rude and did not detail. However the atmosphere is festive, colorful attractions and activities adequately represent the excitement of a festival. I really admire the celebrations of the community in eastern culture than western culture. Eastern culture is very rich in tradition, style, and color plus magical impression in every activity.

One more thing I like about Indian TV Serial is every character has they own background music even when she/he was sad, happy, and angry. Perhaps it helps to establish an atmosphere in every scene so that the actor/actress are not required to be express well.

The Artworks

I love to watch, whether movies or television series. For me, it is my refreshing activities other than photography. For me, watching the same activity when I enjoyed to observe a photograph or a painting. It is a work of art. A work of art made with passion, taste, careful, and detail. I note this serial cinematography has less or no attention to these things. Ok, we see one by one.

1. Scene when Jodha was decorated statue of god Shiva and goddess Parvati, her grandmother (she's widow, right?!) looks very pretty with complete make-up and wear complete jewelry like RajMatta compare with perform RajMatta Kunthi on Serial Mahabharat.

2. Scene when Jodha with a group of Rajput lady was archery. One of Rajput lady try archery and failed. This scene makes my eyes hurt because the co-actress are not getting a good referral to execute the scene. When Jodha take a bow, the bow its her taken with the bow she's used to shoot UNEQUAL. Maybe I mentioned the things that are trivial, but actually it is very important for all the end the result of a scene. But my eye pain relieved, when a scene Jodha and Suryaband Singh, Jodha was watching a row of bracelets. The director really spotlight the beauty of her eyes.

3. The use of stuntman / Double Body / Body Double, maybe in episode 5-10 unused. At first I did not care for the use of DB, for me it does not matter as long as it is used properly, but after a long time I could not stand because of differences in gesture and other things more clearly visible. I had time to protest, when GOD TRACK, scene when Jodha applied ointment to Jalal hand's. Paridhi using a DB, I clearly noticed that Jodha's hand has a tattoos. Since when Jodha has tattoos on her hands.

4. About the jewelry, no comment when I compare it with the Mahabharat, Jodha Akbar is certainly very far away.

5. Storyline, Shyamala Di, if The CV writing the story day by day, then we will never get a good storyline. Too bad.

Defense Mechanism

Shyamala Di, if you write a problem between Jalal-Hamida Bano is about Child Psychology's problem, then I get the reason why Jalal always claimed he did not have heart. Longing for the love of mother and father, which at first he showed in to those who nurture him or who are nearby (Maham Anga, BK, one of his uncle I forgot his name), but slowly he pushed it far below his conscious. This was his done as a way to survive in the midst of a hard upbringing from BK and Maham Anga, and scorn / torture from his uncle.

Adore of Jodha

AScenes and dialogue between Jodha and Suryaband for the first time, for me is determine who's Jodha when she communicates with men, why Suryaband and later Jalal adoring her a lot. This scene clearly show how's Jodha play hard to get. She always has argumentation with her interlocutor.

Bipolar Vision

Shyamala Di, sorry if I use the same term "bipolar" because actually our unique couple are already interconnected when they hear their name.

Jodha has the vision to carve her name in history and "change" Jalal's life completely (in Jodha's mind is to kill him) though indeed she will "change" Jalal. Scenes Jodha-Old Moti, in my opinion is a very lively scene. Jodha fiery eyes and vengeful anger to Jalal offset by calm voice, attentive eyes and a gentle rebuke from the Old Moti build a scene little by little towards a peak when Jodha finally submit the Pratna to the Kali Ma. Gesture and voice both support each other well. Forward we're not meet this lovely scene again after the presence of New Moti..

Jalal has a vision to make history with his sword to conquered the whole of Hindustan, especially his obsession with Amer. I love the expression for the first time Jalal saw Amer from the top of the hill and take a handful of soil and greetings Amer. Rajat execute the scene very well.

Shyamala Di, forgive me for being late to writing my notes for episodes 5-6, I decided to write 2 episode per note. Hope you enjoy my write. Thanks for the compliment to my previous writings

Originally posted by: Donjas

Shyamala, What a beautiful analysis of a truly sublime episode. You did justice to the three main scenes, I read your analysis with relish.

