Jab Harry Met Sejal Scene By Scene Part 7: Hiding, Talking, Sleeping

Oh boy oh boy!  I get to continue my favorite section!  I probably won’t get all the way to “Radha” today, that will be our little Independence Day treat tomorrow. (full index of Jab Harry Met Sejal posts here)

So, previously, Anushka and Shahrukh are stuck together, her family insists he act as her personal tour guide/babysitter while she travels through Europe.  He tries to get out of it by telling her that he is a womanizer and should not be alone with her.  But she is too innocent to even understand what he is talking about.  However, later that night, she overhears him fighting with an ex and suddenly starts to awaken to new kinds of life and to get curious about him.  After more sniping at each other during the day, Anushka sneaks out in a new outfit that she thinks is “club” wear and follows him to a nightclub.  He recognizes her, and takes her home, after rejecting her awkward childish flirtations.  The next night, they reverse the pattern.  Anushka gets dressed up in a much more flattering and confident red dress and goes out to a nearby club, Shahrukh follows worried that she might need him.  And she does, sort of.  She is harrassed by a creepy guy, but beats him up with no help.  She needs help when his friends start gathering around her and calls for Shahrukh (who she has been aware of this whole time and putting on a show for).  He rescues her by distracting the gang and then grabbing her hand and dragging her along as they are chased.  Finally, they hit a dead end and hide.  And Anushka breaks down in tears about how everything is all her fault, always, even losing the ring is her fault and her fiance blames her and says she “doesn’t care”.  Shahrukh reacts perfectly and naturally and honestly saying that he doesn’t blame her at all, he wishes she had beaten up that guy even more, he was asking for it, she was awesome.  And then I stopped my last post.

 

So, before Anushka can fully process the little breakdown she just had, and the balm Shahrukh applied to her fears, they hear the gang coming again.  Shahrukh has been pacing a bit, and mentioned “this is not a good place” as soon as they hit the dead end on the pier.  He is a “guide” above all, always aware of where they are and worried about the next place he can take her.

Now he takes her hand again and the sneak onto the boat fastened to the pier, then he opens the one window that has a sign taped to it so you can’t see through the glass, and gently helps Anushka through it to the outside of the boat, then closes it.  And then closes the matching window, climbs out, and runs around to join her.

It’s a small moment, but he is careful to make sure Anushka is hidden before he hides himself.  Because he cares about her, and because even in this extreme situation he is putting the client first.  And then they hang off the side of the boat while the gang searches inside.

And there is a lovely silent moment.  Anushka looks terrified, hysterical.  Earlier, she had been surprised into revealing their location when she screamed.  That might be going through Shahrukh’s head too, along with just being worried about her.  So he reaches out with one hand and cups her head.  And Anushka grabs onto it and holds it in place.

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I mentioned in one of my reviews (cannot remember for the life of me which one) that this is kind of an awkward position for the hand to be on her head.  It’s not exactly cupping her face, it’s half on her face and half on top of her head.  Which must be on purpose.  Because that’s the husband’s blessing position, hand on top of the head.  Shahrukh reached out in that way naturally when he thought about touching her.  And Anushka took his hand and held it in place there, just like a wife would.

Beyond that, let’s look at what their faces are telling us about how they are feeling at the moment.  Because this is kind of what’s going to be happening for much of the film.  Shahrukh is calmer, puzzled, kind of studying her face and studying his own feelings at the same time.  He isn’t just reacting, he is watching his reaction.

Whereas Anushka is all about the reacting.  She is scared, she is clinging to Shahrukh because he is the one who can save her.  She doesn’t need to think past that, it doesn’t occur to her to think past that.  She wants Shahrukh to touch her and comfort her and that’s all there is to it.

This is important because coming soon is the period when Shahrukh’s reaction will be SO MUCH stronger than Anushka’s for a while.  But his actions will be the same as before, because he is so aware of and afraid of his reactions.  While Anushka, who just does what she feels like doing, will be lagging behind him for a little while instead of taking the lead like she is here (holding his hand on her head).

