In naming his protagonist Kabir, Ayan Mukerji, the director of Yeh Jawaani Hai Deewani, has missed an opportunity. The character played by Ranbir Kapoor should really have been named Sid, like the protagonist who was exhorted to wake up in Mukerji’s earlier film. Kabir is more mature than Sid – older, and surer of what he wants from life (at least, initially) – but he is equally in need of life lessons. For example, however much you hurry, you’re always going to miss something, so you may as well just enjoy this moment. Or, if something feels uncomfortable, give it some time – things will be okay. Mukerji, who is just 29, knows Sid and Kabir well, and walking out of the film, I felt that Mukerji and his leading man could keep teaming up every few years to update us on this character’s latest travails – the way Truffaut did with Antoine Doinel, but with a wardrobe budget roughly equivalent to the GDP of France. I, for one, would be very interested.
This may make it seem like I loved Yeh Jawaani Hai Deewani, while my experience of it was similar to what I felt with Wake Up Sid – plenty of beautifully thought-out moments, lots to like, but it should have been so much more. Mukerji has this tendency to pick up heavy subjects and treat them lightly, which can be frustrating at times. The life-altering transformations in his films happen so easily, as if through the aid of a genie that popped out of a Coke bottle. And the eye-blinding beauty all around – this film glows as if it just came out of a ten-hour massage at an Aspen spa – can make you think that there’s nothing at stake, that this is just a set of rich people making mountains of molehills. But I suppose this quality is what makes his films so popular with the young crowd, who may balk at Imtiaz Ali’s more unflinching approach to matters of the heart. Perhaps the way to look at Mukerji’s films is with relief that there’s some meat in them, rather than complain that this meat is somewhat undercooked. At least it’s not overdone.
Yeh Jawaani Hai Deewani is a story about love that’s narrated as a story about friendships. In a different era, a big movie like this, with its big stars, would focus solely on the romance: how the young couple met, how the initial misunderstandings turned into love, how the obstacles to their union (religion, or parents, or ego) cropped up, how they overcame everything and walked off into the sunset. But today, it’s possible to make a love story that doesn’t feel like a love story for the most part. At some point, Naina (Deepika Padukone) falls for Sid – sorry, Kabir. But when she realises it’s not going to work out, she moves on and he moves on and when they meet later, it’s as friends, as if nothing really happened. There’s none of that oh-my-God-he’s-here melodrama. In those older films, we were left with the feeling that love was everything, but these new films tell us that love is just one of the many things that make up life, along with friends and a career.
Naina’s career is important to her. We know she’s the studious type because, like her namesake in Kal Ho Naa Ho, she wears glasses. (Similarly, we know Kabir is busy because he has a beard, and we know he’s a nomad at heart because he totes around a copy of a Kerouac paperback. This isn’t a film that’s scared of shorthand.) And yet, she’s embarrassed when her mother (Dolly Ahluwalia, who’s terrific in her two scenes) announces to Aditi (Kalki Koechlin) – in a chance meeting at a supermarket, after some business with (this-is-a-Karan Johar-production alert) a chubby kid – that she’s studying to be a doctor. This is just one of the many true notes that Mukerji strikes. Naina knows what she wants to be, but she wishes, at times, that she could be like Aditi, an underachieving arts student who’s going to Manali on a trekking expedition with friends. (That’s another thing about these new films: Indian is in. Instead of Eurail we have the great Indian railway.) Naina wishes she could take a break like that.
And then, on an impulse, she does. She joins Aditi, who’s with Kabir and Avi (Aditya Roy Kapur; someone should cast him as Farhan Akhtar’s younger brother) – and her transformation is detailed without fuss. At first, she feels out of place with this boisterous bunch. (She’s never been anywhere all by herself.) But soon, when they’re forced to flee a bunch of hooligans looking for a fight, she joins the others in outwitting them and when it’s all over, she smiles quietly. Mukerji doesn’t manufacture an epiphany out of this moment, the way Nikhil Advani did in Kal Ho Naa Ho, when the grumpy-faced Naina laughed and the screen split up into many little squares, each bearing an image of Naina laughing. This Naina is just happy to have proved a point, and we’ve already seen that she had it in her, when she supplied the words to Jumma chumma de de that the others had forgotten. But unlike them, she doesn’t sing in an off-key voice – she just speaks the words. In this scene and in a later moment where Naina says she’s not a natural joiner, that she needs to be asked, Mukerji captures, without overdoing it, the recessive nature of introverts.
