Another night of blinding pain,
Another shower of cloudless rain.
Retches through my gutless vein,
The unborn mother has died again!
© Priya Ramanthan, March, 2009
Monday, March 30, 2009
Wednesday, March 18, 2009
It Happened Last Night ...
I was awfully waylaid in thought last night. After years of inaction, I felt the real writer in me finally threatening to break free from the fat, lazy lady, whose body it lived in; who calls herself Priya! I was pacing like a trapped animal, in my tiny bedroom; its size or lack thereof, bearing down upon me, heavier than ever before. I could, feel my skin throbbing as the tension of self proclaimed, trapped talent, strained against my lazybones. For a moment, even then outer shell of Little Miss Muffet, harboured the idea of taking the fancy trip to some desolate land and pictured herself, beautifully silhouetted against a foreign sunset and softer sun amidst strange faces. But I knew it was just a whim that my other Sybils’ would not let me see through. I-worry-about-my-parents Sybil, was queiter than I-need-a-steady-income-in-the-time-of-worldwide-recession Sybil; but they were both annoyingly whiny and effectively deterrent of anything joyful and impulsive. Besides, there was precious little I could really do with that desire, at 12:30 a.m.
I knew sleep was the only solution, but it was difficult coming. I knew that come morning, I’d be sane enough to talk myself out of all creative whimsicality and snugly embroil myself in the heart of ordinary life. But there was still the little issue of seeing the night through without completely losing my already waning mind.
Reading usually helped me whenever an emotion such as this took over! Somehow, the act of reading always seems like the most dignified manner in which one might chose to waste one’s time; it makes the gravest moment of meaninglessness, into some sort of a worthy exercise of self discovery. God bless the books!
So, as a stop gap arrangement, to rid myself of the insomnia bout, supposedly brought on by curbed creativity ... I decided to read. It was also, I glefully realised, the quickest way to an instant, back-pack-like-exciting-not-knowing-what-to-expect-next-and-therefore-thrilling type of vacation, with an occasional dash of time travel thrown in on the lucky instance.
My next task on hand was to find a book. The one’s I had read and reread a million times, were not going to in any way, feed my desire to visit the unknown, so I decide to dig into an old book shelf that I knew was full of un read books. I randomly pulled out one, that was freakily titled 'Flyaway' by Desmond Bagley - a writer who I am ashamed to admit I had never heard of - and I never knew I owned! The book I mean ...
When I finally did sleep after 25 pages of Mr. Bageley's book, it was rather an expereince of its own, owing to an interesting tryst with my subconscios mind; which decided to relay me a spectacularly incomprehensive dream. In it I sneaked into a mosque during the festival of Eid, and daringly pilfered the tasty Biryani reserved for the worshipers after their 'imam'; constantly afraid that my theft may be caught out. That singularly delinquent fear, made the entire dream as thriling as my untaken vacation. Aahhh ... maybe that is the explanation !
I am attributing my sudden, albeit weird, burst of creativity to Desmond’s delightful descriptions. When I picked up the book last night, I was a condescending reader, who was going to grant an ‘unknown’ writer with the pleasure of my readership, to his interestingly titled, 1978 edition, priced at a paltry Rs. 15, coverless and written in first person, book.
After reading the book and being unable to put it down - save for the fact that insecure Sybil has a task at hand which she is nowhere near completing thanks to this ramble – pompous prat Sybil, who is a close cousin of wannabe-bestseller-writer Sybil, has taken a real ego bashing. If what I believed to be an unknown book, holds such a wealth of knowledge on history, human emotions and narrative, how am I ever going to make it as a known author in today's ever rising sea of writers; real, reclusive and rambling alike?
I am more than half way through the book. Now I have a new set desires keeping the company of those that I had, before ‘Flayaway’; I want to be an anthropologist, write 'another' book (ahem) and run away to Africa on a battered land rover with a sunky Englishman for a guide! I need help!
My Bucket List just keeps getting longer not to mention, dustier! Kuch Toh Karna Padhega!
I knew sleep was the only solution, but it was difficult coming. I knew that come morning, I’d be sane enough to talk myself out of all creative whimsicality and snugly embroil myself in the heart of ordinary life. But there was still the little issue of seeing the night through without completely losing my already waning mind.
Reading usually helped me whenever an emotion such as this took over! Somehow, the act of reading always seems like the most dignified manner in which one might chose to waste one’s time; it makes the gravest moment of meaninglessness, into some sort of a worthy exercise of self discovery. God bless the books!
So, as a stop gap arrangement, to rid myself of the insomnia bout, supposedly brought on by curbed creativity ... I decided to read. It was also, I glefully realised, the quickest way to an instant, back-pack-like-exciting-not-knowing-what-to-expect-next-and-therefore-thrilling type of vacation, with an occasional dash of time travel thrown in on the lucky instance.
My next task on hand was to find a book. The one’s I had read and reread a million times, were not going to in any way, feed my desire to visit the unknown, so I decide to dig into an old book shelf that I knew was full of un read books. I randomly pulled out one, that was freakily titled 'Flyaway' by Desmond Bagley - a writer who I am ashamed to admit I had never heard of - and I never knew I owned! The book I mean ...
When I finally did sleep after 25 pages of Mr. Bageley's book, it was rather an expereince of its own, owing to an interesting tryst with my subconscios mind; which decided to relay me a spectacularly incomprehensive dream. In it I sneaked into a mosque during the festival of Eid, and daringly pilfered the tasty Biryani reserved for the worshipers after their 'imam'; constantly afraid that my theft may be caught out. That singularly delinquent fear, made the entire dream as thriling as my untaken vacation. Aahhh ... maybe that is the explanation !
I am attributing my sudden, albeit weird, burst of creativity to Desmond’s delightful descriptions. When I picked up the book last night, I was a condescending reader, who was going to grant an ‘unknown’ writer with the pleasure of my readership, to his interestingly titled, 1978 edition, priced at a paltry Rs. 15, coverless and written in first person, book.
After reading the book and being unable to put it down - save for the fact that insecure Sybil has a task at hand which she is nowhere near completing thanks to this ramble – pompous prat Sybil, who is a close cousin of wannabe-bestseller-writer Sybil, has taken a real ego bashing. If what I believed to be an unknown book, holds such a wealth of knowledge on history, human emotions and narrative, how am I ever going to make it as a known author in today's ever rising sea of writers; real, reclusive and rambling alike?
I am more than half way through the book. Now I have a new set desires keeping the company of those that I had, before ‘Flayaway’; I want to be an anthropologist, write 'another' book (ahem) and run away to Africa on a battered land rover with a sunky Englishman for a guide! I need help!
My Bucket List just keeps getting longer not to mention, dustier! Kuch Toh Karna Padhega!
Monday, March 16, 2009
Teri Rabne Bana Di Jodi ... Tu Haan Kar Ya Na Kar Yara ...
As part of a review assignment, I watched Rab Ne Banad Di Jodi last because I assumed, I’ve seen it before loved it, so last mein karongi and I will breeze through it honestly I had not bargained to feel intensely attached to the film the second time round. I don’t know why, but the film, just made a girl out of me. I am 35 so can’t really qualify for girl -dom … But I am also single and that after seeing the film … that part of me … the ‘still waiting’ part, felt 21 again … hoping Der Aaye, Durust Aaye … Suri jaisa koi aaye! Surinder Suri made all the Don Juan’s of the world look like paani kam chai, and like, the heroine in the film put it, its probably because like every other girl, what I also truly want is for a man to love me (Noting Hill) like no one has ever been loved before (Rab Ne Banad Di Jodi)
It’s an odd observation, but I truly feel that a film like Rab Ne Bana Di Jodi … could only have come from the Yash Raj Banner. Honestly, many of their films annoy me. According to them, women have nothing better to do than look pretty on terraces, waiting for their princes to shower them with flowers. (DOES NOT HAPPEN!) Yash Raj is a male chauvinistic, women commoditising, cleavage showing, Switzerland loving film production house! The human rights activist that lazily lingers somewhere within my heart, hates how women are portrayed in their films, and hates it even more that they do it with so much panache that it actually elicits an aspiration value in the viewers to be so brain numbingly dumb and beautiful; I am neither! Yet … their films also have a way of making a woman feel so beautiful in short bursts … that those moments can take one’s breath away. It is a sort of psychedelic moment that rather simply separates the head from heart, and the moment that the heart (invariably) takes over … every thing is as beautiful as they want you/ us/ me to see it as! In those moments, I want to be Rakhee of kabhi kabhi, whose husband, says her eyes are like lalteyn … I want to be Rakhee in Trishul, whose hair is untangled by an intensely beaten and unhappy Amitah saying, ‘main thodi dosti thodi mohabbat tum se maangta hoon,’ (Sigh ) I want to hum ‘tere mere hothon pe’ on the valley of Switzerland with a Rishi Kapoor prototype on my arms, or have someone sing ‘mere dil mein aaj kya hai, tu kahein toh main bata doon’ to me or say, ‘aur pass, aur pass’ while tugging at the last shreds of my self control, from the edge of a silver chudi!!! Oh my god! I am sacchi shuddering even as I write this! Maye it is too much info for mass consumption but you know what I mean??? The magic of Yash Raj is a crowd puller and they know it! They tell love stories that make dancing around trees loo desirable. They create romance that makes you want to be young again, love again, hurt again … die a million deaths only to know what it is to live again!
So, have you noticed how … a truly beautiful love story is almost always wrought with a lot of sorrow and pain? In the end you either live to be a fairy tale protagonist (Cinderella, Rapunzel, Snow White, Chandni, Dil Toh Paagal Hai, Sangam, Love Story, Betaab, Etc) or you die and become forever known by your mortally dead, but spiritually undying love, (Heer-Ranjha, Laila – Majnu, Ek Jujey Ke Liye, QSQT) Most people naturally want to be the former. But that invariably means, until the dream ending is here, there’s a lot to pain to be dealt with; it seems to be the price for that must be paid for the elusive “ever after …” not tarnished by mediocrity and boredom; as is the case in most run-of-the-mill love affairs masquerading as stories!
The hero of Rab Ne Bana Di Jodi, Surinder Suri, was not just the hero of the film … He was a hero, period. He was a simple man who probably had a crush on a happy bride-to-be, when fate made her his wife, he almost convinced himself that she was his responsibility and he needed to keep her happy. It was only when he felt that her pain hurt him did he even admit to himself that it was a sort of love, that was doomed to be un requited. To digress, I am reminded of, “Love In the Time of Cholera?” It’s a book I feel, everyone MUST read! The opening line says: “The smell of burnt almonds always reminds me of the fate of unrequited love.” I swear I died a few mini deaths after reading that! (Why do I feel I have said that before?)
Ok Rab Ne … Now for Anushka. It was a splendid debut in my opinion. A newness always brings with it a curiosity driven ‘first look’ audience right? It was a difficult role to portray! It was a strange moment, when you actually should have hated your heroine for telling the hero, Shah Rukh Khan, with his baggage of being the king khan and all, that she can never love him. Yet her pain is just as palpable. Her reasons to live a lie for a marriage do not seem like excuses, and she actually wore the masks of a joyful fiancée before her marriage to a quasi widow on her marriage day, rather convincingly.
