Daily Archives: November 14, 2012
1920-EVIL RETURNS devours CHICKEN KHURANA!
Coming to last week’s releases, Vikram Bhatt’s horror flick, 1920-EVIL RETURNS, is on way to a clean hit as it has already netted close to 19 crore (to be validated) which is just superb considering …
This birth, next birth. This generation, that generation. That God, this God. Empty, rhetorical conversations with God, in the garb of life-affirming faith. Yash Chopra’s Jab Tak Hai Jaan (JTHJ) has archaic ideas about love and existence, mostly concocted in …
Glamsham film review of Jab Tak Hai Jaan
By Martin D’Souza, Glamsham Editorial
The late Yash Chopra is known for grandeur and an eye for detail. His last outing behind the camera is lavish on both counts. The splendor of …
ou probably know by now that ‘Jab Tak Hai Jaan’ is a heavy duty romance triangle between Shah Rukh Khan, Katrina Kaif and Anushka Sharma played out over a period of 10 years. If unrequited love isn’t your thing, this …
NOTE: These are My Comments Written from My FAcebook Status Update…. That’s why the Review will seem Distorted but You guys should get the Flow.
‘Jab Tak Hain Jaan’ is Shit in the Name of Cinema…. Utter Crap!
Disgusted, Dissapointed and Angry…
I can’t Compose Myself to Review this Movie… I Just Cannot… I just don’t know what to say Exactly….
I returned yesterday night from a Kolkata screening of Jab Tak Hai Jaan. Out of four screens, three were devoted to Jab Tak Hai Jaan while one was given to Son of Sardaar. To top that, all three Jab Tak Hai Jaan screens were nearly housefull but the Son of Sardaar screen was practically empty (I could see because INOX does not have security outside every individual screen, at least for the one I went).
I won’t give my review of the film here (you can look it up in my blog by today), but I will try to gauge the audience reactions.
For one, there was no mass hysteria upon SRK’s entry in the film, which is unlike several other centres. Second, the one thing I noticed very clearly is that the dialogues reached straight to the audiences; they laughed at all the right places and were emotionally silent in the requisite sequences. In particular, the Ishq Dance-Ishq Shava sequence got a lot of surprised and excited murmuring. There were, however, exasperated sounds being made at some of the ridiculous portions of the film (not unexpected).
The climax seemed to satisfy though not really amaze; I am guessing that the predictability let it down a bit. After the film, the reaction could be best summed up as good to pretty good (my friend who accompanied me from Kharagpur went ga-ga over the film, though that’s understandable considering that he really likes romantic films). I could judge that sentiment and soulfulness had won over a lot of the audience, but few (if any) would be thinking of it as some classic or great film.
Diwali Puja Witnesses Record Collections
This Diwali has seen record collections with a 21 crore nett approx combined total by Jab Tak Hai Jaan and Son Of Sardaar. Diwali day is always weak for business but has jumped 45% from …
J Hurtado, Contributing Writer
It’s difficult to talk about Jab Tak Hai Jaan without putting it in its proper context. Not only is the the final film of one of Bollywood’s most beloved auteurs, and the author of the modern romantic cinema in which so much of India still revels, Yash Chopra, it’s also the latest film from one of the Hindi film industry’s biggest stars, Shah Rukh Khan. It couldn’t be lugging around heavier baggage. There is the temptation to sentimentalize about Chopra’s career and allow that feeling to seep into any kind of critical response to the film, a reaction to which I may not even find myself immune, however, Jab Tak Hai Jaan delivers exactly as it is supposed to on all levels, and that’s not too shabby for a film with so much expectation to live up to.
The story line of Jab Tak Hai Jaan is not at all easy to compress. The film is 176 minutes long, which is even long by Bollywood standards these days, and Chopra uses all of that time to expand a ten year long love story to its emotional acme, leaving audiences drained by the time the credits roll. We’ve been up, we’ve been down, we’ve seen fire and we’ve seen rain, and by the time the film closes out with a behind the scenes montage of Yashji on set working on his final project, it’s just the topper that put me over the edge and threw me into emotional freefall. Yes, I fell for this film and I fell hard.
What I find most amazing about Jab Tak Hai Jaan is that the entire time I was watching it I was picking it apart, but in the end it resonates more deeply that it perhaps deserves. Aditya Chopra’s script is ridiculous. Coming from the man who penned and directed the defining film of modern Indian romantic cinema, Dilwale Dulhania Le Jayenge, the script for Jab Tak Hai Jaan is something of an embarrassment. Characters act in ludicrous ways right from the word go, insane coincidences determine every single plot turn in the story, and every few minutes I found myself thinking “what the f…” at the things going on in front of me; not least of which is a pivotal scene in which London Police allow a civilian Shah Rukh Khan to defuse a bomb on a commuter train just because he seems to know what he’s talking about.