Kabir is equally interesting. On the surface, he’s an extrovert, but he’s inward-turned in his own way – he comes first always. (As Aditi observes, at some point, “sirf khud se pyaar karta hai,” that he only loves himself.) You’d think, for instance, that Kabir, with his bonded-since-birth level of camaraderie with Avi and Aditi, would instantly share with them the news that he’s obtained admission to study abroad. But he waits. And when they find out, it’s one of the films finest scenes, with everyone standing around silently, awkwardly, suddenly aware that their friendship doesn’t go as far as they thought it did, that Kabir has a life of his own, plans of his own. And this lays the foundation for Avi’s subsequent anger at Kabir. Unlike the undying bonds in older films, these friendships change over time. In Manali, Kabir unthinkingly leaps to Avi’s defense in a brawl, but later, as life happens, they simply lose touch.
Even with his father (Farooq Sheikh), Kabir doesn’t open up fully. There’s clearly love between them, but there’s also some prickliness (though far less than what we saw in Wake Up Sid). Kabir is off doing his own thing, and his father complains, good-naturedly, that if he didn’t stay up till Kabir got home, he’d never see him. They’re also very different people, and the father just tries to be there for Kabir, buying him, among other things, a backpack for the trek. (This backpack assumes a poignant dimension in the later scenes.) It’s only with Naina that Kabir is himself, able to share his innermost feelings, that he wants to travel to every corner of the world. But the album he has, with each page marked with a to-visit destination feels false – Kabir just doesn’t come across as an album kind of guy. And the walls of his room, covered with the names of destinations like Cappadocia and St. Petersburg feel more fake – it’s not a young man’s room so much as a fussy art director’s notion of a young man’s room.
The bigness of the production is frequently at odds with the smallness, the delicacy of these emotions. It’s easy to overlook the nits in the giddy early portions that play like one of those Shammi Kapoor-in-a-hill-station romps – like the fact that Naina’s wardrobe for a trek across snow-capped hills consists largely of miniskirts. (How else would Padukone get to show off those incredible legs?) Pritam’s soundtrack is excellent, and the songs and the choreography – the sheer energy in them – makes you want to break into a jig in the aisles. But a couple of the numbers (Badtameez dil and Dilli wali girlfriend) towards the end of the film, as the story begins to get really serious, feel out of place. The smaller songs, with lovely lyrics, work much better. This is where, I think, Mukerji loses his way. He’s very good at deepening the lighter moments with unexpected shades, but when he tries to lighten up the heavy-duty parts of the story, it begins to feel like he doesn’t want to finish what he started, or go where he really wants to go.
Hence, after Naina’s introversion is addressed, after Kabir’s solipsism is brought up, after Avi’s disappointment is registered, these characters have little to do but turn pawns of a convenient screenplay and wait for the end. The plot point about Avi suddenly turning into a drunk and a gambler is especially dreadful. Worse, it involves a pillow fight. How can something so bogus exist alongside the scene where Kabir and Naina discuss the merits of being in India versus being a nomad, and he comes to the conclusion that she’s not right, just different? This is such a simple truth, when the whole exchange could have degenerated into the kind of jingoism found in a Manoj Kumar movie – and as with Wake Up Sid, these moments are what we hold on to when the going gets rough. The moment where we learn why Kabir never made it to his father’s funeral. The moment where Aditi reveals that the man she’s marrying is really the right man for her. The moment where Kabir’s stepmother (Tanvi Azmi) discloses that his father admired him because he knew “apni marzi se jeene ki keemat kya hoti hai.” Going off and doing your own thing is fine, but there may be a point where you don’t find yourself smiling as much as your friends who set their sights lower and settled for more familiar comforts.
The audience in the theatre I saw the film in didn’t seem to share any of these misgivings. It’s been a while since I was assaulted by such screams around me – it was as if we were watching an event with Frank Sinatra and the Beatles and Shah Rukh Khan and Rajinikanth. I couldn’t hear anything in the scene where Ranbir Kapoor is introduced, and I kept wondering how Madhuri Dixit entered the picture. Maybe Hindi filmmakers should start doing what Tamil and Telugu filmmakers do with big stars – stage a slo-mo entry for the hero that lasts as long as it takes for the screaming and the whistling to subside. If there’s one thing that will stay with me about Kapoor’s performance, it’s the way he revels in a young woman’s swinging hips… toing… toing… toing… That, and the fact that he almost makes you buy the rather hasty ending, where he has about ten minutes to change his mind about everything his character has been about in the past two-and-a-half hours. Maybe having Deepika Padukone on the other side makes it easier?
