Wednesday, 22 February 2017

episode 26 (mahaepisode) get out




"kal raat ki baarish ne sab kamzore kar di
ya." 



it was all because of the wretched rain. and as expected, though we saw a bit of sunshine yesterday, today again the skies darkened, the clouds came dark and grizzly, threatening, grim. the first ipk mahaepisode, 43 odd minutes long, telecast on 9 july 2011, episode 26 was designed with great instinct and built on the themes developing through the week. interestingly, despite all its destruction and doom, it really is a beautiful bridge between two contrasting emotions, both very powerful. a wild attraction that won't be allowed in. and a gentle, almost tender feeling that just wants to come out.
  
"kal raat ki baarish ne sab kamzore kar diya." last night's rained weakened everything.
 

"kya hua, aaj phir tum gusse mein?" what happened? you're angry again? anjali's plaintive question to her scowling sibling was like the key signature of today's entire story. the main players: gussa and baarish.

rain as metaphor, rain as backdrop, rain almost as character, heightening every sense. what efficient use of a device. torrents of emotion breaking inside asr, into his carefully erected fortress. a shower of confusing feelings within khushi. what's happening, why is he like this, what's the matter, and why doesn't she walk away?



and the same rain, now in the physical sense, a destroyer, bringing down a structure. again a metaphor? asr's whole facade of unemotionality crumbling? the lightning breaking across, the thunder crashing into it, none other than the shattering attraction of this unknown girl from another world, almost another planet? her innocence, her feisty spirit, her attitude, her ability to be different, her indomitable spunk, all proving impossible to hold out against? oh that heartless rain, it was a day that had portents of disaster in it. or maybe this is the only way love finds its path to some.

from the moment nani heard about lavanya from a very unguarded khushi (sometimes it is good not to speak so much, mmm or maybe not, maybe this is how it was meant to be, and dm was at work, for normally would khushi go all the way to when she saw them upstairs... interesting this motormouth in the usually circumspect ms jhalli)
, the mood was set. it was to be a day of confrontations and rage.

miss gupta!

arnav singh raizada was incensed. he'd reached another pitch of anger today. she'd crossed yet another limit. in his city. in his office. in his mind. his thoughts. but in his home? he was not allowing this girl in to this extent. even as his irritation gnawed at him, anjali's call came through. khushi had told nani about lavanya. that was it.

barun sobti's performance of cold, complete fury was at a level rarely seen anywhere my eyes and heart felt. the office quaked, air stilled, red lost colour, khushi made her terrified way upstairs.





 "come in," said he almost gently.





from there to "get out... i said, go" was a series of insinuating questions and insults full of hidden layers and hints of what had come before. it was fascinating to watch the two, as though contenders in an arena, one intent on winning, the other clutching on hard, hoping to stay standing. a high pressure, claustrophobic environment. the long spots heightening the arena feel, the music deftly wielded, reftlecting the ins and outs of every emotion.

"tumhari kismat acchhi hai ki main
tumse abhi baat kar raha hoon...
yeh contract, job, sab ek taraf hai
par agar mere personal life mein koi interfere karta hai
toh main usse maafi mangne ka bhi mauka nahin deta..."

you're lucky i am talking to you now... this contract, job, everything is on one side... but if anyone interferes in my personal life i don't even give them the chance to apologise.

khushi knows she has transgressed, but she has no idea how completely he guards his private life. no one is allowed in. even di has limited access. this is the boy who had to take a lot of zimmedari at a young age. and his private world is his space. certainly no one is allowed to discuss it, especially behind his back. a similar coldness enters his eyes when he sees lavanya at rm later, why didn't you tell me you were coming here?

"galati meri hai, ki tumhari aukat jaante hue bhi maine tumhare saath yeh contract kiya...mujhe yaad rakhna chahiye tha ki
tum jaise logon ki
niyat kabhi saaf nahin hoti
."

the fault is mine... despite knowing what sort of person you are i have entered this contract with you... i should have remembered that people like you never have clean/good intentions.
           

khushi's eyes widened at that. my ears pricked up. what? tum jaise logon...? got the feeling, in his anger he was losing his sense of space and time... and other people, other incidents from his life were strolling in, becoming part of the tirade.



"kuch toh maqsad hoga...
kyonki yeh toh main jaan gaya hoon ki tum jaisi ladkiyan kuch bhi bina matlab ki nahi karti."

there must have been a motive... for this much i know that girls like yoy never do anything without a motive.
  
huh? girls like you? who're these girls he refers to? who does he know who did things for a matlab?