Scenes like that pepper the film, and if it weren’t bad enough that they are there at all, sometimes they play major roles in the narrative. There’s nothing lazier than dropping unlikely (or downright impossible) plot devices into a film just because there’s seemingly no other way to move the story forward. Adi Chopra should know this, and his dad, Yash Chopra himself, should have questioned it. Neither of these guys are rookies, they’ve been around, and there are some seriously amateur-hour antics in Jab Tak Hai Jaan. That being said, the film doesn’t completely collapse like the house of cards that it is, instead it is saved by an unusually strong performance from Shah Rukh Khan as our lovelorn lead, Jagdeep, and a bouncy and rousing performance from Anushka Sharma, who is quickly becoming one of my favorite mainstream actresses simply for the energy she brings to every role.
Territory Winners: Jab Tak Hai Jaan V Son Of Sardar
The territory winners on day one in the clash between Jab Tak Hai Jaan and Son Of Sardaar are as follows. Jab Tak Hai Jaan leads by big margins in Mumbai, Delhi/UP, West Bengal, Nizam/Andhra, Mysore and TNK but Son Of Sardaar has come out ahead in some circuits despite being screened on the lower grossing single screens. Bihar where it got a big release, it has scored over Jab Tak Hain Jaan by a margin.
Jab Tak Hai Jaan
Film: Son of Sardaar
Director: Ashwni Dhir
Cast: Ajay Devgn, Sanjay Dutt, Sonakshi Sinha, Juhi Chawla
This one is for die-hard fans of the Bollywood masala genre. There is larger-than-life herogiri, gravity-defying maar-dhaad, cheesy dialogue-baazi and a happy ending.
Son of Sardaar opens with a song that lists the many virtues of the community. And almost immediately, the action moves to a London nightclub where our turbaned hero Jaswinder Singh Randhawa aka Jassi (Ajay) beats up the baddies with some help from a Pathan buddy (Salman Khan in a cameo). Déjà vu? Not quite!
A vengeance drama that has slapstick comedy thrown in for good measure, Son of Sardaar uses every trick in the book to grab the eyeballs of its target audience. The invincible hero, who can jiggle his pectoral muscles as effectively as he can throw punches and kicks, combines humour and herogiri to win the hearts of everyone he meets.
SOS creates History in Pakistan. Records *highest ever* opening day figure: $ 42,000.
NEW ZEALAND – Tuesday: #JTHJ hasn’t opened. Opens today [Wednesday] … #SOS NZ$ 5,116 from 5 locations [Rs 2.30 lacs]
AUSTRALIA – Tuesday: #JTHJ A$ 77,334 from 24 locations [Rs 44.39 lacs] … #SOS A$ 55,125 from 22 locations [Rs 31.64 lacs].
UK – Tuesday: #JTHJ £ 34,623 from 25 locations [Rs 30.21 lacs] … #SOS £ 5,569 from 16 locations [Rs 4.86 lacs].
#JTHJ takes Singapore by storm. Collects S$ 96,000 on Tue.
East Punjab And Mysore: Jab Tak Hai Jaan v Son Of Sardaar
Wednesday 14th November 2012 11.00 IST
Boxofficeindia.Com Trade Network
Son Of Sardaar came out ahead of Jab Tak hai Jaan in East Punjab while it was a one horse race in Mysore with Jab tak hai Jaan mopping up. The figures from the two circuits are as follows.
Movie Review: ‘Logic is the biggest casualty in Jab Tak Hai Jaan’ by Piyasree Dasgupta, FirstPost.comNovember 14, 2012 | wall-D
Jab Tak Hai Jaan makes life look easy. So easy that a self proclaimed 25-year-old, who looks 40, gets to kiss a girl who seems to have walked out of Vogue. You also believe that the latter, despite all her Mercedes and Gucci glory, can’t keep her hands off a waiter who has an annoying habit of speaking like he is perpetually in an art of living class.
Life’s so easy, that an aspiring documentary-maker, can walk straight into an army camp in Ladakh in barely visible hot pants and prance around shooting, presumably stuff, while there are people detonating bombs all around her. Also, if you have legs like Anushka Sharma’s, you belong to a curiously privileged class who can dance around in beach volleyball attire while goats, men and children around shiver through layers of winter clothes.
A still from Jab Tak Hai Jaan. Image courtesy: Yash Raj films.
You can also go from being freeloading floozies to Michelin-starred restaurant owners in no time, you can lose and get your memory back pretty much the same way you get back an iPod forgotten in the shorts pocket, and you can jump from age 25 to age 35 without half a cell on your face withering.
