Finally got around to watching the episode, late as usual - and here with the inevitable part of my rambles...
Arey pehley... STOP THE PRESS... breaking news ~~~~~~~~~~'
~~~~~~~~~~ sourpuss MIL smiled ~~~~~~~~~~~~
π π π
πFor the amount of confusion Mohan's "wrong choice" of words creates for him - time and again - I must be too fan-hit to still find it adorable about him π Like seriously, the moment he said agar maine kuch galat chaap diya to...I was like *headdesk* and *aww Mohan!* all at once, because he's such a natural verbal-klutz, if ever there was one π
For every random thing and every messy situation he himself gets into, every impulsive dialogue of his, sab kuch maaf for Mohan *Sunn Na* Bhatnagar. *Fangirl cap ON* π
I like how the entire Mohan vs Khatarnaak Item Vyas family scene, despite its serious strains (fantastic acting by Aakanksha, and brownie points for giving her a relevant dialogue which didn't go on and on like a preach maarthon) I love how Mohan can't help but retain his character. Mohan being Mohan seems to be unconditionally enough to get on the wrong side of the people in this house - minus Nanhi of course, the only aankh ki parakh wali in this mad house π - and of course when he starts off responding to a polite "kya chahiye" with "aapku bahi, Mrs. Vyas" - you already know his fate is sealed, at least for this encounter π But just as inevitable is it for Mohan to say something as spontaneously subtle but touching as "main yahan Nanhi ke papa ke liye aya hu" ... something which even if all the others in the family don't comprehend, Megha does, or soon enough will - because both her intuition and facts know that he isn't lying about anything that bears Nanhi's name.
Yes, he just has to protect the lil girl. It is all about Nanhi. And I love that he is not afraid to show his love for Nanhi. He has always made it clear, whether by actions or words. He is her special friend and confidante.The best part of the scene - for me - has to be Mohan's silence in response to Megha's brief but effective dialogue about her husband. Such a perfect actor Kunal is for this role, his eyes are unmoved in the trite romantic sense for this woman, and yet, even as his gaze remains unwavering, you can see that flickering of reaction to her earnest words, the innate pain, and of course, the gleam that begins to line her eyes by the time she's done. And then the fact that he bounces right back by pressing down the doorbell till the door is reopened for him - is such a Mohan thing to do. He's taken in for a moment, but only that, and then its as if her brief truthful spitfire has given him an extra reason to persist - no not consciously for her sake, not yet - but the reporter on him knows his gut feeling about things not being as they seem are not unfounded gets him ringing for a second audience.@ Guru throwing back random insult in Tanu's face - aah, hallelujah to all the times I've wanted to get in their and box his years! Like seriously! How did he even muster the audacity to play a prank on Guru when only the night before he'd be caught in that state by him? Only a fool like Tanu would play a joke on someone who has an ace on him like that one *shakes head and rolls eyes*
he doesn't back down and he is aggressive yet sensitive at the same time. His body language shows his frustration earlier when he was not able to get Megha to answer on the road and later on when she lists all the qualities of Amar Vyas, he registered the pain behind her yelling. His eyes do a lot of talking in the rare moments he is quiet.
I don't get the prank at all. What is the big whoop in slashing someone's bag?!!? Brainless Tanu's brainless pranks.. I loved the way Guru doesn't miss a beat and doesn't hesitate to bring up Tanu's naked nocturnal dance item in front of the friends.Sigh - do I ever not say this? Go NBT!
Amen to that πxxJZee
well done zee beta π
i like this one so muchThe best part of the scene - for me - has to be Mohan's silence in response to Megha's brief but effective dialogue about her husband. Such a perfect actor Kunal is for this role, his eyes are unmoved in the trite romantic sense for this woman, and yet, even as his gaze remains unwavering, you can see that flickering of reaction to her earnest words, the innate pain, and of course, the gleam that begins to line her eyes by the time she's done. And then the fact that he bounces right back by pressing down the doorbell till the door is reopened for him - is such a Mohan thing to do. He's taken in for a moment, but only that, and then its as if her brief truthful spitfire has given him an extra reason to persist - no not consciously for her sake, not yet - but the reporter on him knows his gut feeling about things not being as they seem are not unfounded gets him ringing for a second audience.β€οΈ love so much all thisππΌ i can say only Mohan is Amazing ManβΊοΈ
Originally posted by: nureat01
I love your sigbox! haha I loved those exact same lines from the new promo too.
^^ Haha, thanks to you, at least in part π€I positively love that dialogue from the precap - its like one of those epic lines that linger long after - like one of those lines he spoke about her, at this early stage, which will stay because she will continue to prove to be "thodi different" at all points, surprise him, pleasantly, threateningly, teasingly, even in challenge - bui surprise him always because she's so simple and dynamic, so sober and "mirchi" all at once! πOh and I love how it's Mohan telling Nanhi what she said to him not so long ago about Megha - nanhi has said the same when these two were devising ways to patao Megha to forgive Nanhi, she had said, meri mummy thodi alag hai π So like I said, the "thodi different" is going to surface time and again - its the way Megha is!
