Iss Pyaar Ko Kya Naam Doon

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Iss Pyaar Ko Kya Naam Doon
Iss Pyaar Ko Kya Naam Doon

Blast from the Past Thread #16, pg 128, epi 180 (Page 144)

indi52 IF-Sizzlerz
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Posted: 01 September 2013 at 6:31pm | IP Logged
Originally posted by cinthiann1758

Indi Your 174 was incredible. I just can't find words to describe it it's so fabulous . Moving. Dhak Dhak!!!


thanks, cynthia. me too dhak dhak right through capturing, editing, writing. what an episode. i was thinking of all the major kissing scenes (as i call them) i've seen, and you must understand growing up in india in the sixties and seventies you did not ever never ever see them... not in movies, not in life, in fact, i was convinced only white people kiss (oh you lucky guys), after that when i did start seeing such things in movies, i was in the beginning i bet curious and most into them... but really nowadays, almost nothing makes one dhak dhak.

and here this prelude to the kiss and then that clean, simple, not really visible kiss on the cheek, and a sound. and the mind is leaping with excitement. dhak dhak in your ears.

their first kiss... her first ever. ufff.

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viv04

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Posted: 01 September 2013 at 6:39pm | IP Logged
Originally posted by indi52

Originally posted by Horizon

Respect the general consensus to agree to disagree for the ASR discussion and rest it. Just wanted to say that ASR certainly is not venomous which needs to be ejected. If Khushi didn't happen to him, he would have perhaps lived life in his own terms of "Live and let live".

Both of them are flawed and/ or perfect in their own way! 

"Iss pyar me sahi aur galath ka koi matlab nahin.. bas ek cheez ka matlab hai... ki mei hamesha.. hamesha"... and there was n't a single IPK fan's eye that was left dry that day! 

Thank you all!



thanks for one of the three sequences that almost killed me... the other being, jab tum mere saath hoti ho... and, khushi, tum mujhe sun sakti ho...

heer ranjha was in the middle of a nowhere going part of story, and set up quite thobbily, plus i am not into such things, certainly asr would never do it. yet sanaya became almost ethereal when she came on stage, then barun came and it was as though this is what asr was born to do. terribly good actors can make you feel the soul, the spirit of a character... the part we can't see with the naked eye... i actually wanted to read rumi after that...

just sharing what i wrote on my last crooner post, the day we said goodbye...

"i will never know what was the igniting factor, the clever writing, the searing acting, the consummate direction, the off beat music, which prodded what to do its best, who inspired whom, or was it just meant to be. but it grew to become much greater than the sum of its parts and it just came right out and carried me away.

"yahan na sahi, shayad kahin aur ek duniya hogi, jahan tum aur main kabhi alag nahin honge... jab jo bura kaha uska koi matlab nahin... jab jo bura kiya uska koi matlab nahin... iss pyaar mein sahi aur galat ka koi matlab nahin... bas ek cheez ka matlab hai... ki main.. hamesha.. hamesha... tumse"

just now as i went back to the 3rd april episode to pick up the words that somehow have gotten intertwined with love and are stored in my memory as part of it, i could feel my heart beat change rhythm, moisture back of my eyes, and a terrible yearning. even when i knew the heer ranjha story was plucked out of nowhere and plonked in the middle of a track going nowhere, possibly a desperate bid for numbers, with an unrealistic set up by sweet nani, even then it felt wonderful, i was absorbed,
i believed there was that place somewhere where lovers meet never ever to be parted. two young actors in silly costumes plumbing their roles to find how far it can go can sometimes do things that great literature can't."

interestingly, before i went to find this bit, i wrote the part on top... exactly the same thoughts... so they must be true i guess.


 
Indi,  Thanks for being on the same page. That underlined ..and the whole interpretation of this out of no where brilliant sequence..ClapClap
 this heart tugging sequence in the middle of a total hara- kiri of tracks, it truly felt like that oasis... a perfect 5 min sequence in the hands of totally engrossing actors summed up this whole relationship so beautifully. Couldn't resist a barrage of tears even the other day while watching it just before posting.. (even the farm house scene does the same  to me some how, it is more emotional than intimate!!) such brilliant portrayal. Honestly,  when I heard of the sequence, before the mush ASR entered, I thought that whole stage thing would be totally out of sync with him and wasn't really looking forward to it.. but in the end it became one of the pivotal ones.. kudos!

And, please don't remind me of those goodbyes.. takes back to a few not so memorable days! 

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viv04indi52

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Posted: 01 September 2013 at 6:57pm | IP Logged
Originally posted by Horizon

Wiwy, Ina, Indi, Durga, lovely discussion on the mother's suicide angle. Completely agree with you all. In fact the whole suicide thing was taken too casually in our show!!  I too was also of the opinion it just couldn't be a suicide for the kind of values she was shown to have instilled in little Arnav. Honestly, more than Arshi's post marriage romance,  it is becos of or lack there of this track that the "show ran its course" was much non sensical.. a track on which the  male protagonist's character heavily relied upon... and where a normal viewer could see so much scope and potential but full time paid creative heads couldn't?!!!


last night i was mulling over asr... his character. and how the performance of that impacted the fortunes of ipk. if he had been any less than what he was, would ipk have mattered? would we have even bothered as to his mom's character and the whys and wherefores of her persona?

actually i think the full time paid writers were given the job of creating a hot young rich dynamic man with a "past" that justifies his mean arrogant heartless mien. i feel they just reached for some easy, standard ideas to make him.

a haveli in an ancient city.

a tragedy.

a mother taken at a young age.

he forever impaired.

gun shot and nightmare.

frozen in time.

a girl appears who will reach his heart and fix him.

quite drama shama if you ask me.

the main story apparently was about the triangle... asr... khushi... shyam, the hubs of the beloved sis.

