The Married Woman Web Series Review

 The Married Woman review: ALTBalaji, ZEE5's adaptation of Manju Kapoor's novel is lazy and unremarkable                  

" The Married Woman" is an interesting watch, Moumita Bhattacharjee. pointed out.

" The Married Woman" is a bold online series in the Indian context of the time.

The audience still lives in harmony with gay content, but the female protagonist here is pan-sexual, and this field may never have been explored in any form of entertainment content in India.

This ZEE5-AltBalaji function manages to go where no one has done it before, but to get there, it satisfies the bumps, which the series found difficult to overcome.

Asta (Ridi Dogra) leads a perfect life, or what society thinks it is.

In the first few days of marriage, many things happened to her and her husband Herman (Suhas Ahuja) in bed.

But after the two children, their sexual love gradually decreased, and there was almost no physical contact.

Everything is now in mechanical mode and Saturday is their sex day.

It was then that Astar met Ejaz (Imad Shah), who was the director of a play she translated in Hindi.

They had many meetings, and she fell in love with him, even though she knew that he was married to Pipilica (Monica Dogra).

An incident shocked their lives and the two women were attracted.

What happened to them became the crux of the show.

                                                                             

" The Married Woman" is based on Manju Kapoor's novel of the same name.

Jaya Mishra and Surabi Salal have adapted it into a web series and have done commendable work.

Married women have some amazing moments to prevent this series from collapsing.

The narrative of finding an escape outside of marriage with a neglected wife is a prerequisite commonly seen now.

Here it is treated skillfully because they are showing a woman who firmly believes that it will never cross the line.

Letting such a woman experience the world outside of hanging up the phone is a triumph of the story.

There are many such moments that make it an interesting watch.

But the writers seemed a little lost at first.

When the audience's attention span is only 15 seconds, the audience is more likely to leave the series halfway through.

Therefore, before it reaches the good part, one is already bored.

In addition, some things are completely unnecessary.

The Hindu and Muslim riots did not add anything to the narrative.

There is also no need for the stories behind Pipilica's many relationships.

Pipilica accuses Ejaz of leading the scene of Astar without doing such a thing is meaningless.

Reidi Dogra did an excellent job for his wife, who was overwhelmed by freedom outside the house.      

Sometimes, you will want to hug her because she navigates through these new feelings.

Imad Shah reminds you of his father Naseruddin Shah. Although his character lacks depth, he is very likable.

Suhas Ahuja is the perfect T as Hemant. Ego, unfaithful, aware of his wife, this actor did an excellent job as a stabbing husband.

Monica Dogra is the weakest link here, but the scene where she is teasing the blushing Reddy is very interesting.

After a while, her words became very annoying, especially when she needed to raise her voice.

                                                                               

What Is the Story About?

The married woman is an interesting watch, but it could have been much better. Nevertheless, Altbaragi and ZEE5 should be praised for just hard work.

Manju Kapoor (Manju Kapoor) wrote in the opening remarks of the 2003 novel Married Woman: "Asha grew up appropriately, suitable for a woman, full of fear. On the other hand, Altbaraj and ZEE5 The 10-episode adaptation of the novel "Married Woman" of the same name begins with a peculiar and effective montage showing the evolution of Asha Kapoor's marriage.

It started when newlyweds sneaked out of their romantic pockets with her husband Hermant in the context of conservative family arrangements. The second Saturday of every month is portrayed for passionate sex. As the years go by, this kind of sex begins to resemble indifference to trivial matters. In the process, Asha gave birth to two children and another mother: her kind but careless husband.

By the time the exhibition opened in 1992, Asha had become the epitome of a good wife in India. She remembered other people but forgot about herself. The show is competent in this opening sequence, setting the scene to express the systemic neglect that any Indian woman must endure in marriage. Obviously, Asha feels increasingly depressed in her marriage. But even so, it ignores the peculiarity of Kapoor's description of Asha as a woman accustomed to fear: as a woman who learned to reduce herself to others early. The lack of this detail hinders the credibility of the adaptation premise—a docile married woman transcends moral codes and seeks love outside of another woman’s marital realm in the context of the tense Hindu-Muslim riots. In particular, if Asha succumbed to her impulse after the breakdown of her marriage, she would still not be able to accurately consider the risks Asha actually took. "Married Woman" created for the screen by Jaya Misra and Surabi Salal has never fully recovered from this mistake.

