Apr 12, 2006 12:59 PM
13860 Views
(Updated Apr 12, 2006 03:20 PM)
This became my hot favourite when it showed a middle-classed family in details. The romance story of Rani and Prince was brewing up with the refusal and anger of Rani. The characters were developing in a rhythmic pace with each and every tit-bits of normal life, so close to reality.
I expected the story to be warmed up with some more delicate psychological touches, tinted with the colour of the deep anguish which was cherished by Rani for her beloved husband Raj. The extra-ordinary courage of Rani of conducting her husband's funeral and giving no over melodramatic reactions, yet conveying the intolerable pain of his absence was the unique credit of this serial.
The expectation increased in the episodes when Prince's identity was on the verge of disclosure. The interference and interpretation of the role of Kamya was even more authentic, as she was initially not portrayed as the typical vamp.
But now, recently, since the kidney donation episode, it seems that the serial is hurrying up to give it a smooth and absurd happy ending. The ghisse-pitte step-mother, which is a very old and hackneyed concept is marring the credibility of the story-line. But now that Prince is trying to pay back everything to the Goel family and Rani's paternal family is contradicting the original message and philosophy of the serial. This has reduced the sustained arresting capacity of the story.
At present, the media people either no more belong to the middle-class culture, nor do they portray any such pictures. In this context, I appreciate the venture of the director of this serial.
And if we look behind at the golden age of Indian TV shows or even movies, we will easily find that this middle-class culture has always entertained the Indian race as a whole.
Director Hriishikesh Mukherjee is one of the illuminating examples of such a concept.
So I wish the directors in this field should give it a thought and realise that the average Indian people are not REHNE WALE MEHLON KE.