i wonder if anyone apart from the more instinctive and finer writers in the team (had a feeling ved raj was one of them... don't ask me why) ever gave these nuances much thought. a mother with a "sad" story was needed. a fabulous woman who committed suicide on a visually memorable spectacular night (we need great flashbacks) because of her husband's philandering seemed good enough.

anyway serial writers know, story must be "flexible." these "minor" characters can be pushed in any direction. but i do think there was a vague plan to return to sheesh mahal if serial was on a few months down the line, and resolve the mystery of the haveli (another great hindi phillum masala theme). and at that time, if not to restore maa to a more feasible character, to have the drama of chacha ji and family shenanigans and turn his whole perception of that terrible day, they'd work out a murder.

my thoughts.

of course, she couldn't have killed herself. not.that.night.

anyone with a tinge of conscience can tell you that.LOL
and really, if barun hadn't made asr the phenomenon he became, sometimes just with his voice (the same guy whose voice was seen as a bit
of a handicap during baat), would anyone have cared about maa's character?

just mulling.

commercial writing. esp for indian television, is not a pristine wonderful thing... i wonder how many writers give a d. i used to hear of how gul khan is farming out scenes to arbit writers sitting in the us, in india anywhere during the desperate trp seeking days. no idea if all of it was true... just felt murky.

no iman no dharam in this cut throat commerce oriented milieu. if suicide sells, suicide... we know where certain serial makers have taken the story just to get "dum," trp.

we speak of rape. remember ansh of kyonki? so many serials have shown heroes doing terrible things... i remember the sick eve teaser who then became the devoted husband... but his father continued to beat his wife, womanise, kill and remained a favourite "star" of the show. and let's not even talk of the brother.

does anyone really care in the world of soap, if something makes sense or not?

but yes, i do feel, a couple of writers did. only because they are writers.

sorry if shouted too much. maafi.



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HorizonMysticaldivine

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Posted: 01 September 2013 at 10:45pm | IP Logged
Thnx sohara...for reading and commenting on 173-174...Heart
I guess Anjali trusted Shyam blindly. So when he used to stay away giving her the excuse of work, she trusted that. As you said Arnav always gives extra importance to Anjali, so when he went out without telling her, she got worried. 

Yes I agreed yet according to my view,the season is changing in him...and if you noticed he was a little annoyed when Di came at the time when he was at rha verge of confirming "it matters " from Khushi...

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viv04sohara

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Posted: 01 September 2013 at 10:58pm | IP Logged
Originally posted by indi52

Originally posted by Horizon

Wiwy, Ina, Indi, Durga, lovely discussion on the mother's suicide angle. Completely agree with you all. In fact the whole suicide thing was taken too casually in our show!!  I too was also of the opinion it just couldn't be a suicide for the kind of values she was shown to have instilled in little Arnav. Honestly, more than Arshi's post marriage romance,  it is becos of or lack there of this track that the "show ran its course" was much non sensical.. a track on which the  male protagonist's character heavily relied upon... and where a normal viewer could see so much scope and potential but full time paid creative heads couldn't?!!!


last night i was mulling over asr... his character. and how the performance of that impacted the fortunes of ipk. if he had been any less than what he was, would ipk have mattered? would we have even bothered as to his mom's character and the whys and wherefores of her persona?

actually i think the full time paid writers were given the job of creating a hot young rich dynamic man with a "past" that justifies his mean arrogant heartless mien. i feel they just reached for some easy, standard ideas to make him.

a haveli in an ancient city.

a tragedy.

a mother taken at a young age.

he forever impaired.

gun shot and nightmare.

frozen in time.

a girl appears who will reach his heart and fix him.

quite drama shama if you ask me.

the main story apparently was about the triangle... asr... khushi... shyam, the hubs of the beloved sis.

i wonder if anyone apart from the more instinctive and finer writers in the team (had a feeling ved raj was one of them... don't ask me why) ever gave these nuances much thought. a mother with a "sad" story was needed. a fabulous woman who committed suicide on a visually memorable spectacular night (we need great flashbacks) because of her husband's philandering seemed good enough.

anyway serial writers know, story must be "flexible." these "minor" characters can be pushed in any direction. but i do think there was a vague plan to return to sheesh mahal if serial was on a few months down the line, and resolve the mystery of the haveli (another great hindi phillum masala theme). and at that time, if not to restore maa to a more feasible character, to have the drama of chacha ji and family shenanigans and turn his whole perception of that terrible day, they'd work out a murder.

my thoughts.

of course, she couldn't have killed herself. not.that.night.

anyone with a tinge of conscience can tell you that.LOL
and really, if barun hadn't made asr the phenomenon he became, sometimes just with his voice (the same guy whose voice was seen as a bit
of a handicap during baat), would anyone have cared about maa's character?

just mulling.

commercial writing. esp for indian television, is not a pristine wonderful thing... i wonder how many writers give a d. i used to hear of how gul khan is farming out scenes to arbit writers sitting in the us, in india anywhere during the desperate trp seeking days. no idea if all of it was true... just felt murky.

no iman no dharam in this cut throat commerce oriented milieu. if suicide sells, suicide... we know where certain serial makers have taken the story just to get "dum," trp.

we speak of rape. remember ansh of kyonki? so many serials have shown heroes doing terrible things... i remember the sick eve teaser who then became the devoted husband... but his father continued to beat his wife, womanise, kill and remained a favourite "star" of the show. and let's not even talk of the brother.

does anyone really care in the world of soap, if something makes sense or not?

but yes, i do feel, a couple of writers did. only because they are writers.

sorry if shouted too much. maafi.




maafi Horizon and Indi for putting my nose yet couldn't resist...

Indi that in blue...and Horizon in that red...totally agreed with you.How can a mother who was at that higher caliber and gave such nice directions of life has no direction for herself...can't digest it and never did.
There was a story of Sheesh Mahal,Chachaji,and even runway too but not the way they showed us...doesn't make sense...