In fact I liked it so much that I am in a philosophical mood today. My two points-

Point 1- Beauty lies not only in the mind of the beholder, but it is also a product of circumstances. We watch the sun set everyday, it hardly affects us and then wham!, on a certain day we are mesmerized. On that day the shadows are just right, the clouds are in the right position and the sunlight properly diffuse.

I would like to think that our Jalal had a similar once in a lifetime moment. If you add to the mix, the excitement of the chase and the obvious danger to life, the impact of the moment is even more pronounced. Beautiful women may come and go, but that magic he now associates with Jodha.

Point 2- Jalal is an Emperor. He can get almost anything he wants, but not Jodha. In the back of his mind he must know that. Even if he wins Amer, he must know that circumstances are such that he won't get Jodha. And that knowledge makes him all the more determined. The loftiest goals are for those who already have everything else.

If Jodha had been dressed in Mughal clothes, it would not have affected Jalal so much, but because she is a Rajput princes, an unattainable woman of that perfect moment, the obsession takes root. When Jodha's anklet falls into the fire, he does not immediately plunge his hand in, to retrieve it, he lets it get hot, so that when he finally puts his hand in the fire, it hurts more. But he wants that, he needs the pain.

Originally posted by: sashashyam

Jodha Akbar 7: Parwaan chad chukha tha

Folks,

This whole episode had the strange, will o' the wisp quality of a dream. It could just as well have been one of those fantasy sequences in films, only set in Amer instead of in Switzerland, with the hero gazing spellbound at the peerless beauty of the heroine and losing his heart to her in a nano-second. Only it was not.

Then again, our hero is not a lovelorn wannabe Romeo. He is, as he informs the cutlery seller with wicked relish, Shahehshah-e-Sultanat Jalaluddin Muhammad, on a swashbuckling adventure like a boy escaping from his dull school routine. And as the episode begins, he is yet to see his lady love-to-be. And she , luckily for him, has no notion that he is floating around!😉

Right now, he is wandering about, hands crossed behind his back in true royal style (when I wrote my first post here on June 30, 2013, I had to explain that this stance, far from being "stiff" , was the way royalty, especially Mughal royalty, moved), twirling his moustache with pride. His eyes, as keen as uske khanjar ki dhaar, scan the Gangaur scene of unbridled colour and gaiety. He is captivated by the light-hearted enjoyment of the crowds, and no wonder, poor boy, after having had to look at his eternally sour-faced Khan Baba day in and day out!😉

oh god shyamala humor at its best🤣

The palkis of the royal ladies of Amer appear, but he is not interested. Not, that is , till there are cries of Rajkumari Jodha ki jai! In that instant, his head snaps around, and his eyes are immediately raised to the palki now arriving, trying to penetrate the sheer pardha and catch a glimpse of the Registan ka gulab.

Waqt rukh gaya: Then begin I minute and 53 seconds of sheer magic. Or rather, 1 minute and 53 seconds when time stands still. I was reminded of a sher that captures to perfection what Jalal was feeling:

Waqt do hi guzarein hein mujh par yeh saari umr mein, Ek tere aane se pehle, ek tere jaane ke baad.

wah kya baat👏

here are two lines on jalal's reaction after looking at her...

Tere husan ko perdey ki zarurat hi kia hai
kon hosh main rehta hai tujhey dekhney k baad....😉

The words of his bedazzled sainik echo thru his mind: the bedaag chehra ( curiously enough, the makhmali twacha is omitted!)), the lacheela badan ( which could hardly be made out thru the parda, and that too when Jodha was seated in the palki, but who cares?). To me, Jodha's bepanah husn (the narrator, whose verbal clumsiness is beyond belief, pronounces this as hansna!) seems to be more an article of faith than of fact at this point of time, but then I was not looking at her thru Jalal's eyes!

Tham gayi thi aanken, rukh gayi thi saansein, bezubaan ho gaya tha Jalal, intones the narrator, and then falls back once again on bezubaan, while I felt like hitting the inarticulate chap on the head for getting in the way, and that too so clumsily. In the way, that is, of my gazing at Jalal's eyes and his face.

