Children of lesser Gods find their voice via Antara and Baa Bahu aur Baby

Rarely in Hindi serials do we get to see characters considered by the ‘normal’ population to be ‘abnormal’ or differently able. At times they do put in an appearance either as fringe characters-the comic relief, the dark shadow hidden behind a curtain of lies. Zee TV’s Aap Ki Antara and Star Plus’ Baa Bahoo Aur Baby are two such brilliant exceptions to the given. For not only do they dare to talk about such characters and make them inhabit the normal world but also have the courage to make them central characters.

Zee TV’s Aap Ki Antara focuses on autism. Autism is a disorder of neural development characterized by impaired social interaction and communication, and by restricted and repetitive behaviour. It affects information processing in the brain by altering how nerve cells and their synapses connect and organize. Antara the lead character of the show suffers from Autism. On top of that she is the illegitimate child of her father. Her father learns of her existence only when her mother passes away. She is then brought in to her father’s house where his wife and son have a difficult time first accepting her existence and then her disease.

However in all her struggles she has a strong support system in her father who refuses to slot her as a ‘problem’; he refuses to hide her from the world or hide her behind a veil of lies and stories. Slowly but surely Antara’s step mother Vidya falls in love with the innocent child and accepts her into her life as a complete individual. In fact she goes on to love and care for her more than her own flesh and blood, her son Abhishek. Antara goes to a school meant for normal children and her parents try relentlessly to find for her acceptance in mainstream society.

Star Plus’s Baa Bahoo aur Baby has Gattu and Baby the two central characters of the show as individuals suffering from learning disability (Gattu) and afflicted by Polio (Baby). Yet they are not shunned by their family members as handicapped individuals. They are treated like any other so called normal character and given hopes, dreams, opinions and even vices. Gattu is the serials conscience while Baby its voice of reason and courage. The story woven around their lives focuses on their trials and tribulations.

Shows like Aap Ki Antara and Baa Bahu aur Baby are path breakers and have done more for the marginalised voices of the differently abled than any other civil platform. It helps us realise that people like Antara, Gattu and Baby are as entitled to their own slice of the blue sky and the brilliant sunshine like any one of us so called ‘normal’ people.

Themes yet unexplored by Hindi Serials...

Till recently Hindi serials had been under the strangle hold of the formulaic “Saas-Bahu” serials with its high pitched drama, forever sacrificing heavily bejewelled women and settings that were far removed from reality. Just as viewers had had enough, a sort of coup happened that changed the face of Hindi serials. A few new channels, some bold production houses and producers and some very good writers ushered in the new phase of Hindi serials. As stories and content became more issue-based, there was virtual explosion of new themes that tried to capture a slice of the real life. Shows like Balika Vadhu, Na Ana Is Des Mere Laado, Uttaran, Bidaai, Yeh Rishta Kya Kehlata Hai slowly set the new grammar for Hindi serials.

Like all good things spark off a herd mentality, this trend too did the same across channels. Thus the new benchmarks of good television shows began to spawn off pale imitations that tried to imitate the success stories without quite getting the tone right. In fact it is time that some well meaning individual should take it upon herself/himself to point out the themes that have been unexplored by serials. Here are a few themes that come to mind immediately.

• Anandi-Jagiya but with a difference- The strong teen school going teenage population of India is yet to have a show that caters to them exclusively. The genre of teen-centered shows remains largely unexplored in films as well as television. Thus a serial that can speak their ‘lingo’, talk about the issues that bother them and that they have to face as part of everyday life (like exam related stress, competition, dating, drugs, consumerism) will surely be a hit with this segment. It will also appeal to the older audience as it can help them to understand their kids better.

• New-age families-Urban India has become a hotbed of relations that have so far been on the margin-the live in couple, the single parent, the step-parent, the single and not interested in dating individual, the single working woman unit-all of it will surely make for interesting themes.

• The Plain Jane/Average Joe Story- where the individual has nothing remarkable about himself/herself, not even a heart of gold. The journey that every common, regular human being undertakes without having to resort to a makeover or a miraculous turn of fortune can be an interesting story to narrate.

• The story of a neighborhood/mohalla/nukkad- where no one family gets to dominate proceedings and the story is populated with small families, individual characters and the interaction that they have with each other and the outer world.

• Karamchand Revisited- where the detective genre is treated with respect and dignity and not made out to be a farce. Stories can deal with crimes that are unique and common to modern India. And of course a very enigmatic detective figure has to be the lead.