Black underlined...as my sis was visiting me ,you all know...she mentioned me a serial...name is not coming in my head yet she opened lappy and showed me...Hero is a gunda of college and forcefully making family to marry their girl with him and he did...I asked the same question to me sister...what are you watching...She has a strange answer for me...so there are some sick who likes that stupid stuff ...but why do we have changed the PICTURE of our heroes...no clue...except it sells and money speaks...


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Horizonindi52

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Posted: 01 September 2013 at 11:10pm | IP Logged
Originally posted by ArshiHamesha

Thnx sohara...for reading and commenting on 173-174...Heart
I guess Anjali trusted Shyam blindly. So when he used to stay away giving her the excuse of work, she trusted that. As you said Arnav always gives extra importance to Anjali, so when he went out without telling her, she got worried. 

Yes I agreed yet according to my view,the season is changing in him...and if you noticed he was a little annoyed when Di came at the time when he was at rha verge of confirming "it matters " from Khushi...
 yeah i noticed his irritation too. but his di was his world. I was so mad at him when he rebuked Khushi to go in front of Anjali after coming back from the hostage. Though he repented a lot, but still he shouldn't say those excruciating words to her, whereas he knows what an an angel she is!

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Mysticaldivine

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Posted: 01 September 2013 at 11:56pm | IP Logged
Originally posted by indi52


the intimacy of this frame has me riveted. so very very close to each other they are really, she seems to yearn to be near him, he's reaching out and in for her sake, he's ready to go far and deep into this whole thing... no holding back.

