At the center of every of the three standalone seasons of Broken But Beautiful is a foolish however plausible thought, the sort that errors a human for a jigsaw puzzle — that everybody is jagged and damaged, and to be in love is to search out an individual whose jagged brokenness suits in yours to turn into one full, Shreya Goshal and Papon crooned perfection.
It’s not exhausting to grasp the attract of this. We are the technology of break-up playlists. We like to wallow within the philosophical aftermath of affection. We have put Imtiaz Ali’s motion pictures on a philosophical pedestal. Why shouldn’t Ekta Kapoor’s enterprising empire monetize this banality? But like every part on their platform, it pushes the story until its logical breaking level, after which pushes some extra, propelled by fiery, inconceivable melodrama.
The third season cranks this up a notch. The feminine protagonist is called Rumi (Sonia Rathee), and so they even discover just a few excuses to bung within the poetic namesake. When the male protagonist, Agastya (Sidharth Shukla) — just like the legendary sage who introduced the Himalayas and the Ganga down South — smoking copiously, notes, “I feel broken,” his PR supervisor simpers, “You have to be broken. You had to break for the light to come in.” What a relentlessly foolish thought. What a gloriously plausible thought.
It is less complicated to purchase into this perception if it’s dressed up in purple prose and velvet robes, as a result of there’s a recognition right here that wallowing in love is a luxurious, one which pales when impending payments and an rising workload are at stake. Roti, kapda, makan are at finest, a peripheral fear. So everyone seems to be cloaked up in glitter and sequins, even the poor theater playwright and his broke entourage have tapri-wali chai from a gilded cafe connected to a glamorous theater. Agastya is a theater playwright, however that’s solely a plotpoint — as a result of no self-respecting author will permit such pathetic strains to be attributed to them, particularly if they’re launched as a category aware “angry young man” — so he can have Rumi play the function of the actress.
Rumi is a socialite, who curates artwork, or performs theater, or will get married, or will get drunk. She is given the posh of psycho-analyzing and a life worthy of psycho-analysis. A stepdaughter of a wealthy man whose different daughter is the embodiment of perfection and composure, Rumi rankles each time the comparability is made in her head. She is probably the most singular, poisonous character there may be, with shades of Heer (Nargis Fakhri) from Rockstar — each in look and odd theatricality. She is pining after a childhood crush, whereas utilizing Agastya for intercourse and sensibility. She is susceptible to exaggeration. When anxious that Agastya is barely Rumi’s Plan B, his PR supervisor asks him to pave ahead cautiously. Rumi, who overhears her, notes that Agastya isn’t her plan, “Kyunki plans badalte rehte hain. I’m in love [with Agastya].” Half an episode later, she decides to marry another person.
The first two seasons have been manageable, and modest of their twists, and coincidences, as a result of they have been rooted, comparatively, in an easier, much less twisted world. That was the story of Veer (Vikrant Massey) and Sameera (Harleen Sethi) — each damaged once they met, with Veer hallucinating his lifeless spouse, and Sameera stalking her ex. Their brokenness was healed by their companionship, which slowly leaks into love. At the top of the primary season Ekta Kapoor, who’s credited with “Concept”, made the daring and considerable option to not have her lovers be collectively, which is now turning into an ALT staple. They acknowledge the love they really feel for one another, they kiss, however in addition they notice that being collectively opened them as much as the probabilities of life in a approach nothing else has. They need that feeling to stay earlier than it binds itself in a relationship. So they half, with a promise to be collectively, finally.
Here, that is reversed. While Veer and Sameera met as damaged individuals who heal-or-some-such one another, right here, Rumi and Agastya meet and thru love break one another aside. Agastya is even given a lonely-biker montage after his coronary heart breaks, the poor factor. Love right here isn’t the therapeutic however the destroying drive, which is why this season is darker in its preoccupation.
But there’s something extra sinister behind this — that it’s the chase of affection that’s thrilling, not love itself. “Woh pyaar nahin tha, woh zid tha,” Rumi says within the final episode, referring to a passionate affair they’d, which the present spent 7 episodes dwelling on, all dismissed in an exaggerated overture. An identical factor occurred within the first season when Sameera spends all of the 11 episodes making an attempt to get her ex to like her again. And when he lastly does, she realizes that she doesn’t need him again. To be cherished, on this universe, is the proper cause to not love.
But there are additionally thematic continuities between the seasons — the circuitous, determined, and self-destructive capability of the damaged craving coronary heart, the alternating voice-overs, the romanticized thought of “closure” as one thing you arrive at, and as soon as arrived at, can transfer on from, and the sledgehammer-like obviousness of all of it embedded in probably the most contrived of circumstances. Sameera and Rumi each have self-respect points, and it’s the “handsome, brooding men” of their lives, damaged and fussy as they’re, who snap them out of it with a kitsch monologue sculpted out of a self-help e book, padded by a swelling, nearly intrusive background rating that finds each excuse to have Shreya Ghoshal hum loudly.
They additionally make insanity sound aspirational. “Crazy” and “Psycho” are deemed the logical aftermath of longing. Sameera notes that she finds Veer’s hallucinating his lifeless spouse for 3 years since her dying “romantic”. The very first thing Rumi does after seeing Agastya two years after dumping him is to try to win him again. She’s married to another person, and he’s in a comforting relationship with a single mom. But the erotic brokenness of those characters muffle and muddle lust for love and love for insanity and insanity for ardour until all of it turns into one indistinguishable, irresistible cliche.