Two for the price of one - New Trend developed in Television Industry !

Of late serials have developed the trend of either doing overlapping episodes where the story of two different serials are brought to a common point or where popular characters from one serial do special appearances. A few days back, Star Plus’s prime time serials, Bidaai and Yeh Rishta Kya Kehlata Hai had one such common journey where Naitik and Akshara (lead pair of Yeh Rishta…) and Alekh and Sadhna (Bidai) had an interesting run in. But why do channels and producers indulge in such gimmicks? Where is the need to bring two divergent story lines on to a similar track?

The obvious advantage is that of time. The extended time limit (normally daily serials run for half an hour) helps to heighten the drama and gives more freedom to the writers to play around with different ideas. It helps to build a buzz around both the serials and thus increase audience interest quotient. Then again it brings in combined viewership, meaning, that those who watch only Yeh Rishta…and those who watch only Bidaai will have to watch both for that special episode in order to stay abreast with developments. And one might never know a non-viewer might be tempted to follow the serial that he/she had not been following because of the parallel track. So it helps to increase or supplement TRPs. Thus it turns out to be a win-win situation for the makers of the respective shows- as it helps to add more drama and generate more eyeballs.

The other popular trend is to make stars of a popular show perform at a special occasion for another show. Very soon, we will get to see Manav and Archana (Pavitra Rishta) perform for Choti Bahu. In an earlier episode, Laali (Agle Janam Mohe Bitiya Hi Ki Jo) had performed for the same show. Choti Bahu’s lead actors Dev (Avinash Sachdev) and Radhika (Rubaina Dalaik) have a lot to celebrate. They will soon be going off for their long pending abroad after Radhika’s burn marks are completely cured. Manav and Archana will be seen performing at a family celebration.

Such special appearances and guest acts help to generate a certain amount of bonhomie after long days of misery in serials. Most of the time the guest actors dance to popular Hindi film songs and this helps to lighten the dramatic quotient. It also helps to strengthen the particular image of the guest actors. Thus Manav and Archana’s performance is meant as a signal for the audience that these two will remain a couple come what may. It helps to reaffirm popular conceptions about particular characters. But in both cases, audiences have no reason to complain as for them it is value for time and money as it two for the price (and time) of one.

Na Ana Is Des Mere Laado-Inspired writing helps to take show to No.1 slot!

The team behind the show “Na Ana Is Des Mere Laado” have much to rejoice about. The high voltage drama of the past couple of weeks in which Ammaji was killed off and then brought back in time to nab her killers has helped the show to garner maximum TRPs. It has now become the Number One show across all General Entertainment Channels (Hindi). The entire build up to Ammaji’s (fake) death, the revealing of her true enemies and then her return to prominence and life, very much like the proverbial phoenix, has helped to entertain millions of viewers across the country. Such is the appeal of this show that even men (who generally stay off serials and soaps or so goes the myth) try to not miss an episode.

The escalating pitch of the drama found its culmination point when Dharam Veer and DM Vora were punished by Ammaji, even though the latter did manage to escape. Kudos to the writing team of the serial for they have immediately changed the tone of the show by introducing a love track between Raghav and Sia. Just as viewers were preparing themselves for the full fledged development of this relationship, with some even hoping for Ammaji’s consent to it, the makers decided to add in another twist. They brought in Raghav’s ex girlfriend, Sonali! Even before the lovebirds could have declared their true feelings for each other, the entry of this other woman has added more drama to the show. To top it all, Sonali has even impressed Ammaji who sees in her a reflection of her own younger self.

But there can hardly be a good love story without any obstacle barring its path. Sonali and Ammaji’s mutual admiration society has driven a sharp wedge between Raghav and Sia’s about to flower relationship. In fact Ammaji has made up her mind to marry Sonali to Raghav. In this decision she is supported by her eldest son Yoginder. However the women of the household, namely Jhumar, her mother and Yoginder’s wife are preparing for a silent coup. They have decided to put an end to Ammaji’s tyranny by not allowing the Raghav-Sonali union. They are determined to not allow Ammaji’s wilfulness destroy Raghav and Sia’s happiness for they are convinced that the two are meant for each other. They also believe that if Raghav decides to join hands with the good and righteous Sia, then Ammaji will be dealt a severe blow as it will mean the fall of her most trusted soldier. Indeed if Ammaji’s fall is orchestrated by those who have suffered most due to her and that too in such a silent and peaceful manner, it will symbolise the true victory of the oppressed over the oppressor.

