Tuesday, 27 September 2016

episode 290 an uncanny silence

what if you are watching something that you love deeply, where you have seen the most sublime moments transpire and then full of hope and a feeling in your bones you are going to see some stunning stuff leading off that now, you go and sit in front of the tv.

and then what starts unfolding, first feels like the beginning of that wonderful thing you wait for.

then starts to confuse you. are you missing something here? and how come there are so many shots of a man's double? and why is the man standing practically stock still, he who is always animated, known for fleet agile movement, the finger jabbing, the alacrity of his muscles and sinew? and why does he not speak? hasn't he kept quiet too long already?

you still wait, putting your faith in what you love and say, bet they are getting ready for some real smashing story point here. see, see, how shyam is in offence is the best defence mode? and there, he is beginning to challenge all the evidence nk and khushi are coming up with...now even payal has jumped into the fray... and mami ji has brought up many questions.. now surely...

but some part of you is beginning to go slack, feeling hope melt away, a funny fear creeping up. this may not be going at all where you think it is.

again you give your flailing heart a whack and say, believe... baat sach ya jhoot ki nahin hai... baat hai vishwaas ki.

and you watch. more courtroom style drama. ah so you invaded my privacy and got your evidence? oh really, i signed the papers? so where are they?... and the bad guy rages while the good guys look flummoxed and lost and growing more desperate...
the voice application password comes up. and nk in his usual unguarded way, chasing the truth, fighting the bluffmaster blurts out, "yeah woh i love you khushi..." and the cat is out of the bag.

a man looks at a cretin.

the game enters the final mudslinging rounds. defence rushes and ambushes the judge.

he starts screaming and anjali shocks him and me with a raised hand. you know, even on this watch i got taken in and asked myself, so how exactly did they turn the story after this moment?

nk thinks he has got through. a beautiful shot of him beginning to smile, looking at di.

"behudi baatein karna band kijiye," stop saying shameless things, she bursts out.

"band kijiye, aap dono!" she turns and yells at khushi and nk.

this is the moment when asr would have stepped in, i note.

but he doesn't.

nothing really to say about this episode beyond that excruciating sense of disappointment when he just kept quiet.

because writer had written so.

because of exactly what reasons will always escape me.

and really the whole oh so clever attitude brought to this moment of story, a tragedy... a sense of cheap thrills in the writing and the direction.

this was really not the moment for it, it was the last place in fact. also, yes, one episode of asr's silence... that has traction, increases curiosity, makes the viewer a bit nervous yet excites... because the expectation builds.

i have no problems with the whole "look into my eyes and trust me" thing either... i have a huge problem with the story telling, the heart of the writing, the depth the writer sought. no matter how much one rationalises, what feels wrong, just feels that way.

and the mind and muscle and rhythm of heartbeat stops responding... no matter how much the head says, stay calm and keep vishwaasing.

290 was a sad sad one. because writers forgot that when we go close to ipk our dhadkan becomes tez. and the reason is the same... because somewhere heartbeats unite.

when you play with the heartbeat of ipk, you play with mine.

i understand that even the screenplay writer of the show has laughed and said, it is only a tv show, so stop getting so caught up with it. i am sure neither barun nor sanaya will perhaps understand exactly where the involvement is and why ipk means so much. of course, i expect no sensitivity or understanding from gul and star plus who view such things as merely "products" to be assessed in terms of "profits" which in their thinking is only of the monetary kind.

and if they sniff immense love for the show they would only again use it to make money, nothing else.

and really i don't blame any of these people. a tv show is not supposed to matter so much.

a man is not supposed to snap an unknown girl's dori and the woman is not supposed to fall in love with that man and that man is not supposed to turn out to be a magnificent creature with the most spectacular attitude toward, of all things, women and actors on tv are not supposed to act so well and a suave wealthy man from the world of fashion is not supposed to go all crazy about a girl in a tight churidar with pompom and choti and we are not supposed to feel and sense a man on a screen at this level, nor a woman.

but supposing is what the rational part of us does. the extra rational hopes, yearns, loves, ascends.

never was a rational thing anyway. never could we provide proof of why and where and how.

but if anyone had looked into my eyes, or yours that day, they'd have seen the sadness that perhaps khushi felt when on the night she had expected so much, he came and said grimly, shadi karni hogi.

that moment when he kept quiet, when i knew he didn't... well then on it was just my eyes watching, not really me.

and now shyam has actually admitted he signed the divorce papers. 

he did it apparently for parivar's izzat and ghar ki shanti...

distracted part of me notes, yeah, even khushi had said that, or believed that when she kept quiet about shyam. interesting...

but not really.

when they couldn't tell the story perhaps the way they wished to, either because of channel interference or because they had run out of inspiration or whatever, there was a tendency to turn toward being what is known as "hatke" to stay "ipk". hatkeness being identified as a feature, a key differentiator of brand ipk.

that is when ipk always suffered most. because all this loop closing and clever writing was really the little hooks that brought in and kept a thinking contemporary audience. even the chemistry, while integral, was not enough in iteslf. what really had me here and in dhakdhak was a deep deep love romance and love story... an understanding of the nature of love... a daring to explore it, hope, yearn, ascend, not give in to cliches.

and that suffered when asr did not speak.

for me.

he has just saved about an hour and a bit ago the woman he loves more than his life. of course, he is worried about his family, his sister... he has just realised the sister's husband is the heinous one. he knows apart from trying to kill him, this man left khushi tied and gagged on a road to die.

he knows khushi has reached a point where she can't keep quiet anymore.

but no matter how worried he is about di... would he still keep quiet when the pressure on khushi is increasing like this? when he hears about that password, would he only leave it to a cold hard stare? and when his sister turns and accuses khushi of behudi baatey would he just let it be?

"main tumhare b-" he has already said... just a bit back... he has seen her almost gone. heartbeat not audible.

i tell you... this is really not funny.


No comments:

Post a comment