Before I watched the film for the first time I did not know what to expect at that point! I felt the next day played out in silence, of him leaving her breakfast, resisting the urge to know twice, deciding against the rose, his shyness at work and the awkward party after was intriguing; one layer after another. But then what, I wondered!!!
When Suri confesses his majboori to his best friend Bobby, and later his super sad wife stepped out of her den to play the perfect hostess, I was super touched. It seemed like a simple enough gesture but if for one moment we are to pout ourselves in Tanee’s shoes and think of the pain and pressure she must have felt, to have lost her lover, and father married a total stranger all in one day added to the tension of appearing amicable before her new husband’s self invited friends! Yet she did it, not grudging it. I think hospitality - which we take so abysmally for granted - is gem every Indian wears in his crown of thorns… or should. It is like a legacy, handed down to us - especially the women folk - without formal training. Think about it, Tanee actually apologises to Shah Rukh for her misplaced anger and promises to do her ‘wifely’ duties with efficiency; which is her way of abdicating herself from the guilt of not loving her husband. It could have been, but it is not, his way of extracting his pound of flesh. Interesting hai na?
Thus begins a one sided love story. Interestingly Shah Rukh (Rather the dialogue writer) hit the nail on the head; saying that he (Suri) reminded her (Tanee) of a painful chapter of her life, so he had to be someone else to be with the real, happy Tanee. Sad as it seems, sometimes the heart plays these games to find love. The angst and the desperation that drove the protagonist to even consider taking such a step, made the hero so lovable to the viewers.
I will admit there is the glaring error of how Shah Rukh is styled and how blind she is that she could not guess it was her husband, etc is rather valid. But if you ignore the obvious and treat the breach as subliminal, then what you get to see, is that even a seemingly ordinary man (Suri) can be more than special and take your breath away! I loved the bike chase the dancing bit and of course the patka surd kids in the church in the Tujhmei rab dikhta hai song!!! Sigh …
In many ways, Tanee fell in love with Suri, not Raj. Though bobby darling wanted to teach Raj to be macho, it was the innate suri-ness that won her over, not the macho-ness! Raj was sincere, madly in love with Tanee, cared about her enough to not enjoy her watching her lose, and arranged for the power of a section of the city to be shut of to tell her he loved her. Awwwww …. I mean I know that was cheesy, but seriously … OH MY GOD! Yet, all of that was actually Surinder Sahni, packaged in a bright box that sported coloured hair, wore tight clothes and flirted shamelessly (all of which she was admittedly annoyed with) The only advantage Raj had over Surinder Sahni, was that he did not come with baggage in Tanee’s eyes. So she heard him out and gave him a fighting chance to make a calculated first impression on her; one that Suri never had!
What was a little weird to me as a viewer and many others that I know of, is that how come, every one, except Tanee and Aditya Chopra, would have preferred to spend more time with Suri not the in-one’s-face raj, as shown in the film! To argue the maker’s case, maybe Aditya Chopra thought his audience come to watch his films, because they could get a glimpse of Shah Rukh’s abs through tight tees, or watch him jhoomo to one filmy number (Which in this case was seeti bajaoing filmy but supremely enjoyable in the from of the very well written, hum hai rahi pyaar ke, phir milenge, chaltey chaltey – seriously who coined that line? Milna padhega!!!) or the trademark sarso da khet shot (Which happened only in this film …. Rare for a Yash Raj film)
By showcasing more of Raj, and less of Suiri, they played it safe … and trounced their own trump card. Sad!
As Raj yelled away profanities and tugged at his snug jeans from under his butt crack, I missed the thehraav of suri. Also I have to say such a connect happened with the boring husband because suri was this rare gem of talent that for some obscure reason, shah rukh chooses to hide under the garish light of his own torch of fame. Suri reminded me of Kabir Khan in Chak De, and Mohan Bhargav in Swades … not because he was similar to them but simply because he was so very different from them! God when will our actors learn that acting and not, tom-tomming star giri will etch their names forever in the hall of fame??? When Suri whispered, ‘Yara Meri Love Story Banade Yara,’ I wanted to hold him and rock him like a mother and wish away his pain! And yet we want this sad looking, moustached, bespectacled simpleton to walk away with the heroine; ironic huh? When Suri fights the sumo wrestler one cringes, when he eats biryani after winning a gol gapa eating competition one smiles happily and sadly. And when he chauvinistically insists that she should love his boring form, you actually nod approval. You want the chauvinist to win … you want love to prevail over all odds, and you actually want to forgive the man … who bends a few rules to make that happen. Because you know, he is not a chauvinist, he is a romantic. Had he been a chauvinist, he’d have as bobby says, slapped her and forced her to be his wife. But he simply loved her with two sides to him... giving her a choice to chose one. For that if he is pig headed about where his own heart lays … allowed hai! A chauvinist would have branded her character less for wanting to run a way with a “paraya mard”! But he loved her so much, that he was willing to be someone else for the rest of his life … to keep her happy. Seriously …where are these men???
Rab ne must’ve done well, because Indian, and I consider myself a rather typical sample for that assumption, as such suckers for sentimentality, emotional tugs, under dog prevalence, fantastic stories that would be unthinkable to the western world … accepted chauvinism, a rural strain where life is really quite different for a city life and at the same is visible in every aspect of living from clothes, speech, intonation, life styles … everything. It’s almost like a parallel civilisation; a sort of dichotomy that I can only assume is not as stark in the developed world, save for Japan! (Again … Asian values kind of overlap) And yes of course … we love happy endings.
Indian love strong bonds in their cinema. Rab Ne Bana Di Jodi had all this in small scenes but large doses: a dying father wanting to see his child ‘settled’ before his death. (Another VERY Indian sentiment), a friend helping his dost, get his wife’s love (novel and efficiently played out), a woman’s dilemma, a husband’s love, and of course an unseen Rab who presumably is the master puppeteer who guides our strings. Indians imply adore that unseen magician. It takes a child like innocence to surrender to the unseen as fervently as we do … to many a thinking people, it seems like a whole load of bull and crap. But personally … the idea of loving someone, because you illogically … but most certainly see a bit of your choice of god … a secular sounding ‘Rab’ in him or her … is as delightful as it is divine. Gauging the success of the film I am glad to note I was not alone in this sentiment.
Many of my friends, peers and colleagues, hated Rab Ne Bana Di Jodi. I believe like the unlikely love story, the love hate relationship between the film and some of its favoured viewers, is just as destined, as the fate of its protagonists in it; it strikes a chord, only if it is meant to be!
A few asides:
I am not original in saying this, but the first half an hour and the last half an hour, were the heart of the film!
The sights and sights and sounds of heartland India made me want to give up my job and travel I have felt that desire after ages, after watching a Hindi film. After watching it then what I could do best was … I went and had pani puri … which is what gol gappey are called in Bombay after ages! I rest my case! LOL!
The film reminded me of Cyrano de Bergerac and all the films that have been made with that original them: ‘Sangam, Sajan, Navrang, Satyam Shivam Sundaram …’ have you noticed …all hits!!!
The Golden temple … MUST GO! Though I like the Rehman version of omkar satnam in rang de basanti! My friend Paakhi is right, Rehman; is like every where these says. Love him … hate him … you can’t ignore him! Like people watch film for directors, and actors a whole bunch of audience will soon start thronging theatres just to listen to his composition in Digital Dolby Stereophonic Sound!
To many, a film is just a film …to me it almost never is. It’s a whole experience thingy, where I get to be someone else or feel for someone else. But even for the hard core entertainment seekers, some films just stick like a little magnet in one’s heart was drawn to the iron clasp of a concept … a character … a scene and they are just irresistibly drawn to each other. There’s a hymn in the Novena that has this lovely line … “Senses cannot grasp this marvel … faith must serve to compensate … AMEN”
That is why I said ... Rabne Bana Di Jodi!
It’s an odd observation, but I truly feel that a film like Rab Ne Bana Di Jodi … could only have come from the Yash Raj Banner. Honestly, many of their films annoy me. According to them, women have nothing better to do than look pretty on terraces, waiting for their princes to shower them with flowers. (DOES NOT HAPPEN!) Yash Raj is a male chauvinistic, women commoditising, cleavage showing, Switzerland loving film production house! The human rights activist that lazily lingers somewhere within my heart, hates how women are portrayed in their films, and hates it even more that they do it with so much panache that it actually elicits an aspiration value in the viewers to be so brain numbingly dumb and beautiful; I am neither! Yet … their films also have a way of making a woman feel so beautiful in short bursts … that those moments can take one’s breath away. It is a sort of psychedelic moment that rather simply separates the head from heart, and the moment that the heart (invariably) takes over … every thing is as beautiful as they want you/ us/ me to see it as! In those moments, I want to be Rakhee of kabhi kabhi, whose husband, says her eyes are like lalteyn … I want to be Rakhee in Trishul, whose hair is untangled by an intensely beaten and unhappy Amitah saying, ‘main thodi dosti thodi mohabbat tum se maangta hoon,’ (Sigh ) I want to hum ‘tere mere hothon pe’ on the valley of Switzerland with a Rishi Kapoor prototype on my arms, or have someone sing ‘mere dil mein aaj kya hai, tu kahein toh main bata doon’ to me or say, ‘aur pass, aur pass’ while tugging at the last shreds of my self control, from the edge of a silver chudi!!! Oh my god! I am sacchi shuddering even as I write this! Maye it is too much info for mass consumption but you know what I mean??? The magic of Yash Raj is a crowd puller and they know it! They tell love stories that make dancing around trees loo desirable. They create romance that makes you want to be young again, love again, hurt again … die a million deaths only to know what it is to live again!
So, have you noticed how … a truly beautiful love story is almost always wrought with a lot of sorrow and pain? In the end you either live to be a fairy tale protagonist (Cinderella, Rapunzel, Snow White, Chandni, Dil Toh Paagal Hai, Sangam, Love Story, Betaab, Etc) or you die and become forever known by your mortally dead, but spiritually undying love, (Heer-Ranjha, Laila – Majnu, Ek Jujey Ke Liye, QSQT) Most people naturally want to be the former. But that invariably means, until the dream ending is here, there’s a lot to pain to be dealt with; it seems to be the price for that must be paid for the elusive “ever after …” not tarnished by mediocrity and boredom; as is the case in most run-of-the-mill love affairs masquerading as stories!
The hero of Rab Ne Bana Di Jodi, Surinder Suri, was not just the hero of the film … He was a hero, period. He was a simple man who probably had a crush on a happy bride-to-be, when fate made her his wife, he almost convinced himself that she was his responsibility and he needed to keep her happy. It was only when he felt that her pain hurt him did he even admit to himself that it was a sort of love, that was doomed to be un requited. To digress, I am reminded of, “Love In the Time of Cholera?” It’s a book I feel, everyone MUST read! The opening line says: “The smell of burnt almonds always reminds me of the fate of unrequited love.” I swear I died a few mini deaths after reading that! (Why do I feel I have said that before?)
Ok Rab Ne … Now for Anushka. It was a splendid debut in my opinion. A newness always brings with it a curiosity driven ‘first look’ audience right? It was a difficult role to portray! It was a strange moment, when you actually should have hated your heroine for telling the hero, Shah Rukh Khan, with his baggage of being the king khan and all, that she can never love him. Yet her pain is just as palpable. Her reasons to live a lie for a marriage do not seem like excuses, and she actually wore the masks of a joyful fiancée before her marriage to a quasi widow on her marriage day, rather convincingly.