once is happenstance. twice is coincidence. three times, it's enemy action.
~~~ auric goldfinger, goldfinger, ian fleming~~~


episode 174

what do you do if the enemy is really powerful? in fact, a confounding four letter word that refuses to go away... "kitni koshish ki maine." love, pyar, call it what you will, it was in action mode and its two victims, though they fought valiantly, were really no match for its fire power.

going down with them was a viewer not known for her resilience against such assault.

the strategy by creatives was equally brutal.

after having asr dance, prey and flirt for three killer episodes, causing dhak dhaks across the world to escalate, just when you thought you couldn't take it any more, they threw us into an asr deprivation tank on thursday, episode 173.

only in the last couple of seconds he appeared, an insanity inducing intensity about him.

then came friday and 174. on deprived sensory organs were charged three rounds of utterly asr and extreme action between him and khushi. you gasped, you writhed, you held up your arms to defend yourself, then finally succumbing to superior might, you fell flat and wondered how the h am i going to write about this.

you spent four days figuring out how not to write a book on it. elegance... elegance, write a pithy one said your finer sense, your gross one said, forget it, just go for it, hon. so, here's going for it...

come back, please come back, she'd prayed. i say sorry from my heart, she'd averred. and the moment it went all the way to the heart, seemed he had to appear. she sensed him in her dak dhaks, before she turned and tyhere he stood, before that cardboard cut out tree, more real than flesh and blood has ever been on tv.

dhak dhak dhak dhak.

music in, soft, measured, a flow of feelings, by the most significant body of water in ipk.

water was always a strong presence in this narrative. arnav the ocean, scattering pearls the harvest of deep waters, the sense of a turbulent ocean and its calming holding shore, and of course, the magical pool by the bedroom. we never cared about its obvious lack of size and depth, we saw them by that tiny tank of aitch-two-oh and we experienced untold highs.

and now by that pool started the drama of ocean and shore, ebb and flow. khushi, absolutely tired by her worry, tense as anything, completely forgot to hide her feelings. oh she needed him badly alright. just that perhaps being the middle class girl she was, reared with the idea of what kind of men one could like and how much feeling was a decent amount to have for such "good" men, she just didn't know how to glean that she had lots of feelings for this sort of bad man, in fact her feelings were way more than what her world prescribed as safe and sound.

a lot has been said about what she did for asr, but perhaps not enough about what he did for her. why he was as essential to her. how he released her. how he made her feel more. in that first "aap?!" from her, with a frown and an aggression, in that feeling that she had the right to speak to him as she pleased... maybe there's a clue.

a matter of haq. how many people on this earth can we speak to with a complete sense of right over them? maybe for khushi ultimately there was just this one man. no relationship by birth or society, not even supposedly do they like each other, yet always, from that second meeting onward, she spoke to him as she pleased, said what she had to, often in a way she'd speak to no one else on earth. he was rough, rude, even wrong... he dragged her, tore her dori, insulted her at the drop of a hat. yet something in him seemed to reach her.

she didn't back off, something in her wanted to go near. was it just a fascination of the moth for the flame, or was it something else. was there a sense of coming home... at last someone to call entirely and absolutely her own.

look at how angry she is with him for disappearing... her voice rises on "aap," then forgetting all barriers, anger... "kahan the aap...!"

he moves his head a bit at the vehemence and demand in her voice...

and she flows toward him uncontrolled, insistent, unable to check her urgency...has she ever walked toward him with such purpose?

"aise kya dekh rahe hain aap, aur aise chup chap kyun khade hain? aap kab gaye, khahan gaye? kissiko batake kyun nahin gaye?"

what are you looking at, and why are you standing here so quietly? when did you go, where did you go? why didn't you tell anyone before going?

"aap jante hain humne aapko phone karne ki kitni koshish ki? aapko andaza nahin ki..."

do you know how many times i tried to call you? you have no idea...

and he breaks his silence finally... was he a bit taken aback at her tone, her whole reaction? i wonder what she would have said if he hadn't

"kyun?" he says softly... she draws back, "tumhe kya faraq padta hai mere jaane se..."

why? what difference does my going make to you?

oh he is playing a bit but he so needs to know it makes a diff, damn well does. her coolness, her fighting, her i don't give a damn, he wants it all to end... not in defeat though, in the triumph of a feeling acknowledged.

she's beside herself with worry... "faraq padta hai! hum kitne pareshan hain... hum.." makes a difference, she says, i am so worried... i'm...

"mere liye," a quizzical almsot happy smile, for me...
"haan aapke liye," yes, for you... she's walking into the trap...


and he sta
rts his advance, he looks as if he must... get near, make her accept.

a feeling of flow and ebb, she had rushed at him, now he walks up toward her pushing her back, a shoreline undulates.

"oh really?!" music picks up tempo, asr moves in, kkg starts backing off as realisation dawns... she was revealing things she didn't mean to.

a cut to the most gorgeous advance retreat, so deliberate, so full of longing and hope, and why are they both looking so so good.

he fixes her with a gaze... predator again, she is suddenly lost confused awkward.

"haan... woh... nahin... an..jali ji pareshan..." she's dashed into the table behind, is losing her balance...

"be careful khushi, nahin toh main samjhoonga ki tumhe meri chinta ho rahi hai..." be careful khushi, otherwise i'll think you were concerned for me.

khushi is a stuttering, stammering mess, her emotions in turmoil, his nearness causing havoc again... "humne kaha na... hum nahin... anjali ji!.." liar liar liar, softly laps the pool.

of course, his di came in as if on cue and thah moment was gone... but not quite... why is everyone so worried about me? he asked and khushi had to stop at that, then he continued...

"
waise achcha hi hua ki main gaya... pata toh chala ki mujhe itna miss kiya jata hai." in a way, it's good i went, got to know that i am missed so much.


oh he enjoyed that bait and her rise to it. she ran for cover.

di was concerned, plaintive in her worry... but khushi was gussa, demanding. as he is usually. feelings of love are hard to hide.

as teatime progresses at the table, and akash is trying to get a peak at payal's hand where his initial is written, khsuhi sees the "a" on her palm. good opportunity for a comedy break before the heat is turned on again... this time in the kitchen.

"a" is  the beginning, the first. "a" is for arnav. and when it's written in mehendi that stays on the soft surface of the palm right on your person, so very intimate, "a" is for aphrodisiac.

"a...a... aaalo jiji, chai lelo na!" khushi switches to weird mode the moment she catches sight of that telltale letter. he's here, coming down the stairs to join them for chai, but he hears the voicemail... she's saying, please, just come back...

"khushi?" he's perplexed. and perhaps hopeful?

"khoosie, khoosie! arre ka hua bitiya..." what happened, khushi... wonder her aunt and mother...

she rushes to the kitchen to do something about that "a."

scraping her henna desperately with a knife, she's muttering... so many times i told the mehendi wali my name is...
"khushi..." he completes, nice sound edit. the "a" man is with her and he has some questions...

torrent of heart beats.

the knife drops. his eyes take that in and come right back to her face... not a moment is missed by the predator, the lover. she stands face averted.

"main tumse baat kar raha hoon..." i am talking to you.

a wonderful exchange about the voice message. fun, a bit crazy, constantly sexy. why did you call me. i? called you? when? "i don't know" gorgeously delivered of course, just a while back. you were saying you're sorry or something?
"inhe kaise pata chal gaya, " she thinks looking badly stuck... looks away, up down, under the lashes, gets back quickly with a shrug shrug cool, "nahin toh..." 

music was cut perfectly to the sequence.

he advances again... first by the water, now by kitchen fire... the elements always there in the telling of this story. cool voice, gentle and sweet, enjoying the leg pulling though, the power... "pothey esho" my mother would have said, come to the right place... you do give a damn, admit it, dammit.

why should i say sorry? khushi is still trying to wiggle out of it.

for saying those things to me in the morning... you were saying you're very ashamed, were asking for my forgiveness. i did no such thing, retorts the tigress against the wall... rock and a hard place situation. he switches on voice mail.

"toh tum pareshan thi... itni pareshan ki tumne mujhse maafi maangi... kya laga tumhe... ki main ghayab ho gaya hoon?"

so you were worried... so worried that you apologised to me... what did you think, that i would disappear.
how lovely his pauses between sentences... he is so happy he matters to her.

"dekhiye..." look... her hand comes up, the "a" palm. his eyes move down immediately noticing it.