Copyright ©2013 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Bala
June 1, 2013
Haha, I tweeted these while watching the film.
This chap playing Ranbir’s buddy resembles Farhaan Akhtar no? #yjhd
(https://twitter.com/bigbala/status/340745277709373440)
&
Also sick of rich pretty people doing rich things pretending to have problems.#yjhd
(https://twitter.com/bigbala/status/340731945686294528)
&
A little bored with love stories and stories of introverts and extroverts…. Pretty much everything.
(https://twitter.com/bigbala/status/340726800999124992)
Was also happy that the fat, guy with the goatee doesn’t get stood up at marriage. And that nobody really keeps Devdas-ing their life away over love. Otherwise, I right it was a pretty.. Empty film. Also, Deepika’s skimpy pink bikini top. OMG.
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ViralVora
June 1, 2013
I happened across your blog because I just posted my review of this movie and I wanted to see what else was out there! your review is beautifully written and it felt like I was having a conversation with my friends after the movie and instead of them disagreeing you seem to be sharing the same views as I did . I too felt that Ayan Mukherjee’s voice was some how lost in the razzmatazz of the Dharma productions and the Roy Kapur Nepotism. Mukherjee makes it a point to publicly acknowledge that he wrote this and wake up sid fkeeping Ranbir in mind but in both the movies the leading ladies score a leg up on Ranbir and while he is fantastic Deepika is a revelation like no other.
I look forward to reading more from you!
feel free to visit my review
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Indrani Sen
June 1, 2013
Hi,
I have been reading your blog for a while now. Love your writing, your thought process, the humour. Even so somehow this writing seems more special and more intimate. 🙂
Thanks so much,
indrani
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Manreet S Someshwar (@manreetss)
June 1, 2013
I admire your perseverence, both to watch what sounds like a formulaic KJo staple, and to write a detailed and unbiased review – kudos. That said, enjoyed reading your review though I do wish you’d ripped into this fresh Bollywood pabulum.
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ramitbajaj01
June 1, 2013
“it begins to feel like he doesn’t want to finish what he started” I think it should be ‘what he HAS started’
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Roy
June 1, 2013
It would be interesting to see what Ayan Mukherjee could do without the backing of a big banner production house. This one felt as if he delivered the final cut and bits were then inserted as per the whims of someone else. Not sure what compelled the director of Wake Up Sid (a more complex, nuanced story and film) to suddenly throw in ‘item’ songs?
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KK
June 2, 2013
“this film glows as if it just came out of a ten-hour massage at an Aspen spa”
I think this sums it up really well. YJHD is definitely a more mature film than WUS (say it out loud; Freudian something or the other?) but that’s like one of those tallest dwarf comparisons. Interesting aside though; we watched a subtitled version in the local theatre and, in the scene where Kalki Koechlin chides Kabir and Avi by calling them “Karan” and “Arjun” the screen read “Beavis” and “Butthead”.
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brangan
June 2, 2013
Bala: What to do saar? Great minds think alike? Or… fools seldom differ? 🙂
Roy: I didn’t feel “Wake Up Sid” was more “complex and nuanced” (as you put it) — given this kind of a story, YJHD was done with the same amount of complexity and nuance. It just doesn’t feel as unique as WUS because of length issues and because it’s more overtly Bollywoody, with all that glitz and bling.
KK: I think that’s good subtitling. Even in the Vishal Bhardwaj movies, you find American/Western approximations for desi words/terms, and while we may find it funny to see a — say — “vada pav” described as a “hot dog,” it conveys the sense of a quick snack to a non-Indian audience without clumsiness (e.g. potato-stuffed bun, or whatever).
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venkatesh
June 2, 2013
“Frank Sinatra and the Beatles and Shah Rukh Khan and Rajinikanth” – Sacre le Bleur,
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Utkal
June 2, 2013
Saw ‘Yeh Jawani Hai Deewani’ last night. Was relieved to find that almost all the reviewers except you had got it wrong. It is NOT a film in the Aditya Chpra – Karan Johar mould, in fact miles away from it. As you have pointed out, it is completely in the Wake Up Sid territory, trying to explore the nuances of contemporary relationship rather than a melodramatic story. In fact some would say, it has no ‘ story’. And to me that’s such a blessed relief.