Before I watched the film for the first time I did not know what to expect at that point! I felt the next day played out in silence, of him leaving her breakfast, resisting the urge to know twice, deciding against the rose, his shyness at work and the awkward party after was intriguing; one layer after another. But then what, I wondered!!!
When Suri confesses his majboori to his best friend Bobby, and later his super sad wife stepped out of her den to play the perfect hostess, I was super touched. It seemed like a simple enough gesture but if for one moment we are to pout ourselves in Tanee’s shoes and think of the pain and pressure she must have felt, to have lost her lover, and father married a total stranger all in one day added to the tension of appearing amicable before her new husband’s self invited friends! Yet she did it, not grudging it. I think hospitality - which we take so abysmally for granted - is gem every Indian wears in his crown of thorns… or should. It is like a legacy, handed down to us - especially the women folk - without formal training. Think about it, Tanee actually apologises to Shah Rukh for her misplaced anger and promises to do her ‘wifely’ duties with efficiency; which is her way of abdicating herself from the guilt of not loving her husband. It could have been, but it is not, his way of extracting his pound of flesh. Interesting hai na?
Thus begins a one sided love story. Interestingly Shah Rukh (Rather the dialogue writer) hit the nail on the head; saying that he (Suri) reminded her (Tanee) of a painful chapter of her life, so he had to be someone else to be with the real, happy Tanee. Sad as it seems, sometimes the heart plays these games to find love. The angst and the desperation that drove the protagonist to even consider taking such a step, made the hero so lovable to the viewers.
I will admit there is the glaring error of how Shah Rukh is styled and how blind she is that she could not guess it was her husband, etc is rather valid. But if you ignore the obvious and treat the breach as subliminal, then what you get to see, is that even a seemingly ordinary man (Suri) can be more than special and take your breath away! I loved the bike chase the dancing bit and of course the patka surd kids in the church in the Tujhmei rab dikhta hai song!!! Sigh …
In many ways, Tanee fell in love with Suri, not Raj. Though bobby darling wanted to teach Raj to be macho, it was the innate suri-ness that won her over, not the macho-ness! Raj was sincere, madly in love with Tanee, cared about her enough to not enjoy her watching her lose, and arranged for the power of a section of the city to be shut of to tell her he loved her. Awwwww …. I mean I know that was cheesy, but seriously … OH MY GOD! Yet, all of that was actually Surinder Sahni, packaged in a bright box that sported coloured hair, wore tight clothes and flirted shamelessly (all of which she was admittedly annoyed with) The only advantage Raj had over Surinder Sahni, was that he did not come with baggage in Tanee’s eyes. So she heard him out and gave him a fighting chance to make a calculated first impression on her; one that Suri never had!
What was a little weird to me as a viewer and many others that I know of, is that how come, every one, except Tanee and Aditya Chopra, would have preferred to spend more time with Suri not the in-one’s-face raj, as shown in the film! To argue the maker’s case, maybe Aditya Chopra thought his audience come to watch his films, because they could get a glimpse of Shah Rukh’s abs through tight tees, or watch him jhoomo to one filmy number (Which in this case was seeti bajaoing filmy but supremely enjoyable in the from of the very well written, hum hai rahi pyaar ke, phir milenge, chaltey chaltey – seriously who coined that line? Milna padhega!!!) or the trademark sarso da khet shot (Which happened only in this film …. Rare for a Yash Raj film)
By showcasing more of Raj, and less of Suiri, they played it safe … and trounced their own trump card. Sad!
As Raj yelled away profanities and tugged at his snug jeans from under his butt crack, I missed the thehraav of suri. Also I have to say such a connect happened with the boring husband because suri was this rare gem of talent that for some obscure reason, shah rukh chooses to hide under the garish light of his own torch of fame. Suri reminded me of Kabir Khan in Chak De, and Mohan Bhargav in Swades … not because he was similar to them but simply because he was so very different from them! God when will our actors learn that acting and not, tom-tomming star giri will etch their names forever in the hall of fame??? When Suri whispered, ‘Yara Meri Love Story Banade Yara,’ I wanted to hold him and rock him like a mother and wish away his pain! And yet we want this sad looking, moustached, bespectacled simpleton to walk away with the heroine; ironic huh? When Suri fights the sumo wrestler one cringes, when he eats biryani after winning a gol gapa eating competition one smiles happily and sadly. And when he chauvinistically insists that she should love his boring form, you actually nod approval. You want the chauvinist to win … you want love to prevail over all odds, and you actually want to forgive the man … who bends a few rules to make that happen. Because you know, he is not a chauvinist, he is a romantic. Had he been a chauvinist, he’d have as bobby says, slapped her and forced her to be his wife. But he simply loved her with two sides to him... giving her a choice to chose one. For that if he is pig headed about where his own heart lays … allowed hai! A chauvinist would have branded her character less for wanting to run a way with a “paraya mard”! But he loved her so much, that he was willing to be someone else for the rest of his life … to keep her happy. Seriously …where are these men???
Rab ne must’ve done well, because Indian, and I consider myself a rather typical sample for that assumption, as such suckers for sentimentality, emotional tugs, under dog prevalence, fantastic stories that would be unthinkable to the western world … accepted chauvinism, a rural strain where life is really quite different for a city life and at the same is visible in every aspect of living from clothes, speech, intonation, life styles … everything. It’s almost like a parallel civilisation; a sort of dichotomy that I can only assume is not as stark in the developed world, save for Japan! (Again … Asian values kind of overlap) And yes of course … we love happy endings.
Indian love strong bonds in their cinema. Rab Ne Bana Di Jodi had all this in small scenes but large doses: a dying father wanting to see his child ‘settled’ before his death. (Another VERY Indian sentiment), a friend helping his dost, get his wife’s love (novel and efficiently played out), a woman’s dilemma, a husband’s love, and of course an unseen Rab who presumably is the master puppeteer who guides our strings. Indians imply adore that unseen magician. It takes a child like innocence to surrender to the unseen as fervently as we do … to many a thinking people, it seems like a whole load of bull and crap. But personally … the idea of loving someone, because you illogically … but most certainly see a bit of your choice of god … a secular sounding ‘Rab’ in him or her … is as delightful as it is divine. Gauging the success of the film I am glad to note I was not alone in this sentiment.
Many of my friends, peers and colleagues, hated Rab Ne Bana Di Jodi. I believe like the unlikely love story, the love hate relationship between the film and some of its favoured viewers, is just as destined, as the fate of its protagonists in it; it strikes a chord, only if it is meant to be!
A few asides:
I am not original in saying this, but the first half an hour and the last half an hour, were the heart of the film!
The sights and sights and sounds of heartland India made me want to give up my job and travel I have felt that desire after ages, after watching a Hindi film. After watching it then what I could do best was … I went and had pani puri … which is what gol gappey are called in Bombay after ages! I rest my case! LOL!
The film reminded me of Cyrano de Bergerac and all the films that have been made with that original them: ‘Sangam, Sajan, Navrang, Satyam Shivam Sundaram …’ have you noticed …all hits!!!
The Golden temple … MUST GO! Though I like the Rehman version of omkar satnam in rang de basanti! My friend Paakhi is right, Rehman; is like every where these says. Love him … hate him … you can’t ignore him! Like people watch film for directors, and actors a whole bunch of audience will soon start thronging theatres just to listen to his composition in Digital Dolby Stereophonic Sound!
To many, a film is just a film …to me it almost never is. It’s a whole experience thingy, where I get to be someone else or feel for someone else. But even for the hard core entertainment seekers, some films just stick like a little magnet in one’s heart was drawn to the iron clasp of a concept … a character … a scene and they are just irresistibly drawn to each other. There’s a hymn in the Novena that has this lovely line … “Senses cannot grasp this marvel … faith must serve to compensate … AMEN”
That is why I said ... Rabne Bana Di Jodi!
Tashan
Ok, I would never have seen Tashan had it not been for the fact that I had to review it. My research told me that it was a super flop; one of the worst cinematic debacles that yashraj had encountered in ages. But I had to see it so I started … Honestly I found the opening interesting … an english teacher being the protagonist of a hindi film, was novel to me. Actually its the opening scene where “kabhi, kabhi” breaks into the scene as the tail of a car looks like it is operating autonomously from its bonnet … seemingly being ghost driven or operated by a drunk driver which is usually worse. Incidentally I was intrigued that “Kabhi kabhi” was trying to elbow out an English song that I did not recognise and almost winning after the car cartwheeled into a water body, Saif, chose to tell us a story, instead of drowning. Hmmmm…
Before proceeding I have to say I didn’t like the film too much. It was too all over the place, and many other things. But mostly it was very confusing. So I am going to try and neutrally write the story first, then positively (god help me) review it!!!
Ok, so after the near drowning scene in which a hand holds a gun at Saif, which we don’t know who, he, Saif (in flash back) goes on to tell us, how he was this lucky boy, who taught English and worked at a call centre (joyfully) for a living. The first twist is Kareena’s entry into his life. Jimmy the flirt (Saif) meets the ‘bholi bhali’ Pooja (Kareena) who works for bhaiyya ji (Anil Kapoor) who has two side-kicks, Manoj Pahwa and some other similar looking guy. With me so far? I hope so we have along way to go!
Ok so, so far, we’ve reached the den. After some aankh matakka, Saif feels Kareena is ‘the one,’ wonders if she loves him, then she says I love you … and cut to song. After we are one song down - which is super by the way - suddenly Anil Kapoor yells at Kareena that she’d have been a mujrewalla without him; some incomprehensible talk about family vendetta and an unpaid debt. (Don’t ask me, I don’t know and certainly don’t care)
Ok I forgot to mention 2 things before: Anil Kapoor speaks the worst English ever, and he is Saif student. Saif breaks away from the scene on screen, to talk to us the audience, giving us hi version of the happening with his vishesh tippani. (Interesting at first, but veerrryyy confusing eventually. Imagine my horror when Akshay started doing that post interval. Ok will talk of that later!) Also have to say erhe because I can’t think of another better time to do so: at first I thought Anil Kapoor’s bad language was one’s first tryst with good fortune … where hamming paid off. But as the film progressed and his bad English got better, rather worse, rather better than worse if you know what I mean … I hardly understood most or any of what he said!
Ok so after the mujrewalli moment, Saif is confused and wants Pooja to leave bhaiyya ji but she can’t … or so she says! When Saif hears Kareena’s dard bahri dastaan … he offers to help her rob her boss and walk into the sunset with her. Simultaneously he has a briefing at the call centre where he learns that bhaiyya ji is a dreaded wanted don. (Just remember that for now, will come in handy later.)
The next we know, Kareena is a manipulative bitch (Saif’s words) and she has run off with 25 crores and leaves Saif holding then empty bag to face bhaiyya ji’s wrath. As a good bye treat, t o us actually sine Saif couldn’t really see her cure an aight with her hips, she croons, ‘na ladha na ladha, tu akh na ladha, don’t look at me like that mahi’ (She wears a bikini, looks super hot sways to a super song and sings don’t look at me? Yea right! Every one has their eyes, wide shut!)
