REBLAST 1 Episode 1 - 5 - Page 41

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indi52 thumbnail
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Posted: 9 years ago
indu, hi,

gosh, a little goosebumpy. i hadn't consciously connected vaidehi with sita when i wrote that... i read what you wrote, frowned... thought, why is indu talking about vaidehi route, then from some outer edge of stored information the thought came zinging in... sita... isn't she also called vaidehi?

agni pariksha was all along the quest... and in the ram ravan sita triangle format, i suppose. not an exact repeat but a story inspired by that archetypiicacal conflict. of the right of love and its place versus the covetousness of lust. between two different men over a woman...

ravan it is said stole sita knowing exactly what it would lead to... inviting ram pretty much to come and get him. only a vishnu avatar could slay him and so ram it had to be.

there's another point in ramayan that totally thrills me, i don't think this was in valmiki's version, but certainly in krittibas and some puranas. we bengalis celebrate durga puja as you know. she is a spring goddess but comes when ram prays fervently. the idea of akaal bodhan itself is gorgeous... should a human call with heart and being, the eternal will come even if it is not the appropriate season... beauty.

but the one i practically weep over or is it giggle. ram wished to invoke the goddess durga before going to fight ravan. but he was kshatriya, while ravan born brahmin. so it was ravan who as priest prayed to the goddess so ram may have the blessing to win.

i actually could not forgive ram for that agni pariksha.. as i said to my uncle, yes, as king he had a duty, but also as husband.. if he had said as king, you'll walk on the fire to prove you are pure; then as husband added, i'll walk with you... i would have admired and cherished him.

and with sita's dharani dwidha hao and returning to her mother's bosom, did we see the first divorce in an ideal (or so we were told) marriage? was there something there being said about marriage itself? about things subtle and a little scary even maybe? once the boys were grown up and they were united with their father... she left and gave herself the place no one had bothered to give her. sounds like a modern day story. and no matter which version of ramayan, sita always leaves.

anyway.

yes, sanka devi had her own way of being vaidehi... she took him along to her maika in fact, didn't just scoot off there on her own. silly jhalli pagal.

i am watching these episodes and again wishing someone had held onto the story... such powerful, evocative acting...

Edited by indi52 - 9 years ago
indi52 thumbnail
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Posted: 9 years ago
episode 194

a hand where it shouldn't be.

an indrawn breath.

clenching of a hard jawline, eyes dark and boring. uncaring. egregious. untenable.

a set of eyes shocked. unable to fathom the moment.

a row of pearls... falling, scattering... a sound filtering through numbness, the choked breath.


i wrote that in my ramble on episode two




i often thing of the wedding at the temple as the ripping of that dori back then from the point of view of structure of the story. it's a sudden terrifying extreme moment, a cleaving. things were moving at a certain pace, they met, they fought, they clashed, they were attracted, they fought more, they couldn't deny their feelings, they had to think of faraq and further... there came a dream like floaty moment in their lives, then suddenly the "shadi karni hogi...mujhse... abhi... chhay mahine ke liye" and the physical pulling along of the young shell shocked girl by a grim implacable impassive man and a wedding... a mangalsutra thrust around a neck without preamble, a pinch of sindoor streaked across a parting without the tremor of sweet expectancy.

shattering.

the pearls clatter in my head. ratta tat a tat...

the rest of the story, perhaps will help us pick those pearls up one by one and string them back.

as for the two protagonists:

if she looked uncomprehending then, she looks even more nonplussed, nahin understanding at all now. what was going on. and why was he hurting her like this?

if he was egregious then, now he is dense dark impenetrable and something seems to be throbbing within, like a live, fresh, still oozing blood cut, a weal.

they both seem to churn with feelings known and unknown. it should be easy for her to hate him, yet her eyes say otherwise. something lingers, even a complaint, a shiqayat...how could you... how could you, khushi kumari seems to say.

he is sure she is a girl with no sense of morality, having an affair with his brother in law, an absolute danger to her sister and her unborn child, he has convinced himself he must do this to protect his own... but then why so much engagement in his eyes? does arnav singh yearn for his faraq kyon padta hai girl? does his heart, which he says he doesn't have, just refuse to listen to him?

sanaya irani and barun sobti, along with able directors took this story of a wedding forced to a level of communication which was so absolutely eloquent and beautiful beyond a point. verbal, nonverbal, subliminal, all levels of communication at peak level.

it is alleged that the wedding was forced by the channel actually. so writers decided to make the whole thing unique and ipk with this device of misunderstanding and marriage. seems originally the plan was to make him force her to live with him and thus shame her, even go to the extent of demanded sexual intimacy, if not coerced.