Logic is the biggest casualty of Jab Tak Hai Jaan. You could say, of course it is, in any Yash Chopra film, but there was always a story. In JTHJ though, what you get is a bit of Veer Zaara, only re-packaged with taller women with hotter legs.
Wednesday 14th November 2012 11.30 IST
Boxofficeindia.Com Trade Network
Son Of Sardaar collected around 8.50 crore nett on day one as per early estimates. Again like Jab Tak Hai Jaan the film was hit by Diwali Puja, actually it was affected more by Diwali Puja as its best business was in circuits that are hit hard by Diwali festivities like East Punjab, CI and Rajasthan.
The clash with Jab Tak Hai Jaan also hurt the film especially UP where the lack of good single screens meant business remained behind Jab Tak Hai Jaan when it should have been going by trends in MP where the release was balanced and Son Of Sardaar came out of head.
The film will show a huge jump today but again the clash will mean business is held back to a certain extent.
Wednesday 14th November 2012 10.30 IST
Boxofficeindia.Com Trade Network
The first day collections of Jab Tak Hai Jaan are in the 12.50-12.75 crore nett range as per early estimates. The collections were hit hard from 1 pm onwards due to Diwali Puja but circuits like West Bengal and Mysore came up with fantastic collections both comfortably crossing the 1 crore nett mark.
The collections are short of the figures recorded by Ra.One last year which is due to the clash with Son Of Sardaar.
The business of the film in single screens was much weaker than multiplexes as the opening was not that strong in single screens especially mass pockets. Jab Tak Hai Jaan will show a big jump in business today though again the clash will ensure business does not go towards record territory.
All in all, JTHJ is not the ideal farewell for Yashji, just sporadically having traces of his signature. It is more appropriate that we continue to remember him for his older masterpieces instead.
One so desperately wants to applaud Yash Chopra’s swan-song for all that he’s given to Hindi cinema down the years. But try as one might, one can’t help but feel that Jab Tak Hai Jaan (JTHJ) is not quite the epic love ballad that Yashji wanted it to be. Sure, there’s the A1 mounting with stunning locales, there’s the strong cast and brilliant technical crew with money spent on the production like water but ultimately the weak and (highly) illogical storytelling lets the film down ending in a 179 minutes dreary experience that just seems to go on and on and on and…
The biggest problem with the film is the central love story of Samar and Meera. This should have been the soul of the film but it simply fails to touch you. It is the weakest element of the film and is plain boring with its main conflict totally unconvincing. The film appears archaic and caught in a time warp in many places and the reason for Meera backing out of the relationship makes her look silly rather than us feeling for her spiritual side and her unwavering faith in ‘Sir Jesus’, at the church that seems to have only the two of them at all times. In fact, Meera’s character is extremely weakly sketched out and even the adventurous (gali ki gundi) side to her is never utilised properly. The fact that Katrina can’t act makes things even worse. This is one film where her acting deficiencies are solidly exposed and even that smile can’t save her. Her breakdown sequence on the bench is plain embarrassing.
When in doubt, the film simply goes back to older tried-and-tested YRF and Dharma Productions moments. The first half of the film sees a collage of such sequences – the Mother-daughter scene ala DDLJ, or Katrina smoking outside her engagement party and having Shah Rukh tell her she’s not happy just the way he told Rani Mukherji so on her wedding day inKabhi Alvida Naa Kehna and use of the same elements like the Church and the diary just to name some. Admittedly, the early bit of the second half does lift the film, thanks to Anushka Sharma’s lively and winning act but then JTHJ totally derails once Shah Rukh reaches London – yes we actually have the old amnesia track rearing up its ugly head from the dead. From then on it is one tedious journey to the end. As it is, the film finds itself on old-wine ground right from its conception and struggles to find that brand new carafe to pour this wine into as far its execution is concerned. So like the heroines of DDLJ, Dil To Paagal Hai, Veer Zaara, the basic plot here too sees Katrina hitched to a man she doesn’t love only to have SRK enter her life and turn her world upside down. It was thus all the more imperative that the love story be treated freshly and differently as we all know beforehand how it’s all going to end but… Even the climax (if one can call it that) is flat and abrupt as if the makers feel it is now time for the film to end after 170 odd minutes, the final emotional wallop and feel good happy ending thereby missing. Maybe that is why footage of Yashji at work making the film has been used as the end title sequence of the film and while I repeat, one has to salute Yashji for his contribution to Indian cinema, this is obviously too manipulative for us to ‘like’ the film.
Cast: Shahrukh Khan, Anushka Sharma, Katrina Kaif
Director: Yash Chopra
Length: 2.55 hours approx.