First he walks along the side of the path towards the palki, on its right. Then he stops, and as she comes parallel to him, and he moves backwards for a moment, there is a shot of his face that can only be described as priceless.

priceless it is..courtesy munni😳

here he is lost in jodha and we are lost in him😆

His eyes, once so sharp and cutting, now look different. They are bold and rakish as they gaze up at Jodha with an unhesitating curiosity that comes from Jalal's imperial lineage and his inbuilt sense of entitlement. But they are also at once seeking and questioning: Is this possible? Can there be beauty as flawless as this? The eyes soften, and for an instant the look in them comes close to adoration. The mouth twists in a half smile of pure satisfaction: Us Rajkumari ke deedar ki chahat poori ho gayi thi!

The narrator babbles on of history having decided to link Jodha and Akbar, but I was not listening. I was lost in the rapture on Jalal's face, a rapture that was reflected in his eyes. He was lost too, in a dream of his own, and as he comes to a halt and the palki starts moving away from him, there is a very curious expression on his face. I could not make it out: was it satisfaction or was it a craving for more?

i too was lost in jalal's face more than jodha's😆

One minute and fifty three seconds of enchantment were over, and time started moving once again.

The face in the water: Yes, yes, we will get there, But after a moment to remember.

This is when Jodha arrives at the site for the Gangaur pooja and prepares to alight from the palki. Suryabhan has come trotting up, and has placed himself where he thinks Jodha can spot him. But Jalal has other ideas, and he smoothly cuts him off and takes up a position between Suryabhan and the palki. I did not pause to wonder why the former did not shove this impertinent commoner aside, for I was too busy trying to read Jalal's eyes.

The whole face is tight and drawn, and the eyes look almost angry. Is it a nascent possessiveness already at work, that no one but he should gaze on Jodha's beauty? Is it the same raw emotion that later makes him threaten the folk singers against ever singing praises of Jodha's physical perfections? It might well be so.

uff! what a man😉

After Jalal cons the Ameri guards into letting him into the inner enclosure, he walks parallel to Suryabhan but behind him, on the next higher step. Hands behind his back, the body bent slightly but completely at ease, the eyes once again sharp and focussed on Jodha's face, fascinated, devouring.

Whereas Suryabhan, who is in the know of things, looks concerned at Sukanya's storming away after a squabble, Jalal looks amused.

Jodha, told by her mother, Kehte hain jo diya tum paani mein bahati ho, uski roshni mein, ek pal ke liye, tumhein tumhara aanewaala pal dikhta hai, looks half disbelieving, half sweetly compliant, and altogether charming. She bends down, launches her diya on the water and questions the Goddess, He Gangaur Maata, batayiye kya hai hamari kismet mein? ( and I thought kismet was pure Urdu, and this should have been bhavishya!).

The Maata responds with unexpected celerity. A sudden wind comes up, blowing leaves and earth all over the place. With perfect timing, it blows away even Suryabhan's heavy, zari doshala just as Jodha is bending to catch the promised glimpse of her future. For a man so keen that she should see him, and him alone, in the water, Suryabhan behaves idiotically, for he bends low and fumbles for the doshala for what looks like ages. And the bird of opportunity flies past him and disappears.

poor sunflower😆..was he looking for his doshala? i did not even notice what he was doing, and when jalal is on screen the rest is blurred out for me😉

Jalal, on the other hand, stands still, unmoving and unmoved. So it is his face, dazzlingly handsome even upside down, that Jodha gazes at in the water for a long, long moment. A face that is now tilted back as its owner smiles with pure pleasure.

But as she looks up, wanting to make sure of this man who is her future, the wind and the rain make him just a blurred, shadowy presence, a will o' the wisp that is there but almost not there. Jodha aur Jalal ka pehla milan has the curious, intangible quality of a dream. A dream that is to haunt her in the days ahead, as she sees that bold, handsome face in the water even when its owner is not there.

Parwaan chad chukha tha: Ah, yes, the paayal! We have got there at long last.