And then they get off the boat and are hiding behind a tree for a moment.  Anushka is terrified and shaking and asks “what should I do if they catch us?  I mean, if they attack me?  Practically speaking?”  And Shahrukh just keeps shushing her.  Until the men leave and they can get out from behind the tree and he bursts out in anger “Practically?  Practically?  Practically what?”  Anushka is completely confused, says “I was scared”.  Shahrukh turns away, and then turns back looking distressed and stressed and angry and confused and tells her she should just go home, she doesn’t belong here, she should give up on ever finding the ring.  Anushka says, confidently, that you can find anything if you see for it, even God.  Shahrukh says he hasn’t found God.  Anushka asks if he has looked.  Shahrukh turns away, then turns back, and says “I certainly wasn’t looking for you.”  And then he kind of turns and starts walking away and Anushka stands still for a second until he gets about 5 feet away, and then jerkily starts moving after him.

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(I’m just going crazy with the screenshots in this one!)

SO MUCH INTERESTING STUFF!!!!!  First, their conflicting reactions to Anushka’s fear.  Again, Anushka is just feeling without thinking.  That’s why she can’t understand Shahrukh’s anger.  She was scared, she asked him what to do.  What else would she do?  But Shahrukh was even more scared, and aware of his fear, and that he shouldn’t be feeling it.  He shouldn’t care this much about this irritating young woman.  And she shouldn’t be throwing herself into dangers in a way that he knows, on some level, is in reaction to his presence in her life.  He is trying to keep her quiet, trying to keep her safe, and once she is safe, he is FURIOUS.  At her, for making him feel all of this, at himself, for feeling it.  And Anushka can’t understand any of this because she doesn’t understand his internal conflict, doesn’t realize he is already feeling too much for her, and also doesn’t consider that he shouldn’t be feeling those things, that he is breaking his own rules in how he treats her.

And then there’s the dialogue.  Shahrukh wants her to go back.  He knows she is terrified and in danger because of him, sort of.  The changes he is bringing in her are leading her to this state.  Anushka doesn’t understand any of it.  That she is changing, she doesn’t fully realize that about herself yet.  Or that Shahrukh is the catalyst and she needs to get away from him to stay as she was before, she doesn’t consciously know that either.

But then it takes a turn.  When Shahrukh says she can’t find the ring, he is questioning her essential faith in the rightness of the world.  And Anushka can’t accept that.  She has a faith that you can find anything you are looking for, that purity of purpose will bring about results.  And that is what Shahrukh has lost, the sense of purity of purpose, the sense that doing the right thing is as simple as having the right intentions.  And so he has no real response besides his “real” response, that he was never looking for her.  That he never considered someone as pure as her coming into his life, never considered that someone like her would be “his”, even if only for a little while.

And, boom!  Theme of the movie!  He wasn’t looking for her, but she found him anyway.  “What you seek is seeking you.”  He was seeking, without realizing it, something that would give him back his hope and faith and home.  But since he wasn’t looking for it consciously, and he is resisting it now that it is here in front of him, Anushka has to “seek” him.  Force her way into his life and past his boundaries over and over again without really knowing why she is doing it, just knowing it is something she needs to do.

Image result for jab harry met sejal what you seek is seeking you

Which is what happens here.  They are no longer holding hands, he isn’t even looking at her, but as he walks away, as soon as he gets more than a few feet away, Anushka starts moving.  She has to stay at least that close to him.  And she stays that close as the silently walk up steps, through a gate, to a deserted castle-y looking place.  There was a line of dialogue at some point earlier when Anushka started to go towards the hotel and Shahrukh told her know, the “bad guys” are that way.  So they have to spend the night somewhere else.  It’s a gorgeous setting, I can see why the location people picked it.  But also, it fits with Shahrukh’s knowledge base.  He would know about the nearby gorgeous tourist attraction that might be unlocked in the middle of the night.  He would know about that before he would know about a 24 hour movie theater, or a dodgy hotel, or any of the other hide out options.