"yeh hamari awaz nahin hai..." this is not my voice. "really?" the most gently devastating voice, turn of head, lopsided smile. khushi's classic kkg defence, madness. switch that off, that's not my voice... (i have done this sort of thing in college, hoping my hundred and one denials will wipe out one simple truth)

"aur hume koi faraq nahin padta, aap kahin bhi jaaye, kuch bhi kijiye... hume uss se kya..." she is fighting back. and it makes no difference to me, you can go wherever, do what you like, what...

"toh tumhe koi farq nahin padta?" so it makes no difference to you? oh the need for faraq in both and both claiming there is none.

"bilkul..." absolutely, says she. and her hand is grabbed.

shut the hand quick. something funny and something terribly tender in that moment. he keeps holding her hand, pries her fingers open, the struggle a delight to watch, finally she has to give in.

"toh yeh kya?" so what's this. "a" for arnav, she's got it on her palm.
he thinks he's got her. he knows he has.

but did you know, mister, there's "a" in her name too?

arms have to be crossed, amusement has to be taken to another level...
"tumhare naam  mein... tumhare naam mein... really?"

the fun he's having.
what an opponent... crazy, determined, inventive. no wonder asr could not give up... such a hard one to crack. this deal he had to win.

no... i mean ye-es, read my lips... khushi kumaaari guptaaa.

"aa... i see."

just as he settles down for a major flirting session, nk has to walk in. he has a job to do... the nk from up above has sent him to get something done.
so he comes with his "bigul" meaning "bagal"... is that bugle in hindi? battle cry?

she sees asr's face losing mirth, irritated, and swoops in to use the moment... she latches on to nk, all smiles, and escapes... she also knows this will  stoke something in the "a" man... something more than just irritation.


as she sits laughing and chatting a bit too much with nk, even di seems to notice it, he comes with grumpy face and sits down. before that a moment in the kitchen where he looks almost bereft.

at the table... it's clear the shooting was done separately... yet his upset look touches the heart. he can't take the khushi nk tete a tete any more, he leaves with a gruff, gotta make conference call.

that was round two. khushi did think it was over, but no... chance has a way of working things the way it wants to... so khushi it is who has to go to his room to get the bangle for payal. that mehendi is looking for colour today.

he is pacing... remembering nk and her... it's getting to him. 
today the thing he feels is clearly jealousy. he now knows he has feelings for khushi. in keeping with his nature, he's acted on it... from that submission in teri meri, through every moment after that, he's tried in different ways to reach her, to gauge her feelings, to make her admit... so now when he sees nk and her together, and she's so engrossed in another man, he is not just irked... he is jealous. lovely.

it's so hard to make one who has slammed the door on love understand that is what he feels, nothing else. nothing less.

she reaches to his room on heartbeats. music changes as kangan falls into the pool. seems like  anew piece. can't recall hearing this before.

she is trying to reach the bangle, stretching her palm with it's "a," and not quite making it.

a splash of water.

 and another arm comes in... brown, surer, with a longer reach
.


it is him.

from the fire to the water. has a scene ever been more stirring. the private just you and me of the moment. two people sitting close to each other, arms dipped in clear water, searching for something. together.

he picks up the bangle, she is shocked. he looks at her, "faraq nahin padta?" his gaze seems to ask.


"aap yahan kya kar rahe hain... humne kaha tha na aapse..." what are you doing here? i'd told you... she is aggressive again... that haq.

"khushi, yeh mera room hai... remember?" it's my room, remember? a gentle reminder.

"hum khud kar lete," i could have done it myself. a quintessential khushi trait. i can do everything alone, by myself... don't need help. being orphaned young isn't easy... i can quite understand her need to be reliant on herself. even if to a fault.

"har kam tum khud nahin kar sakti..." you can't do everything by yourself. anger, pulsating somehow... is this triggered by that jealousy somewhat?

"haan... hum hum kar sakte hain!" she's getting nervous and trying to hold on to her premise.

a funny moment, a curious tension, music tender, feeling its way around. he looks at her, something in his eyes, he lets the bangle go, it falls back into the water.

again a splash.

droplets on her face. she flinches. he looks at her surprised. carefully crafted each shot. lots of care. a precious scene is being put together with care...

the slightest smile at this stubborn girl... a swift but filled with edge and love, "tum theek ho?"

she looks up... hey hey... in the process of losing and finding things hearts are being lost and so they can finding their way home...

"main neekal deta..." i'll take it out.
"hum kar lenge..." i'll do it.

again the duel starts. two hands in the water, his hand covers hers, how terribly stomach emptying.
under water, skin against skin, a closeness, unlike any other. her hand has his name on it and he wants to touch it... he so wants to hold that hand that says what she refuses to.

she looks at him shocked..

he is noticing her every look move expression...

"tum itna dar kyun rahi ho?" he really wants to know... why is she scared.


she snatches away the bangle... i told you i can do it myself. and gets up to leave.

she feels the tug on her dupatta, she is about to turn when she remembers the tea and the thorns.

all her not understood and confusing emotions, her tension, her stressed out state on her face...she turns and this time he is holding her dupatta. he, not the thorns.

"aap humara... dupatta chhoriye..." leave my dupatta, she's unprepared for this, terribly uncomfortable, but not angry. how can she be? hasn't something in her wanted to be held long? and i imagine all that worrying for him is bubbling somewhere inside, she needs him to hold her and soothe that away.


"kyun?" why? a little lift of head, lips barely part, eyes stay fixed on his quarry. barun sobti has a way of delivering single word dialogues that i can't ever describe. they strike home every time. "hi," "really?" and this episode twice,"kyun?" 

"bas...chhoriye..." nervous she is, losing fire.

he stands up still holding the veil of pink chiffon, now pulled taut between them.

then in measured tone, ready to make the strike, he lured, "tum har woh kam nahin kar sakti jo main kar sakta." you can't do everything that i can.

she couldn't let go, she insisted, "nahi... hum..." she went to pull her dupatta, but he ain't letting go...


with a victorious air and on a change of music that feels the excitement, he began to use the dupatta to reel her in... like his catch. of a lifetime.

"tum kuch bhi kar sakti ho na? chhura lo apna dupatta..." you can do anything, right? so get your dupatta. how smooth and provocative is the voice.

"haan kar sakte..." yes i can.

at that, he tugged, and she was upon him almost.

music out.

dhak dhak... dhak dhak...

intently looking at her... no game in his eyes, just a bit maybe in his voice, on his face a potent combination of need, desire, craving. his voice kept a laughter in it perhaps just to keep things light, somehow under control.


"jo main karoonga kya tum woh kar paaogi?" he asked.
what i'll do will you be able to?

she nodded. her eyes perturbed... now what?

a tiny smile... "lagi shart?" it's a bet? a break in the voice.

a still moment of bated breath.

he leaned over and surged forward to give her a kiss on her right cheek... for a split second, he stayed there and slowly returned... hey hey...

has a kiss ever been more igniting, more earthquaking. and that single clear sound of a kiss. exploding. a thrill, an indulgence in it. a right, a delight. done. lagi shart. no need to bother the censors, take hours over close ups and setting up, and reach for lips. if you know how to do it, a touching of lips on cheek is enough to start the fire.

yes, it was enemy action alright.



This episode brought dhak dhaks in me too and I can see it all over in your piece, indi! The kitchen scene was a perfect blend of teasing, flirting, trying to make her admit her feelings, and good clean comedy as well. I loved your description of it and his 'one worder's'? Oh really? hai!

The last sound of that ' puchuk ' on her cheek gave me a rash of goosebumps! Felt good to recall all that while reading. Such  a pleasure to read your flowing thoughts, even if you decide to call it rambling... its a very pleasant flow of words making me relive the magic of watching IPK.
Thanks once again

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indi52

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Posted: 02 September 2013 at 12:08am | IP Logged
StarClap
Originally posted by indi52


the intimacy of this frame has me riveted. so very very close to each other they are really, she seems to yearn to be near him, he's reaching out and in for her sake, he's ready to go far and deep into this whole thing... no holding back.ClapClap
He is ready for everything to make her his for forever...once he pulled back on Diwali night but now he is determined...as she is pulling back...and he knows why..that why he is removing all of her fears...yet she does have a trust on him as always...only FEAR she has his UNPREDICTABLE behavior...very natural
once is happenstance. twice is coincidence. three times, it's enemy action.
~~~ auric goldfinger, goldfinger, ian fleming~~~Smile


