The goddess was pleased and stopped her from dying and asked her to join their heads and bodies and then she granted them life. Goddesss to get the same brother and husband in the next life. Husband lying on the ground and then decided to take her own life but asked the Madanasundari, after a long wait came and saw both her brother and On seeing the state of his brother-in-law, the husband was also moved deeply and he decided to offer his own head too to the goddess and cut his own head with his sword. Madanasundari was worried when her brother did not come out of the temple and she then sent her husband to see what the matter was. So he bowed before the goddess and cut his head off as a sacrifice.
But as soon as he came near the goddess, he wanted to make a massive sacrifice to the goddess. Her brother wanted to pay a visit to the goddess, and went to the temple. On the way they happened to pass by the temple of Durga Devi, the goddess of power. Of them were travelling to Madanasundari’s maternal home. Once brother of Madanasundari, came to Dhavala to invite his sister andīrother-in-law to their place for festival season. She then went with Dhavala to live with him. His parents did accordingly and the girl, Madanasundari, got married to him with her parents consent. He instantly fell in love with her and pleaded with his parents to ask her parents for her hand in marriage. The only thing alive and potentially scary is a snake.Įven the dialogue swings wildly between time and place – “shaadi”, “barbaadi” and “chakkar katna” are uttered in the same breath as “parantu,” “vivah” and “prayatna”.Once upon a time there lived a washerman named Dhavala.
Even the trees in the forest appear to be dead. Cars honk in the background when the king pauses for breath, men wear sherwanis and women Gujarati style-nylon saris. Watch it now and you will cringe at the cardboard sets with curtains and doors painted on paper, electric cables, concrete roads in cities during the reign of King Vikramaditya, manhole covers, plug points covered with black cloth and worse.
VIKRAM AUR BETAAL STORY SERIAL
You could say the same about Vikram aur Betaal, our weekly tryst with a toothless spirit and a poker-faced king that seemed grander and more attractive than it would today.īased on the Sanskrit collection Betaal Pachisi and produced by Ramanand Sagar, the serial was a massive rage among kids who fell in love with the character meant to scare them – an old man in a flowing white wig, yellow under-eye highlights, scarlet lips stretched in a smile over a wide, denture-less mouth, and a signature cackle that echoed in school corridors and neighbourhood lanes, replicated pitch for pitch. The most cruel thing about growing up is that everything seems smaller – the park where you played, the toy gun that shattered the mid-afternoon quiet, and even the ghosts that followed you in dark alleys.
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