They reach the top and Shahrukh silently pulls down two hanging banners, tosses one on a bench and the other on the floor.  Instead of seeing the banners as the interesting things to be described to his tour group, he sees them as potential objects to provide warmth to Anushka.  His whole view of the world is changing.

And then there’s the moment when he throws his banner on the ground and hers on the bench.  It’s so revealing.  First, of course, that he sees himself as worthy only of sleeping on the ground, that fair beneath her, her faithful dog.  Second, that he doesn’t want to sleep farther away.  Surely there is another bench somewhere.  But rather than look, he finds a place for her, than finds any old place for himself so long as it is nearby.  To me, it feels like a combination of that same old “something is tying them together” issue, and that he feels like it is his job to be there in case she needs anything during the night, to always be ready to serve her.

Oh, I am going to get all the way to “Radha” today!  Yay!  Because I want it to get it’s very own post, and not have to do a little bit of set up before I get to the song.

Okay, back to here, and the last little pre-Radha bit.  Anushka wakes in the middle of the night.  The film does an excellent job of showing that scared middle of the night feeling.  Her hair is kind of messed, the wind through the trees and the church bells sound too loud and kind of scary.  And even the moon looks uncanny and strange.  She stands up, barefoot, dragging her banner-blanket behind her, and walks over to where Shahrukh is sleeping, and curls up against his back.

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Great image here.  The bare feet, the way the banner is dragged behind her, and Anushka’s confused sleepy face, it all evokes a little girl, a scared little girl with a nightmare, only half awake, going to the person who will make her feel better.  It’s not sexy, it’s not a come on, it’s natural loving instinct.  Not romantic love, but something both more and less than that.

And then there’s Shahrukh’s reaction.  He feels her behind him, turns, and for a second it looks like he is just going to squash her, but then he naturally arranges himself with his arm around her and she settles against his chest, over his heart (where his phone usually is.  See?!?!  The phone thing!).  And we see little flashes of that black and white vision of the Punjab that we saw in “Safar”.  Only this time, the black and white fades to color.  Until he opens his eyes, gently pulls away from Anushka (who is doing a very realistic sleeping eye so we can see a bit of the eyeball and it’s kind of creepy), and walks away to be by himself.  So far, it all works for me.  Anushka sleeping trusting in his arms gives him back his past, his youth, his home, all of the things he was missing.  And seeing that through the black and white fading to color in his memories is perfectly clear.  And it makes sense that after this emotional catharsis of getting his home back, he would need to go off and breakdown for a second.

It’s the actual content of the breakdown that bothers me.  I am sure this was a method thing, that Shahrukh spent a long time thinking about an emotional moment of his past (he has SO MANY) and then did what felt natural to him.  But, it is a little much for the character.  It’s not just crying, it’s like PTSD crying, not gentle cleansing tears but wracking sobs.  And then he starts talking and it gets really PTSD-y.  He says “it’s okay, it’s nothing, it’s okay”.  Like you would to a little kid, not like he is self-soothing and trying to get himself to pull it together, but like he is somehow flashing back to something someone else said to him.  Basically, it’s like Farhan’s break down in Bhaag Milkha Bhaag.  Only, it’s just about being kind of homesick and suddenly regaining his sense of home, not about some massive human tragedy.  So, yeah, kind of a poor acting decision.  Should have gone more along the level of soulful staring into the distance and a few small tears and sniffles (think end of DDLJ), instead of the full Method.

But that’s the last bad part of this section!  Or even “just okay” part.  Everything here on it is pure brilliance and genius.  And I will pick it up tomorrow, oh boy!

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46 thoughts on “Jab Harry Met Sejal Scene By Scene Part 7: Hiding, Talking, Sleeping

  1. Reading these scene by scene’s is almost as good as seeing the movie again. (And, true to my name, they are making it hard for me to get any work done, lol.)

    I was put off by the intensity of Harry’s breakdown on the first watch, but on the second watch I went with it more. I think (partly based on experience), that if you’ve been so sad and hurt for so long, so long that you have forgotten/are denying that you are sad and hurt, then the breakthrough of deep feelings again would be indeed scary, intense, and a bit out of control. But that reading makes it pretty strange that he is able to pull himself together so quickly when he hears Sejal behind him. Hmmm.