First, the form of the film. Ayan Mukherjee is a very sincere filmmaker who wants to capture the lives of contemporary urban youth ( yes, lives of urban youth, because that’s what he knows firsthand.) and its subtle nooks and corners. This includes romance but is not limited to it. It also covers friendship, career and relationship with ones parents. ( In both his films it is the boy’s relationship with his father that is the focus and it quite clearly borrow from Ayan’s own relationship with his father.) His films therefore are not just about romantic passion and his heart is not in stories with a lot of twists and dramatic endings seen in Aditya Chopra –Karan Johar films like DDLJ, KKHH, K3J, Rab Ne Banadi Jodi or even recent films like Band Baja Baraat, Tanu Weds Manu, Jaane To Ya Jaane Na. He is more into exploring the dynamics of relationships rather than creating a crisp and crackling narrative. In that sense his films are closer in spirit to the films of Linklater’s ‘ Sunset’-‘Sunrise’ films than Hollywood romcoms like RYnaway Bride or Noting Hill. His hero and heroine talk and talk a lot like in films of Eric Rohmer and Woody Allen ( my pet weaknesses).
So his story is not about boy meets girl falls in love at first sight and how they overcome external opposition or internal misunderstanding. No. In Ayan’s films love stirs up slowly. And even the boy and the girl are aware of their feelings they don’t let themselves be swept away by them. Kabir in the film goes off to pursue his education and career in the West. Naina continues to work in her profession. And in Ayan’s films things like career, self-actualization, behaviourial traits matter in a relationship. ( All these elements are spotlessly absent in romances like Jab Tak Hai Jaan). Kabir and Naina ponder over reconciling their love, with their professional and personal aspirations and he practical difficulties of keeping a passion alive over long distance. Naina says, “ I am a simple girl. I cannot adjust to your jet-setting intercontinental lifestyle’. But unlike in the usual Hindi film, she talks sensibly, making practical suggestions. She says that he can go to Paris but come to India every two months and maybe after a year come back to India for good. Contrray to what some critics have pointed out Kabir’s decision too is not made in a jiffy. Yes, he is an extrovert. Yes he has globetrotting dreams. But like so many of us with those traits there is also a part of us that wants to drop anchor and be rooted . Kabir’s relationship with his father also reflects the same conflicting feelings. Heir relationship is prickly, but also fool of love and concern..as demonstrated by the mango in the freeze and the little money the father wants to give his on when he is venturing abroad. Having missed his father’s last rites because if his new-age no-mobile adventurous trip to some remote place would have brought home the trade of he was making and whether it was worth it. This is the calculation any Youngman or woman pursuing a high-flying career abroad today makes at some point time. This is brought out quite well when Kabir talks about the thrill of meeting new people and getting to know their lives. And Niana talks about the joy about talking with old friends and going over the same old memories or anecdotes for the nth time. It is really two different worldviews. And two different ways of living one’s lives. I often think about wandering sadhus who don’t stay in one place for more than a week or so and someone like Raman Maharishi who never ventured out of Arunachalam in Thiruvanammalai. Did Raman Mahatishi lose out on anything?
As I said at the start Ayan does not bother about constructing ‘ story’. His focus is exploring the trajectory of this relationship. After all Kabir’s desire to drop anchor could not have happened earlier. Naina has come to accept her limits and where she is coming from. After the short exposure to the world of freedom and adventure she realizes what kind of a girl she is. Kabir is doing well and she could opt for a jet-setting lifestyle with him. But no, she knows what she is at the heart of her hearts. Again, unlike what many critics think, it is not as if Kabir is taking a 180 dgree turn in his thinking. As he says, “ I am still thinking of the same dreams. But now with two tickets.” In other words , he wants Naina to be a fellow-traveller in his adventures. But he knows how far can Nina go along with him in the journey and he is willing to compromise. That is what a relationship is about. Where you change a bit for the other . ( Quite unlike in the films of Aditya Chopra where the hero of Rab Ne Bana Di Jodi wont do a simple thing like shaving his moustache to match his girl’s taste or some aggressive feminist film where the woman does not want to budge an inch from her chosen lifestyle.) That is the kind of maturity Ayan brings to the table.
