Jodha Akbar discussion corner! - Page 48

Originally posted by: harrybird

Aunty, I have no words to describe the myriad of emotions I felt while reading this beautiful take of yours !

You are truly a reader's delight & I think its high time for you to start a blog & compile all your master pieces.

Our Reaction to Jallu...😳 😳 😳

Our reaction to your post...⭐️ ⭐️ ⭐️

PS: a person associated with JA is reading ur analysis ( culprit : me ). Guess who?

Originally posted by: sashashyam

Jodha Akbar 7: Parwaan chad chukha tha

Humpar bhi... RT/Jalal ka...😃

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.

👏

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.

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!

Honestly, Jodha was nowhere near the breathtaking beauty that the narrator described who could spellbind an Emperor of Akbar's ranking who must have seen the best of beauties. Paridhi looked plain and a little elder to RT in these epispdes

She should have been shown as pretty as she was in the shaahi shaadi saptah or in Ambe Maa temple or in her sunny yellows. The only aspect that made us believe that Jodha was indeed stunningly beautiful was RT's expressions. Truly magical.

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.

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.

Wasn't his an image that could inspire poetry and tempt artists?😳

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.

This was a scene that haunted us for a long time to come.😳Magical moments...you don't need Swiss locales, chiffon sarees and high budgets to evoke magic.

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!😉)

🤣

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.

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.

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.

Jalal's behaviour was in complete sync with his charecterisation (sadly thus far 😕. Mr. Buddhuram would have fallen down and felt the ground and grabbed the payal and did kannil othifying)...and was symbolic of what he felt towards Jodha. He was fascinated, didn't mind bending (accepting her sharts) to acquire her, was undecided what he felt exactly...hence the tosses and catches and if she slips by chance( suicide attempt) he wouldn'tmind hurting himself to regain her. The pleasure he derived in holding her was far greater than the pain by burning his hands to retrieve her.

One small scene that was so complete, so revealing of the mindset and thought processes of the protagonist, that was conceived, executed and enacted to perfection.

The magic of the episode was further accentuated by your magical words aunty.

Shyamala/Aunty/Akka/Di

Originally posted by: sashashyam

Jodha Akbar 8-10: Revelation!

Folks,

This is going to be a three in one, given that Episodes 8 & 9 were mostly as flat as a pappad, and almost entirely void of content.I shall pick up the very few points they had to offer at the end of this post. In fact, I begin to think that by the time they had finished with the magical No. 7, the CVs decided that we should not be spoilt with a succession of good and very good fare, in case we got visual indigestion. So they added these two deadly dull ones, somewhat like the way you give a baby Woodwards Gripe Water!😉

no shyamala that used to be my favorite! in fact i used hide and drink straight from the bottle at times😆

So let us concentrate on No,.10, which was a crackerjack of an episode, with Jalal at his swashbuckling best.

The revelation in the title is a double bill: first that of Jalal's identity to Jodha, and then, to her and to us, of how far his icy courage, even with death staring him in the face, could go. Coupled with this are his astuteness, and his quick-wittedness, both of which are phenomenal. A bunch of unanswered questions rounds it off.

uff! those were the episodes shyamala! the whole team's effort was worth praising, in fact i found paridhi's acting effective as well in initial episodes! only if she had done even better in later episodes when the romantic phase started, unfortunately her expressions fell flat and we could not feel the warmth of the romance and love!

At the top of his game: Jalal was in rip-roaring form, and despite the Damocles sword of having to rescue Abdul hanging over his head, he seemed to be enjoying himself like a lively, resourceful schoolboy playing truant.

a delight to watch indeed

Having inveigled the tubby mithaiwala into revealing the location of the prison (in the previous episode) - it was sheer delight to see the mischievous twinkle with which he tells the chap:Choki baat kahi hai aapne! Main to kahoon ki aapko is rajya ka gupt mantra hona chahiye! - he swiftly disposes of an unwary, mariyal- looking guard at the main entrance to the prison, and takes his place, complete with the uniform and the sword . And if the choga was splitting at the seams under his arms due the difference in their builds, why, no one would have been able to spot it! 😉

oh was it? i will have to watch that episode again😉..rajat is such a delight to watch that i can endlessly go on watching his scenes😳