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    • Maybe a slightly less intense but longer breakdown would have felt more real. Like if we had seen him start to sob as he stood up, keep crying as he walked, and then finally sit down and wail a little. And then take a second to pull himself together when Anushka arrived. This was just kind of odd, the implication being that he could keep it together long enough to get by himself, and then have this very strong reaction that was over in like 30 seconds. Maybe that’s what felt kind of “PTSD”y to me. As though this was something that happened routinely enough for him to be able to predict and control it a little. Only, that doesn’t fit with the plot AT ALL, it is clearly supposed to be something he has never felt before, something that Anushka drags out of him which helps him to heal, not something he is familiar with.

      On Mon, Aug 14, 2017 at 10:14 AM, dontcallitbollywood wrote:

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  2. Pingback: Jab Harry Met Sejal Scene By Scene Index | dontcallitbollywood

  3. I saw that scene differently. I thought the “its okay, it happens,” was something he said to the girl he lost. They were kids or at least very young so might have said it in the soothing mom kind of way. But I thought he was telling this probably very young girl that, “it happens” that girls are married off. He is also trying to soothe himself about his whole life. I bought the how quickly he pulled himself together because that is what he DOES, he changes gears instantly all the time for self protection. I think you view of what the bench/floor/tearing the banners down means is on the mark. I felt it but couldn’t have articulated it like that. I’m going to see it for the fifth time and am thrilled to have all your ideas with me. Thank you!!

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    • I guess I could see it, that he is talking to the girl he lost. But, for me, (and I’ll get into this at some point when I reach the beach scene), his lost love was just one small part of his whole lost identity as a Punjabi villager. His love story is supposed to be this bittersweet simple thing where they speak twice and he dreams about her. He was raised with that view of romance, that it is pure and innocent. And the shock of being thrown into a different world where romance is sex and smokey bars is all of a piece with being thrown in a place with no tractors or fields, no turbans, no everything else that made up his identity as a child.

      I’ll put it another way, I don’t see his love story as being a lifelong heartache if he had stayed in the village. It would be a simple thing to look back on with nostalgia, like the first crush you have in kindergarten, but not painful. It wasn’t the great tragedy of his life, it was just one small piece of the tragedy.

      Anyway, that’s what doesn’t work for me, that dialogue he picked, because it kind of works in a lot of ways (maybe it is what his other used to say to him when he was a little kid, maybe it is what he said to his girl before her wedding, maybe it is what he would say to a small child in his village), but you have to sort of wriggle it to make it fit. Whereas crying and saying something like, I don’t know, the “Ik Onkar”, would have been clearer.

      On Mon, Aug 14, 2017 at 10:39 AM, dontcallitbollywood wrote:

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  4. I agree that reading this scene by scene is almost (almost!) as good as seeing the movie, which I haven’t had the chance to yet. It also gives me lots of things to think about when I finally do see it. The critics are saying SRK is too old for romance, but I disagree. I was divorced at 33, remarried to the love of my life and widowed at 54. Thought romance was over in my life but met my true soulmate at 61. I was widowed again at 69 but I can tell you the truth, the building may start to crumble but love lives young inside. Butterflies, the whole nine yards. I would like to see SRK do a movie like “Second Chance Harvey” or “Something’s Gotta Give” that shows that romance at any age is WONDERFUL!

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    • Not related to JHMS, but when I was in college one of our closest family friends got engaged after being a single mother and raising her kids alone. I told my roommate about this whose reaction was “oh, well at that age, it’s really just about companionship.” So yes, we apparently do need more movies that show romance at any age! Because there are little college girls out there who figure anyone over 40 getting married is just looking for someone to play cards with.

