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Doordarshan asked for cuts in the fourth episode when the serial dwells overlong on Shantanu's predicament. For screenplay writer Rahi Masoom Raza, the question of political legitimacy is one of the central themes of the Mahabharat. Vijay TV Serial Mahabharatham Watch Vijay TV Show MMeendum Mahabharatham Promo 1 and Promo 2 27/Dec/2015ahabharatham at Tamilo.com. Please tell your friends and family to visit Tamilo.com for their one stop Tamil Entertainment website. The mother of all wars, the mother of all rivalries, the cauldron of emotions, insecurities, jealousies and power play - Mahabharat! Rivetting and a master lesson for the entire mankind.

Destiny at last caught up with Doordarshan. After months of controversy and confusion, the Mahabharat is finally on the air. And in keeping with the popular belief that discord always follows in the wake of the great epic, the telecast of the very first episode of B.R. Chopra's spectacular production triggered debate about the serial's unusual opening sequence.
The Mahabharat as we know it, begins with King Shantanu's fatal attraction for the Goddess Ganga, who emerges in human form on the banks of the river to fulfil a heavenly curse. The king's reckless passion sows the seed of the fratricidal conflict which dominates the epic and ultimately results in the destruction of the Kuru tribe.
But Chopra's Mahabharat takes the story further back in time, to King Bharat's visionary perception of monarchy. Bharat, according to legend, appointed an outsider, Bhumnayu, as his successor as he did not consider any of his , nine sons fit to govern Hastinapur. Several generations later, Shantanu broke the tradition of appointing only the wisest and most capable man as the ruler, and set in motion events which led to the Kurukshetra war. By placing Shantanu's failure in the context of Bharat's extraordinary political sagacity, the first episode of Chopra's Mahabharat created a dramatic focus on one of the strands running through the epic-the legitimacy of power.
In one brilliant stroke, not only does Chopra's Mahabharat become contemporary in comparison to Ramanand Sagar's Ramayan, but it also becomes politically explosive. Invariably, the question of whether power should be inherited or acquired by merit creates interesting allusions to modern-day political dynasties on the subcontinent. For viewers, the comparison would be with the Nehru family.

