Thursday, 28 April 2016

episodes 367/368 disjointed not disarmed







totally disarmed.


sorry, thodlly disarrrmed.

nice stubble in the suv with blindfolded wife.

a beautiful lover and a rather lovely object of love. a lot of kkg there today. madam in  abhimaan.

two cribs. bd's twice the size of actors, even their wigs. voice, in a couple of places could have sworn that wasn't barun's.

no, his mushy gush didn't feel like capitualtion, just sweet sweet love. and he got her to promise, cops next time please.
 
okay, i guess it's time to eat my words. and please don't bother to serve it to me in chef cap and apron. wrote that soon after seeing episode 367 the very first time. though even then i'd thought during the garden scene which i don't like at all any more, what's wrong with his voice? is it barun at all?

thankfully, i did complain about the body doubles even if with an apostrophe that wasn't needed.

the most shattering thing about 367 and 368 was, no dhakdhaks. not even once. so much happened, there were all these scenes with khushi and asr... but i felt nothing. even when barun said that todally dizzaarmed thing... even when they acted cute over breakfast, even when he smiled in bemused wonder at her antics... nothing nowhere never.

this i think hasn't ever happened before.

when sheetal came, even if i didn't like the way the story was set up, nor the way the new actress looked, talked, felt, i had still hoped something wonderful might happen.

this could be chudail. this could be the catalyst that was needed to bring khushi's possessiveness, her need for laad governor careening out. as she explored her feelings, as she showed her baal noch loongi huq, we might reach another level in asr khushi's love story.

i had really hoped for that and so missed the glaring faults in the episodes then. this time, i didn't. screenplay was utterly disjointed. why things were happening no one knew, you hopped from one scene to another, no link between them. acting was forced all around.

barun looked tired and uninvolved and smiled too much and too sweetly... and since when does asr smile at children?

huh?

how?

come?

and what's that language? big guy? did i just hear asr say that to a kid with a gentle voice and slanted grin? nahiiin. asr, tum theek ho?

and where does it say that once you fall in love with someone and marry them, you become another human being almost vis a vis that person? every story has its own cadence, its feel... two people in fact possibly maintain their connection, that charge between them, by keeping what ignited it alive.



i don't recognise asr khushi in these little vignettes of them any more. it's a matter of devising something, anything... to bring in a rabba vey. that gets trp someone has said. that is signature. that is brand.

but it's all becoming heartless and mechanical. sometimes downright silly. who gags and binds his wife then throws her into a car and drives over to a garden to bow his head before her and tell she's a better person than he is? the shatir man?

maybe that's why he assigned the whole thing to a body double.


 

watching asr smiling for no reason at the not so funny khushi doing another so called cute scene on how she beat up the kidnappers was problematic enough. then came the shot from behind him... and it was not him at all. it was disturbing.

how can professional creatives, directors, editors, cinematographers be so careless with how they use doubles?

khushi's double walked around with a massive wig and her completely unsanaya like limbs and movements, it was bizarre... you knew it wasn't sanaya yet you were supposed to believe that's khushi.

right through the two episodes doubles messed with watching, concentrating, even getting into the story if there was one.



to get aarav into rm along with sheetal the most improbable story was fetched and thrown at us. little kids wouldn't buy such tales...

when i watch the last fifty odd episodes of ipk, it's always difficult. something feels badly shaken and taken off its very foundation. it angers and frustrates me at times. sometimes i fast forward. but what it all really makes me feel is mystified.

why?

why did the entire story and the telling of it have to go this way?

what made it necessary to lose ipk?

don't tell me it's because the story had ended... because i know that's nonsense. the whole of sheesh mahal and its secrets was always there... just that no one went to its door.

instead sheetal aarav entered the scene...

... why? i suppose i should just be grateful it was not the other serial device, "the leap." imagine asr khushi with nineteen year old daughter in love with a most unsuitable boy...

okay, bring on the sheetals, i am ready.


and, sorry, asr would have not just chided khushi but been completely gussa and raving about her driving around like a lunatic. the man went ballistic when there was a shard of glass embedded in her wrist. does anyone remember.

also, how can you reduce khushi, your main female lead, to this unreal cardboard character? she is funky and sharp and conscientious and loving and  grounded, not silly and prone to doing foolish things with no clue of what's really up. asr is not madly in love with her because she prances about acting cute (aaargh)... i wish the writers had binge watched the early episodes like us, they'd have not been able to write all this stuff then.

anyway, so let's go into track sheetal. haha i was delighted to see sheetal managed only to get the double to chat with her. not this hot brown fellow.

 

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