He stages many conversations, which don’t take the story forward in any way, but just throw some light on the relationship. Kabir’s conversation with his stepmother or with his chain-drinking gambler friend about what constitutes friendship, or Ayan and Naina ‘s listing of exotic pleasures like chocolate mousse contrasted with a simple everyday dish like gajar ka halwa are examples of that. Some people have complained of slowness during the second half. ( For me it is the second half which is the real film.) But to Ayans’ credit he never curs a conversation short until the subject under discussion has been covered. Ayan has guts. The only ruse he uses is breaking the fall with abit of humour. ( For example, after along talk that Kabir gives expounding his philosophy of life, he tells Nian, “ Itna bada speech diya, kumse kum taali to bajao.” And the audience claps.)
The acting is first rate throughout. After long Kalki as Aditi has got a role that shows her off to full advantage. Aditya Roy Kapoor as Avi is totally believable as the one who wants to wallow in the warm world of collegian camaraderie, unwilling to take the burden of adult responsibility while Aditi is strong and sensible enough to try and move on. Ranbir is Kabir..bringing out the arc of his character development clearly and convincingly. But the film rally belongs to Deepika. She really owns the film. As chasmish Naina, she defines the new template for Bollywood attractiveness. And when her eyes well up with tears, I can imagine even the hardest-hearted man in the audience feeling the urge to take her in his protective arms and smother her with kisses. ( It’s such a well-written character. Her feet always on the ground even though her heart yearns for a little adventure now and then. Her mind teeming with practical questions like , ‘ What is one wants to have a child?’.
Anything that I did not like? The Madhuri dance for one. It was a total damp squib. At 49or whatever she does not have the oomph. Actually it is not about the age. Rekha at her age can manage to smoluder in her cabaret singing act in Parineeta. It is just that the song is so badly conceptualized and executed. In fact I did not care much for the song and dance numbers. I mean I loved watching them on TV. But in the film I enjoyed the other numbers more. ( Ilahi, Kabir and Subhanallah) Nnice lyrics by Amitabh Bhattacharya in these as well as the bouncy numbers like Delhiwali Girlfriend and Blam Pichkari and Pritam has tuned al the songs well.
IN conclusion, I am so glad that all the compromises Ayan and Karan have made to make the film more saleable at the superficial level. Let’s list what are thehese: The title for one – a typical Hindi film title like Yeh Jawani Hai Dewani in place of a more meaningful Wake Up Sid. Introduction f the song and dance numbers . All those sexy outfits for Naina in the second half. But mercifully when it comes to the actual film, Ayan has steadfastly stuck to his vision and his mode of storytelling ( for example, can you believe it, for a Ranbir-Deepika film, there is not a single love duet, or even a love song.) And it so happens that here is one more director whose next film I will await with a whole lot of expectations
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SR
June 2, 2013
Do you have an assistant reviewer/ a proxy? This does not seem like your work, Mr. Rangan – one too many sous-chef’s ‘kichdi’. Makes practical sense if you do(considering your other projects) – Michelangelo/Rafael/Gehry.. had artists under their ‘school’ for their pipelines; would appreciate a heads up so that I can temper expectations.
Ranbir Kapoor looks like a prepubescent moron (worked well in WUS)- when a beard is needed for depicting emotional trajectory, Ayan-babu has problems. It’s unfortunate that the film is littered with redundant music, Lara-characters (delegate her screen time to many other worthy side characters – is this Karan Johar’s way of checking off every target audience).
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Abhirup.
June 2, 2013
I think I have had enough of the plots where a commitment-phobic hero ends up realizing that Love Makes the World Go Around, and that Marriage is the Most Important Thing of Them All. Bores me to death, that storyline. At least, as you said, somebody like Imtiaz Ali introduces nuance and complexities in otherwise routine stuff. Ayan Mukerjee, apparently, couldn’t care less.
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KK
June 2, 2013
Baradwaj: Absolutely. Was quite impressed by the subtitling. It wasn’t cluttered or clumsy – I hope they extend the same expertise to non-Hindi movies.
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Vittal
June 3, 2013
Hi Baradwaj,
I have been following your blog for a very long time. Always wonderfully written. But recently, it feels like that you are revealing too many of the plot points of the movie. I remember that your earlier posts, except a few of them, do not give out the story of the movie unless it is very pertinent to an important point you need to make.
Now it feels like I need to see the movie first and then come here for appreciation of the film rather than read it before to decide whether to watch a particular movie or not.
The good work is deeply appreciated and I will keep reading all your posts and books too!
