Jul 27, 2008 08:34 PM
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Jaane Tu Ya Jaane Naa* is an amazing movie on urban youth psychology on the idea of best friends who don't realize they are in love. Abbas Tyrewala must be applauded and given credit for the honest adaptation of day to day life story through his script on juvenile college life, friendship, love, acquaintance, loss of chemistry between pals, pang of separation, and realization of the withdrawal of possessiveness, and a hallmark happy reunion with a little flaw at climax by finding answer to a simple question “can a guy and a girl simply remain friends.” Movie plots, music, and scenes have been cooked keeping in mind the younger generation. The song Pappu Can’t Dance resembles with Papa Kahte Hain *of Qayamat Se Qayamat Tak*. Aamir has given perfect launch pad to Imraan sans of any mannerisms to crave a niche for himself in the pantheon of the Bollywood, featuring him with simple, candid, and restrained performance with no attitude, no frills, and no fuss.
Jaane Tu Ya Jaane Naa* has brought an euphoria like the Amir’s Qayamat Se Qayamat Tak, Sallu’s Maine Pyar Kiya and Hritik’s Kaho Naa Pyaar Hai, * although a recycled and rehashed script having a similar story-line of the league *Ishq Vishq and Kuch Kuch Hota Hai. In Jaane Tu Ya Jaane Naa the storyline, characters, and situations are credible. Day to day incidents of the protagonists are real, naturalistic, and lifelike. Abbas Tyrewala has portrayed the minute details and given cent percent attention to each and every characters and squeezes the best out of them into the film. The characters are rich and lively. Every actor has appropriately cast in their role finely tuned in to their shoes, really fantastic and given complete justice and up to the mark performance.*
Jaane Tu Ya Jaane Naa* is written and directed by debut Abbas Tyrewala of Munna Bhai MBBS and Main Hoon Na fame, is a romantic film based on the love story of Jai Singh Rathore alias Rat (Imraan Khan) and Aditi Mahant alias Meow (Genelia D’Souza). Story begins with classical story telling method of narration. The plots of the film revolve around Jai, the non-violent boy and Aditi, a violent and passionate girl. They are just the best of friends and are not in love. As far as the storyline goes this is another rendering of the boy and girl being best friends as everyone knows, except they themselves, realizing at last that they are made for each other. Thereby, the two help in finding a soul-mate for each other. But are they with the right partners? No. The magic of a story lies in its narration, as they soon realize, how the two find love with each other.
Naseeruddin and Ratna Pathak are perfectly paired against each other. Dad Naseeruddin Shah, the dead Thakur famous for his bravery killed in a fight, who talks from a photo frame and chide Jai’s mom, sure his blood will bounce back and knows his son will reclaim his family legacy and he will become a true Rajput, someday fulfilling three condition led by him to be a man. Like Samuel Beckett’s protagonist he is waiting for the Godot, the time to come and transform Jai from a crowd to a man at least to save Aditi his fiancee from the mischievous guys if ever bother her, what Aditi herself dreams of such a hubby.
Jaane Tu Ya Jaane Na* is about Jai, a Rajput who doesnt believe in violence, a polite, peace-loving, almost coward, has been specially brought up by his mom to be placid and pliant to protect him from his trigger-happy family history and Aditi, a cute and violent girl full of vanity and youthful sincerity, spirited and natural, playing a brute and whine. Jai is the biggest coward (phhattu) Aditi feels she has ever come across and Jai says Aditi’s parents should have wash off soap her mouth and soul. Little more than friendship and a lot possessiveness of each other, they fight like crazy swine but just can’t live without each other seem odd and beyond understanding still enjoyable. Jai and Aditi are perfect with each other, the faith, belief and space they both provide to each other despite all cat fights. Their parents and friends know that they are almost a made for each other couple, but they believe they are just great friends, no more, no less.
With playfulness, Jai and Aditi pass one-half of the movie living beyond the time cycle finding a suitable match for each other proving everybody out of reason and the other half experiments upon more-than-friends feelings for each other, a modern days enigma. The second half of the movie primarily concentrates on the love angles of Jai and Aditi. Jai falls for an easygoing femme fatale Meghna (Manjari Phadnis), while Aditi is pulled to a macho man Sushant (Ayaz Khan). Aditi never realizes that Jai really cares for her, and Jai’s vague unpleasant emotion experienced in loneliness pines the pain of losing her. Aditi begins to realise her love for Jai only when Megha enters the scene and into Jai’s life. The brilliant and heart warming scene between the confession of Aditi and Sushant, and the jealousy, anguish, and sadness of Aditi over Jai and Meghna’s relationship and the regret of Aditi loosing possessiveness of Jai and realization of her love for Jai is perfectly blended like an antic scotch whisky with the fine chemistry among the six friends is honest and simply fantastic, brilliant, and entertaining. Megha with her silly "What's this?" fantasy game appears punch-drunk when she hides an awful maturating with bitterly unhappy parents (Rajat Kapoor and Kitu Gidwani). The fight between Jai's mother as an activist with corrupt policeman Waghmare (Paresh Rawal) makes you laugh, full of fun and frivolity.
Above all Sohail and Arbaaz bring novelty to Bollywood riding horse to discotheque in mid night and their comic appearance and particularly the jail scene where they find Jai the late deceiver as their cousin and the folk lore they tell to Jai about his father’s bravery and renowned fame to Jai’s anxiety and bewilderment presented meticulously. The climax, to audiences’ disappointment and disapproval, Jai riding a white horse as a knight fulfilling his dad’s desire and to mom’s surprise on the way to rescue his lady love from air port looks like a Gothic horror, scores of police running after him and he is advancing breaking all barricades and the secure union fenced by the security men is very ludicrous and entertainingly painted by Abbas with a clean, appealing, tender touch to arrest the spectator’s fantasy gigantically gratifying.
Abbas Tyrewala brings forth the film to be full of youth, fun, delightful, touching, and genuinely for teens. Storyline of Jaane Tu Ya Jaane Na, a campus flick is the old and common one but the treatment is truly unique. The heart and mind of Abbas, Mansoor, and Amir collectively revive, the unusual portray of ordinary people’s life as central characters with magical plots, intense scenes, and witty dialogues, a feeling of freshness. Rajeev Soorti's vivid cinematography and naturalistic music of A R Rehman with simplicity and honesty to his genre, Pappu can't dance and Kabhi kabhi.