Bhaiyya ji is livid that he has been robbed and wants his moolah back. But he needs help doing it … Cut to a ten headed, French beard sporting modern day Ravan (Akshay) who is the chosen hitman for the job. Bumbling Akshay is delighted that he has been personally appointed by bhaiyya ji to track Kareena and get Saif to spill the beans. Akshay idolises anil kapor as he ‘saved’ (note the parenthesis) Vikram Tiger the best don of Kanpur, where everyone in the film is miraculously from. After Vikram Tiger’s untimely demise, bhaiyya ji became his self appointed heir apparent and the idol for every Kanpur delinquent aspiring to be in the crime business, from then on.
Ok all this is revealed post interval by Akshay’s PTC. The interval point is, Akshay and Saif, battling over sound tracks in a red car … (kabhi kabhi and the unheard English song remember?) As they try to find Kareena, she lands up by their side, in the water body where they were all supposed to be drowning, but stand in waist deep water. Turns out she was hiding in their dicky, as its the safest place in the world! (Innovative)
So now, to keep from being killed by her ex, jilted lover, Kareena tempts Saif into believing she will share her loot with him and partners with him to throw Akshay off guard. Kareena admits to hiding a potion of the loot in Rajasthan. They head out!
While on the run, the briefing inspector lands en route and they have to dress as goras to escape his watchful eye. Kareena shamelessly flirt with Akshay as part of her plan with Saif bholabhala Akshay starts to pighlo but he knows she is an assignment. They are traipsing around Rajasthan and as the day of the plan finally arrives pooja, ‘casually’ asks bacchan (Akshay) about his lady love, while trying to get him good and drunk, to put her escape plan into gear. Turns out he had, and still has a torch for a woman who used to yell at him as he was a biji chor. His sad story is such that when Bacchan finally mustered the strength to ask her out on a date, he misses meeting her, as he gets into a fight as he waits, and is eventually put away in a remand home for two years, for attacking someone with his pen knife. Ahem you might say, but she pronto says she is his lost gudiya. The story is, she waited for him but instead of him (goluram no less), but bhaiya ji landed on his cycle with her dad, Vikram Tiger, and killed him before her 13 yr old eyes. (Samjhey the heroism was rumour and bhaiyya ji must have himself spread it! Wow … this bit is told to Saif after Akshay goes to Bombay without her … The thing is, when Akshay realises Pooja is his gudiya he offers to spare her life and keep her ‘love’ Jimmy and offers to take the money back to bhaiyya ji by himself)
The logic then in only the protagonist’s mid is, Pooja wants to avenge her father’s death, so she works with bhaiyya ji to ruin him. (Why she owes him anything I have no clue!) The flash back confession about her ‘really’ being gudiya, happens after Saif compliment her of being a brilliant actor and she gives him the story to ‘explain’ why the tender hearted child became a quasi Phoolan of Kanpur. Saif then feels bad for her new, past love, as he sent empty suitcases back to Bombay with goluram.
Ok I also forgot, in the middle of all this, some where, Anil Kapoor lands in Rajasthan, riding a scoter with a side car, speaking the worstest English ever, and as he chases the trio. In the same venue, briefing policeman lands up, and declares a coup: Saif was his plant! (Surprised anyone? I was more like shocked from the inanity of the revelation) he also brings along commandos who literally fall of the air, but dies before anyone can know his sole purpose of staring in the film! (Phew … don’t ask me why? Beats me!)
So Saif and Kareena land in Bombay. First it seems like Saif tricked Kareena but then he tricks Anil Kapoor. Major dhishum - dhishum later, nail kapoor dies and the film ends. Saif goes back to teaching only women, and Kareena marries Akshay.
Ok in my opinion, anyone who liked this film, needs to g to church and meet someone there who might tell them the words of Christ: father forgive them because they know not what they do! But let me think why might it have been a hit, at any level …
1. Saif and Kareena were being seen on screen for the first time after her break up with shaahid, seemingly owed to an affair she had with her co start Saif on the sets of this film. ‘Dekhye toh what is the fuss about,’ kind of generates interest.
2. Saif and Akshay were coming together after years. It was interesting to note, how this time round Akshay was the anadi and Saif the khiladi. But like the older film this time also, anadi baazi maar gayya. I think Indians have super attachment to the under dog!
3. Kareena Akshay chemistry was great … the teasing fun and a bushing groom and gundi girl made for a fresh view!
4. ok the film was promised superbly and any one who wanted to see a film about four beautiful people might have gone for it … with the added bonus of Kareena in a bikini.
5. I felt I had seen Anil Kapoorafter days to … I am not counting Slumdog…, though he pretends it’s because of him they won all those international accolades.
My source tells me the film did better in heartland India. Wonder why
1. maybe the skin show had some is appeal … Kareena with the zillion discussions of being size zero at the time, may have been a peg for the draw.
2. the language in the film, both by Anil Kapoor when he was not talking English and Akshay, who was the back door hero of the film … was very rural. The erstwhile UP though now broken into three states collectively still has the largest population density. Taking a leaf from the success of Bhojpuri films, one can only imagine, at some level they must've seen Tashan as an upmarket bhojpuri film.
Oh god that is really a terrible thing to say isn't it? True … But still terrible!
On a non sarcastic note Akshay made the film bearable … even for me. I refer back to my comment on ‘singh is king’ he is getting to be a hero who makes his own rules, dares to look foolish and comes out the winner. I feel the rest of the cast have to thank him for the film‘s marginal success.
I don’t suppose any dialogue was particularly memorable but at times the maddening gibberish elicited a smile or laughter arising for sheer horror I suppose.
The music like Akshay added to the tolerance quotient of the film. The whole idea was rather ridiculous … but then if it was intended to be a brain n numbing comedy … I suppose they attempted a different route. In my opinion it was a huge, badly taken risk. But if you say it did well, it can only mean it sometimes helps to zap your audience, they won’t be in the mental frame to really make an intelligent summary! Sometimes that is a n interesting strategy to use
Ok … you can either love this review for its madness and political incorrectness, or hate how incomprehensible and all-over-the-place it is: much like Tashan itself!
Before proceeding I have to say I didn’t like the film too much. It was too all over the place, and many other things. But mostly it was very confusing. So I am going to try and neutrally write the story first, then positively (god help me) review it!!!
Ok, so after the near drowning scene in which a hand holds a gun at Saif, which we don’t know who, he, Saif (in flash back) goes on to tell us, how he was this lucky boy, who taught English and worked at a call centre (joyfully) for a living. The first twist is Kareena’s entry into his life. Jimmy the flirt (Saif) meets the ‘bholi bhali’ Pooja (Kareena) who works for bhaiyya ji (Anil Kapoor) who has two side-kicks, Manoj Pahwa and some other similar looking guy. With me so far? I hope so we have along way to go!
Ok so, so far, we’ve reached the den. After some aankh matakka, Saif feels Kareena is ‘the one,’ wonders if she loves him, then she says I love you … and cut to song. After we are one song down - which is super by the way - suddenly Anil Kapoor yells at Kareena that she’d have been a mujrewalla without him; some incomprehensible talk about family vendetta and an unpaid debt. (Don’t ask me, I don’t know and certainly don’t care)
Ok I forgot to mention 2 things before: Anil Kapoor speaks the worst English ever, and he is Saif student. Saif breaks away from the scene on screen, to talk to us the audience, giving us hi version of the happening with his vishesh tippani. (Interesting at first, but veerrryyy confusing eventually. Imagine my horror when Akshay started doing that post interval. Ok will talk of that later!) Also have to say erhe because I can’t think of another better time to do so: at first I thought Anil Kapoor’s bad language was one’s first tryst with good fortune … where hamming paid off. But as the film progressed and his bad English got better, rather worse, rather better than worse if you know what I mean … I hardly understood most or any of what he said!
Ok so after the mujrewalli moment, Saif is confused and wants Pooja to leave bhaiyya ji but she can’t … or so she says! When Saif hears Kareena’s dard bahri dastaan … he offers to help her rob her boss and walk into the sunset with her. Simultaneously he has a briefing at the call centre where he learns that bhaiyya ji is a dreaded wanted don. (Just remember that for now, will come in handy later.)
The next we know, Kareena is a manipulative bitch (Saif’s words) and she has run off with 25 crores and leaves Saif holding then empty bag to face bhaiyya ji’s wrath. As a good bye treat, t o us actually sine Saif couldn’t really see her cure an aight with her hips, she croons, ‘na ladha na ladha, tu akh na ladha, don’t look at me like that mahi’ (She wears a bikini, looks super hot sways to a super song and sings don’t look at me? Yea right! Every one has their eyes, wide shut!)
Bhaiyya ji is livid that he has been robbed and wants his moolah back. But he needs help doing it … Cut to a ten headed, French beard sporting modern day Ravan (Akshay) who is the chosen hitman for the job. Bumbling Akshay is delighted that he has been personally appointed by bhaiyya ji to track Kareena and get Saif to spill the beans. Akshay idolises anil kapor as he ‘saved’ (note the parenthesis) Vikram Tiger the best don of Kanpur, where everyone in the film is miraculously from. After Vikram Tiger’s untimely demise, bhaiyya ji became his self appointed heir apparent and the idol for every Kanpur delinquent aspiring to be in the crime business, from then on.
Ok all this is revealed post interval by Akshay’s PTC. The interval point is, Akshay and Saif, battling over sound tracks in a red car … (kabhi kabhi and the unheard English song remember?) As they try to find Kareena, she lands up by their side, in the water body where they were all supposed to be drowning, but stand in waist deep water. Turns out she was hiding in their dicky, as its the safest place in the world! (Innovative)
So now, to keep from being killed by her ex, jilted lover, Kareena tempts Saif into believing she will share her loot with him and partners with him to throw Akshay off guard. Kareena admits to hiding a potion of the loot in Rajasthan. They head out!
While on the run, the briefing inspector lands en route and they have to dress as goras to escape his watchful eye. Kareena shamelessly flirt with Akshay as part of her plan with Saif bholabhala Akshay starts to pighlo but he knows she is an assignment. They are traipsing around Rajasthan and as the day of the plan finally arrives pooja, ‘casually’ asks bacchan (Akshay) about his lady love, while trying to get him good and drunk, to put her escape plan into gear. Turns out he had, and still has a torch for a woman who used to yell at him as he was a biji chor. His sad story is such that when Bacchan finally mustered the strength to ask her out on a date, he misses meeting her, as he gets into a fight as he waits, and is eventually put away in a remand home for two years, for attacking someone with his pen knife. Ahem you might say, but she pronto says she is his lost gudiya. The story is, she waited for him but instead of him (goluram no less), but bhaiya ji landed on his cycle with her dad, Vikram Tiger, and killed him before her 13 yr old eyes. (Samjhey the heroism was rumour and bhaiyya ji must have himself spread it! Wow … this bit is told to Saif after Akshay goes to Bombay without her … The thing is, when Akshay realises Pooja is his gudiya he offers to spare her life and keep her ‘love’ Jimmy and offers to take the money back to bhaiyya ji by himself)
The logic then in only the protagonist’s mid is, Pooja wants to avenge her father’s death, so she works with bhaiyya ji to ruin him. (Why she owes him anything I have no clue!) The flash back confession about her ‘really’ being gudiya, happens after Saif compliment her of being a brilliant actor and she gives him the story to ‘explain’ why the tender hearted child became a quasi Phoolan of Kanpur. Saif then feels bad for her new, past love, as he sent empty suitcases back to Bombay with goluram.