" The Married Woman", directed by Sahir Raza, lets the protagonist break the fourth wall. This is a narrative device that is obviously borrowed from Phoebe Waller Bridge’s boisterous flea bag, thus adopting himself Another completely modern way. In the first few episodes, I was still not sure about the purpose of having Asha look into the camera and tell her feelings, except that it was a seemingly clever narrative device. But after the fourth episode, it started to feel less of a device, and more of a dishonest trick: Astha did not break the fourth wall and confided to the audience because she broke it to provide the same information, the script provided anyway . It dilutes the program, like a required voiceover, breaks the momentary silence and prevents the audience from adding points.

                                                                              

The story takes Delhi as the protagonist and tells the story of university professor Asha when he was creating the Hindi adaptation of "Romeo and Juliet" when he encountered liberal Imaad Shah (Imaad Shah, wasted in an inexorable role) , A Muslim theater director. Sparks fly between the two, although romance is one-sided and destined. Instead, it acts as a bridge between the resigned Asha and Ahaz's aesthetically sad wife Pipli Khan (a sad misrepresentation of Monica Dogra), with whom she portrays a relationship. In this book, Piplika prepares to become Asha's counter. In the show, she satisfies every stereotype of a classic lively woman: she has a free mind, an alcoholic, and her preferred way of mourning is a glass of wine and a pack of cigarettes, who only wears fake mangos.

However, in this sloppy writing program, the biggest obstacle to portraying a story about resistance and personality remains incompetent filmmaking: the speed of the show drags to a point, and it repeats the importance of each situation three times before solving it. . The dialogue reads more like a thesis statement ("I am in love with the soul rather than gender", "Love transcends personality and conditions"), intended to feed every emotional peak forcefully. Terrible American accents abound. Its unwavering progressive lens ("I am a pansexual," Peeplika declared in a scene) seems to always forget that it should convince the audience that it is specific to its era. For example, a person who speaks in a language more suitable for 2021. More than once, Piplika told another character that something was not "her scene". The other character refers to her lover and cute "baby". Unnecessarily gorgeous production designs reflect these shortcomings. These are small details, but their wasted potential reflects the fate of not being able to hire viewers to invest in their characters, making it lazy and insignificant.

There was a scene that came to my mind that best described the redundancy of the program. "Do you praise and explain it? After ten episodes, the plot does not crawl and move as much as it does. I hope someone will ask the manufacturer the same question for a version: Do you make a show and explain it?                                                                                   

According to Manju Kapoor's book of the same name, the online series "Married Women" was launched on Monday on International Women's Day. It starred Monica Dogra and Ridy Dogra as the main characters. The film is directed by Sahir Raza, and also features Imaduddin Shah and Suhas Ahuja as the protagonists.

The show was filmed in the early 1990s, when homosexuality was a crime in the eyes of the law and a joke in society. It explored the life of a middle-class woman who led a "perfect" life. Astha is a university professor. She has a loving and settled husband (Suhas). She cares about her, her professional life as a university teacher, and a caring family that includes two children and kind in-laws. However, "perfect" lost its appeal when she met a young man, Aijaz (lmaaduddin) who advocated freedom of choice at university and aimed to blur all religion, gender and caste boundaries. She fell in love with him, met his wife (Monica), and discovered her and personality.

Despite the promising and exciting storyline, this show still fails to tie you up. Distributed in 11 episodes, it seems to stretch unnecessarily. In many cases, there are oversimplified and over-explained explanations of the characters' feelings, thoughts, or the relationships in their lives. Whether it is Asha or Piplika, or Ajaz or Hermant, when each character enters the ordinary and detailed monologue, some clear lines will do more powerful work.

The show is mostly stereotyped in portraying religious stigma and sex. A mother reluctantly asked her daughter to marry a family that believes in another religion. She wanted to know from her newly married daughter whether her in-laws provided namaz. Another woman is in the mood to have pure Kolma instead of Pacolas, because the family she is visiting has a daughter married to a Muslim family.

Even the political background of the 1992 riots and the demolition of the Babri Mosque seemed to be nothing more than props. The show did not make any statements, or even show the suffering of the victims, but only used it to increase the number of things the heroine Asha needs to fight to get her love.

                                                                                   

This book, like most of Manju Kapoor's works, explores the emotional turmoil of a middle-class woman who has fallen into the security of a typical patriarchal family. The only achievement of this show is to portray some of the turbulence as such a point. Mainly in the last few episodes, Asha performed well in the emotional whirlwind that Asha might experience when trying to choose between family responsibilities and happiness.