episode 174

what do you do if the enemy is really powerful? in fact, a confounding four letter word that refuses to go away... "kitni koshish ki maine." love, pyar, call it what you will, it was in action mode and its two victims, though they fought valiantly, were really no match for its fire power.

Indeed they fought with these demons within...

going down with them was a viewer not known for her resilience against such assault.

the strategy by creatives was equally brutal.

after having asr dance, prey and flirt for three killer episodes, causing dhak dhaks across the world to escalate, just when you thought you couldn't take it any more, they threw us into an asr deprivation tank on thursday, episode 173.LOLThumbs Up Fire...is burning from a small flicker

only in the last couple of seconds he appeared, an insanity inducing intensity about him.

then came friday and 174. on deprived sensory organs were charged three rounds of utterly asr and extreme action between him and khushi. you gasped, you writhed, you held up your arms to defend yourself, then finally succumbing to superior might, you fell flat and wondered how the h am i going to write about this.ROFL ...

same here yet I saw a contrasting TUG in between ASR and Shyam towards her Dupatta,her respect so decided join it together with MAHA...in two parts as I was seeing at different angles ...yet this scene was a killer...
you spent four days figuring out how not to write a book on it. elegance... elegance, write a pithy one said your finer sense, your gross one said, forget it, just go for it, hon. so, here's going for it...ClapSmile

come back, please come back, she'd prayed. i say sorry from my heart, she'd averred. and the moment it went all the way to the heart, seemed he had to appear. she sensed him in her dak dhaks, before she turned and tyhere he stood, before that cardboard cut out tree, more real than flesh and blood has ever been on tv.

dhak dhak dhak dhak.

music in, soft, measured, a flow of feelings, by the most significant body of water in ipk.

water was always a strong presence in this narrative. arnav the ocean, scattering pearls the harvest of deep waters, the sense of a turbulent ocean and its calming holding shore, and of course, the magical pool by the bedroom. we never cared about its obvious lack of size and depth, we saw them by that tiny tank of aitch-two-oh and we experienced untold highs.
I had a vision of some day they will be in...yet alas...Thnx for imagining those moments through your story...I found two useless things among others one POOL and othe NK's camera when nothing was supposed to be captured then what the heck he had it...may be later they heard us and had fixed cameras in his room

and now by that pool started the drama of ocean and shore, ebb and flow. khushi, absolutely tired by her worry, tense as anything, completely forgot to hide her feelings. oh she needed him badly alright. just that perhaps being the middle class girl she was, reared with the idea of what kind of men one could like and how much feeling was a decent amount to have for such "good" men, she just didn't know how to glean that she had lots of feelings for this sort of bad man, in fact her feelings were way more than what her world prescribed as safe and sound.

indeed if you think deeply she has no clue what a life around a man is especially in this situation...she is overwhelmed by all of these emotions yet the set norms are in her way to accept it

a lot has been said about what she did for asr, but perhaps not enough about what he did for her. why he was as essential to her. how he released her. how he made her feel more. in that first "aap?!" from her, with a frown and an aggression, in that feeling that she had the right to speak to him as she pleased... maybe there's a clue.

a matter of haq. how many people on this earth can we speak to with a complete sense of right over them? maybe for khushi ultimately there was just this one man. no relationship by birth or society, not even supposedly do they like each other, yet always, from that second meeting onward, she spoke to him as she pleased, said what she had to, often in a way she'd speak to no one else on earth. he was rough, rude, even wrong... he dragged her, tore her dori, insulted her at the drop of a hat. yet something in him seemed to reach her.

she didn't back off, something in her wanted to go near. was it just a fascination of the moth for the flame, or was it something else. was there a sense of coming home... at last someone to call entirely and absolutely her own.

look at how angry she is with him for disappearing... her voice rises on "aap," then forgetting all barriers, anger... "kahan the aap...!"
that speaks for it self ,she is casting her vote openly and here she is doing the same...just like a wifey tone...
he moves his head a bit at the vehemence and demand in her voice...

and she flows toward him uncontrolled, insistent, unable to check her urgency...has she ever walked toward him with such purpose?

"aise kya dekh rahe hain aap, aur aise chup chap kyun khade hain? aap kab gaye, khahan gaye? kissiko batake kyun nahin gaye?"

what are you looking at, and why are you standing here so quietly? when did you go, where did you go? why didn't you tell anyone before going?

"aap jante hain humne aapko phone karne ki kitni koshish ki? aapko andaza nahin ki..."

do you know how many times i tried to call you? you have no idea...

and he breaks his silence finally... was he a bit taken aback at her tone, her whole reaction? i wonder what she would have said if he hadn't
I think he was just provoking her more...
"kyun?" he says softly... she draws back, "tumhe kya faraq padta hai mere jaane se..."

why? what difference does my going make to you?

oh he is playing a bit but he so needs to know it makes a diff, damn well does. her coolness, her fighting, her i don't give a damn, he wants it all to end... not in defeat though, in the triumph of a feeling acknowledged.

she's beside herself with worry... "faraq padta hai! hum kitne pareshan hain... hum.." makes a difference, she says, i am so worried... i'm...

"mere liye," a quizzical almsot happy smile, for me...
"haan aapke liye," yes, for you... she's walking into the trap...


and he sta
rts his advance, he looks as if he must... get near, make her accept.

a feeling of flow and ebb, she had rushed at him, now he walks up toward her pushing her back, a shoreline undulates.