Ok I also forgot, in the middle of all this, some where, Anil Kapoor lands in Rajasthan, riding a scoter with a side car, speaking the worstest English ever, and as he chases the trio. In the same venue, briefing policeman lands up, and declares a coup: Saif was his plant! (Surprised anyone? I was more like shocked from the inanity of the revelation) he also brings along commandos who literally fall of the air, but dies before anyone can know his sole purpose of staring in the film! (Phew … don’t ask me why? Beats me!)
So Saif and Kareena land in Bombay. First it seems like Saif tricked Kareena but then he tricks Anil Kapoor. Major dhishum - dhishum later, nail kapoor dies and the film ends. Saif goes back to teaching only women, and Kareena marries Akshay.
Ok in my opinion, anyone who liked this film, needs to g to church and meet someone there who might tell them the words of Christ: father forgive them because they know not what they do! But let me think why might it have been a hit, at any level …
1. Saif and Kareena were being seen on screen for the first time after her break up with shaahid, seemingly owed to an affair she had with her co start Saif on the sets of this film. ‘Dekhye toh what is the fuss about,’ kind of generates interest.
2. Saif and Akshay were coming together after years. It was interesting to note, how this time round Akshay was the anadi and Saif the khiladi. But like the older film this time also, anadi baazi maar gayya. I think Indians have super attachment to the under dog!
3. Kareena Akshay chemistry was great … the teasing fun and a bushing groom and gundi girl made for a fresh view!
4. ok the film was promised superbly and any one who wanted to see a film about four beautiful people might have gone for it … with the added bonus of Kareena in a bikini.
5. I felt I had seen Anil Kapoorafter days to … I am not counting Slumdog…, though he pretends it’s because of him they won all those international accolades.
My source tells me the film did better in heartland India. Wonder why
1. maybe the skin show had some is appeal … Kareena with the zillion discussions of being size zero at the time, may have been a peg for the draw.
2. the language in the film, both by Anil Kapoor when he was not talking English and Akshay, who was the back door hero of the film … was very rural. The erstwhile UP though now broken into three states collectively still has the largest population density. Taking a leaf from the success of Bhojpuri films, one can only imagine, at some level they must've seen Tashan as an upmarket bhojpuri film.
Oh god that is really a terrible thing to say isn't it? True … But still terrible!
On a non sarcastic note Akshay made the film bearable … even for me. I refer back to my comment on ‘singh is king’ he is getting to be a hero who makes his own rules, dares to look foolish and comes out the winner. I feel the rest of the cast have to thank him for the film‘s marginal success.
I don’t suppose any dialogue was particularly memorable but at times the maddening gibberish elicited a smile or laughter arising for sheer horror I suppose.
The music like Akshay added to the tolerance quotient of the film. The whole idea was rather ridiculous … but then if it was intended to be a brain n numbing comedy … I suppose they attempted a different route. In my opinion it was a huge, badly taken risk. But if you say it did well, it can only mean it sometimes helps to zap your audience, they won’t be in the mental frame to really make an intelligent summary! Sometimes that is a n interesting strategy to use
Ok … you can either love this review for its madness and political incorrectness, or hate how incomprehensible and all-over-the-place it is: much like Tashan itself!
Monday, March 9, 2009
Jaane Tu Ya Jaane Na
My friends and I were recently discussing trends in hindi cinema. Turned out that I liked the masala, full on drama types, with lots of dhoom dhadaka sounds as much as I did the Gulzar type films; which prided themselves on stay, meaningful relationship portrayal, intensity etc. when one friend asked me to name one modern day film that was typically Indian, like ‘Prem Rog, Sholay,’ types, in recent years that I had liked. I realised that outside of the occasional niche films, like ‘Lagan, or Jodha Akbar,’ the last decade or so has seen a new brand of cinema; made typically for the multiplex viewer; one that showcases a modern day India. These films tackle a different set of problems which are typical to a growing nation; not women’s lib or the birth of daughters but how relationships are formed, grow and struggle to sustain! The process of arriving at a right balance in the story telling, in a film such as this, which is often about ‘really’ nothing, is through relatable, lovable characters. I feel amongst the many films that attempted such an off beat path, Jaane Tu Ya Janey Na, certainly stands out.
Written by Abbas Tyrewalla who finally got his day in the sun, it’s a film that seems rather silly. There was no real story and the entire film could have been a one line synopsis. Sort of like Dill Mill Gayye: Armaan loves Riddhima was the story for over a year. But for days, months, the treatment of every little lachak, look, sigh and blush was glorified out of proportion making Armaan and Riddhima iconic in the minds to young viewers. Ok am digressing! Sorry!
So like I was saying, in the absence of a real power house story line, the interesting treatment helped the film cruise through and sustains the attention of its viewers. Though I must admit, it its bid to be different, the first five minutes jarred. The side characters, whom we had not seen up close until then, acting over familiar with the new girl in the group and the viewers was a bit annoying. But once then dream opened and the knight in a black turban, galloped into the main protagonist’s nightmare, I was all ears.
Characters are indeed the soul of a film. And often in an off beat sort of film, it helps to not have known actors. An actor becomes the character far more easily if he doesn’t have the starry baggage of past successes.
Imran Khan certainly fit the role of Jai Singh Rathore: cute as button, and yet not in the bastardly stereotypical way. It was nice to see a screen heroine all in love with a good boy for a change.
Genelia with a few flop films before her, can practically view Jaaney Tu … as her comeback vehicle to bollywood. Though her stint down south has seriously impeded her hindi pronunciations. It was alright in Jaaney Tu …. It almost went with a sort of make belief college lingo. But I don’t think it was designed; she really speaks that badly. And the moment that hits you, it’s kind of off putting.
The premise of Janey Tu Ya Janey Na, was this one dialogue that Mohnish Behl immortalised in Maine Pyaar Kiya: “Ek Jawan Ladka Aur Ek Jawan Ladki Kabhi Dost Nahin Ban Saktey.” Everyone, in varied stages of their lives goes through this dilemma. But invariably if one or both feel a certain something else, the supposed ‘friendship’ certainly goes for a toss!
With the changing times, where girls and boys are interacting more freely, people like to believe they are the exception to the rule. Often they are not, but just seeing another go through the same heart break and understanding the premise for jealousy as it is intended, coming form genuine affection and pain, and being accepted as the norm given the circumstance, is an interesting paradigm shift. Now, our heroes and heroines don’t have to be doodh ka dhula to find true love.
It’s an era in which the main protagonists in a film, can kiss another and make up with the hero/ heroine. But I have to wonder, if the audiences would have been as accepting if they saw the heroine traipse around to out door picnics with her trial boy friend, and the boy yearned for her a la Ross of Friends. I doubt it! We are not that broad minded yet!
It is interesting how the modern day Indian viewer is ready to accept a hatkey concept, provided it’s not grossly against bharatiya sanskriti is some from. So to keep the girl’s charitra intact, her beastly boy friend played by the usually delectable Ayaz kisses her at the party; bechari what could she do!!! Knowing one’s audience always helps! No wonder then, that the film “Girl Friend” didn’t do well, but “Dostana,” since in it, John and Abhishek were not ‘really’ gay, did! Mera Bharat Mahan! Having said that I don’t suppose the content developers for TV are willing to take even such a chance with theirs shows except for seedy comic tracks just yet!
I believe the feel good factor of the film was its high points. There were also many interesting elements thrown in for comic relief, that were delightful as much for their novelty as they were, for the panache with which they were played out, rather enthusiastically, by talented main stream actors.
The relationship between the brother and sister, though not too sentimental and raksha bandhan types, was delightfully contemporary. It was more real, like a duo you might see in the neighbour hood, or have heard of, or share with a real life sibling. It as honest, appropriately sentimental and the fact that it was played by this hot hunk Pratik Babbar, who no one really wanted to see as a brother proto type, really helped. He provided the ‘bastards that women love to hate, but always love’ quotient in the film. He made being a brother look cooler than walking away with the heroine in the end! Interesting!
I have to say, the parents in the film, were, sorry for the flippant language, ROCKING! I can’t help wonder if it was one of the high points of the film. The couple comprising of the happy Jayant Kriplani and the ever gorgeous Anuradha Patel, were like the parents every one wants and almost no one has. The aspiration values in this film were seriously skewed, and that was awesome.
And Ratna Pathak Shah and her photo framed reel/ real life pati Naseerudin Shah… well what can one say, except … OH MY GOD! Sometimes I wonder if certain actors make a script look good or a good script does them full justice! These to actor look like they read their roles and had it for tea with a close friend and a good laugh. The ease with which they perform, makes the acting look so unrehearsed; it’s like we are watching real people! And it was not just the comedy that worked. The mother son relationship … the fact that she raised a dignified son … the fact that he himself swears to be non violent and yet stands up for the two women in his life …. This is the kind of real life hero desired by women world wide! This is the man, mothers trust their daughters with and women want to take home to their dads. The hidden message in all this, was that only a strong mother can raise such an ideal son. So clichés are actually rather real!!!
The friends also played a vital role in the film. They lent beautifully to scenes without dominating the main story yet they had a small tale of their own to tell. Rothlu loving bombs on the rebound but finding true love, bombs choosing a balding boy though she was herself beautiful, the toughie best friend of aditi, who looked like she was lesbian, but used her wisdom to judge aditi’s mood swings with the perfect heart-o-meter, the lovable jiggy who just wanted to be happy and see others happy, the delusional meghana who needlessly got caught in a love story and had her already shattered heart further broken.
The other cameos were also beautifully tackled. The one scene wonder of Rajat Kapoor and Kitu Kidwani that said so much about increasing dysfunctional quotient in urban relationships, that no amount of money can mend! And yes how can I forget the delightful stupidity of Salman’s off screen brothers who play on screen rathore brothers on a mission to be arrested. (A word for the concept”: novelty ROCKS!) I always maintain that a good ensemble cast makes the lead pair look good; be it cinema or television. It gives the audiences more scope to connect with some character, and that connect rakes in the viewers and trps. People don’t realise it, but they love it when there’s more to love. A friend once told me, “Humans always need to feel they are with those who are familiar so when not among friends they find a common thread. In an album one always first searches out for one’s own face, then that of a friend.” True isn’t it? While on the topic of cameos, Paresh Rawal disappointed. Sad since he is such a fine actor.
A film about seemingly nothing is very heavily dependant on dialogues and comedy. Both were amply and ably present in Jaaney Tu … there were too many dialogues that I laughed at. They were not yaadgaar like, “Mere Paas Maa Hai,” but they suited the texture of the film all the same. Some personal favourites were, “Rothlu: Coke … On The Rocks,” “Inspector P.K. Waghmare: Champa, Chameli, Chandramukhi,” “Amit: Of Course I Hate Him, Usse Dekhtey Hi Mere Maa Bap Sochney Lagte Hai Ke Kaash Yeh Humara Beta Hota” “Aditi: Paanch Saal Kaise Beet Gaye Pata Hi Nahin Chala. Savitri: Phone Pe Beta, Phone Pe!”
