Raghav and Pallavi - walking backwards along the road to romance - Page 8

Originally posted by: BrhannadaArmour

Members have commented in other topics that even when the plot dictates that a woman intends or pretends to seek a divorce, such as when Pallavi put on an act for Mandar, she goes on wearing sindūra and mangalasūtra.

Allegedly, the producers are afraid that their target audience will shun them if the heroine doesn't physically appear devoted to her husband at all times.

So, Pallavi could have wanted a divorce while wearing sindūra and mangalasūtra after leaving Raghav for Kolhapur. You never really know.

Yeah itv ki ye hi problem hai chahe ml or fl ki forced marriage ho but fl ka saaj sringar proper Indian wife jaisa hi rehta hai kuch reality nahi dikhate i mean in reality forced marriage me kaun si ladki aise sindoor or mangalsutra pehenegi that too for the one she hates and who has forced her to marry

Pallavi ko na to show me writers ne monologs diye or na meaningful dialogues diye jis se ye pata chal sakta ke wo kya sochti hai kya chahti hai so it,s difficult to say clearly whether Pallavi wanted divorce from Raghav or not

But after their wedding reception jab Jaya ko pata chal gaya tha raghav or Pallavi ki forced marriage ke bare me tab bhi Pallavi ne na toh divorce ki baat ki or na Kolhapur Jane ka decision liya that,s why i don't think ke Pallavi divorce lena chahti thi

Mujhe toh ye bhi samjh nahi aaya ke Pallavi ne Jaya ko sach pata lagne ke baad Kolhapur Jane ka decision kyu nahi liya ? Usne Kolhapur Jane ka decision lene ke liye itna wait kyu kiya?

Topic reopened on TM request.

Thank you, WildestDreams, for reopening this topic.

I would like to take the discussion back to sexist double standards, because I've just come across a Marathi TV daily drama that gives me the opportunity to examine how I respond to a female character doing the sorts of things that Raghav did, and a male character behaving like Pallavi.

https://www.youtube.com/watch?v=VF4TQ5FZe3c

This show is Ramā Rāghava on Colors Marathi, a remake of the ongoing show Rāmācārī on Colors Kannada. The story begins with rich Rama Paranjape drinking and dancing in a nightclub to celebrate becoming CEO, and then speeding her car, heedless of her friends telling her that they don't want to die or kill anyone. Insisting that everyone on the road has to get out of her way, Rama plows through a religious parade, stopping just in front of middle-class Raghav Purohit, who is carrying the Goddess's icon on his head. To keep his promise that the parade must not stop, Raghav strides over Rama's car, leaving his footprint on the windshield. Later that day, he embarrasses Rama and her mother by righteously revealing her family's scandalous secret. This sets off Rama's furious quest for revenge on Raghav.

https://www.youtube.com/watch?v=QtPn3H7XH58&list=PL_HFs3UrtvQTZ66VTFfFtpbWrlu6N_pGk

The parallels are obvious between the way Pallavi met Raghav Rao and the way Raghav Purohit met Rama. I would like to know how everyone feels about such a gender reversal. Is dangerous driving an expression of manliness, or can it also express womanliness?

Raghav Purohit substitutes for his father in a profession requiring traditional knowledge, the way Pallavi substituted for her father. Both characters respond to praise with humility, but they exude confidence in their own abilities when they face obstacles. Does Pallavi raising her voice have the right effect? Or, does Raghav Purohit need that bit of smugness to prove that he's not girly?

Can a woman like Rama, who enjoys alcohol and insults her elders, be a sympathetic heroine, the way Raghav Rao was admired by viewers? Both characters have similar swagger, entitled attitude, money-tossing, and pride in their sex appeal.

Is it different when Raghav Purohit, a pious man, tells a flamboyant woman like Rama to dress decently for a pūjā, compared to Pallavi telling Raghav Rao that he couldn't be shirtless for a business meeting with her?

I hope we can have a lively discussion about these parallels.

A gender-reversed parallel to Raghav Rao tricking Pallavi's father into throwing her out of the house is currently playing out on Ramā Rāghava. Rama told her friend Mona to surprise Raghav Purohit with a hug, clicked a photo, and sent it to his father, who immediately denounced his son for sexual immorality and told him he could not set foot in the house.