thankfully, that route was abandoned, though honestly, given the prowess of barun sobti and of sanaya irani and the power of this jodi, i'd have like to see how they handled that. i am sure they'd have gone to the heart of that too, stayed connected with the feelings of asr and kkg for each other and given us a spectacular expression of that too.

just look at them here.

they never speak to each other this entire episode, just through eyes and body language the story of asr and khushi is delineated and you feel every feeling of theirs, defined or otherwise, in you. no melodrama, two people in a terrifically difficult situation... trying to go through its moments.

no words... and those eyes that say things even words can't. that's what i watched this episode.

fairly unprepared and a little lost writers wanted to build up to a suhag raat like none other... they, like their instrument, anjali, went the rasme route.

after all, audiences love wedding rituals... and it would be interesting to watch the lead going through these but with the hidden story of how they married and why, a certain pathos, etc., could be affected.

fairly serial style drama ensued, with anjali saying this is no wedding, then the gathering at the hall. she actually ordered her pati dev to call everyone there? huh?

"khushi ji, aap ko iss ghar ki bahu ke roop mein nahin swikar kiya jaayga," khushi, you shall not be accepted as the daughter in law of this family, said anjali is blank monotone.




khushi looked startled, wretched. asr got that look.

"theek hai," alright, he said and he was prepared to leave.

then came the big "reveal" aaah anjali means not what you think she does.

she means you must do all the rituals, and then the wedding shall be accepted by the family.

again honouring daily soap architecture, each and every member of family reacted in different ways depending on their place in the story. relief, horror, comprehension spreading... shyam did some almost twitches.

but it was asr i stared at. his eyes moved and though kkg was nowhere in frame i knew he looked at her.

as anjali went into her riti riwaz parampara spiel, new music came in. it roamed over the coming scenes lightly, tenderly and poignant as hell-ly.



a packet was thrust into the bride's hands. her shadi ka joda. her wedding attire.

"aap pehen lijiye," please wear it, di instructed.

he looked at her. seemed to be sensing her thoughts... two people in a sitution... a single tear formed and dropped from her eye.



girls, perhaps unlike men, dream of their weddings. what they'll wear on that day, how they will look, who will dress them up, should it be this colour or that... khushi had many many thoughts about this day and her joda... the poignancy of this much imagined and desired attire being given to her in this fashion, was not lost on anyone... certainly not asr.



the writing i felt was predictable, but sanaya irani took me right into khushi's mind and sobbing heart as she held the joda and remembered many things as all her dreams felt as though they had been blighted and scattered across the earth, the skies, the universe... rat a tatat tat.

a hollow, endless sadness and despair... her shadi ka joda, hers, the girl who already wore her sindoor and mangalsutra.



aur ant mein rajkumar aa jata tha... and at the end, the rajkumar comes...

memories knocked and drew her in. she clutched the folds of the blood red dupatta.

she recalled things her mother had said, her sister, she herself had said about marriage, husbands, the sanctity of it all... and she knew all that would never happen the way she had thought it would.. look at what the reality had brought.

the long dry spell of harsh desert wind devastating two people, now rising to a storm, now spiralling to typhoon, now just blowing unpausing, right through them... scraping against the hearts of walls, abrasive on the mind, unrelenting.

rabba vey, a long, aching call...

he walked in and saw her in that state, she looked up and found him there, a direct gaze. did she deserve this, it seemed to ask... how could you, it did say. she looked drained.



he couldn't meet her eyes.. he went away to his work... turned his back. classic asr.

yet, again that connection, like they are together no matter what, she looked at him: a hundred questions in her eyes, he struggled with every feeling of the moment.


this is just a tv serial... the music and the actors didn't seem to care. they took it to a euphoric experience anyway.

she finally decided to rage at him and ask him why, but a knock on the door halted them. it was time to get ready and go down and play the part.

she dressed slowly, he ignored her and worked on laptop. yet both were completely aware of the other.


khushi almost burst into tears as she picked up the heavy expensive jewellery given to her to wear... she remembered how she'd wanted to do solah shringar for her husband, dress from head to toe and look beautiful..

her necklace pinched her neck and an"ah!" escaped her lips. he was up in no time, rushing toward her.



but no... he wouldn't. he left.

for a moment they were in the same mirror reflected. something felt good about that.

he stood at the doorway. waiting. a ritual had to be done. he tried to look uninvolved, here just to please his rasme loving family.

all the connotations of door, of an entrance, a beginning in this shot. and their special door moments. there have been so many. right here and at bua ji's home.