Mahabharat Serial Cast

It helps also to have Raj Babbar, V.P. Singh's most glamorous supporter, playing the role of wise King Bharat. Did Doordarshan ask Chopra to delete several minutes from the opening sequence because of its anxiety about the political allusions contained in the Mahabharat serial? Who ordered the cuts - the then director-general Bhaskar Ghose. Information and Broadcasting Minister H.K.L. Bhagat or, the prime minister himself?
Doordarshan sources maintained that the first few episodes of the serial were previewed by Ghose and members of the screening committee. But Mandi House did ask Chopra to make some cuts for 'technical reasons'.
Chopra himself insisted the cuts were made during editing, and not on Doordarshan's orders. 'Our job is not to draw parallels with anybody,' said Chopra. 'Our job is to tell the story of Mahabharat as we saw it. We would love it if Rajiv Gandhi saw it. But if he had we would have heard about it.'
But the switch in the first episode from Bharat's durbar to his mother Shakuntala's chamber is abrupt, as is the transition from Bharat's reign to Shantanu's. The cuts ordered by Doordarshan relate to this sequence. In the uncensored version, Bharat defends further his decision to deny his sons their right to the throne and reportedly declares that 'the king's duty is to consider the welfare of the kingdom, and not the welfare of his sons'
The idea is expressed again in the second episode through Shantanu's son Devavrata (later transformed to Bhishma). who stops the charioteer from hailing the rajkumar by pronouncing that the rajya is greater than either the king or his son. And once Bhishma's greatness is established, the next two episodes are devoted entirely to Shantanu's failure to uphold the high principles set by King Bharat. Once again. Doordarshan asked for cuts in the fourth episode when the serial dwells overlong on Shantanu's predicament.
For screenplay writer Rahi Masoom Raza, the question of political legitimacy is one of the central themes of the Mahabharat. Explaining the decision to introduce Bharat in the initial episode. Raza said: 'Without Bharat we would not have got the spine of the story. He makes a political statement which predates even the Ramayan - that karm and not janam gives the right to rule. Today, political conditions are similar to those during the time of Mahabharat.'
Nevertheless, Chopra's Mahabharat is likely to work the same magic on the audience as Sagar's Ramayan, even though the longer epic is considered a secular rather than a religious text. In terms of production, Chopra promises a serial far superior to Sagar's which so mesmerised the faithful.
But Chopra suffers from a major handicap. Against the galaxy of gods in Ramayan, Mahabharat has the lone figure of Krishna, the supreme incarnation of Vishnu. But in the epic, as scholar Iravati Karve pointed out, Krishna is 'wholly human.. a warrior and philosopher.. with no resemblance at all to the flute - playing lover of milkmaids, the divine child or the miracle-worker of later tradition.' Krishna also appears in the epic only as an adult.
But not in Chopra's Mahabharat. Five episodes, beginning with the 10th, dwell on Krishna's early life and finally, as the flute-playing, weapon-wielding god who figures prominently till the 52nd, and for the moment, final episode. 'There's no Mahabharat without Lord Krishna, so it's not as if we are trying to specially project him,' contends Chopra's son Ravi, who co-directs.
Now busy shooting the 19th episode, the Chopras selected an unknown Marathi stage and film actor to play the crucial role of Krishna. Like Arun Govil, Nitesh Bharadwaj, 25, a former veterinary doctor, is certain to be catapulted to fame and almost-divine glory. Admits Bharadwaj: 'Krishna is a pioneer of democracy in India. I feel a great responsibility taking on the role.'
He'll appear only after the 20th episode. By then, of course, it will be clear whether the Chopras or the Sagars win the battle for the television audience's hearts and minds. For, beginning November 27, the 26-episode Ramayan Part II comes on the air.
From next month, Sunday mornings will be crowded with epic battles - between gods and men, between Hindi film moghuls-turned-TV producers, and between cash-rich advertisers clamouring for a popular TV programme. Even before the viewership ratings for Mahabharat came in, Doordarshan was charging advertisers Rs 65,000 for a 10-second spot, the second highest rate on TV. For the early episodes, it will rake in upwards of Rs 25 lakh.

For the 78-episode Ramayan Part I, Mandi House grossed an estimated Rs 18 crore. Now with an equal number of episodes split between two serials, it stands to make the same amount of money. Browning a5 auto shotgun manual. Whatever the wise King Bharat might say about the right to rule, the kingdom will eventually collect the cash.

