Friday, July 29, 2011

Y "Jootha Hi Sahi" works for me!


              More often than not, I'm quite unabashedly the one standing out of the crowd trying to salvage some actually, really good movie or song from astute calumny from the brigade of so-called film reviewer fraternity, atleast that lying within the Indian hinterland. This has led me to lose much prevalent respect for almost all of the Indian Movie Journos save for a very few who still take pleasure in watching and writing about a movie like a purist.

              A movie, however bad it might be, takes struggle and effort in its fabrication and usually, save for very exemplary cases, there is atleast one or two aspects of the movie that deserve appreciation. This is a fact seldom realized by the aforementioned fraternity. And hence, I no longer follow them. I decided to invest my quality time rather in watching bits and pieces of another movie than wasting my time on reviews. Save for those by Roger Ebert. And maybe other such greats whom I'm yet to read. Thats because, Ebert leads me onto finding newer movies that nobody else would have even thought of suggesting audiences and thus keeps me engaged onto more, usually, better movies. Which other reviewer of present day would suggest me a F&*k film called “Emmannuelle” just for its colour and other technical jugglery which in fact is amazing! More on Ebert later.

              Albeit a bit verbose than required, the above prologue leads me onto my current slandering of the reviewers in protection of one more recent favourite of mine, Jootha Hi Sahi. A run of the mill, rom-com to many, who casually miss the quaintly subtler and rib tickling yet pleasing aspects of this beautiful romance that for me, beats any loud and brash Dabangg-y flick anyday! When was the last time we saw such a finely crafted romance in Bollywood that also somehow manages to cover up on all other technical aspects? I cant recollect for one, save for Jaane Tu Ya Jaane Na, which coincidentally happens to be from the same production house and has most of the crew from the movie on discussion here.

           
            For starters, the movie uses London to such an appeasing effect. London, like many European cities, like Munich, Berlin, Madrid, etc somehow, has this unique way of blending ancient and modern cultures to contrive a certain charm that exudes melancholy, romance and a lot of other emotions just within the spatial ambience. Interestingly, throwing in an Indian Community, an antique Indian book shop run by a knowledgeable guy who stammers in front of beautiful women, a bitchy girlfriend, a girl with a broken heart looking for respite, falsely in the form of death and later on finding it through a friend on telephone, a crazy neighbourhood with a pregnant Pakistani girl and her Japanese boyfriend, and delicate splattering of gay men struggling to find right matches and we have one of the most originally designed characters in Hindi Cinema since Raj and Simran.

              Add on London with all its charm, and we have a slightly cliched yet quite enjoyable stage to deal with. From there on, we have the plain and simple, yet appealing story that portrays all the nuances of a vulnerable guy and girl, who dont think they're good enough for their love interests trying to woo each other and finally finding themselves in each other's arms. There is subtle humour amidst all this, some truly original script and dialogue, which adroitly stays away from the cliché and screenplay that lends for some really fine moments to sit back and actually relish. For instance, isn't the beginning where the protagonist's apartment is introduced amidst classic London neighbourhoods and a Tissot Billboard overlooking, the stuff of classic and artistic cinema? Add to that adept editing and cinematography ensure, whats written on paper has been shown well.

             Particular mention goes to the writer and lead actress Pakhi who has scripted the movie as well as rendered the much needed “beauty in trouble” character to Mishka, in the film. Its indeed refreshing to see an actress so naturally beautiful amidst all the scimpily clad red carpet brigade and then, talented to an amusing effect indeed.

             However, there is nothing really ground breaking about all this, but a much needed vacation with laid back chairs and delicious gourmet in your ancestral home isn't ground breaking either. I hope you get the drift!

               Whats benchmark setting, though, is the OST of the film and the way it has been used in the film. Between gorgeous frames, like the one that kicks off the song Hello Hello or the one that intoduces the aforementioned apartment, and apt screenplay, the OST, in usual A.R.Rahman fashion, adds a subtle charm to where-ever its employed. A deeper literary comment is needed to critique the OST professionally but all one can say is finding the finer aspects of the music is quite a revelation to the ardent music lover.

             I could be a staunch ARR follower yet I've hated to bits certain other movies that he composed music for. My following for the Jaane Tu Ya Jaane Na team notwithstanding, for all its subtle yet sparkling bits, for its amazing OST, the quaint yet involving script and screenplay that in situations, one can empathise with, and the lovely characterization and the essential fact that its a romantic comedy (disclaimer alert: I'm not the girly guy who has a penchant for all things that girls like), Jootha Hi Sahi works for me. And as such, any movie with atleast a couple of aspects to watch out for, works for me!