One should not miss the astuteness with which Jalal locates the identifying mark on the dead guard's arm and duplicates it on his own with the point of his knife. His attention to detail shown by the fact that before going into the prison as a soldier, he turns all the three rings on his right hand inside , so that the valuable stones do not show and thus betray him as not being a simple sipahi.

what presence of mind which only akabar could have😉

The impulsive youngster: Jalal looks exceptionally handsome in the simple sipahi's outfit, proving that he does not need any chamak-dhamak to enhance his looks. He oozes royalty, strength and power; arrogant, sharp and dripping with self-confidence even in such parlous straits. He is also an excellent actor, with the body language to fit his role as a sainik.

cannot agree more, all i can do is drool😛

He is now ripe for mischief, and he is not going to stand still on guard duty, that is for sure! Fortune favours him - the goddess probably has a soft corner for a handsome young man - for Jodha's palki makes its appearance, and our boy wonder swings into action without losing a second, and without a second thought!

I was in stitches seeing him swiftly position himself as one of the front bearers of the palki. As soon as he has slotted himself in there, he proceeds to behave in a most un-bearerlike manner, casting sidelong glances upwards at the princess. It was sheer luck that he did not stumble and bring the palki down! 😉

Once the palki has been set down, and Jodha descends from it, Jalal stares at her unblinkingly, and his eyes, till then narrowed in thought, brighten as if a lamp had been lit inside them.

wow shyamala, honestly how many times you watch the scene to catch such details?

A strange, unrecognized longing: Very soon, however, the brightness gives way to wide-eyed, startled shock and anger as Jodha retails all of Jalal's misdeeds to Suryabhan, rounding her peroration off with an emphatic: Isi liye hum uska sar, uska ahankaar, aur uska samrajya pairon tale kuchala hua dekhna chahte hain! Jalal has never before been treated to such a catalogue of his crimes, committed knowingly and unknowingly, and he is stirred to an anger that is rooted in this realization of how he looks to Jodha.

A question arises here: why is he angry at all? Since it was his aim to spread the khauf-e-Jalal as far and as fast as he can, he should in fact have been pleased at this proof positive that his campaign has worked, for he is hated here in Amer, and thus feared, to a satisfactory extent.

There is only one answer to this conundrum. What makes Jalal angry is that it is Jodha who thinks so badly of him. Already, along with the nascent possessiveness and the obsession that she should be his and his alone, the desire to have her accept him and care for him is beginning to take root in his zehen. Soon, this yearning, which he himself does not recognize as yet, will spread and take over both his heart (yes, it is there! ) and his mind. These are the two factors that, even when Jalal is in a druken rage against Jodha, govern the way he behaves towards her.

ek sher araz kiya hai jismein zindagi ke falsafe ka nochod hai..

'duniya jisse kehte hain bachche ka khilona hai

mil jaye to mitti hai kho jaye to sona hai...'

The Mughal prisoner: As he walks alongside Jodha's train of daasis, Jalal's eyes narrow in anger as they voice their certitude that Jalal ka sar is now near at hand. Both then, and earlier when he is listening to Jodha rip into Jalaluddin Muhammad, he displays iron self-control, and not a muscle in face betrays the rising rage within him. This self-control foreshadows, and shows glimpses of the great tactician and strategist he is to become. And it pays off, for he learns precisely Abdu l is being held prisoner

Next he rushes to Abdul's cell and abuses him loudly in order to attract his attention. Even before Abdul recognises Jalal, his rock-hard conviction that Kisi bhi waqt mere Shahenshah aayenge, aur tumhari nazaron tale mujhe le jayenge illustrates the nature of the relationship between him and and his master.

how much i missed more scenes of abdul all along the serial
😭

Of caring and responsibility: One can only marvel at the extreme risks that Jalal runs to save a servitor,even if he is also a friend. It is proof positive that Jalal has a very acute sense of responsibility, and yes, a heart as well that knows how to be compassionate and caring

yes he has a heart of gold only if he could come out of KB's seekh that he kept reciting like a mantra to keep himself away from any heart felt links, but the flames of his warm heart were hard to suppress with span of time!