Regards,
Vittal
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Ramesh
June 3, 2013
Seriously, Ranbir’s pal is a Farhan look alike. My son kept on telling me this. That song with Madhuri and few otner songs could have been avoided in reduction of the lenght
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Nidhi
June 3, 2013
I don’t understand how an extreme introvert like Deepika (1st half) can become so extroverted in the second half. I’ve seen people’s personalities change but so drastically? I don’t know.
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Mambazha Manidhan
June 4, 2013
An alternate title for this could be First World Problems 2 (although I liked Wake Up Sid – it worked for me perfectly). But, more than Kabir or Sid, I think its Ayan who needs to wake up.
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Rahul
June 4, 2013
@Vittal , the movie rating service is only available to paid subscribers of this site.
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Utkal
June 4, 2013
Nidhi : “I don’t understand how an extreme introvert like Deepika (1st half) can become so extroverted in the second half.” Actually she is NOT that much of an extrovert, if you exclude the dance numbers which are there fora lark anyway. She is still the reserved girl who does not socialize too much, Of course there is a part of her that yearns for a bit of fun now and then, but she has her feet firmly on the ground. That is why she is not swept off her fet by Kabir’s declaration of love, and rightly concludes that she cannot fir into his jetsetting lifestyle.
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Pallavi Bhat (@palvib)
June 4, 2013
As yet another reviewer had put it, the film can be divided into 2 sections as per chronology,
first Naina’s story and then, Kabir’s story. The former was more interesting and better acted by Deepika, whereas Ranbir didn’t work in the reasonable magic he usually comes up with. He somehow lacked the passion of a traveller (in the scene with a list of places he proposed to cover, he was very ineffective).
And the screenplay could have done away with couple of songs and put in maybe some scenes around Naina’s profession and Kabir’s character could have had more insight into “other” people’s lives (may be a humbling act ?). Then the whole decision of staying back would have been more convincing.
For me, the first half was way more enjoyable, while the second half became contrived and lacking.
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Anu Warrier
June 5, 2013
Saw it, went in with very little expectations except that of liking both Ranbir and Deepika (which I did) and came back with expectations more than satisfied. It was refreshing to see a heroine who knew exactly who she was and what she wanted, and didn’t emotionally blackmail the chap into doing what she wanted. It was refreshing to see that ‘compromise’ is not a dirty word, and it was refreshing to see a relationship that was based on like and acceptance, instead of just love. As Naina says “I love you” is just the beginning. It was more than refreshing to see Kalki in a decent role at last.
Do I have quibbles? Yes. I wish Madhuri’s item number wasn’t there; she dances well, but looked rather dissipated and too made up. I could have done without a couple of songs – they broke up the narrative.
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sachita
June 5, 2013
Nidhi: I think I have seen that in real life way too often. You get lot more comfortable in your skin beyond your teens. Some people are truly introverts and stay so but quite a few people do undergo this change.
I mean some people you would never have spoken to in your school life, you feel so comfortable talking to them later on..
***
On the film itself, Ayan should get out of KJ school. I felt this movie was just showing me glimpses of a movie I would have liked to see. And ranbir after a long time fell short in the acting area.
I can clearly see YJHD part 2 would involve Ranbir and deepika breaking up – long distance and different expecations and all. but at least this reel life story lets you make that connection to real life scenario.
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Mansi Dutta (@EatPrayLoveM)
June 5, 2013
Lovely review! Couldn’t agree more 🙂
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brangan
June 5, 2013
Nidhi: Actually, that’s shown the right way here because she’s not an extrovert with everyone. Just with this set of people. She was first aloof, but slowly grew comfortable with them. But even after their trekking holiday — and this is where you know the character’s been written well — *Kalki* had to re-initiate the friendship (as Deepika says in that wedding speech). That’s a classic introvert trait, that others have to reach out to you first. So there is consistency.
sachita: Yes, despite the problems, there’s a lot of good stuff here (“glimpses’ as you say) — and I’d to see more commercially viable yet (relatively) nuanced films like these.
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Kutty
June 6, 2013
I am now getting a little scared that reading too much of your writing has now trained me think like you
Ranbir Kapoor is perhaps the first Hindi film hero for whom I would watch a movie. So sometime in the first half when he had that dumbstruck/sad puppy look I was praying that this was not going to another Wake Up Sid. And then I find out that the director is the same guy. Which brings to me my question for you. Do certain films highlight how important the director is when it comes to the acting style of the characters? For most of the first half, Ranbir acted exactly the way he did in Wake Up Sid. And in Tamizh, if you look at Mysskin’s movies you find the hero’s acting repetitive – extremely fast speech with some high pitch dialogues thrown in and a lot of frantic motioning. (happened with Narain in both Anjaade and Chitiram Pesudadi and Jiiva in Mugamoodi). Are there any others that comes to your mind?