and his bride walked in in her shadi ka joda and he had to look at her and forget perhaps all else for a moment.



she looked up, almost a magnet pulling his gaze, then he again looked away.

rabba vey...

she walked forward haltingly with her sister in law, he had to let his eyes find her once more... his bride was coming to him. rabba vey. that was all there was to it... iss pyaar mein sach ya jhoot ka koi matlab nahin... if anything has any meaning... it's only this... you i will always always... hamesha kya?

these scenes set off goose bumps... there's story in them we don't hear but we feel. they also created a separate plane it seemed with their heightened physical beauty. sanaya was the most heart wrenchingly beautiful bride and he the most handsome bridegroom... and what a wedding they'd had.

nani ji turned away, sadness assailed khushi. at last at the entrance to a new life, she looked up and met his gaze. could he look away?

intense deepening moment. a grandeur... a grown up air...

an arati commenced, i thought of him and la...



her feet struck the edge of the copper pot, it tipped and rice was flung all around. a sense of break and a beginning and the pearls kept scattering.

grihapravesh. entering one's home.

anjali reminded chhotey of the tradition, the parampara, of the raizadas. this was of course brought in to create more intensity around what had by now become known as "arshi" moments... he was required to pick up his bride and bring her in.

di yeh sab karana zaroori hai... di, is it necessary to do all this, asked the angry bridegroom, looking drop dead gorgeous in brown suit and tika. he doesn't like hypocrisy

ghar ki parampara hai, chhotey... it's the tradition of the home, chhotey replied his sister. to some, form is important, truth may or may not be.



again that exchange of looks. he picked her up. she reached up trembling and held his lapel... a thousand memories in a blink... in them... in us.



don't know why, but the last scene of the ear ring caught in his jacket pocket failed to make contact with me, felt too pat. even without it, the heart had touched two lovers and gotten lost in their pain, their helplessness, their broken string of pearls.



and yes, the ploy of the creatives worked, i loved the way he carried her in... sucker that i am for this iss pyaar.


Edited by indi52 - 9 years ago
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Posted: 9 years ago

Yes Indi, Vaidehi is Sita. That's why the wait to see if the Sita like repeat would play for Khushi happened until the fag end of Remarriage day, where she will be left while carrying his child. There were many fans very disappointed that asr actually came back to the mandap venue and this what would have been an intense track never played out.

Creatives had a different mould initially reg. how dark asr could be and reflections of that for Khushi.

Not aware of the spring story but only aware of the reason why Dassera is celebrated.. Vijaya Dashami.. to celebrate the day of victory. akal bodhan is very believable. Ravan prayed and Rama won is an interesting read... But the former is a stanch Shiva bhaktha and a great musician.. how music is an integral part of prayer.. his is a story of how one weakness can bring one down inspite of being a great devotee..

I like what you say about the first divorce.. thats what it was she going back to her mayika. Interesting that they are the epitome of ideal couple... the couple who never really had any happy wedded days! . Yes Rama should have taken the test of fire along with her to make it any justifiable. But she wouldn't accept that second time around after her return from abandonment and went back to her mother earth. It is said that preserves what ever "divinity" in the earth for the next eons/ generations during kali. The woman, once a damsel in distress waiting for her prince charming to save her, strong enough to raise her kids with all the virtues all by herself in a forest. Her story indeed modern for any age screaming patriarchal bigotry and strength of morals.


As a side note, there was a writer Ranga nayaki in telugu who wrote Ramayana visha vriksham..( Ramayana, the poisonous tree) in the 70s. Couldn't go past 2/3 pages when I tried to read it. the first ever bashing I came across before IF, of all of the ideal man Rama.. that was a case of feminism gone extreme.. ofcourse there was another writer who promptly wrote Visha vrishkha Khandana (Poisonous tree- condemned). There were many debates about these two growing up.

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Posted: 9 years ago
Quite stirring takes on these Marriage episodes indi..never watched these epis again for the heart break they carried/ conveyed.. now I must. Your words eloquently penned the language two hearts spoke.. the unfathomable sadness they have borne.. the writing was indeed stereotype but direction and action made us wander to a different plane... I have to read what you wrote for that in the room first time convo earlier epi.. but I never thought about "acting" when I was falling head over heals.. becos it was never "acting" .. they were real.. touchy.. feely real..

