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By Taran Adarsh, October 20, 2006 - 10:46 IST
Let's clear a myth before we get into the analyzing
mode…
 JAAN-E-MANN is about two guys loving the same girl.
Her first relationship doesn't work for certain
reasons. Opportunity comes knocking again. The second
guy rides into her heart. Sounds familiar?
From SANGAM to KABHI KABHIE to CHANDNI to SAAJAN, the
concept of two men falling head over heals in love
with the same woman has been done to death in
Bollywood. Is there anything else left to explore?
What novelty does JAAN-E-MANN offer then? Is it old
wine packaged in a new bottle?
Sure, JAAN-E-MANN is a love story. But it explores new
grounds, in terms of story as well as execution. It's
an unconventional film. Yet, innovative at the same
time. It doesn't follow the path most love stories
charter. It's a fresh
concept and the twists and turns in the screenplay
only ensure that it doesn't stagnate.
To be brutally honest, it takes time to absorb a new
format of storytelling. As moviegoers, we are used to
following one particular format, which rarely changes.
In JAAN-E-MANN, the story begins where most end. At
the very outset, you're told that the first
relationship has already fallen apart. Knowing that
it's over between the two, the first guy encourages
[and actually assists/trains/spoon-feeds] the second
guy to get close to the woman both love. The second
guy faithfully follows the instructions, till a twist
in the tale brings about an awakening. Just when you
think that it's going to be a conventional climax,
there's a twist again…
Nope, JAAN-E-MANN isn't purani bottle par naya label.
Definitely not!
 It's said that [most] editors make fantastic
directors. After all, the biggest of dreams take final
shape on the editing table. Editor Shirish Kunder
wears many hats in his first attempt: Director,
story-screenplay-dialogues' writer, background music
composer, TV and theatrical promo maker and of course,
editor. And yes, he makes a terrific impact in his
maiden attempt as a storyteller.
The marriage of realism with escapism as also form and
content is evident in JAAN-E-MANN. There are moments
that offer tremendous entertainment. There are times
when Shirish borrows incidents straight from life;
you've seen it happening to someone or perhaps, it's
happened to you.
All the same, the execution of the film and the shot
compositions are masterly. If you understand cinema or
if you're an avid moviegoer, you'd notice that JAAN-E-MANN
is shades apart from Yash Chopra or Mani Ratnam or
Priyadarshan or RGV or Rakesh Roshan's movies. It
stands out for its individuality. The technique leaves
you wondering, is this Hindi cinema or are you
watching a fairytale?
Most importantly, JAAN-E-MANN has its heart in the
right place. Like this reviewer pointed out at the
outset, it takes time to get used to Shirish's style
of narrating a story. The initial reels may give you
the feeling that it's all gloss, no soul and perhaps,
the director has lost his marbles and experimented at
the expense of an uncompromising producer [Sajid
Nadiadwala], but JAAN-E-MANN catches you slowly, but
firmly and doesn't leave you till the end.
Wait, this doesn't imply that JAAN-E-MANN is a
flawless product. There are blemishes that stand out
in the narrative. If Shirish deserves distinction
marks as a storyteller, you need to deduct his points
as an editor. Perhaps, Shirish fell in love with his
product and didn't realize that this 19 reeler tends
to get lengthy and at times, slow paced.
Also, Shirish's style of storytelling -- very novel
and refreshingly different -- caters more to the
multiplex crowd/elite/big city junta/Overseas audience
rather than the aam public/hoi
polloi/masses/frontbenchers. The generous usage of
English will also restrict its appeal to urban centres.
Yes, there are mass appealing moments, but JAAN-E-MANN
is a big gamble. The first section of moviegoers would
love the film and if it catches on with the masses
[thanks to the strong emotional quotient in the second
hour], there's no stopping the film then.
Now to the story:
 JAAN-E-MANN begins with Suhan [Salman Khan] receiving
a notice to pay the alimony. He has to shell out Rs.
50 lacs to his estranged wife Piya [Preity Zinta], now
settled in the U.S. Suhan's 'Chachu' Boney [Anupam
Kher], a lawyer, thinks of ways to wriggle out of the
situation.
It's at this juncture that Champu aka Agastya [Akshay
Kumar] walks in, looking for Piya. He was in love with
her during the college days, he tells Suhan and Chachu,
but she was in love with someone else [Agastya is
unaware that Suhan is the guy]. Piya had ignored
Agastya then, a nerd, and even broke his heart by
courting another guy. A heartbroken Agastya had left
the college for this reason.
