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Kahiin Toh Hoga Episode 155. Sections of this page. Accessibility Help. Press alt + / to open this menu. Email or Phone: Password: Forgot account? Sujal Kashish Die Heart Fans. February 9, 2016. Sujal Kashish Die Heart Fans Videos Kahiin Toh Hoga Episode 155. Mar 18, 2018 Kahiin to Hoga is an Indian soap opera which aired on STAR Plus between September 2003 and February 2007. The show was created by Ekta Kapoor of Balaji Telefilms and starred Aamna Shariff and Rajeev Khandelwal in lead roles. The romantic-drama series is one of the most popular television programs telecast on Indian television which.
TEAR JERKER: Script writer Manu Chaobe. Photo by Gajanan Dudhalkar |
The drama is female-centric: mothers-in-law berate daughters-in-law, glamourous women plot against the Plain Janes and the good daughter sacrifices all for the sake of the family.
The audience consists mostly of women: grandmothers, mothers and daughters all crowd around the television every evening for the latest episode of their favourite television soap. Will Prerna finally take revenge on Anurag, who has ditched her to marry Komolika? Everybody waits with bated breath.
And since the world of soaps — to quote Czarina Ekta Kapoor — is for women, of women and by women, you’d expect the hand that wields the pen to be feminine, too. Banish the thought — the script writers of India’s mushiest series are mostly men. It is men who bring in the Parvatis and the demure bahus on the small screen. It is men who plot and plan the next move in Kkusum — “epitomising the values and virtues of the Indian woman.” It is men who pit Prerna against Komolika in Kasauti Zindagi Kay. The tears, the laughter, the hysteria — blame it all on men.
“More than 90 per cent of the soaps are written by male scriptwriters,” says Rekha Modi, who is one of the few female soap writers in the television industry.
That’s not surprising, for it is a well-paying business. Says Kamlesh Pandey, the Big Dad among script writers: “They write scripts because they need to eat.” And we are not talking about mere dal and chawal here, for the incomes are exceptionally good. A script writer with two years of experience already makes it to the senior slot where he is entitled to an assistant called a detailer who ties the loose ends and transcribes what the script writer says on the dictaphone. At this stage, he earns Rs 6,000 per episode and most months he takes Rs 1.5 lakh home. A detailer who is generally a beginner earns nothing less than Rs 18,000 a month.
“The money is good,” agrees Manu Chaobe, who writes Kahin To Hoga, Kasauti Zindagi Kay and Kahaani Ghar Ghar Kii from the Balaji stable. Five years ago, when Chaobe completed his Mass Communications course from Mumbai’s Xavier Institute of Communications (XIC) in a bid to become a journalist, he was “shocked by the paltry salary offered to a rookie reporter”. The salary was an issue because his parents — both of whom had been in the civil services — wanted their son to do an MBA. Instead, he chose the creative path.
Like most script writers of soaps, he eventually hopes to make it big in the Hindi film industry. But when you tell him you are going to watch Kahin To Hoga on Star Plus, he butts in hastily with a laugh: “Oh, you will lose all respect for me.”
The soap industry is, clearly, flooded with men. Apart from Chaobe, there is Rajesh Joshi who writes Kumkum, Mahesh Pandey, who is the script writer for Kahaani Ghar Ghar Kii, Kkavyanjali, Kasauti and Kkusum and Anil Nagpal who is currently script writing Kyunki Saas Bhi Kabhi Bahu Thi. And these are just a few.
The script writers all stress that they would love to do their own thing — but are fettered by the market, which dictates what people want to watch. They point out that Jassi — the girl next door — was a great concept, but even the Plain Jane had to morph into a beautiful woman, because of pressure from the market. “Kahna Hai Kuch on Sony had to wind up in 50 episodes as it strayed off the beaten format and formula,” says Chaobe. Television characters have to be one dimensional to be successful, he argues.
But the profession, the men hold, is like any other — and the gender angle is irrelevant. Pramod Sen, who does the script for Kahin Kissi Roz, says that there is no dichotomy in male script writers writing soaps, especially those in which women characters abound and which are targeted primarily at women. “As long as the basic human emotion and sensibilities are same, it doesn’t matter. There is nothing sexist about it — it is the cultural factor that binds soaps,” he says.
Kamlesh Pandey, on the other hand, believes that it is men who give birth to great women in literature. Some of the best female literary characters, says the writer of Rang De Basanti, have been penned by men. “Literature is testimony to the fact that all the powerful women characters were written by men: Parineeta by Saratchandra, Anna Karenina by Leo Tolstoy and so on,” he says. “It is a misconception that men are not sensitive. When you are a writer, a creative person, you are psychologically feminine. It doesn’t matter what your gender is. If you look at male dancers closely they are feminine. Any creative art primarily requires a feminine approach.”
Anirudh Pathak, who writes the screenplay for Karam Apna Apna, concurs. Kalidas and Shakespeare were men who wrote about the beauty of women, he says. And, in the final analysis, the sex of the writer doesn’t matter. “Does it matter whether a male or a female pilot commanders a plane?”
But what matters, however, is the fact that Indian soaps often denigrate the position of women in society. “I understand that women who ask for property rights or question the authority held by older men or women are often portrayed as the vamps or bad women in soaps,” says Professor Lakshmi Lingam at Mumbai’s Centre for Women’s Studies, Tata Institute of Social Studies. Instead of raising what are “very pertinent questions”, these characters “do a lot of disservice to the issue of gender, because they plot against men and other women within and outside the family,” says Lingam. “So though the questions they ask are important, because they come from the ‘wrong’ kind of women, the issue also becomes flawed and unacceptable and one that threatens the great Indian family system,” she says.
Some efforts are being made to make soaps less one-sided. Rekha Modi, who did the script for Kyunki Saas Bhi Kabhi Bahu Thi, is now doing a serial called Betiyan Ghar Ki Laxmi, which talks about the edge girls have on boys.
But in the world of soaps, it is the men who have outpaced women. The reasons, Modi holds, are the same as in other sectors.
“This is a job for which you have to be on call 24x7. Every day TRPs decide which story is working and which is not; so you cannot even have a bank of episodes. Because of family and social problems, women eventually opt out of this,” she says.
Either way, women seem to be the losers — on the screen, behind it, or in front of it. But as the singer crooned, the show must go on.
The golden rules a soap script writer has to follow
The heroine has to come out looking like Mother India
Make the women in the audience cry
Bring drama, make everything loud
Extramarital affairs are a must but here you should play by the rule. The audience should not be disgusted. In one serial, the audience reacted negatively when the hero had an affair with the protagonist’s sister
Send across family values...
Make the women in the audience cry
Bring drama, make everything loud
Extramarital affairs are a must but here you should play by the rule. The audience should not be disgusted. In one serial, the audience reacted negatively when the hero had an affair with the protagonist’s sister
Send across family values...