Maa-sa and Sugna both walk down memory lane – Balika Vadhu

It was a time of remembrance and nostalgia for the main characters of Balika Vadhu. Maa-sa (Surekha Sikri) finally shows her vulnerable side by reliving her past. The event is triggered off by Mahadeo Singh’s act of entrusting his property and his haveli (palace) under Basant’s care. A non-believing Basant smells a rat in this ploy too and refuses to accept the responsibility. Bhairon asks the Munim of Mahadeo Singh’s estate to hold under his care all the important documents till such time that Singh comes back from the hospital. At this point Maa-sa says that she will keep the keys to the haveli with herself.

As a bewildered Bhairon and a surprised Basant look on, Maa-sa literally snatches the keys. Basant asks his mother what made her accept the keys in spite of knowing the fact that it had been built from Mahadeo Singh’s ill gotten wealth. To this question Maa-sa answers defiantly that the haveli is a symbol not only of Mahadeo Singh’s wickedness but it represents all the hard work that has been put in by generations before him (Mahadeo Singh). It is then she takes a walk down memory lane and we get to see her relive all the tender moments she had spent in that house. She lives through all those moments that transformed her from a tender child bride to a confident of a mother of two.

For the first time the viewer gets to see a softer side of this hard-hearted woman. She makes a telling remark at one point, saying that it is almost as if she has not lived a breath ever since she walked out of that place. All her struggles, the many battles she has waged , won or lost, the umpteen times she has fallen and picked herself up-all of it is captured so beautifully by this single remark.

On the other hand Sugna on her way to her prenatal check up stops at the same place that used to be her clandestine meeting place with her first husband Pratap. The flood gates are opened unto her once she steps under the familiar yellow flower tree. She remembers and cries for her lost first love. Shyam (her present husband) finds her in a pensive mood and instead of begrudging her the tears she has shed for the dead soul, he comforts her. He reassures her that he will never ever hold her past against her. Such generousness is so difficult to find in men, who are forever ready to find faults with women while perpetually overlooking their own.

While Maa-sa’s memories helped us to connect with her better, Sugna’s reliving of the past prepared the viewers for better and happier times that are soon to come.

Diverse settings help to bring in spice and character to serials

As the popularity and mass appeal of Hindi serials keep growing through the length and breadth of the country, there is a marked attempt by the makers of shows to depict different regions of India and its distinctness via these programmes. Thus we see that not only significant characters but entire settings are now being determined and shaped around regional flavours. Right from the architectural style most common to a particular area, to eating habits, dialect, fashion, sense of style-in short everything that is peculiar to a certain region is being reflected through Hindi serials.

The very first example that comes to mind is Colors’ Bhagyavidhata. Set in semi urban Bihar, the entire look and feel of the serial has been designed keeping in mind the region it is portraying. Thus from the dialogues that the actors are mouthing, to their sense of style, the rituals being observed, in fact right down to the colour of the vermilion being used-everything gives you a feel of the state. The elaborate and in-depth celebration of “Chchat” witnessed in this serial must have been a first for television. Such detailing not only helps to add to the drama behind the story but also helps to build regional awareness and tolerance.

Zee TV’s 12/24 Karol Bagh helps to capture the essence of a very niche area of Delhi-one that is known for its entrepreneurial spirit and its ostentations. The dilemmas and situations faced by the characters of the serial are intrinsic and characteristic of the area it is set in.

Pavitra Rishta talks of a social milieu that is typical of Mumbai-the ‘chawls’. It depicts middle class Maharashtrian families and stays true to the setting of the story. The values and morals eschewed and upheld by the lead characters are those that you normally associate with “Maharashtrians”- polite, hard working, proud of their customs and traditions and passionate. Sabki Laadli Bebo on the other hand depicts life in a Punjabi household. Right from the large hearted characters, to their colourful attire, their irrepressible joie die vivre, and their customs and traditions-all of it is beautifully captured in this serial.

Recently there has also been a trend to set shows in the smaller cities and towns of India. Thus while Bidaai is set in Agra, Laagi Tuhse Lagan is set in Lucknow, Jyoti is set in Udaipur and Do Hanso Ka Joda in Vrindavan. This move away from using Mumbai or Delhi as the given setting of a prime time show is indeed not only reflective of the widening popularity of Hindi serials but also Hindi serials’ way of acknowledging the support of their real fan base; the fan base that is not just restricted to Metropolitan cities only.