If that was not so, he would never have risked this life, and the destruction of all his hopes of victory over Rajasthan, to come right into the heart of the enemy's citadel to rescue Abdul. In the same situation, Bairam Khan would have left Amer, leaving Abdul die under torture. That is the difference between him and Jalal.

and that is why he was Akbar!😳

Another example of Jalal's kindness and consideration to those who serve him, which I have cited earlier, is the understanding way in which he waves away Zaheer's objections to his leaving the camp. That is not the way most absolute kings would have treated a servitor in such a case, they would have shouted at him or hit him for daring to raise any objections.

So the seeds of kindness, caring, and affection are already there in Jalal, they only need nurturing.

His mother cannot do that as she has lost all her hold over him , since he feels , and has must have had it drilled into him by Mahaam Anga, that her leaving him with a nurse was a total and cynical abandonment of her son to save her own life.So it will have to be someone else, Jodha being the most likely candidate for the job. But for that to have effect, she will also have to show that she cares for him, and that is not going to be easy.

exactly! he will have to win jodha's love first to get the most loyal and honest form of love that he has been looking for, rukkya too loved her in her own way but he always found her priorities to be different, he was looking for someone who will keep him at the top of her priority list and love him as jalal and not as a shahenshah..and here i beg to lament a bit that that depth of love was not portrayed in the manner i was looking for,,that act of mastaani and ishq ka junoon was missing..and it could have been bought in a beautiful manner only if the script was not sbs types and some roohaniyat was shown to bring that jazbaa out!

The Shahenshah and the Rajkumari: So now we have the Shahenshah standing to attention in front of Abdul's cell, eyes discreetly lowered as Jodha approaches, but still casting sidelong glances at her.

When Abdul retorts to Suryabhan: Bahut kareeb hai wo.. Itne ki kisi bhi waqt uski shamsheer tum tak pahunch sakti hai.. , Jalal smiles into his moustache.. As Jodha launches into her usual tirade against Jalal and asserts that there is no way he can penetrate the walls of the Amer fort and get here, Jalal hardly reacts, being by now familiar with her routine!😉 But Abdul's mocking smile disappears when she mentions the foot-chopping and the desecration of temples.

😆..both jalal and abdul's expressions were bang on!

The curious thing, illustrative of the lack of sharpness and perceptiveness in both Jodha and Suryabhan, is that it occurs to neither to deduce, from Abdul's cryptic but confident pronouncements, that Jalal might have penetrated into Amer. Both are busy making vainglorious statements of the kind that go before a fall.

i think sunflower was too busy repeating jalal's sar after jodha's ghrina bhaashan spree and here jalal and abdul were like lage raho lage raho sar sar karte baar baar bolne se kya sar haath mein aa jayega, dekho ab hum kya karte hain bina bole sar sar😆

Be that as it may, it appears that like Hercule Poirot, who could read writing even when it was upside down, Jodha too can read faces even when they are upside down, as that too irrespective of the get up. Thus she recognizes the face in the water in the sipahi standing guard before her, and she swiftly seizes Suryabhan's sword and holds it at Jalal's throat.

I spoke earlier of Jalal's icy courage. He gives a demonstration of it now. With a sword at his throat, and exposure and death only inches away from him, he still does not bat an eyelid, and not a muscle moves in his face as he brazens it out. He is obviously one of those who habitually play at dice with death. 👏

unusual and extraordinary👏

I was entranced by the suppressed mischief in his eyes as he looks at Jodha full in the face and, asked how he was present at the baudi ,answers, in the the fluent rural Rajasthani dialect, undoubtedly a carryover from his childhood in Umarkot: Manne koyi nahin bataya tha ki wahan jaane ki anumati ne hai.. Kyonki hamare yahan to koyi bhi aa jaa sakta hai bina rok tok ke..