Back to the present: Agastya is now at NASA. His
outwardly appearance may've undergone a change, but he
still doesn't know how to communicate with a girl,
forget dating her. Suhan and Chachu hatch the plan to
get Agastya and Piya together, so that Suhan is out of
the mess.
Agastya flies to New York, so does Suhan. They hire an
apartment right opposite Piya's residence and monitor
each and every move of her through binoculars and
telescope. Suhan helps Agastya to woo Piya. A
reluctant Piya eventually gives in. But the story
changes when Suhan gets to know of a certain reality
and that changes his life completely. He feels
responsible towards Piya.
Suhan realizes his folly and wants to make amends. But
oblivious to Suhan's presence, Piya is now preparing
for a life with Agastya. One wouldn't like to reveal
the climax, since that would take the sheen away from
the enterprise. We wouldn't be able to reveal the
finale either, which is sure to bring a smile on your
face.
 JAAN-E-MANN balances humor and emotions beautifully.
In fact, a film on relationships ought to rest on a
solid emotional ground and JAAN-E-MANN has those
scenes in abundance, especially in the second hour.
Salman's journey from a mere spectator of
Akshay-Preity's courtship to being a part of the love
story is beautifully depicted. What prompts Salman to
have a change of heart and feel more responsible [the
reason is withheld by the reviewer] is again a
brilliant stroke from the writing, execution and
performance point of view.
All the same, the humor is just perfect. It's not the
crass or mindless kind, but simple and at the same
time, sure to bring a smile on your face or force you
to break into laughter.
JAAN-E-MANN has more aces, starting with Farah Khan's
choreography. Every song in immaculately choreographed
and comes across as a remarkable piece of art. Anu
Malik's music is soothing and soft, in sync with the
mood of the film. 'Jaane Ke Jaane Na' is undoubtedly
the best track of the enterprise. 'Ajnabee Shaher' and
'Humko Maloom Hai' are two compositions that also
stand out for sheer melody. Sudeep Chatterjee's
cinematography is remarkable. Right from Sabu Cyril's
delightfully colorful sets to the skyline of New York,
the D.O.P. captures every moment with dexterity and
flourish on celluloid. Surily Goel's costumes are
classy and well-synchronized with the upmarket feel.
Now to the performances! The one question that you
want to ask Salman is, why had you hidden the
sensitive performer in you all these years? Agreed,
the actor has delivered fine performances in the past,
right from Sooraj Barjatya's films to TERE NAAM to NO
ENTRY [aimed at the masses]. But this is an altogether
different Salman you see in JAAN-E-MANN. In fact, it
wouldn't be erroneous to state that if asked to choose
one performance from the three pivotal ones in JAAN-E-MANN,
it has to be Salman without doubt. He wins hands down
completely. The role is a reflection of what Salman
can handle in real life: Loads of attitude, the
mischievous dude with a naughty streak and most
importantly, a sensitive and soft-hearted man who can
weep, if affected. Simply remarkable!
 Akshay is first-rate. The actor plays a simpleton, a
far cry from the roles he's now famous for [DEEWANE
HUYE PAAGAL, GARAM MASALA, PHIR HERA PHERI] and proves
his versatility yet again. There's a marked growth in
Akshay's performances and the one in JAAN-E-MANN only
endorses the statement.
Preity is wonderful. Not only does she look like a
woman who is the cynosure of two men, but also emotes
her part with amazing grace. There's a surprise in
store in the end and Preity's fans are sure to love
her in that look as well.
Anupam Kher is fantastic as Chachu, but has an
ill-defined role as the look-alike in New York. Jawed
Sheikh and Soni Razdan [Preity's parents] are
appropriate in brief roles. Nawaab [Preity's brother]
and Aman Verma are decent.
On the whole, JAAN-E-MANN balances humor and emotions
beautifully. In fact, it's a BIG film in all respects
-- right from its cast to the extravagant sets to the
lavish making, besides, of course, unadulterated
entertainment it has to offer. At the box-office, the
Diwali and Idd holidays will prove bountiful for the
film and add to the big returns. Business-wise, JAAN-E-MANN
should fare best at multiplexes and also at major
centres, besides Overseas. But its business at
comparatively smaller centres, where masala films
dominate, is bound to be affected by DON's presence.
However, if the strong word of mouth catches on, the
business at smaller centres will add to its booty.
Rating:- * * * *
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