One has to agree that Yash Chopra have made this film with sheer heart. The sparkling moments that the film has got, says louder. He has two set of love stories in one film, and both has opposite texture- One is a larger-than-life, and another one is more of modern, contemporary which has a bohemian type girl who reflects today’s girls.
The film starts off breezily and has good moments. Some scenes between Shahrukh and Katrina are so good that you instantly feel for them. Specific mention about the scene on station, just after the “Ishq Shava” song. Although the film is predictable, it still manages to keep you hooked. But with every episode passing, the film’s length is realized and just there the film’s pacer also slows down. That goes against because when the film is getting longer, its essential for the film to be much engaging. But here the pace takes a halt. Add to those as many as four songs which surely work as speed breakers. But the 10 minutes before intermission, the film hits an all time high with a solid twist.
The second half starts well and the track between Anushka and Sharukh Khan works well within the atmosphere. The bubbly character that Anushka plays has emotions which are well brought. But soon as the film has another twist, we come across slow pacing yet again. These ups and downs keep JAB TAK HAI JAAN away from being complete entertainer. Also the ending will find two set of audience- one liking it, and the other not.
Review: Jab Tak Hai Jaan is all about Shah Rukh Khan
Khan is in fine form, says Raja Sen. ‘There are times he seems out of place, certainly, but these are made up for by times where he grounds the …
Just back from Jab Tak Hai Jaan. A bunch of us , 11 in all, 4 men and 7 women, ages ranging from 12 to 56, went together to see it at the 1.40pm show. We thought if we delay it , and the movie was bad, the bad word of mouth may make it impossible for us to catch it ever. And we can kind of sit through it if it was bad as long as we were in a group.
I did see it before reading any review. And I am writing this before readinga single review.
Well, I did have a suspicion it would be bad , but even in my dreams I could not think it would be this bad.
Cliché piled upon cliché, it was impossible to believe Yash Chopra actually made it.
Poor struggling young man falling in love with a rich mna’s daughter, whose father wants her to marry another young dude. Promise made to Jesus. Memory loss and memory regained. In this time and age? For god’s sake, how could you do this to your own legacy, Yashji?
The hero (Shah Rukh Khan) is a poor man. The girl (Katrina Kaif, as always playing the overseas Indian to justify an odd Hindi accent) belongs to the rich, stuffy upper class. He shows her the pleasures of being in the uninhibited lower-deck. She gets to let herself loose, value the fun things of life. They hit it off. This premise is probably as old as Titanic and only as recent as Imtiaz Ali’s Rockstar.
The lead couple are in love. They realise it almost at the same time. There is the slight issue over the girl being already engaged to someone else. But it’s not the kind of problem that can’t be overcome. These are freer times. Neighbourhoods and relatives don’t get to decide your fate. Running away from an engagement is no big deal, certainly not in London, the city of Big Ben (now Elizabeth Tower), where this film is set.
But the hero (Shah Rukh Khan) meets with a road accident. The heroine (Katrina Kaif) prays for his life. In exchange for his wellbeing, she promises to God that she will never see him again. Only a director as polished and accomplished as Yash Chopra could hold you to your cinema seat for almost half a working day over a story with a conflict as weak as this. It’s what certain reviewers call the Idiot Plot, the sort of crisis that can be fixed with one quick conversation – in this case, between God, the hero and the heroine.
But that would be to suggest we watch film for stories. Not always. And certainly not the proverbial “Yash Chopra romance”, where devotees swooning over the super-star (SRK’s hard-core female fans aren’t likely to be disappointed) is just as essential as the detailing in the heroine’s costumes (they look lovely), or the location (that is stunning), or the soundtrack (which is hardly to write home about here), or the background score (a good portion of which has sadly been lifted by Rahman from the film The Motorcycle Diaries).
Film review | Jab Tak Hain Jaan I An overstretched, archaic romance. Shah Rukh Khan is its minor saving graceNovember 14, 2012 | Roy
Film review | Jab Tak Hain Jaan An overstretched, archaic romance. Shah Rukh Khan is its minor saving grace Sanjukta Sharma
This birth, next birth. This generation, that generation. That god, this god. Empty, rhetorical conversations with god, garbed as …
Sukanya Verma feels Jab Tak Hai Jaan is nothing more than lovely fluff that could have been shorter, snappier but is definitely worth watching once for the man whose name appears against the bright blue sky – Mr Yash Chopra
A rookie documentary filmmaker discovers a diary storing a ten-year-old romance of a man who cannot die and decides to shoot a movie on him.
The man in question has lost his heart to a flawless beauty while shoveling snow outside a grand cathedral in United Kingdom and now diffuses bombs in the Indian army .