There is nothing so charming as a paayal of the girl you adore. A lovely piece of work, made lovelier by the fact that it graces her shapely foot. And there can be nothing so delicately romantic as the act of the lover replacing the paayal of the beloved, fastening it with hands that tremble at her touch ( of course one hopes that she does not have cracked heels, for to have to apply Krack cream would have hardly been romantic!😉)

and shaymala not to forget the gout that starts acting up in old age😆..lets not focus on any badsoorti..only jalal and payal😳

In the event, Jalal has no such notions, and as he looks at Jodha's lost paayal lying in the puddle of water, he seems for a moment unsure and puzzled as to what he should do. Then he bends, one arm behind his back, hesitates once more for a long moment, and then picks it up with his right hand.

There is a certain stiffness in this movement, a rigidity that seemed, in June 2013, to give some cause for complaint. But one has to take into account the character to be played. This is a young man who has his world at his feet. So arrogance comes naturally to him, as also the attitude of one who habitually dominates lesser mortals. The stance, the hands behind his back (exactly like the great Dilip Kumar playing Prince Salim in Mughal-e-Azam, incidentally), the slow walk to pick up Jodha's paayal, the hesitation before he does so, it is all part of the consciousness of being a Mughal ruler.

Jalal is not used to bending at all, for anything or anyone. It would normally never occur to him to stoop and pick up a girl's paayal as a token. Women have always been his to take as he chose, he would never dream of chasing any of them. Still he picks it up, which means a lot more than with an ordinary man.

He does not kiss the paayal as any ordinary lover would. It would be not be like the Shahenshah at all. He tosses it up in the air, but he always catches it, and when it falls into the fire, he burns his hand to retrieve it.

what lines...marhabba!

It is revealing that it never occurs to him to poke about in the fire with a stick to retrieve it safely; he plunges his hand straight in. And once he has the paayal safely back, he rolls both his hand and the searing metal of the paayal in the sand to ease the pain of the scorching. But there is not the slightest hint of hurt to be seen in his face or his brooding eyes, for he is too lost to be even conscious of his scorched hand.

All this is not so much, as some have thought, a sign of passion for Jodha. He is not yet aware that he is falling in love with her, he does not know what love means. It is rather the possessiveness towards her that, as the line has it, uske parvaan chad chukha tha. For him, the payal symbolizes Jodha, and he will not let go of it or her, even if he has to burn his fingers to secure it.

It all comes thru beautifully, and far from being unnaturally rigid, it is all spot on for who Jalal is.

At this point, the narrator kindly informs us about what we knew perfectly well already. To wit, that Amer mein kayi khoobsoorat ladkiyaan thin, par Jalal ke liye Amer ka arth thi Jodha. Jalal ko nahin pata tha ki insaan kabhi kabhi kisi to paane ke liye apne aap ko kho deta hai.. Ab Jalal ki ek hi khwahish thi, Jodha ko paane ki..

It is revealing that in Jalal's split second fantasy, where he gallops up on his steed and sweeps Jodha off her feet in one supple movement, into his arms and on the horse , Jodha looks first bewildered and then helpless, while his gaze feasts greedily on her loveliness. This is wish fulfilment at its charam seema!

As the narrator continues to intone solemnly about Jalal having been chosen by fate and having his place in history secured, but bas sahi waqt ka intezaar tha, Jalal is doing his own thing. Holding Jodha's paayal in this hand, he stands there still and unmoving. But his eyes are anything but still, and in them is the same expression that they had when he was in his tent, calling out to Abdul before setting out on this madcap adventure to the heart of the enemy. The spell of his kismet was strong on him, and it is even stronger now. Kismet ke aage kis ki chali hai?

wonderful take on a wonderful episode! absolutely mesmerizing!

Ok, that is it for today, folks. I am not going into the Jodha-Suryabhan segment at all, so as not to dispel the spell that holds us all in its thrall, except to note that it somehow reminded me, in its headlong, heedless obstinacy, of her Khyber rescue mission. Tomorrow, we enter the Jalal ka sar zone with a vengeance. Adios till then!

Shyamala/Aunty/Akka/Di