"oh really?!" music picks up tempo, asr moves in, kkg starts backing off as realisation dawns... she was revealing things she didn't mean to.

a cut to the most gorgeous advance retreat, so deliberate, so full of longing and hope, and why are they both looking so so good.

he fixes her with a gaze... predator again, she is suddenly lost confused awkward.

"haan... woh... nahin... an..jali ji pareshan..." she's dashed into the table behind, is losing her balance...

"be careful khushi, nahin toh main samjhoonga ki tumhe meri chinta ho rahi hai..." be careful khushi, otherwise i'll think you were concerned for me.

khushi is a stuttering, stammering mess, her emotions in turmoil, his nearness causing havoc again... "humne kaha na... hum nahin... anjali ji!.." liar liar liar, softly laps the pool.

He is enjoying her laps along with the pool ...isn't her...
of course, his di came in as if on cue and thah moment was gone... but not quite... why is everyone so worried about me? he asked and khushi had to stop at that, then he continued...

"
waise achcha hi hua ki main gaya... pata toh chala ki mujhe itna miss kiya jata hai." in a way, it's good i went, got to know that i am missed so much.


oh he enjoyed that bait and her rise to it. she ran for cover.

di was concerned, plaintive in her worry... but khushi was gussa, demanding. as he is usually. feelings of love are hard to hide.

as teatime progresses at the table, and akash is trying to get a peak at payal's hand where his initial is written, khsuhi sees the "a" on her palm. good opportunity for a comedy break before the heat is turned on again... this time in the kitchen.

"a" is  the beginning, the first. "a" is for arnav. and when it's written in mehendi that stays on the soft surface of the palm right on your person, so very intimate, "a" is for aphrodisiac.

"a...a... aaalo jiji, chai lelo na!" khushi switches to weird mode the moment she catches sight of that telltale letter. he's here, coming down the stairs to join them for chai, but he hears the voicemail... she's saying, please, just come back...

"khushi?" he's perplexed. and perhaps hopeful?

"khoosie, khoosie! arre ka hua bitiya..." what happened, khushi... wonder her aunt and mother...

she rushes to the kitchen to do something about that "a."

scraping her henna desperately with a knife, she's muttering... so many times i told the mehendi wali my name is...
"khushi..." he completes, nice sound edit. the "a" man is with her and he has some questions...

torrent of heart beats.

the knife drops. his eyes take that in and come right back to her face... not a moment is missed by the predator, the lover. she stands face averted.

"main tumse baat kar raha hoon..." i am talking to you.

a wonderful exchange about the voice message. fun, a bit crazy, constantly sexy. why did you call me. i? called you? when? "i don't know" gorgeously delivered of course, just a while back. you were saying you're sorry or something?
"inhe kaise pata chal gaya, " she thinks looking badly stuck... looks away, up down, under the lashes, gets back quickly with a shrug shrug cool, "nahin toh..." 

music was cut perfectly to the sequence.

he advances again... first by the water, now by kitchen fire..... the elements always there in the telling of this story. cool voice, gentle and sweet, enjoying the leg pulling though, the power... "pothey esho" my mother would have said, come to the right place... you do give a damn, admit it, dammit.

why should i say sorry? khushi is still trying to wiggle out of it.

for saying those things to me in the morning... you were saying you're very ashamed, were asking for my forgiveness. i did no such thing, retorts the tigress against the wall... rock and a hard place situation. he switches on voice mail.

"toh tum pareshan thi... itni pareshan ki tumne mujhse maafi maangi... kya laga tumhe... ki main ghayab ho gaya hoon?"

so you were worried... so worried that you apologised to me... what did you think, that i would disappear.
how lovely his pauses between sentences... he is so happy he matters to her.
Oh yeah he is ...Koi Shak
"dekhiye..." look... her hand comes up, the "a" palm. his eyes move down immediately noticing it.

"yeh hamari awaz nahin hai..." this is not my voice. "really?" the most gently devastating voice, turn of head, lopsided smile. khushi's classic kkg defence, madness. switch that off, that's not my voice... (i have done this sort of thing in college, hoping my hundred and one denials will wipe out one simple truth) LOL

"aur hume koi faraq nahin padta, aap kahin bhi jaaye, kuch bhi kijiye... hume uss se kya..." she is fighting back. and it makes no difference to me, you can go wherever, do what you like, what...

"toh tumhe koi farq nahin padta?" so it makes no difference to you? oh the need for faraq in both and both claiming there is none.

"bilkul..." absolutely, says she. and her hand is grabbed.

shut the hand quick. something funny and something terribly tender in that moment. he keeps holding her hand, pries her fingers open, the struggle a delight to watch, finally she has to give in.

"toh yeh kya?" so what's this. "a" for arnav, she's got it on her palm.
he thinks he's got her. he knows he has.

but did you know, mister, there's "a" in her name too?LOL

arms have to be crossed, amusement has to be taken to another level...
"tumhare naam  mein... tumhare naam mein... really?"

the fun he's having.
what an opponent... crazy, determined, inventive. no wonder asr could not give up... such a hard one to crack. this deal he had to win.ClapStar

no... i mean ye-es, read my lips... khushi kumaaari guptaaa.