The comedy was innate to the story telling, so I can’t really highlight any sections. But the whole talking portrait was delightful even in repeat viewing; after Hum Paanch I mean ….Another one of Abbas Tyerewalla’s works! Cow boys on horse backs visiting Bombay pubs … I have never seen anything like it before! As I am sure not many others have! I repeat … novelty ROCKS! And the dance that Naseer does after Jai Bashes Sushant. So cute!!!
Finally there was the sound of the film … The new generation is a techno generation. They need songs they can keep handy, on their i-pods, grove to while they drive, dance to at pubs, download from the net and not surf away from as it beams on the tv channel. Many believe Jaaney Tu … is not Rehman’s best; he can do better! Sure. But he delivered what the film deserved. The success of the film’s songs ridded not on his name, but the true hip hop, happy quality that it exuded that is openly appreciated by the target audience. The film won a Filmfare for music and Rehman said that Abbas rejected 75% of his tunes to arrive at Pappu! It seems like, true success is rarely a fluke.
Jaane Tu Ya Jaane Na… is primarily a love story. But its is also the story of youth. Its a story of their inability to know what they want, need, like and dislike, and the dilemma of having to chose right from wrong. But it’s the process of learning and the willingness to take risks that makes the young so special. This is an ability that is a function of that age. Thus a film about that phase of one’s life will be, like that era of life itself … forever memorable.
Written by Abbas Tyrewalla who finally got his day in the sun, it’s a film that seems rather silly. There was no real story and the entire film could have been a one line synopsis. Sort of like Dill Mill Gayye: Armaan loves Riddhima was the story for over a year. But for days, months, the treatment of every little lachak, look, sigh and blush was glorified out of proportion making Armaan and Riddhima iconic in the minds to young viewers. Ok am digressing! Sorry!
So like I was saying, in the absence of a real power house story line, the interesting treatment helped the film cruise through and sustains the attention of its viewers. Though I must admit, it its bid to be different, the first five minutes jarred. The side characters, whom we had not seen up close until then, acting over familiar with the new girl in the group and the viewers was a bit annoying. But once then dream opened and the knight in a black turban, galloped into the main protagonist’s nightmare, I was all ears.
Characters are indeed the soul of a film. And often in an off beat sort of film, it helps to not have known actors. An actor becomes the character far more easily if he doesn’t have the starry baggage of past successes.
Imran Khan certainly fit the role of Jai Singh Rathore: cute as button, and yet not in the bastardly stereotypical way. It was nice to see a screen heroine all in love with a good boy for a change.
Genelia with a few flop films before her, can practically view Jaaney Tu … as her comeback vehicle to bollywood. Though her stint down south has seriously impeded her hindi pronunciations. It was alright in Jaaney Tu …. It almost went with a sort of make belief college lingo. But I don’t think it was designed; she really speaks that badly. And the moment that hits you, it’s kind of off putting.
The premise of Janey Tu Ya Janey Na, was this one dialogue that Mohnish Behl immortalised in Maine Pyaar Kiya: “Ek Jawan Ladka Aur Ek Jawan Ladki Kabhi Dost Nahin Ban Saktey.” Everyone, in varied stages of their lives goes through this dilemma. But invariably if one or both feel a certain something else, the supposed ‘friendship’ certainly goes for a toss!
With the changing times, where girls and boys are interacting more freely, people like to believe they are the exception to the rule. Often they are not, but just seeing another go through the same heart break and understanding the premise for jealousy as it is intended, coming form genuine affection and pain, and being accepted as the norm given the circumstance, is an interesting paradigm shift. Now, our heroes and heroines don’t have to be doodh ka dhula to find true love.
It’s an era in which the main protagonists in a film, can kiss another and make up with the hero/ heroine. But I have to wonder, if the audiences would have been as accepting if they saw the heroine traipse around to out door picnics with her trial boy friend, and the boy yearned for her a la Ross of Friends. I doubt it! We are not that broad minded yet!
It is interesting how the modern day Indian viewer is ready to accept a hatkey concept, provided it’s not grossly against bharatiya sanskriti is some from. So to keep the girl’s charitra intact, her beastly boy friend played by the usually delectable Ayaz kisses her at the party; bechari what could she do!!! Knowing one’s audience always helps! No wonder then, that the film “Girl Friend” didn’t do well, but “Dostana,” since in it, John and Abhishek were not ‘really’ gay, did! Mera Bharat Mahan! Having said that I don’t suppose the content developers for TV are willing to take even such a chance with theirs shows except for seedy comic tracks just yet!
I believe the feel good factor of the film was its high points. There were also many interesting elements thrown in for comic relief, that were delightful as much for their novelty as they were, for the panache with which they were played out, rather enthusiastically, by talented main stream actors.
The relationship between the brother and sister, though not too sentimental and raksha bandhan types, was delightfully contemporary. It was more real, like a duo you might see in the neighbour hood, or have heard of, or share with a real life sibling. It as honest, appropriately sentimental and the fact that it was played by this hot hunk Pratik Babbar, who no one really wanted to see as a brother proto type, really helped. He provided the ‘bastards that women love to hate, but always love’ quotient in the film. He made being a brother look cooler than walking away with the heroine in the end! Interesting!
I have to say, the parents in the film, were, sorry for the flippant language, ROCKING! I can’t help wonder if it was one of the high points of the film. The couple comprising of the happy Jayant Kriplani and the ever gorgeous Anuradha Patel, were like the parents every one wants and almost no one has. The aspiration values in this film were seriously skewed, and that was awesome.
And Ratna Pathak Shah and her photo framed reel/ real life pati Naseerudin Shah… well what can one say, except … OH MY GOD! Sometimes I wonder if certain actors make a script look good or a good script does them full justice! These to actor look like they read their roles and had it for tea with a close friend and a good laugh. The ease with which they perform, makes the acting look so unrehearsed; it’s like we are watching real people! And it was not just the comedy that worked. The mother son relationship … the fact that she raised a dignified son … the fact that he himself swears to be non violent and yet stands up for the two women in his life …. This is the kind of real life hero desired by women world wide! This is the man, mothers trust their daughters with and women want to take home to their dads. The hidden message in all this, was that only a strong mother can raise such an ideal son. So clichés are actually rather real!!!
The friends also played a vital role in the film. They lent beautifully to scenes without dominating the main story yet they had a small tale of their own to tell. Rothlu loving bombs on the rebound but finding true love, bombs choosing a balding boy though she was herself beautiful, the toughie best friend of aditi, who looked like she was lesbian, but used her wisdom to judge aditi’s mood swings with the perfect heart-o-meter, the lovable jiggy who just wanted to be happy and see others happy, the delusional meghana who needlessly got caught in a love story and had her already shattered heart further broken.
The other cameos were also beautifully tackled. The one scene wonder of Rajat Kapoor and Kitu Kidwani that said so much about increasing dysfunctional quotient in urban relationships, that no amount of money can mend! And yes how can I forget the delightful stupidity of Salman’s off screen brothers who play on screen rathore brothers on a mission to be arrested. (A word for the concept”: novelty ROCKS!) I always maintain that a good ensemble cast makes the lead pair look good; be it cinema or television. It gives the audiences more scope to connect with some character, and that connect rakes in the viewers and trps. People don’t realise it, but they love it when there’s more to love. A friend once told me, “Humans always need to feel they are with those who are familiar so when not among friends they find a common thread. In an album one always first searches out for one’s own face, then that of a friend.” True isn’t it? While on the topic of cameos, Paresh Rawal disappointed. Sad since he is such a fine actor.
A film about seemingly nothing is very heavily dependant on dialogues and comedy. Both were amply and ably present in Jaaney Tu … there were too many dialogues that I laughed at. They were not yaadgaar like, “Mere Paas Maa Hai,” but they suited the texture of the film all the same. Some personal favourites were, “Rothlu: Coke … On The Rocks,” “Inspector P.K. Waghmare: Champa, Chameli, Chandramukhi,” “Amit: Of Course I Hate Him, Usse Dekhtey Hi Mere Maa Bap Sochney Lagte Hai Ke Kaash Yeh Humara Beta Hota” “Aditi: Paanch Saal Kaise Beet Gaye Pata Hi Nahin Chala. Savitri: Phone Pe Beta, Phone Pe!”
The comedy was innate to the story telling, so I can’t really highlight any sections. But the whole talking portrait was delightful even in repeat viewing; after Hum Paanch I mean ….Another one of Abbas Tyerewalla’s works! Cow boys on horse backs visiting Bombay pubs … I have never seen anything like it before! As I am sure not many others have! I repeat … novelty ROCKS! And the dance that Naseer does after Jai Bashes Sushant. So cute!!!
Finally there was the sound of the film … The new generation is a techno generation. They need songs they can keep handy, on their i-pods, grove to while they drive, dance to at pubs, download from the net and not surf away from as it beams on the tv channel. Many believe Jaaney Tu … is not Rehman’s best; he can do better! Sure. But he delivered what the film deserved. The success of the film’s songs ridded not on his name, but the true hip hop, happy quality that it exuded that is openly appreciated by the target audience. The film won a Filmfare for music and Rehman said that Abbas rejected 75% of his tunes to arrive at Pappu! It seems like, true success is rarely a fluke.
Jaane Tu Ya Jaane Na… is primarily a love story. But its is also the story of youth. Its a story of their inability to know what they want, need, like and dislike, and the dilemma of having to chose right from wrong. But it’s the process of learning and the willingness to take risks that makes the young so special. This is an ability that is a function of that age. Thus a film about that phase of one’s life will be, like that era of life itself … forever memorable.
Jaane Tu Ya Jaane Na ... An Aatmakatha
My friends and I were recently discussing trends in hindi cinema. Turned out that I liked the masala, full on drama types, with lots of dhoom dhadaka sounds as much as I did the Gulzar type films; which prided themselves on stay, meaningful relationship portrayal, intensity etc. when one friend asked me to name one modern day film that was typically Indian, like ‘Prem Rog, Sholay,’ types, in recent years that I had liked. I realised that outside of the occasional niche films, like ‘Lagan, or Jodha Akbar,’ the last decade or so has seen a new brand of cinema; made typically for the multiplex viewer; one that showcases a modern day India. These films tackle a different set of problems which are typical to a growing nation; not women’s lib or the birth of daughters but how relationships are formed, grow and struggle to sustain! The process of arriving at a right balance in the story telling, in a film such as this, which is often about ‘really’ nothing, is through relatable, lovable characters. I feel amongst the many films that attempted such an off beat path, Jaane Tu Ya Janey Na, certainly stands out.
Written by Abbas Tyrewalla who finally got his day in the sun, it’s a film that seems rather silly. There was no real story and the entire film could have been a one line synopsis. Sort of like Dill Mill Gayye: Armaan loves Riddhima was the story for over a year. But for days, months, the treatment of every little lachak, look, sigh and blush was glorified out of proportion making Armaan and Riddhima iconic in the minds to young viewers. Ok am digressing! Sorry!
So like I was saying, in the absence of a real power house story line, the interesting treatment helped the film cruise through and sustains the attention of its viewers. Though I must admit, it its bid to be different, the first five minutes jarred. The side characters, whom we had not seen up close until then, acting over familiar with the new girl in the group and the viewers was a bit annoying. But once then dream opened and the knight in a black turban, galloped into the main protagonist’s nightmare, I was all ears.