kizh72 thumbnail
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Posted: 9 years ago
Indi di, indu,
Lovely conversations and an introduction in a sense for me to look at mythology in a different way. Wish I had the time to get the books you mentioned and read them.
Indi di, you know I always read all your stuff! I have not commented much of late, ad has been too demanding, and the writing and visuals too stirring and compelling that I was left with no words to say.
Like indu, I have not watched these episodes much. Too heartbreaking like she rightly said. But I went and watched some of them after reading your takes. I agree absolutely with indu, they were real! It feels like watching two people and not two actors. Guess we'll never tire of saying that, sounding like severely broken record in the process
indi52 thumbnail
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Posted: 9 years ago
^^^

indu, kizh,

thanks... i am rambling on as you may have noticed 😆.

kills me to watch these episodes... and yet... those guys, they make it all so beautiful, i don't mind. not acting as in acting but really acting. i watched modigliani just now.. i won't say iot's a great film or anything but andy garcia as modigliani, who is emotionally chaotic and in love and mostly drunk or doped out but sometimes magnificently alive and a painter... every frame i thought of barun in that role... sanaya might be a deadly jeanne.

this wedding chucked into the story because one can, how it derailed the story and yet becaue directors and actors did what they did... unforgettable.


Edited by indi52 - 9 years ago
indi52 thumbnail
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Posted: 9 years ago
indu,

i was almost in my thirties i think when it started to occur to me that the ram i accepted as a hero character without really thinking about it much was really not just in many ways... of course, this is a vast story with many additions alterations variations and interpretations, yet, when you hear a story again and again, some part of it reaches you and becomes your touch point with the tale, your version of it. in mine, ram needs to really look at what he has done. sita is indeed a modern woman. timeless her story. she was no trophy wife, she was the giver of love, of birth, and she reared her boys..

ravan is worth knowing and yes that flaw of his that took him down.

i was thinking of shylock. it is said he is the villain of merchant of venice, but i always felt when i read it in college that the writer had great sympathy for this character and actually presented his most compelling creation as the villain but he was the central figure.

did valmiki also do something similar? he set out to write the tale of the ideal hero like man, an exemplary character, but along the way did sita's character begin to attract him? did he start sensing her more strongly? is that why he wrote her like that? if even a child can feel the power of this character, maybe she became the hero without anyone quite realising it.

honestly, ram never evoked any great emotion in me. and in mahabharat, neither did the panch pandav nor the wicked cousins... karna, yes.

i am rambling.
Edited by indi52 - 9 years ago
indi52 thumbnail
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Posted: 9 years ago
kizh,

thanks so much, i know you always read... and please don't worry about not commenting. i love to write and that is my happiness. if anyone reads, bonus bonus... and when i see the "like" and the golden name, i usually grin. bas.

these episodes are hard to watch of course... and still they call. i am going to watch 195 now, the very thought of him throwing her it of the room and letting her sleep on the floor outside has me in a state... how could he and how could i still not despise him?


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Posted: 9 years ago
Indi...


See the two images...
Mangalsutra used in the beginning is different... And there was no shopping for another one in the serial... 😉
Edited by rulama - 9 years ago
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Posted: 9 years ago

Originally posted by: indi52

indu,

i was almost in my thirties i think when it started to occur to me that the ram i accepted as a hero character without really thinking about it much was really not just in many ways... of course, this is a vast story with many additions alterations variations and interpretations, yet, when you hear a story again and again, some part of it reaches you and becomes your touch point with the tale, your version of it. in mine, ram needs to really look at what he has done. sita is indeed a modern woman. timeless her story. she was no trophy wife, she was the giver of love, of birth, and she reared her boys..

ravan is worth knowing and yes that flaw of his that took him down.

i was thinking of shylock. it is said he is the villain of merchant of venice, but i always felt when i read it in college that teh writer had great sympathy for this character and actually presented his most compelling creation as the villain but he was the central figure.

did valmiki alos do something similar? he set out to write the tale of the ideal hero like man, an exemplary character, but along the way did sita's character begin to attract him? did he start sensing her more strongly? is that why he wrote her like that? if even a child can feel the power of this character, maybe she became the hero without anyone quite realising it.

honestly, ram never evoked any great emotion in me. and in mahabharat, neither did the panch pandav nor the wicked cousins... karna, yes.

i am rambling.


You are not rambling...
I agree with you... Karna is the most powerful character and Krishna knew it too...


You know about Ramayan... Ravan was powerful... but his actions and his coterie made him dig his own grave... I always felt how could Ram listen to a dhobhi's talk and banish his wife? What was the need to listen to any Tom Dick or Harry when he had the proof that she had given up all the luxury to be with him during his exile... She could have gone to her Maiyka with Urmila and lead a comfortable life till he returned... She had followed him all the time...

One thing I have noticed is... anyone with the name Sita has a tough life...
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