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 its regressive characters’ heads. Unrequited love hopes for consummation in the next birth. The leading lady is a fatalistic believer in religion and self-denial. For a film spanning 3 hours, these antics, propelled by passionate love, are sore and laughable. The story of JTHJ, written by Aditya Chopra and Devika Bhagat, isn’t much of a story—just a patchwork of tried-and-tested situations, disclosing any of which will kill your thrill of guessing the next predictable turn of events.