Characters are indeed the soul of a film. And often in an off beat sort of film, it helps to not have known actors. An actor becomes the character far more easily if he doesn’t have the starry baggage of past successes.
Imran Khan certainly fit the role of Jai Singh Rathore: cute as button, and yet not in the bastardly stereotypical way. It was nice to see a screen heroine all in love with a good boy for a change.
Genelia with a few flop films before her, can practically view Jaaney Tu … as her comeback vehicle to bollywood. Though her stint down south has seriously impeded her hindi pronunciations. It was alright in Jaaney Tu …. It almost went with a sort of make belief college lingo. But I don’t think it was designed; she really speaks that badly. And the moment that hits you, it’s kind of off putting.
The premise of Janey Tu Ya Janey Na, was this one dialogue that Mohnish Behl immortalised in Maine Pyaar Kiya: “Ek Jawan Ladka Aur Ek Jawan Ladki Kabhi Dost Nahin Ban Saktey.” Everyone, in varied stages of their lives goes through this dilemma. But invariably if one or both feel a certain something else, the supposed ‘friendship’ certainly goes for a toss!
With the changing times, where girls and boys are interacting more freely, people like to believe they are the exception to the rule. Often they are not, but just seeing another go through the same heart break and understanding the premise for jealousy as it is intended, coming form genuine affection and pain, and being accepted as the norm given the circumstance, is an interesting paradigm shift. Now, our heroes and heroines don’t have to be doodh ka dhula to find true love.
It’s an era in which the main protagonists in a film, can kiss another and make up with the hero/ heroine. But I have to wonder, if the audiences would have been as accepting if they saw the heroine traipse around to out door picnics with her trial boy friend, and the boy yearned for her a la Ross of Friends. I doubt it! We are not that broad minded yet!
It is interesting how the modern day Indian viewer is ready to accept a hatkey concept, provided it’s not grossly against bharatiya sanskriti is some from. So to keep the girl’s charitra intact, her beastly boy friend played by the usually delectable Ayaz kisses her at the party; bechari what could she do!!! Knowing one’s audience always helps! No wonder then, that the film “Girl Friend” didn’t do well, but “Dostana,” since in it, John and Abhishek were not ‘really’ gay, did! Mera Bharat Mahan! Having said that I don’t suppose the content developers for TV are willing to take even such a chance with theirs shows except for seedy comic tracks just yet!
I believe the feel good factor of the film was its high points. There were also many interesting elements thrown in for comic relief, that were delightful as much for their novelty as they were, for the panache with which they were played out, rather enthusiastically, by talented main stream actors.
The relationship between the brother and sister, though not too sentimental and raksha bandhan types, was delightfully contemporary. It was more real, like a duo you might see in the neighbour hood, or have heard of, or share with a real life sibling. It as honest, appropriately sentimental and the fact that it was played by this hot hunk Pratik Babbar, who no one really wanted to see as a brother proto type, really helped. He provided the ‘bastards that women love to hate, but always love’ quotient in the film. He made being a brother look cooler than walking away with the heroine in the end! Interesting!
I have to say, the parents in the film, were, sorry for the flippant language, ROCKING! I can’t help wonder if it was one of the high points of the film. The couple comprising of the happy Jayant Kriplani and the ever gorgeous Anuradha Patel, were like the parents every one wants and almost no one has. The aspiration values in this film were seriously skewed, and that was awesome.
And Ratna Pathak Shah and her photo framed reel/ real life pati Naseerudin Shah… well what can one say, except … OH MY GOD! Sometimes I wonder if certain actors make a script look good or a good script does them full justice! These to actor look like they read their roles and had it for tea with a close friend and a good laugh. The ease with which they perform, makes the acting look so unrehearsed; it’s like we are watching real people! And it was not just the comedy that worked. The mother son relationship … the fact that she raised a dignified son … the fact that he himself swears to be non violent and yet stands up for the two women in his life …. This is the kind of real life hero desired by women world wide! This is the man, mothers trust their daughters with and women want to take home to their dads. The hidden message in all this, was that only a strong mother can raise such an ideal son. So clichés are actually rather real!!!
The friends also played a vital role in the film. They lent beautifully to scenes without dominating the main story yet they had a small tale of their own to tell. Rothlu loving bombs on the rebound but finding true love, bombs choosing a balding boy though she was herself beautiful, the toughie best friend of aditi, who looked like she was lesbian, but used her wisdom to judge aditi’s mood swings with the perfect heart-o-meter, the lovable jiggy who just wanted to be happy and see others happy, the delusional meghana who needlessly got caught in a love story and had her already shattered heart further broken.
The other cameos were also beautifully tackled. The one scene wonder of Rajat Kapoor and Kitu Kidwani that said so much about increasing dysfunctional quotient in urban relationships, that no amount of money can mend! And yes how can I forget the delightful stupidity of Salman’s off screen brothers who play on screen rathore brothers on a mission to be arrested. (A word for the concept”: novelty ROCKS!) I always maintain that a good ensemble cast makes the lead pair look good; be it cinema or television. It gives the audiences more scope to connect with some character, and that connect rakes in the viewers and trps. People don’t realise it, but they love it when there’s more to love. A friend once told me, “Humans always need to feel they are with those who are familiar so when not among friends they find a common thread. In an album one always first searches out for one’s own face, then that of a friend.” True isn’t it? While on the topic of cameos, Paresh Rawal disappointed. Sad since he is such a fine actor.
A film about seemingly nothing is very heavily dependant on dialogues and comedy. Both were amply and ably present in Jaaney Tu … there were too many dialogues that I laughed at. They were not yaadgaar like, “Mere Paas Maa Hai,” but they suited the texture of the film all the same. Some personal favourites were, “Rothlu: Coke … On The Rocks,” “Inspector P.K. Waghmare: Champa, Chameli, Chandramukhi,” “Amit: Of Course I Hate Him, Usse Dekhtey Hi Mere Maa Bap Sochney Lagte Hai Ke Kaash Yeh Humara Beta Hota” “Aditi: Paanch Saal Kaise Beet Gaye Pata Hi Nahin Chala. Savitri: Phone Pe Beta, Phone Pe!”
The comedy was innate to the story telling, so I can’t really highlight any sections. But the whole talking portrait was delightful even in repeat viewing; after Hum Paanch I mean ….Another one of Abbas Tyerewalla’s works! Cow boys on horse backs visiting Bombay pubs … I have never seen anything like it before! As I am sure not many others have! I repeat … novelty ROCKS! And the dance that Naseer does after Jai Bashes Sushant. So cute!!!
Finally there was the sound of the film … The new generation is a techno generation. They need songs they can keep handy, on their i-pods, grove to while they drive, dance to at pubs, download from the net and not surf away from as it beams on the tv channel. Many believe Jaaney Tu … is not Rehman’s best; he can do better! Sure. But he delivered what the film deserved. The success of the film’s songs ridded not on his name, but the true hip hop, happy quality that it exuded that is openly appreciated by the target audience. The film won a Filmfare for music and Rehman said that Abbas rejected 75% of his tunes to arrive at Pappu! It seems like, true success is rarely a fluke.
Jaane Tu Ya Jaane Na… is primarily a love story. But its is also the story of youth. Its a story of their inability to know what they want, need, like and dislike, and the dilemma of having to chose right from wrong. But it’s the process of learning and the willingness to take risks that makes the young so special. This is an ability that is a function of that age. Thus a film about that phase of one’s life will be, like that era of life itself … forever memorable.
Thursday, March 5, 2009
Why I liked Jodha Akbar
India is land of myths and legends. What keeps these stories alive from generation to generation, is the novel way in which it is retold. The art of story telling has to be, by far the most successful craft in India; it is nothing short of a legacy. Children grow up hoping to emulate erstwhile heroes, and imbibing small parts of heroism in their own life path. Akbar is one such larger than life hero! Akbar’s antics involving Birbal, Anarkali, Salim etc are rather well known. Yet he married a hindu woman as a muslim leader. Why one always wondered. I am sure even others were just as intrigued as I on the subject!
Having set the stage for such a larger than life romance, the face that would bear down the weight of its merit, was important. Until now one always pictured Akbar as a fat, pot bellied, Prithviraj Kapoor prototype. A fresh outlook, in the form of the ravishing Hrithik, was certainly worth a dekho. I don’t suppose any contemporary actor can carry off a dhoti and a suit with as much panache as master Roshan. The interesting part in this romance was that for once, Hrithik had to work hard to woo his lady love. Watching a man with such charisma, employ an effort, to work his way into his lady love heart, and also adequately display his assets to subtly tempt her and compel her to feel a twinge of attraction, was both interesting and endearing. The ‘him’ in question here is both Akbar and Hrithik
According to the story, Jodha was forced to marry Akbar, as a political pawn on her father’s requests, for the benefit of her kingdom. She was admittedly mortified of marrying a moghul, and a muslim. Realising her fate was more or less sealed, she lay down her own set of conditions before marrying India’s erstwhile emperor. Later on in the story, she also displayed enough strength to refuse his advances when she was wrongfully accused of infidelity. Given these plot points, strength of character and rare beauty was a prerequisite for Jodha then.
Aishwarya Rai’s beauty is legendary. Personally I always felt she was more of a print model than an actor, but well no one is really asking me. But honestly, if you ask me, it’s her minimal dialogues that made her endearing in Jodha Akbar. I have noted that she carries out roles of silent strength far better (Hum Dil De Chuke Sanam, and Guru) than the ones, which require her to prattle like a humming bird. The thinking audience which is quick to criticise pop-craft, finds her more appealing in those roles. The rest are anyways blinded by her be beauty. In this film, she certainly appealed to both bands; the masses and self proclaimed classes! And yes, while I am on Aishwarya, I think, Yellow is certainly her colour.
But the success of the film and the appeal of its actors with the audience, goes beyond Hrithik and Aishwarya. I think in this film, the audience fell in love with Jodha and Akbar, much like they did with each other, through all the ups and downs! It was almost heartening to watch two strong characters from history, facing heartbreaks and pain, separation and reconciliation. Except that the canvas of their romance was larger than life, in the end of the day it Jodha Akbar was a love story where a woman wanted her man to love her unconditionally, and a man was egoistic enough to not throw himself at a woman; he wanted her to walk that last lap towards him so he could know that she wanted him as much as he did her. There is something fascinating about reigned in sexual chemistry, which is too dignified to be brazen yet too potent to be hidden. The passion of such a romance is timeless.
A lot of credit for the success of the film, goes to the original character of Jodha: she is a strong woman, who holds her own against a power house husband and growing to love him in her own time and her own terms, makes her as much of a 21st century woman as any real woman existing today. The audiences always like that! A love story where neither had to really compromise or lose their character … and in the advent that they chose to bend, they do so out of choice and out of love, for their beloved is always so appealing.