Also, one of the things which came as a pleasant surprise to me was his handling of the friendship between Aditi, Avi and Kabir. Even late in the second half when we learn that Naina is a really close friend of Aditi, there are still moments which only feature the trio. They fight with each other and argue with each other and Naina is never in the picture. Other movies and directors might have seen every frame as an opportunity to cram in as much star presence as possible or would have overstated Naina’s importance in the lives of the others. But as you have rightly said, love is but just one of the things which happens to Kabir.
As a parting question, in the cab scene when he bares his heart out to her about what happened when he went hiking for a week and Naina starts to comfort her, would it have been so much more impactful if he had leant on her shoulder and not the other way round (hero’s don’t do that?)?
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brangan
June 6, 2013
Kutty: Muahahaha! (Plus sound of moustache being twirled!) Welcome to the world of the Critical Stockholm Syndrome. The critics I feverishly devoured are all lodged firmly in my mind, directing me to look at film their way — and sometimes I guess I do 🙂
Regarding the question of directors and acting style — but of course. That’s why we have the “Mani Ratnam” hero, the “Gautham Menon hero,” the “Balachander heroine,” the “Guru Dutt protagonist” and so on. It’s a combination of writerly voice plus what the director wants from the actor. I don’t look at it as “repetitive” though. More like a style thing…
Regarding your parting question, I don’t think it’s a comfort thing so much as a love thing. As in, she becomes close to him again. (The fact that he’s already close to her is established by this opening up.) That’s how I saw it.
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Nidhi
June 7, 2013
Okay, maybe Naina’s introversion wasn’t the focus of the second half so we don’t get to see her doing much introverting. 😀
Except of course (now that I think about it), the New Year’s Eve scene. She’s sitting at home alone in her pajamas instead of going out. Still, the dance numbers are a bit jarring and out of character, like Utkal pointed out.
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brangan
June 8, 2013
Nidhi: Like I said: “The bigness of the production is frequently at odds with the smallness, the delicacy of these emotions… Pritam’s soundtrack is excellent… But a couple of the numbers towards the end of the film, as the story begins to get really serious, feel out of place. The smaller songs, with lovely lyrics, work much better. ”
As fun as they are to watch on screen as standalone music videos, those numbers don’t fit into the narrative — yes. But we’re clearly in the minority. Look at how much money this one’s made compared to “Wake Up Sid,” with its more artfully woven in songs. Clearly they knew what they were doing 🙂
As an aside, Ranbir Kapoor’s 100-crore films (YJHD, Barfi) seem more impressive than those of the others because these are not really “mass” films.
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A. A.
June 8, 2013
YJHD is not really a “mass” film?! Wake Up, Baradwaj (pun intended).
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Anwar Puttarjee
June 8, 2013
My opinion of this film aside (I agree with the general consensus here, so I have nothing new to say): did anyone notice the reference to Wake Up Sid in the scene where Bunny asks Naina at the train station if she is Aisha, whom he met at Tanya’s party? Aisha and Tanya are both characters from Wake Up Sid, played by Konkona Sen Sharma and Kainaz Motivala respectively. 🙂
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Abhirup.
June 8, 2013
Agreed with A.A. here, Mr. Rangan. ‘Barfi’ was not really a standard “mass” film, agreed. But ‘Yeh Jawaani Hai Deewani’ most certainly was. A thousand things about the film (some of which you have mentioned as well)–the WTF appearance of Madhuri Dixit, the sidetracking of the interesting supporting characters played by Farooq Sheikh and Dolly Ahluwalia (not very photogenic, are they?), Deepika Padukone’s trekking across the snow-capped mountains in minis, the awkwardly inserted songs, the utterly forced thread about Avi turning dissolute and bitter, and Bunny’s last-minute change of heart which I didn’t buy for a second–scream out “mass.” Not that I have any problems with mass entertainers, but when a film like this also pretends to explore profound and important subject matters and end up doing a poor job of it, it leaves a bad taste in my mouth.