And to the follow up question: Kahan ke ho tum? , the eyes are bright and compelling as he answers, a half smile twisting his mouth:Umarkot!

Finally, the cheekiness with which he comments, after having 'proved' himself to be a Rajput soldier, Mahaul hi shaque se bhara hua hai.. Hawa hi itni zahreeli ki sans ke to mare, na le to mare.. Phir bhi choki baat kahi aapne.. and he looks her full in the face... Yahan koyi bhi Mughal ho sakta hai.

speechless

Reckless excellence: There are other things to admire in this arrogant cavalier.

There is the superb swordsmanship that could overcome and disable at least 11 soldiers - this was my count, but there might have been a couple or so more at the sides - and then the sheer physical strength needed to bend those thick prison bars so that he could enter the cell, cut the chains and rescue Abdul. This last reminded me (and Holmes aficionadas will bear me out) of Dr, Grimesby Roylott in The Speckled Band, who could bend a steel poker. And of course Sherlock Holmes himself, who could straighten out the bent poker!

Finally, the arrogant declaration of both his identity and his intent in the message : Agli mulaqat jung mein hogi.. Jalaluddin Muhammad - left on the prison floor, and written in the only medium available, blood, presumably that of the 11 incapacitated guards. Curiously enough, the message is bilingual.Now it is obviously for the benefit of the Rajputs and us, but why then the Persian version?

This is vintage Jalal all over. The flamboyant gesture, the problems with its logistics notwithstanding, is exactly the kind of thing Jalal would do, though, by doing so, he further jeopardises his already tough escape, and in the pre-cap, is getting ready to fight a round dozen opponents with a limp Abdul on his hands to boot. But of course we know that, like d'Artagnan in The Three Musketeers, our boy wonder will emerge a winner, which is the only saving grace!

shyamala he is indeed our boy wonder..following ela's suggestion i wanted to do pro jodha analysis. that is thinking from her pov but rajat's excellence as jalal in these episodes have left me spell bound that i cannot help but rave about his wonderful wonderful performance!

Jodha does not have that much to do here. But in the striking face to face encounter with Jalal in the prison, when she sees the identification mark on his arm, her genuine regret and her desire to make amends, even to a simple soldier, for having suspected him wrongly, are brought out very convincingly. Her face softens and the eyes offer an unstated apology.

And in her tete a tete with Suryabhan, she is sweetly grateful for his assurances, but at the same time self-assertive.

At the end, Jodha is furious because Jalal has made a fool of her, and she has unknowingly saved his life. In fact, she does that twice, not only during the prison encounter, but earlier, though she does not know it, when she stops the execution of Abdul. If she had not done so, Jalal would have come charging out, dagger in hand, and however hard or well he fought, he would have been overpowered and killed, or worse for him, imprisoned and humiliated.

In the whole episode, however, what stands out, above all else, is Jalal's ice-cold nerve in the face of near certain exposure, and all that this would entail.

The questions:

1) Jalal could neither read nor write. So the message must have been written by Abdul, even in his battered and exhausted state. The blood would have had to be taken from the wounded soldiers scattered all over the hall in front of the cells.

It must have been Abdul who did it, for there is no other option, unless the CVs got Saraswati Devi to suddenly decide to bless Jalal and make him proficient in writing! As Sherlock Holmes used to say When you have eliminated the impossible, whatever remains, however improbable, is the truth.