Ok so now you know that I love ‘love stories.’ But then who doesn’t??? But wasn’t Jodha Akbar also a coming together of others subtle relation ships? These other sentiments really tug at an Indian viewers heart; hai na? Namely, love for a mother (Jalal and Mahamanga), and love of a brother (Jodha and sujamal). And of course, if that love exists for someone other that related by blood the tension strength of that bond is further stretched. Mahamanga was Jalal’s nanny who he valued over his own mother. Jodha loved Sujamal more than her own brother yet he hated her fiercely owing to a misunderstanding. His sacrifice for the sake of her husband’s welfare, in spite of his anger towards her, makes for a great tale. During the course of the film, the supporting cast, of Ila Arun and Mahamanga and Sonu Sood as Sujamal had made enough of an impact to hold a scene on their own. It always helps a film when support cast preventing weariness and over exposure of the man protagonists.
Attention to detail is another thing that I usually find appealing in a film. Stories of sects, communities, people speaking a certain language etc, have a novelty value that cannot be tangibly described. I also appreciate the subtlety of the secularism in the film. As an aside, I have to ask, will a film in which girls dash off to college in a burkha (Mere Mehboob) or men break into a quawalli at the drop of a hat (Bahu Begum) do well in today’s time? I think not!
Moving on … While on the subject of culture and language, the distinctive difference in Jodha’s hindi and Akbar’s urdu was fascinating for me. That having been said, too much of a good thing in a product that is meant for mass consumption can be a viewer repellent like no other! Remember Razia Sultana? The urdu was so high funda, that I am certain no one understood the film completely except its writer. No can do!!!
So what else makes a good film and why did I like Jodha Akbar? I would like to talk a bit about comedy. Today is an era, where irony has replaced old fashioned, rib tickling comedy. Naturally in a story of such sombreness, ‘har har’ comedy cannot be expected. But some moments that bring a smile or even an ironic laugh in Jodha Akbar come to mind. There’s the little girls conversation in Jodha’s chambers where the transvestite talks of love. Another notable moment of comic relief was when the religious advisors to Akbar’s court, insist his marriage to Jodha must not impede the Islamic flavour of the palace. Into the silent pause, as Akbar ponders, breaks a Krishna bhajan! Sweet! Though my favourite moment of amusement in the film is when Akbar is fighting Jodha to win her back and force her to return to his palace! She nearly slits his throat with one manoeuvre and he though grudgingly appreciative of the move as a soldier, taunts, “Malliaka-aye-hindustaan, yeh mat bhooliyega ke hum aapke suhaag hai.” That line had so much meaning, hidden anger, restraint, power gamble and yet came out sounding so ironically funny that it was superb!
Ok I know many found the length of the film Jodha-Akbar to be something of a problem. And while I enjoyed the film even in its third watch, I can appreciate that cinema as a medium, needs to be as brief as possible, if possible. Long drawn detailing, that seem to be relevant for the broader story, but slows down the narrative is often suicidal. Even in Jodha Akbar, the whole coup, family war sequences, etc. it got a bit tiresome towards the end. To be honest, even in the earlier parts of the film, where the history was being revealed about how the kingdoms and to give up their freedom, how some resented it and some succumbed wagarah … was not clear. It probably was hurriedly dealt with to tackle the problem of length but then there, detailing suffered. But I have to say even in single cuts there was care taken to make ever throne, dressing style, a palace structure different, from Jodhpur to Amer, Ajamgarh to Jaipur … Super Stuff!!!
I learnt a lot while watching Jodha Akbar; I learnt that Akbar was born in India, that he had to rule from such an early age that the early parts of his tyrannical regime were actually a victim of other people’s taking advantage of him (another great cameo by Promod Mouthu), and of course one learnt he was illiterate! That was a shocker!
A critical appreciation of Jodha Akbar would be incomplete without a word of praise for its director. Film making as a craft was supposed to be a director’s vehicle. Few directors in today’s time have the ability to make actors out of stars; and Ashutosh Gowakiker certainly leads the pack. He told us the story of two iconic figures and made them human. He showed us how being draped in film and finery does not make a king less vulnerable or a princess less helpless. He showed us how in the end, every one just wants someone to love! He certainly showed us that in spite of their greek god and goddess looks, Hrithik and Aishwarya can act well enough to become some one else; therein lies the greatest strength of Jodha Akbar.
Jodha Akbar could have been a story of Julius Caesar and Cleopatra or John and Jacqueline Kennedy … some stories are not curtailed by their history, but are certainly enriched by it!
Having set the stage for such a larger than life romance, the face that would bear down the weight of its merit, was important. Until now one always pictured Akbar as a fat, pot bellied, Prithviraj Kapoor prototype. A fresh outlook, in the form of the ravishing Hrithik, was certainly worth a dekho. I don’t suppose any contemporary actor can carry off a dhoti and a suit with as much panache as master Roshan. The interesting part in this romance was that for once, Hrithik had to work hard to woo his lady love. Watching a man with such charisma, employ an effort, to work his way into his lady love heart, and also adequately display his assets to subtly tempt her and compel her to feel a twinge of attraction, was both interesting and endearing. The ‘him’ in question here is both Akbar and Hrithik
According to the story, Jodha was forced to marry Akbar, as a political pawn on her father’s requests, for the benefit of her kingdom. She was admittedly mortified of marrying a moghul, and a muslim. Realising her fate was more or less sealed, she lay down her own set of conditions before marrying India’s erstwhile emperor. Later on in the story, she also displayed enough strength to refuse his advances when she was wrongfully accused of infidelity. Given these plot points, strength of character and rare beauty was a prerequisite for Jodha then.
Aishwarya Rai’s beauty is legendary. Personally I always felt she was more of a print model than an actor, but well no one is really asking me. But honestly, if you ask me, it’s her minimal dialogues that made her endearing in Jodha Akbar. I have noted that she carries out roles of silent strength far better (Hum Dil De Chuke Sanam, and Guru) than the ones, which require her to prattle like a humming bird. The thinking audience which is quick to criticise pop-craft, finds her more appealing in those roles. The rest are anyways blinded by her be beauty. In this film, she certainly appealed to both bands; the masses and self proclaimed classes! And yes, while I am on Aishwarya, I think, Yellow is certainly her colour.
But the success of the film and the appeal of its actors with the audience, goes beyond Hrithik and Aishwarya. I think in this film, the audience fell in love with Jodha and Akbar, much like they did with each other, through all the ups and downs! It was almost heartening to watch two strong characters from history, facing heartbreaks and pain, separation and reconciliation. Except that the canvas of their romance was larger than life, in the end of the day it Jodha Akbar was a love story where a woman wanted her man to love her unconditionally, and a man was egoistic enough to not throw himself at a woman; he wanted her to walk that last lap towards him so he could know that she wanted him as much as he did her. There is something fascinating about reigned in sexual chemistry, which is too dignified to be brazen yet too potent to be hidden. The passion of such a romance is timeless.
A lot of credit for the success of the film, goes to the original character of Jodha: she is a strong woman, who holds her own against a power house husband and growing to love him in her own time and her own terms, makes her as much of a 21st century woman as any real woman existing today. The audiences always like that! A love story where neither had to really compromise or lose their character … and in the advent that they chose to bend, they do so out of choice and out of love, for their beloved is always so appealing.
Ok so now you know that I love ‘love stories.’ But then who doesn’t??? But wasn’t Jodha Akbar also a coming together of others subtle relation ships? These other sentiments really tug at an Indian viewers heart; hai na? Namely, love for a mother (Jalal and Mahamanga), and love of a brother (Jodha and sujamal). And of course, if that love exists for someone other that related by blood the tension strength of that bond is further stretched. Mahamanga was Jalal’s nanny who he valued over his own mother. Jodha loved Sujamal more than her own brother yet he hated her fiercely owing to a misunderstanding. His sacrifice for the sake of her husband’s welfare, in spite of his anger towards her, makes for a great tale. During the course of the film, the supporting cast, of Ila Arun and Mahamanga and Sonu Sood as Sujamal had made enough of an impact to hold a scene on their own. It always helps a film when support cast preventing weariness and over exposure of the man protagonists.
Attention to detail is another thing that I usually find appealing in a film. Stories of sects, communities, people speaking a certain language etc, have a novelty value that cannot be tangibly described. I also appreciate the subtlety of the secularism in the film. As an aside, I have to ask, will a film in which girls dash off to college in a burkha (Mere Mehboob) or men break into a quawalli at the drop of a hat (Bahu Begum) do well in today’s time? I think not!
Moving on … While on the subject of culture and language, the distinctive difference in Jodha’s hindi and Akbar’s urdu was fascinating for me. That having been said, too much of a good thing in a product that is meant for mass consumption can be a viewer repellent like no other! Remember Razia Sultana? The urdu was so high funda, that I am certain no one understood the film completely except its writer. No can do!!!
So what else makes a good film and why did I like Jodha Akbar? I would like to talk a bit about comedy. Today is an era, where irony has replaced old fashioned, rib tickling comedy. Naturally in a story of such sombreness, ‘har har’ comedy cannot be expected. But some moments that bring a smile or even an ironic laugh in Jodha Akbar come to mind. There’s the little girls conversation in Jodha’s chambers where the transvestite talks of love. Another notable moment of comic relief was when the religious advisors to Akbar’s court, insist his marriage to Jodha must not impede the Islamic flavour of the palace. Into the silent pause, as Akbar ponders, breaks a Krishna bhajan! Sweet! Though my favourite moment of amusement in the film is when Akbar is fighting Jodha to win her back and force her to return to his palace! She nearly slits his throat with one manoeuvre and he though grudgingly appreciative of the move as a soldier, taunts, “Malliaka-aye-hindustaan, yeh mat bhooliyega ke hum aapke suhaag hai.” That line had so much meaning, hidden anger, restraint, power gamble and yet came out sounding so ironically funny that it was superb!
Ok I know many found the length of the film Jodha-Akbar to be something of a problem. And while I enjoyed the film even in its third watch, I can appreciate that cinema as a medium, needs to be as brief as possible, if possible. Long drawn detailing, that seem to be relevant for the broader story, but slows down the narrative is often suicidal. Even in Jodha Akbar, the whole coup, family war sequences, etc. it got a bit tiresome towards the end. To be honest, even in the earlier parts of the film, where the history was being revealed about how the kingdoms and to give up their freedom, how some resented it and some succumbed wagarah … was not clear. It probably was hurriedly dealt with to tackle the problem of length but then there, detailing suffered. But I have to say even in single cuts there was care taken to make ever throne, dressing style, a palace structure different, from Jodhpur to Amer, Ajamgarh to Jaipur … Super Stuff!!!
I learnt a lot while watching Jodha Akbar; I learnt that Akbar was born in India, that he had to rule from such an early age that the early parts of his tyrannical regime were actually a victim of other people’s taking advantage of him (another great cameo by Promod Mouthu), and of course one learnt he was illiterate! That was a shocker!
A critical appreciation of Jodha Akbar would be incomplete without a word of praise for its director. Film making as a craft was supposed to be a director’s vehicle. Few directors in today’s time have the ability to make actors out of stars; and Ashutosh Gowakiker certainly leads the pack. He told us the story of two iconic figures and made them human. He showed us how being draped in film and finery does not make a king less vulnerable or a princess less helpless. He showed us how in the end, every one just wants someone to love! He certainly showed us that in spite of their greek god and goddess looks, Hrithik and Aishwarya can act well enough to become some one else; therein lies the greatest strength of Jodha Akbar.
Jodha Akbar could have been a story of Julius Caesar and Cleopatra or John and Jacqueline Kennedy … some stories are not curtailed by their history, but are certainly enriched by it!
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