Speaking of the hundred crore club, my favourites in that domain are ‘Dabangg’ (see? Nothing against mass entertainers) and ‘Barfi’. Oh, and even ‘3 Idiots’, despite its problems, remains a thoroughly enjoyable watch, as I discovered while watching it recently on the TV.
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A. A.
June 9, 2013
ZNMD did not quite make the hundred crore club, but to me it’s a vastly superior film. While it also contained crowd-pleasing moments, its smaller, intimate moments felt much more genuine and lived-in.
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brangan
June 9, 2013
Okay, my bad. Didn’t mean to suggest that this was some sort of uncompromised little art film. What I meant by “mass” is really “macho” — and it’s interesting to see softer films like this one and “Jab Tak Hai Jaan” make that kind of money too. Didn’t intend any kind of qualitative superiority.
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ramitbajaj01
June 9, 2013
certain proportion of the world population is struggling over ur this comment – ‘when they realise it’s not going to work out, they move on and later when they meet, it’s as friends, as if nothing happened.’ here is the link – http://www.pagalguy.com/forums/jobs-and-careers/cgl-2013-tier-2-preparation-t-99757/p-16625085/r-16625203
would u like to comment? please.
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Kutty
June 10, 2013
BR : Will add what Ramit B forgot to. “The nation wants to know”.
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Utkal
June 10, 2013
“But if YJHD is a protracted ad for the likes of makemytrip.com and FoxTraveller, it can also have a curious touch of the real if, like protagonist Bunny (charming Ranbir), you too have been a nomad at heart. To the world you might seem an irresponsible, selfish and confused rake but that’s what you are: a rolling stone on a journey in life. A journey that may have a few stops on the way but no definite arrivals. This “banjarapan” is captured well in Amitabh Bhattacharya’s lyrics for the song Kabira: Kisi thaur tike na paanv. The one to implicitly understand the drifter is the father, played with affection and grace by Farooque Sheikh. Or the dignified step-mother, Tanvi Azmi, who doesn’t want his passion for travel to die. These are brief roles, but standout performances—the scenes between them give the film its emotional wallop.
The counterpoint to Ranbir is his giddy, blustery good at heart friend, played with spontaneity by Kalki Koechlin, who, despite unrequited love, decides to home in on another who cares for her. Or the hawt-in-specs heroine Naina (Deepika), who doesn’t believe in waiting. As the film states, none of them is ‘wrong’, only ‘different’ in the way they deal with relationships. It’s these warp and weft of urban relationships that could have been explored more. Instead, Ayan Mukherjee takes the accepted way out. He makes the traveller hero halt and settle down when he could have let him carry on, if not alone then in the company of someone significant. The traveller in me, ultimately, returned disappointed.” Nmarta Joshi.
( Namrata: I was not disappointed precisely because for a change a girl had her way than the guy.)
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indianmalefeminist
June 11, 2013
@A.A couldn’t agree more 🙂 The more YJHD type of “not-so-bad” movies come out that fall way short of brilliance, the more I appreciate Zoya’s work in ZNMD, despite the flaws and all.
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Utkal Mohanty
June 21, 2013
“This Naina is just happy to have proved a point, and we’ve already seen that she had it in her, when she supplied the words to Jumma chumma de de that the others had forgotten. But unlike them, she doesn’t sing in an off-key voice – she just speaks the words. I” Just noticed this on rea-reading the review. It is these little gems that lift the film toa totally different levels compared to your DDLJs and KKHs.
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D
June 24, 2013
Dammit, I hadn’t planned on watching this movie, and now I just have to!
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burcidibollyreview
August 12, 2013
Agree with your every word. The transformation of the characters were unconvincing. I loved the first half but was disappointed with the second.
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Stuti choudhary
January 20, 2014
i love you
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sree
April 22, 2014
I am just a fan of yours who spends her time reading your reviews!!!!
The whole marriage Scenario in second half i found it too tiring….
Don’t you think Kabir returned or decided to stay not “only” because Naina!!!!
What’s you say for the last scene where he comes into Deepika’s home!!!
It resembles some American movie or sitcom by the frequent totally non passionate Kisses they exchange!!!
It spoiled the whole climax for me…so unnatural as if trying to imitate some western couple who kiss when they leave for office when they come back…almost like saying hi!!!
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kalpita
August 18, 2014
That was a great read.
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AB
April 21, 2015
I thought Kabir/Bunny was a sociopath and I didn’t like his character at all.
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