as i had planned to, went and saw 126. i abs agree with you, indu, fine psychologists seem to have written this period. actually somewhere just before nainital... or maybe around 75 and ajeeb this astonishingly perceptive writing started, writing that looks inside the heart-mind-gut most minutely and tries to follow its feelings, no matter how illogical or confusing the path might seem ... and the interpretation by the two main actors matches and even outdoes it at times. can't stop watching. now as the inner, harsher, more painful demands of an emotion take hold, where neither knows why and neither can deny it for an instant... because these are feelings and they insist on being felt...
every minute was perceptive and astonishing. an opening sequence with two sisters and their ponderings on a prince. in khushi's heart he is the one, an angry prince... how painful is real life. payal's conundrum is different, the sweet prince is hers, but then too real life poses only problems. beautiful writing at the end of a moving conversation... you aren't talking of shyam ji, are you? no, are you talking of abhishekh ji? ah writing.
won't go on. but on that psychology thing... though she has no logical reason to be attracted to him, she is... and his voice is almost embedded in her. she remembers his "tumhari sagai ho gayi" as shyam drones on. no need for visual, his voice is in her.
yet when she picks up the phone and shyam speaks, she finds the voice familiar but does not recognise him... one can say that is essential for story, but what it also indicates is her emotional state. the one who matters, she recalls everything about. and the one who doesn't, is only on her surface, a sort of familiar voice... despite having lived in the same house as him and being engaged to him, she does not recognise his voice... so so interesting. he on the other hand, instantly recognises... khushi ji?
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