"aa... i see."

just as he settles down for a major flirting session, nk has to walk in. he has a job to do... the nk from up above has sent him to get something done.
so he comes with his "bigul" meaning "bagal"... is that bugle in hindi? battle cry?Clap

she sees asr's face losing mirth, irritated, and swoops in to use the moment... she latches on to nk, all smiles, and escapes... she also knows this will  stoke something in the "a" man... something more than just irritation.


as she sits laughing and chatting a bit too much with nk, even di seems to notice it, he comes with grumpy face and sits down. before that a moment in the kitchen where he looks almost bereft.

at the table... it's clear the shooting was done separately... yet his upset look touches the heart. he can't take the khushi nk tete a tete any more, he leaves with a gruff, gotta make conference call.

that was round two. khushi did think it was over, but no... chance has a way of working things the way it wants to... so khushi it is who has to go to his room to get the bangle for payal. that mehendi is looking for colour today.

he is pacing... remembering nk and her... it's getting to him. 
today the thing he feels is clearly jealousy. he now knows he has feelings for khushi. in keeping with his nature, he's acted on it... from that submission in teri meri, through every moment after that, he's tried in different ways to reach her, to gauge her feelings, to make her admit... so now when he sees nk and her together, and she's so engrossed in another man, he is not just irked... he is jealous. lovely.
THat was a bit too much for him to handle as he is way possessive yet he portrays really well a jealous mixed with love potion avatar

it's so hard to make one who has slammed the door on love understand that is what he feels, nothing else. nothing less.Clap

she reaches to his room on heartbeats. music changes as kangan falls into the pool. seems like  anew piece. can't recall hearing this before.

she is trying to reach the bangle, stretching her palm with it's "a," and not quite making it.

a splash of water.

 and another arm comes in... brown, surer, with a longer reach
.



it is him.

from the fire to the water. has a scene ever been more stirring. the private just you and me of the moment. two people sitting close to each other, arms dipped in clear water, searching for something. together.

he picks up the bangle, she is shocked. he looks at her, "faraq nahin padta?" his gaze seems to ask.


"aap yahan kya kar rahe hain... humne kaha tha na aapse..." what are you doing here? i'd told you... she is aggressive again... that haq.

"khushi, yeh mera room hai... remember?" it's my room, remember? a gentle reminder.

"hum khud kar lete," i could have done it myself. a quintessential khushi trait. i can do everything alone, by myself... don't need help. being orphaned young isn't easy... i can quite understand her need to be reliant on herself. even if to a fault.
She is used to as no one else did anything for her...

"har kam tum khud nahin kar sakti..." you can't do everything by yourself. anger, pulsating somehow... is this triggered by that jealousy somewhat?

"haan... hum hum kar sakte hain!" she's getting nervous and trying to hold on to her premise.

a funny moment, a curious tension, music tender, feeling its way around. he looks at her, something in his eyes, he lets the bangle go, it falls back into the water.

again a splash.

droplets on her face. she flinches. he looks at her surprised. carefully crafted each shot. lots of care. a precious scene is being put together with care...

the slightest smile at this stubborn girl... a swift but filled with edge and love, "tum theek ho?"

His concern and care is way too much here and at the top he wants her to e comfortable near him...

she looks up... hey hey... in the process of losing and finding things hearts are being lost and so they can finding their way home...Clap

"main neekal deta..." i'll take it out.
"hum kar lenge..." i'll do it.

again the duel starts. two hands in the water, his hand covers hers, how terribly stomach emptying.
under water, skin against skin, a closeness, unlike any other. her hand has his name on it and he wants to touch it... he so wants to hold that hand that says what she refuses to.
ClapStar
she looks at him shocked..

he is noticing her every look move expression...

"tum itna dar kyun rahi ho?" he really wants to know... why is she scared.

She is scared because of what she is feeling and has no idea how to handle that..


she snatches away the bangle... i told you i can do it myself. and gets up to leave.

she feels the tug on her dupatta, she is about to turn when she remembers the tea and the thorns.

all her not understood and confusing emotions, her tension, her stressed out state on her face...she turns and this time he is holding her dupatta. he, not the thorns.

"aap humara... dupatta chhoriye..." leave my dupatta, she's unprepared for this, terribly uncomfortable, but not angry. how can she be? hasn't something in her wanted to be held long? and i imagine all that worrying for him is bubbling somewhere inside, she needs him to hold her and soothe that away.ClapClap


"kyun?" why? a little lift of head, lips barely part, eyes stay fixed on his quarry. barun sobti has a way of delivering single word dialogues that i can't ever describe. they strike home every time. "hi," "really?" and this episode twice,"kyun?"  Clap

"bas...chhoriye..." nervous she is, losing fire.

he stands up still holding the veil of pink chiffon, now pulled taut between them.

then in measured tone, ready to make the strike, he lured, "tum har woh kam nahin kar sakti jo main kar sakta." you can't do everything that i can.

she couldn't let go, she insisted, "nahi... hum..." she went to pull her dupatta, but he ain't letting go...


with a victorious air and on a change of music that feels the excitement, he began to use the dupatta to reel her in... like his catch. of a lifetime.

"tum kuch bhi kar sakti ho na? chhura lo apna dupatta..." you can do anything, right? so get your dupatta. how smooth and provocative is the voice.

"haan kar sakte..." yes i can.

at that, he tugged, and she was upon him almost.

music out.

dhak dhak... dhak dhak...

intently looking at her... no game in his eyes, just a bit maybe in his voice, on his face a potent combination of need, desire, craving. his voice kept a laughter in it perhaps just to keep things light, somehow under control.
Every emotion is running in his vein being near her yet in control...doesn't want to scare her


"jo main karoonga kya tum woh kar paaogi?" he asked.
what i'll do will you be able to?

she nodded. her eyes perturbed... now what?

a tiny smile... "lagi shart?" it's a bet? a break in the voice.

a still moment of bated breath.

he leaned over and surged forward to give her a kiss on her right cheek... for a split second, he stayed there and slowly returned... hey hey...

has a kiss ever been more igniting, more earthquaking. and that single clear sound of a kiss. exploding. a thrill, an indulgence in it. a right, a delight. done. lagi shart. no need to bother the censors, take hours over close ups and setting up, and reach for lips. if you know how to do it, a touching of lips on cheek is enough to start the fire.

yes, it was enemy action alright.


Indi fabulous...Clap

His first assurance ...why are you so scared is giving her warmth,which she will carry till her next fall...yet she wasn't angry ...a bit disbelief was running in her vein but didn't jump or yell or what no Khushism...as she accepted it .

You described every emotion ,every particle of this epi...with just a momentum and velocity that I am speechless...

Thnx for the treat...Smile

My comments are in red...Smile

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