"kya soch rahi this tum...
pareshaan hogi
kyonki itni koshish karne ke baad bhi...kissi ameer ladke ko phassa nahin payi!"

what are you thinking... you must be upset... despite trying so hard you haven't been able to nab a rich fellow. 
  
and with that final insult, khushi is broken. while something tells you, ah so there was a a scheming woman and a rich man somewhere in this man's life. an incident that has left him with a lack of trust in women other than those in his family, of sharing any real and deep emotion with them, of betrayal and endless anger.

that's why maybe: arnav singh raizada ko kissi bhi ladki se koi faraq nahin padta. he is not a misogynist, but his faith in women and relationship is badly damaged. which is why i could identify with his disquiet at khushi's impact on him, it was not just a man being arrogant, there was almost a fear in him. of doing something wrong, while getting carried away by his feelings for a woman. (his father had obviously done much worse than just have an affair with a simple young woman; and that woman was not so simple, even though that's what we were told in the end.)

shaking with fury, he sends her away, refusing to see her face anymore. tears well up in her eyes, but he has turned away, go to the guesthouse and work from there for the rest of your time at ar. i said go.


 
he seems to have left sparks of his rage at home. for nani picks them up and becomes strangely asr like in her quest to know and get control of the situation. lavanya is summoned. and though there are some lighter moments with lakshmi ji and the short dress. the "hum nani hain" segment is edged with a flintiness, similar to that in his eyes.



and lavanya, though seemingly shallow and self absorbed, i mean did you see the way she screamed at rahim chacha, has more to her. there's a certain can do spirit in her quick change to namaste nani ji and lakshmi ji; and an endearing glimpse of a slightly unsure girl in her, "sorry nani ji, next time se main lambi dress pehenke aaoongi, salwar kameez..." sorry, nani, next time onward i'll wear longer dresses... salwar kameez.  


then warming to the theme, "by the way, mere paas ek saree bhi hai, designer one." by the way, i also have a saree, a designer one.  

asr means much to her, and she is smart enough to know she'll have to "adjust" a bit to get on the right side of his family. a young girl, city bred, ambitious, willing to go out there and get what she wants, there were things in her i sort of always liked. and behind that cold me first attitude, an interesting girl with a heart and a tenderness. but right now, just like khushi, she is trapped, albeit in the rock steady and plush environs of rm.


time is ticking by, looks like rain. khushi's not back home, payal is getting edgy. she calls everyone she can. while asr sits there, still wrapped in gussa, refusing to take calls.



"ek khushi aur ek yeh sinha. dono milke mera dimaag kharab kar denge." that khushi, and now this sinha. these two will drive me crazy.

 
did he just call her khushi? oh that sounded lovely. he puts down the phone in the middle of her call. he has no idea the guesthouse is dangerous. everything is crafted to perfection to bring us to a moment that will again change his life.



two gussas clash as nani and chhotey face each other. i find his view of life and marriage interesting. crisp, meaningful, no fuss. marriage is about happiness between two people. this man's mind is so contemporary. and it is intriguing to watch him clash with tradition. though he is younger, says apparently selfish things, what he says you know is valid.

"yeh poori zindagi ka sawal hai."
it's about one's whole life.  


"meri zindagi ka sawal hai." it's about my life.
 
nani is unhappy with what happened with his mama, obviously mami is not a girl of her choice.

"mama aur mami iss shaadi se khush hain. aur kissi bhi rishtey mein wahi baat sabse important hai." mama and mami are happy in their marriage. and in any relationship, that's the most important thing.

 
good point. but did he know of a rishta where this happiness was lacking though it seemed to be a traditionally "good" match, you can't help but wonder.





two ladkis and a terrible impasse. nani declares one girl is not good enough to be bahu of family. and the other girl? "kaun si ladki? kaun ladki andar aayi thi? kahan hai woh?" what girl? which girl came in? where is she? 

khushi is stuck in a collapsing building. alone, aghast, banging doors trying to get out, then sitting down helplessly whimpering, crying for help from her loved ones.

  
"bas. bahut sah liy
e. ab aur nahin sahenge." enough is enough, i'm not tolerating this any more.
 

at last, the gussa is carried on a gust of wind and reaches her. scared, confused, petrified, but an anger growing within. wonderful performance by sanaya. from chatty khushi to hurt, insulted, terrified, and now feeling shards of rage khushi.



asr's eyes are getting icy on nani's words, khushi stares unseeing at the storm outside and wreckage within. episode ends. the tension is palpable. asr signature tune fades in and up.



    


................








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