On Mehandī Hai Racanevālī, the allegations that got Pallavi thrown out of the house were that she showed fake accounts to her father, gave the business's original agreement to Raghav Rao in an attempt to transfer it to her own name, and persuaded Raghav Rao to sell the shop to her without paying him anything. Raghav Rao's claim that he enjoyed Pallavi's sexual favours was extra, just for shock value, but even after he showed photos of himself lying naked with a woman and claimed that it was Pallavi, Pallavi's father didn't call her loose; he simply asked, if this man was tormenting you and threatening to kill you, as you say, why did you go on meeting him?

It's interesting to see Raghav Purohit, an educated man with a good job, being repudiated on suspicion that he's not perfectly celibate, treatment that is usually reserved for women on TV, in contrast with Mehandī Hai Racanevālī requiring elaborate proofs of Pallavi's business dealings because a sexual accusation wasn't enough.

Just as Pallavi's mother Sharada on Mehandī Hai Racanevālī chose her daughter over her husband, Raghav Purohit has the vocal support of every female member of his family. His grandmother Rukmini, mother Shalini, motherly sister-in-law Puja, and younger sister Shruti all declare emphatically that he is incapable of premarital romance. The striking difference here is that Sharada didn't bother to defend Pallavi's morals; no matter what Pallavi might have done, Sharada had to make sure her child was safe. When a sexual accusation is made against a woman, the progressive answer is "none of your business," but when a man is accused of so much as looking for office romance, he cannot afford to leave it a mystery.

Raghav Rao choosing to smear his own name along with Pallavi's was a surprise, since he had just recently said that the rumour about them hurt his Amma, and that was intolerable. He could have linked Pallavi's name with any other man. (Harish, for example, who later went to prison for Raghav Rao's smuggling.) On Ramā Rāghava, Rama keeps her own name out of the scandal by implicating Raghav Purohit with Mona. Is Rama smarter than Raghav Rao, or is he just reckless about his mother's values due to male privilege?

My second post after this topic was reopened has disappeared, and it's not in any Trash or Removed Content Vault topic.

Can you see it, and could you please restore it?

I sent a PM about this to WildestDreams 9 days ago, which is still unread.

Originally posted by: BrhannadaArmour

My second post after this topic was reopened has disappeared, and it's not in any Trash or Removed Content Vault topic.

Can you see it, and could you please restore it?

I sent a PM about this to WildestDreams 9 days ago, which is still unread.

Hey,

I was on vacation for the past weeks. Just got back yesterday! Give me 24 hours, will look into the issue and get back to you!

Regards

A gender-reversed parallel to Raghav Rao's drunken whining for Pallavi outside the Deshmukh house at night is happening on Ramā Rāghava right now. Rama is drunk and swaying in front of the Purohit house, asking Raghav Purohit to come out and talk to her for just two minutes.

The Purohit family feels offended and disgusted, but everyone goes out and tries to reason with the drunk woman, Rama, that it is late at night and she should go home. This contrasts with the Deshmukh family's reaction to a drunk man, Raghav Rao, pounding on their door. Half of the Deshmukh family was ready to give in to his demand for Pallavi, and the rest supported Vijay's choice to let him get tired and go away, but no one thought of bringing Raghav Rao indoors to limit the spectacle for the neighbours.

Is there a gender-based double standard here, that a drunk man gets more respect and freedom than a drunk woman?

Whereas Raghav Rao's motivation for shouting at Pallavi across a door was that he felt entitled to her undivided loyalty and round-the-clock attention, Rama came to tell Raghav Purohit that she's sorry. Now that Rama has digressed and reminded Raghav Purohit how he embarrassed her family and hurt her professional ambitions, and she has blamed his upbringing, it will be interesting to see how he and his family react.

Raghav Rao saying "sorry" to Pallavi was rare, laconic, and always followed by drunken demands that she had to prioritize him, indulge his whims, not die when he got her shot, forgive his betrayal immediately ... Would a woman behaving like Raghav Rao appear sympathetic? Rama's motivation flips between apologetic and vindictive, but that is acknowledged as narcissism and recklessness, not whitewashed as romance and swagger.