Lovely post as always, Jzeeπ
Love how you described the bit with Mohan's matter of fact determination to get to the truth and facts even in the face of all the emotional outbursts from Megha...he stood his ground...it is fascinating to watch these two different personalities square off...their differences are what make them interesting...and how they eventually come to understand each other's viewpoints in their own way...the writing is so good in setting up why they rub each other the wrong way...Mohan's choice of words...lol...and Megha only reacts emotionally to everything...while he cuts to the core of a point very directly...and thus start the problems...lol
Love how you put that bit in bold Nur - absolutely hits the point. And the irony of someone like Megha - not the typical sob story of a woman - being emotionally deviant from the sight of logic is so real in that sense. The most human shade - notwithstanding all the sanity and reason that she abides by in everything for everyone in her life - there is that sore point, the sorest of all, which pushes her off the edge and compels her to behave erratically per emotions command. Interestingly, Mohan - however unwittingly - has become this jutting out tangent to her sore point. He's not part of her life, and certainly not part of her happy story with Amar, or the dark days that followed, yet from the very moment the ad was published, he's gotten irrevocably involved with all the crisis that has followed. He's caused it, and he's occasionally been there to fix it - when he can, but realistically again, not just appearing out of thin air like a stalker behind her at all all points. I like that scenes like Megha slapping Rastogi have nothing to do with Mohan coming to rescue, even if by taking off with her auto does cause it all to happen in sequence.Anyway - I digress. Point is, Mohan has becoming this jutting out tangent to Megha's story now. First unwillingly, and now very consciously and by intention over the DN case. It's interesting how Megha swings between the impulsive emotional drives and the intuitive logic with causes her to trust him every so often eventually... He causes her to lapse to her unreasonable side, by pushing ALL the buttons, and then somehow becomes equally responsible (each time) for her knockback of logic!
Loved your post JZ as always. I liked how you dissected the scene where Mohan tries to put his case in front of Megha and Vyas clan and Megha's reaction towards his gesture.
She'll eventually come around, there's no doubt about that. She can be stubborn regarding her stand, especially against Mohan but from what we've seen of her character, she's not your stereotypical "Idealistic" female lead. Her FIL is way idealistic and I guess may be his coping mechanism to all the stress in his life at his age. It's dysfunctional for sure but it is not rare to see someone like him go in to that mode.
The best part of the scene - for me - has to be Mohan's silence in response to Megha's brief but effective dialogue about her husband. Such a perfect actor Kunal is for this role, his eyes are unmoved in the trite romantic sense for this woman, and yet, even as his gaze remains unwavering, you can see that flickering of reaction to her earnest words, the innate pain, and of course, the gleam that begins to line her eyes by the time she's done. And then the fact that he bounces right back by pressing down the doorbell till the door is reopened for him - is such a Mohan thing to do. He's taken in for a moment, but only that, and then its as if her brief truthful spitfire has given him an extra reason to persist - no not consciously for her sake, not yet - but the reporter on him knows his gut feeling about things not being as they seem are not unfounded gets him ringing for a second audience.I might not be making sense with my gushing here, but what I'm saying is that I really love the perfect blend of the professional and the softie in Mohan - fairly balanced as this scene demands - without letting on even the slightest unnecessary nuance of any romantic allusion - executed to perfection by Kunal, in his brief and mostly interrupted lines (I mean bichara gets jumped at even by spineless people like Sanjay!) and in the longer silent interludes where he's listening, and letting eyes just touch upon where his heart and mind may be in reaction...So yes - totally a scene that lived upto the expectation and more, for me.
So, like all of you, I too am in agreement with regards to the best part of the scene. I liked that it was just long enough & crisply edited, with only the right amount of emotion in the acting. & whilst I appreciated that whole bit for what it was, the true tenor of the scene in its entirety only struck home after reading Jzee's words. Quite like Mohan's moment of thought before he re-rang the doorbell. π How well you amplified & elucidated it, Jzee.π
About Tanu...his balderdashery is getting increasingly difficult to stomach & yet I suppose, that means he is doing a great job of his act for he is meant to annoy.
Caught by Guru, with his pants down (literally) & the jibes that followed, I felt awash with a petty sensation of glee as if to say "it serves you right!!"
One thing I need to get off my chest... It's a bit creepy, but I absolutely adore Mohan's shoes, the ones with the undone "wed waces" It's so weird, it's the first thing I look for & once I've found them my eyes seem to fixate upon them. I know it's just part of the whole Mohan-esque package, but to me the shoes in particular seem to tell a story of their own. Like he is a kid on an adventure trail playing detective" somewhat like Tom Hanks in "Big", but not quite. His unknowingly empathetic relationship with Nanhi, his interactions with Guru & his mom, his almost guileless approach to viewing the world in black & white all point to a child-like innocence & I'm almost not ready yet for him to fall in love with Mrs. Vyas & in the process loose his "boyhood"
The news about the new entry/pivotal role/parallel lead...not liking it, can already feel faint rumblings of apprehension, mistrust setting in.
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