Abdul is a cripple, and his crutches are nowhere in evidence. How on earth was this calligraphic exercise accomplished, and how long did it take? Ten minutes would seem an underestimate. This very precious time would have been better used in trying to get away safely, don't you think? It might in fact have made all the difference between life and death for both him and Jalal.

i think the writing part was again to make the whole scene look dramatic, as you must have noticed in the movies such as the bone collector, the criminal always leaves his signature to let the police know that it was him and see if they can catch him by the clues that he is giving away and here he was enjoying playing mind games with them..similarly jalal has spread his khauf e jalal more by signing off his calligraphy😉..and yes it was abdul who wrote for him also mentioned by VO, and i think the crutches were not there as he was dragged into the cell and then jalal picked him up and took him to the horse..and yes why a man who plays dice with death be afraid of being caught, he did what he wanted to do and that also with earth shattering confidence😉

2) Where was the time for Jalal to fight the soldiers, pull Abdul out of the cell, and get the message done before the royal group returned to that hall? Maybe he had a Time Turner, like Hermione in The Prisoner of Azkaban!😉

hmmm, unless he was super fast..now for that i need to know the formula of how to calculate speed of light😉😆..again its hindi show dear, and here by no means i am degrading hindi cinema😉..if you have seen fast and the furious that movie made no sense but it was entertaining, and similarly all this timing thing was not calculated but the scene was enjoyed by may and i guess that was their idea of entertainment if i am not wrong😳

3) The departing contingent led by Jodha and Suryabhan is very close to the prison hall. Even as they are looking at the dead guard being carried in, they are alerted by a loud groaning sound, presumably from Jalal's wounded victims, and rush back to the hall, to find the birds flown. Now the prison is not a rabbit warren of many corridors, but seems to be consist only of the main hall and some adjacent halls. How then did no one see Jalal rescuing Abdul after disposing of 11+ soldiers, and carrying him out of the prison? And where were Suryabhan and Jodha when all this mayhem was under way?

they were busy talking sar kalam sorry sar kaatna dialogues😆..jokes apart, again as i have already explained sometimes entertainment has no logic😕

Shaguni Bai: I am not going into Mainavati's meeting with her, except to note that her pronouncement: Jo Jodha ka haath thaam lega, wo is yug ka sabse bada raja kehlayega! gladdened my heart. Atta girl, I said to myself, this prophecy of yours is Ekta-proof!😉

Episodes 8 & 9: I am not going into the horrible blinding of Zaheer, except to note Bairam Khan's response to Zaheer's anguished cry: Hum Shahenshah ke wafaadaar hain!- Par Mughal Sultanat ke nahin. It is this very distinction that Bairam Khan voices later, when he is complaining to Salima Begum about Jalal and the Takhatmal case, and which, eventually, leads to his downfall.

Nor am I going into the verbal joust between him and Mahaam Anga, which was reminiscent of two scorpions, stings raised, circling each other warily.

The face in the water: There is a dreamy, prophetic quality to the way in which the unknown face in the water haunts Jodha, so much so that she sees it even with her eyes closed. She looks puzzled and troubled as she asks the image: Aakhir kaun ho tum? Kyon aankhen tumhara chehra bhula nahin paatin? The closing shot of Jalal's face in this sequence is arresting, with the features looking are if they had been fashioned with a knife, so sharp are the planes.

Sujamal & Jodha: The desolation on Jodha's face, as she remembers her fencing bouts with a blindfolded Sujamal, who still manages to disarm her every time, stays with you. As does Sujamal's explanation of how he pulls that off: Man aur shareer jab ekaagra hokar kaam karte hain, to aatma saath deti hai.. Aise mein aapki talwar hi aapki dhaal ban jaati hai, jo waar karti bhi hai aur waar se bachati bhi hai.. This philosophy reminded me of Jonathan Livingston Seagull!

Suryabhan: His lovelorn effusions about Jodha are really poetic: Kyon aisa hai, Jodha, sochoon to thara naam sujhe, aankhen band karoon to tu hi nazar aaye, talwar dekhoon to aankhen dikhe thaari, har waqt man hai teri yaadon se bhari..kyon kuch samajh nahin sakta tere siva.. Jodha, aakhir kaun ho tum? Unfortunately, his mono-expression, plasticine face has no room for the high romantic. No wonder the director keeps him behind a screen when he is spouting all this!😉

in front of rajat's jalal he is too pheeka but apt for what he was supposed to do i think!

