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.