Destiny at last caught up with Doordarshan. After months of controversy and confusion, the Mahabharat is finally on the air. And in keeping with the popular belief that discord always follows in the wake of the great epic, the telecast of the very first episode of B.R. Chopra's spectacular production triggered debate about the serial's unusual opening sequence.
The Mahabharat as we know it, begins with King Shantanu's fatal attraction for the Goddess Ganga, who emerges in human form on the banks of the river to fulfil a heavenly curse. The king's reckless passion sows the seed of the fratricidal conflict which dominates the epic and ultimately results in the destruction of the Kuru tribe.
But Chopra's Mahabharat takes the story further back in time, to King Bharat's visionary perception of monarchy. Bharat, according to legend, appointed an outsider, Bhumnayu, as his successor as he did not consider any of his , nine sons fit to govern Hastinapur. Several generations later, Shantanu broke the tradition of appointing only the wisest and most capable man as the ruler, and set in motion events which led to the Kurukshetra war. By placing Shantanu's failure in the context of Bharat's extraordinary political sagacity, the first episode of Chopra's Mahabharat created a dramatic focus on one of the strands running through the epic-the legitimacy of power.
In one brilliant stroke, not only does Chopra's Mahabharat become contemporary in comparison to Ramanand Sagar's Ramayan, but it also becomes politically explosive. Invariably, the question of whether power should be inherited or acquired by merit creates interesting allusions to modern-day political dynasties on the subcontinent. For viewers, the comparison would be with the Nehru family.
It helps also to have Raj Babbar, V.P. Singh's most glamorous supporter, playing the role of wise King Bharat. Did Doordarshan ask Chopra to delete several minutes from the opening sequence because of its anxiety about the political allusions contained in the Mahabharat serial? Who ordered the cuts - the then director-general Bhaskar Ghose. Information and Broadcasting Minister H.K.L. Bhagat or, the prime minister himself?
Doordarshan sources maintained that the first few episodes of the serial were previewed by Ghose and members of the screening committee. But Mandi House did ask Chopra to make some cuts for 'technical reasons'.
Chopra himself insisted the cuts were made during editing, and not on Doordarshan's orders. 'Our job is not to draw parallels with anybody,' said Chopra. 'Our job is to tell the story of Mahabharat as we saw it. We would love it if Rajiv Gandhi saw it. But if he had we would have heard about it.'
But the switch in the first episode from Bharat's durbar to his mother Shakuntala's chamber is abrupt, as is the transition from Bharat's reign to Shantanu's. The cuts ordered by Doordarshan relate to this sequence. In the uncensored version, Bharat defends further his decision to deny his sons their right to the throne and reportedly declares that 'the king's duty is to consider the welfare of the kingdom, and not the welfare of his sons'
The idea is expressed again in the second episode through Shantanu's son Devavrata (later transformed to Bhishma). who stops the charioteer from hailing the rajkumar by pronouncing that the rajya is greater than either the king or his son. And once Bhishma's greatness is established, the next two episodes are devoted entirely to Shantanu's failure to uphold the high principles set by King Bharat. Once again. Doordarshan asked for cuts in the fourth episode when the serial dwells overlong on Shantanu's predicament.
For screenplay writer Rahi Masoom Raza, the question of political legitimacy is one of the central themes of the Mahabharat. Explaining the decision to introduce Bharat in the initial episode. Raza said: 'Without Bharat we would not have got the spine of the story. He makes a political statement which predates even the Ramayan - that karm and not janam gives the right to rule. Today, political conditions are similar to those during the time of Mahabharat.'
Nevertheless, Chopra's Mahabharat is likely to work the same magic on the audience as Sagar's Ramayan, even though the longer epic is considered a secular rather than a religious text. In terms of production, Chopra promises a serial far superior to Sagar's which so mesmerised the faithful.
But Chopra suffers from a major handicap. Against the galaxy of gods in Ramayan,

Ullam Kollai Poguthada Serial In Tamil

Mahabharat has the lone figure of Krishna, the supreme incarnation of Vishnu. But in the epic, as scholar Iravati Karve pointed out, Krishna is 'wholly human.. a warrior and philosopher.. with no resemblance at all to the flute - playing lover of milkmaids, the divine child or the miracle-worker of later tradition.' Krishna also appears in the epic only as an adult.
But not in Chopra's Mahabharat. Five episodes, beginning with the 10th, dwell on Krishna's early life and finally, as the flute-playing, weapon-wielding god who figures prominently till the 52nd, and for the moment, final episode. 'There's no Mahabharat without Lord Krishna, so it's not as if we are trying to specially project him,' contends Chopra's son Ravi, who co-directs.

Mahabharat Doordarshan Serial In Tamil Download

Now busy shooting the 19th episode, the Chopras selected an unknown Marathi stage and film actor to play the crucial role of Krishna. Like Arun Govil, Nitesh Bharadwaj, 25, a former veterinary doctor, is certain to be catapulted to fame and almost-divine glory. Admits Bharadwaj: 'Krishna is a pioneer of democracy in India. I feel a great responsibility taking on the role.'
He'll appear only after the 20th episode. By then, of course, it will be clear whether the Chopras or the Sagars win the battle for the television audience's hearts and minds. For, beginning November 27, the 26-episode Ramayan Part II comes on the air.
From next month, Sunday mornings will be crowded with epic battles - between gods and men, between Hindi film moghuls-turned-TV producers, and between cash-rich advertisers clamouring for a popular TV programme. Even before the viewership ratings for

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Mahabharat came in, Doordarshan was charging advertisers Rs 65,000 for a 10-second spot, the second highest rate on TV. For the early episodes, it will rake in upwards of Rs 25 lakh.

Mahabharat Doordarshan Serial In Tamil Online

For the 78-episode Ramayan Part I, Mandi House grossed an estimated Rs 18 crore. Now with an equal number of episodes split between two serials, it stands to make the same amount of money. Whatever the wise King Bharat might say about the right to rule, the kingdom will eventually collect the cash.

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