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  5. Now, as for your scene-by-scene, dear Margaret, I also feel like watching the movie again…intensely.
    Coming to Harry’s breakdown first, I initially would have liked that Imtiaz didn’t show it…then, after rewatching the movie in my mind, I thought that it was a good move because it showed Harry’s vulnerability, his distress always ready to take over. I don’t think that it was the first time he cried because of his longing for where he would feel at home…I imagine him dreaming, waking up, being immensely sad and soothing himself multiple times…and putting up a front rather quickly if needed (because how he felt inside was nobody’s concern). It fits to his profession and it fits to the low self-esteem and loneliness he covers with seducing, clubbing, drinking and a fancy car.

    I also think that he would not have cared the way he did for Sejal if she had not shown her innocent, naive childlike behaviour. Harry was a succesful womanizer…to be that you have to be emphatic even though you just use it to get the sex you want. But in front of a young woman who he sensed vulnerable in a way she herself didn’t realize, he couldn’t keep his distance, he couldn’t help getting emotionally involved…
    Well, he tried to escape any responsibility for her by telling her in all honesty about his “cheap character” which simply backfired. No wonder that Sejal did not understand his qualms as he had just admitted a flaw and, gosh!, she knew how it was to be judged…so she did not judge.

    I think this non-judgemental behaviour was very distinctly reciprocated by Harry in the second bar scene and the following chase. Btw, I don’t wonder that Sejal proposes (!) to him the following day to play his girlfriend because the night before he acted like a friend, not like a payed chaperon.

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    • Great point about how he acted like a friend the night before. He didn’t judge her, but he also felt free to yell at her when he got mad, not retreat to formal behavior.

      On Mon, Aug 14, 2017 at 3:28 PM, dontcallitbollywood wrote:

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  6. I actually got a message from SRK on my twitter account last spring. Boy, was I excited, called my friends (who sadly aren’t fans) and they didn’t understand my excitement. Go figure!

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  7. With respect to Harry’s breakdown, I’m sort of a combination of procrastinatrix and mpollak711. I, too, think that Harry has been disconnected from or pushing off his sadness at all he has lost (partly explaining the drinking and the womanizing) and that Sejal has awakened these feelings in him. The breakdown was so intense because he has connected to what is essentially a trauma in his life (that’s the PTSD part you discuss). And I thought the focus for him in this reawakening of such deep feelings was the girl he fell in love with. Not that he’s been carrying a torch for her ever since, but that it was a real loss for him, along with the others. And maybe having Sejal sleeping in his arms brought him back to that particular pain.

    I also think the quick recovery is something he’s used to doing. Maybe not in connection with an emotional breakdown like this, but on an everyday basis in his professional life in dealing with the people who are his clients.

    I just want to add that I am looking forward to these posts every day–even more than waiting for Shah Rukh to tweet about something other than his cricket team’s victories and Independence Day in the most perfunctory way. I’m waiting for something along the lines of, you know, “I don’t want you to be my fan. I want you to be mine.” (One of my all time faves of his!) In the meantime, I’m happily living without any such tweets because I am just loving your posts on this movie.So thank you for that!

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  8. I’d love to second Carol’s post. Its so unfair for us to “miss” him after only a few days of relative silence, but there it is. Part is that we imagine he’s sad which may or may not be the case. He always says he takes a two hour shower, rinses the last movie off and moves on. He is preparing for TedTalks India so that is keeping him busy. Your JHMS posts have MOST certainly taken the edge off.
    Now, back to the film. Have we talked much about the scene on the bridge where he grabs her? I think you said that he is trying to calm her down. I disagree; I think its the opposite. He is showing her the dangers of tangling with dangerous me which he claims to be. They can forcibly take over if you tempt too much. She has been flashing sex in his face. Now, he has laughed at it, but another man might not of and it could have gotten very sticky. She doesn’t think that much of it because she expects to be protected: by her family, her position and by him. He wants to alert her to the dangers she is courting but it doesn’t really work. That flashes ahead to the scene in the cafe with his German ex girlfriend. (I know you’ll get to this but while I’m thinking about it…)At the end, he pretends to be wrestling with her ‘against her will’ but they both know he is joking and she isn’t scared and he doesn’t mean to be scary. They are laughing when his friends walks in and thinking he is up to his old tricks yells at him.