Editing by Zee Anmol: I think there is some amount of editing going on here. For one thing, every episode is under 20 minutes. Secondly, a discussion between the Rajputs in the maikhana, about their getting hold of Jalal's harem after defeating him was missing. When I heard that the first time, I felt sad that the Rajputs here seemed to have the same attitude toward the womenfolk of the enemy as the Mughals (bar Jalal, I presume). The kind of respect and honour to be accorded to all non-combatants, especially women, as part of the traditional yuddha dharma seem to have long since vanished by the 16th century.

i am not watching ZA but as i have mentioned earlier i have dvds and watch them at my leisure, but am thoroughly enjoying your analysis shyamala and again i cannot thank you enough for all the effort you are putting in inspite of your condition and here i request all the readers to at least respond to her efforts whenever you get time, if you all want her to continue writing..thank you!

The dunderhead Abdul: He is remarkably ill-prepared for his disguise as a jyotishi. He would have done far better to have come as an ordinary man, which would have kept him safe. He looks panicky, and he does not even take care, when he pushes Suryabhan's largesse into his kamarbandh, that he should not dislodge the Mughal gold coins there. And he lands Jalal in an extremely sticky situation.

Then again, in the prison, as soon as he recognizes Jalal, he starts smiling, which, if there had been any keen Rajput observers, would have been deadly. Again, when Jalal is answering Jodha's question about his native place, and later when he is asked to prove that he is a Rajput soldier, Abdul's face is taut with tension before Jalal responds, and he is smiling immediately afterwards. Both could have been very dangerous for Jalal.

i thought abdul was more intelligent than this😕

Jalal-Jodha :Lastly, a speculative exercise about the current relationship between Jalal and Jodha.

What Jalal feels for Jodha is a rapidly changing thing, so anything one says now might be overtaken by the next episode. In the short term, however, as I wrote earlier on another thread, Jalal is going to find out that his new begum is more like a hedgehog than a velvet pillow 😉(that makhmali badan nonsense; when she is sitting in the palki and he can see nothing of her but her face, how does he spot the makhmali badan?)

Still, I think he feels:

1) Great appreciation of her bepanah husn (I have my own views on this,but it is what he thinks that counts, after all!). Akbar was said to be a lover of the beautiful in general, and in a woman, it would go without saying! But this would not be an obsession, for he is used to beautiful women, after all.

agree! he had many beautiful women in his harem, like pinaz begum and many more but what made jodha different from others would have been more than just beauty, if akbar jodha love story is true! for me its still a mystery!

There would be a strong element of desire, but it would not be decisive or dominant.

Love is still far away, and in any case, right now he does not know what love is.

2) Anger at her having held him at the point of a sword. What, a mere woman to dare to do that to ME! Still, this is mingled with reluctant admiration for her courage, which gains ground once he is back in his camp.

3) A burning determination and desire, linked to No.2, to give her a proper comeuppance. He thinks this would be best done by making her come to him voluntarily, as a way of saving her Amer from destruction at his hands.

4) Lastly, a growing discomfort, camouflaged as rage against her, due to the harsh home truths she voices about him. That gets under his skin and rankles, especially, as discussed above, because it is Jodha who is voicing them.

Ok, folks, this is it. I'll be back on Monday.

thank you dear and will look forward to your next pearl..love you and take care🤗

Shyamala/Aunty/Akka/Di

Originally posted by: ghalibmirza

shyamala dearest if you just want to try and test then i would suggest you to open a thread in the main forum with your next analysis of 11, 12 and 13..if the response is favorable then we can continue by opening new threads for every biweekly analysis..and i will still copy paste the link here as well for whoever wishes to continue here as well of course with you permission..what do you say?

Originally posted by: Coolpree

Mandy, just my opinion but it will be best to stay in one forum only either the main forum or here otherwise it will get a bit confusing to follow the entire interesting conversation that comes up after each post. Rest of course is up to you and Shyamala. 😊

Originally posted by: Autumn_Rose

Remember this thread 😆

http://www.india-forums.com/forum_posts.asp?TID=3746476