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    • Hmm, you’ve got me thinking about the bridge again. There’s a lot of layers there. I don’t think he is consciously thinking “I’m going to scare her”, but it’s almost an instinctive leap to using his physical strength to overpower her. Because he can’t use his sexiness (that would be wrong) or another kind of power (he doesn’t have any) or even reason or logic (she is too upset). So he grabs her and holds her. I don’t know if I would say “danger” exactly, but more a reminder to them both that ultimately he does have this kind of physical power over her. On the other hand, I don’t think it is something he would have done with another client. Rather than crossing that line, he would have just let her go into other danger. He cares enough to grab her and hold her in place even if it means crossing some lines. And then of course they are both surprised by how “right” it feels.

      Oh, and for twitter, the last time I remember him going silent for a while, it turned out to be when Karan’s twins were born, so maybe there’s a happy reason he is busy in the real world and can’t talk to us! Probably not, but maybe!

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      • mpollak, you have a point there because – if I remember right – at the beginning it seems that he wants to show her that she would not be able to fight an aggressor…and later she angrily says something like that he should not try to dominate her. However I think there is also a moment when he tries to soothen her while holding her tightly and then there is the moment when they get aware of the physical closeness.

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          • And just like if he were with a teenage girl, he grabs her to keep her safe, and then feels guilty and confused when he feels himself just barely beginning to react to her as a woman. It’s that odd “taboo because her inside isn’t grown up even if her outside is” feeling that I keep getting from him with her.

            On Tue, Aug 15, 2017 at 3:47 PM, dontcallitbollywood wrote:

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  9. Yeah, absolutely…and it gets a change in the Radha song, but only there at this early time…in their being together it’s fully – I felt – only during the Fado-song in Lisbon (after that the shouting to the east with doing the hand-wave with a new kind of affection – gives me still goosebumps only thinking of – then the – imo important – violent encounter with Gas & his gang, the tram-ride, the hotel…)

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    • I see it that they moved from being “boyfriend-girlfriend” to being “husband-wife” after Lisbon. There’s something new about how they are together after that, an extra closeness.

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  10. Margaret, I agree with your analysis of this scene except I didn’t think Harry’s breakdown was too over the top. When you have built walls so thick around emotions you don’t want to deal with, when a crack appears in the dam you’re going to have a pretty explosive outburst. No one before, in all these years, has come into Harry’s life and touched his emotions. I think his reaction was very normal for the amount of baggage he carries about himself. Plus, the last 24 hours have been very unsettling for both of them. He’s been angry, amused, and scared because of this woman. Now he feels this protective husbandly vibe and doesn’t know how to handle it. Plus, an aside. Did anyone notice that when they were hiding on the boat, a long shot showed two white swans swim together on the left side of the screen? Swans mate for life. I wonder if it was just a coincidence or if Imtiaz planned it. Interesting\!

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    • Indeed interesting… I don’t remember them (I will look out for them).
      I also didn’t find the breakdown exaggerated – the same reason you mention, Nancy (btw. so happy about your ‘input’ 🙂 ). And while I read your “husbandly”, I remember that I did not have this feeling but more that of an adult who protects a teenage kid from harm (the harm he had predicted on the bridge), tries continuously to make her shut up in the most gentle way possible, and comforts her the best possible way when in danger himself (more father than husband). I think the “husbandly” comes (haule, haule) when she sleeps on his arm – wants to be his Radha – flirts with him – ‘makes’ him her fiancé (give him the possibility to romance her for a brief moment which he enjoys in a way he did not anticipate)

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      • Thanks Claudia, after reading your reply I went back and rewatched that part and yes, you’re right. I don’t think the husband part started there. That’s what I love about this site, we all get to give our input and receive others that will bring a new perspective.

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      • I think what puts so much tension in the early part of the film is that he is conflicted between his feelings of protection for this much younger person, and reactions to her as an equal. He is angry and irritated with her in their first few scenes, while still feeling that sense that he really does have to help her out because she is so helpless. And then in the indemnity bond scene through to the Prague nightclub, there is this combination of “irritating little kid I have to babysit/worry about” and “woman whose body I am attracted to”.

        And then, slowly, it starts to smooth out as he feels less like she is a child and can come to terms with his reactions to her as a woman. Just as she slowly starts to see him as more than just a servant who is taking care of her, and allows herself to care about him as a man.

        On Fri, Sep 8, 2017 at 8:50 AM, dontcallitbollywood wrote:

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        • As you wrote at the very beginning, Margaret, it’s Radha that brings a certain closure to the ‘teenage part’ and Harry being annoyed or irritated although Sejal’s desire to get a feedback for her own attraction has not diminished…and still Sejal calls the tune and Harry is a step further (or two, three…).
          It’s so nice that we have really cheerful songs when they get to the next level at the same time.

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          • You know that talk about how the songs in Dil Se reflect the changing moods of love? I feel like that is equally, or even more, true here. The early songs are so dark, even Parinday has this kind of edge to it. And then Radha is the joyous flush of first love. Beech Beech Mein is the infatuation and excitement. And then we go into Yaadon Mein, the kind of deep love, and so on and so forth.

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  11. SRK’s acting choices in the crying bit was the most problematic scene for his character. A more restrained choice would have served him better. It’s moments like these in his films when all of the acting cred and on-screen charisma seems like a big trick that he’s pulled on all of us. Narratively, the scene still does its job but the writing and acting are poor.

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    • Well, as I have witnessed more than once how it can be when men are desperate and cry, and try to stop it by mumbling to themselves or doing other things, I found it rather restrained…and short (as he noticed Sejal behind).
      It was similar with Gaurav crying in the cell…some could relate, some couldn’t.
      A charisma cannot be attained by a tric – it’s something people perceive or don’t perceive…I bet there are as much people who find ShahRukh charismatic as those who don’t.
      Acting cred, too, is something, a spectator perceives…there are those who find his acting credible and those who don’t.
      I don’t see your point.

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    • that’s what I thought! And after watching over and over, I still kind of think that. Not that Shahrukh’s performance is necessarily to blame on its own, but the combination of script and directing and the whole thing, it just wasn’t right.

      On Sat, Sep 9, 2017 at 2:15 PM, dontcallitbollywood wrote:

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      • Strangely I found it an important scene, just because it was the closeness of Sejal who behaved like a trusting kid which triggered this reaction. At this moment Harry didn’t have any defense mechanism…it’s like opening a door and letting out what was enclosed a long time…by daylight, not in dreams only.

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    • Claudia, I agree that charisma and acting talent are in the end in the eye of the beholder. I am still a SRK fan, no worries, just have never been a superfan. It’s just my opinion that his acting is often kind of awkward and this scene is a perfect example. Hrithik falls prey to the same thing. It’s the trembling/shaking = deep emotion that really puts me off. It’s a typical filmi hero style thing and I recognize that, but a much more restrained take on it would have been even better. The scene is definitely necessary and it still does its job as the set up for the rest of the film…just gave me that kind of embarrassed feeling you get when you see an actor not living up to his full potential.

      Its in other films like Swades, Chak De India, Paheli, Dear Zindagi and even this year’s Raees that I feel his acting credentials have been earned.

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        • Yeah, out of context it sounded like I was just bashing his overall performance. I’m still processing the film because I just watched it for the first time today. I can see why you all loved it:)

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  12. Living a dangerous situation and get out of it physically unscarthed does not imply that one remaines untouched emotionally…Harry, already intrigued by this straight-forward, but rather ‘unpractical’ woman-girl/girl-woman, switches to “Sejal” to advise her to leave – he’s such a mix of emotions that he has no force to debate and finally let her just follow him. Sejal? Well, Harry is somehow her hero now, the one who doesn’t only know the touristic stuff, the intellectual stuff, the women stuff, but also the adventure stuff, the danger stuff, the protecting stuff…I wonder what would have happened without Harry’s crying fit.

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