#JTHJ Doesn't really work in entirety. Surpisingly (limited) action portions work more than romance. 2nd half even slower than 1st ***
#JTHJ Doesn't really work in entirety. Surpisingly (limited) action portions work more than romance. 2nd half even slower than 1st ***
Jab Tak Hai Jaan V Son Of Sardar Initial Report
Tuesday 13th November 2012 14.30 IST | |
Boxofficeindia.Com Trade Network
The opening of the Diwali releases across India has come in as follows. This is the opening in till 1 pm. There will be a drop in afternoon and early evening shows for both films.
Mumbai/Maharashtra Jab Tak Hai Jaan - Excellent Son Of Sardaar - Average
Gujarat Jab Tak Hai Jaan - Excellent Son Of Sardaar - Good
Delhi/UP Jab Tak Hai Jaan - Excellent Son Of Sardaar - Excellent
East Punjab Jab Tak Hai Jaan - Excellent Son Of Sardaar - Excellent
West Bengal Jab Tak Hai Jaan - Bumper Son Of Sardaar - Below Average
Bihar Jab Tak Hai Jaan - Good Son Of Sardaar - Good
CP Berar Jab Tak Hai Jaan - Excellent Son Of Sardaar - Good
| |
CI Jab Tak Hai Jaan - Excellent Son Of Sardaar - Good
Rajasthan Jab Tak Hai Jaan - Excellent Son Of Sardaar - Excellent
Nizam/Andhra Jab Tak Hai Jaan - Excellent Son Of Sardaar - Below Average (Hyderabad and Andhra) Good (Marathawada)
Mysore Jab Tak Hai Jaan - Bumper Son Of Sardaar - Below Average
Indications Bumper 95-100% Excellent 80-95% plus Good 65-80% plus Average 50-65% plus Below Average less than 50% |
...Yash Chopra is known for his handling of relationships, creating moments that defy logic yet speak to the heart. Cinematic liberties never seemed to rattle since the love was so strong you would root for the characters to meet despite all odds. JTHJ suffers from the crucial flaw of having zilch for chemistry between the lead actors, to the extent that you are least bothered when Meera "sacrifices" her love for Samar or when Akira is caught between her love and Samar's happiness.
For the sake of argument, even Veer Zaara was a hakneyed week script that was salvaged by the maestro to eternal glory aided by some lilting music. JTHJ sadly is one of YRF's worst scores in recent times. Rehman is totally out of his element, not one song is worth listening as a stand alone album, neither does it work in the movie. I am still recouping from the jarring soundtrack which seems to fill a lot of the movie
When Simran ran through mustard fields into Raj's embrace, When Pooja ran into Rahul's arms in Dholna, when Chaandini went into her Shona's arms in the alps, your heart skipped a beat. When Katrina runs across Londons streets to the music of violins on an overdrive, into SRK's arms, all one can do is squirm in his seat. For all of Katrina's charms and beauty she is just not capable of channeling the passion her role and the film required. Her Meera is quintessentially Yash Chopra, and Katrina can only manage to look all shimmy legged and beautiful.
Anushka on the other hand compensates for Katrina's lack of acting by hamming to the core. Her character is Band Baaja Baraati on meth, made so tomboyish to contrast her from Katrina's attempted coy girl act, that it is almost as if Samar turned gay for a man named Akira. She deserved better am sure.
This brings us to the man, SRK- desperately looking for a romantic ressurrection. SRK as Samar is a pale shadow of all of his past Raj Rahul acts, he looks smashing as Major Samar, too old for the act of a carefree Samar singing an obnoxiously voiced Challa, and is desperately trying to put in some fire in the scenes with Katrina. Given a better co star may be, SRK wouldnt have come out this as bad. For as things are right now, Badshah khaan looks as tired as the story itself.
Is JTHJ a total washout? Perhaps no, cause SRK has nary looked as good in recent times, he is enough eye candy to get die hard fans walking into the theatres. Sadly, there is nothing more to hold them engaged once inside. One wishes Yash Chopra hadnt called it The End so soon, for we definitely would have liked to remember him by with a better film. This one just aint worthy his swan song
Director: Yash Chopra
Cast: Shah Rukh Khan, Katrina Kaif, Anushka Sharma, Anupam Kher, Rishi Kapoor and Neetu Kapoor
Words will not do justice to the swan song of a great filmmaker, but one has to try. So here it goes. Some people really know how to make a film. Jab Tak Hai Jaan (JTHJ) is Yash Chopra's last film as director and it's a film rich in philosophy, poetic love and honest emotions. Like any piece of commercial cinema, it has its cinematic liberties and plot holes. But the sum of it is an old school love story that weaves its magic on the tender hearts of die-hard romantics. The King of romance lives up to his epithet.
JTHJ is the love story of Samar Anand. And as fate puts it, he comes across two women who love him equally. The film starts off in London where Samar is a desi lad desperate to earn an honest living in a foreign land. He runs into the ravishing Mira who entrusts all her faith in Jesus. Samar helps Meera get over her pent up anxieties and in the process they fall in love. And just when you think the film's running into the oh-we've-seen-that-before territory a twist separates the lovers. SRK's forced to move to India where he runs into the boisterous Akira. Akira's daredevil personality and spirit impresses Samar. But of course she's alive and happening because she loves him.
Yes the structure of the story seems like a run-of-the-mill love triangle but there's more to their dilemma than just the obvious. You don't have melodramatic and unreal sacrifices or two women competing to woo their man. Instead you get a mature sense of camaraderie between the characters. And some master class writing where the same-old same-old "yadaash kho jaana" is crafted in the form of retrograde amnesia.
On the subject of writing, one of JTHJ's commendable features is its real and uncomplicated dialogue. You don't have characters being theatrical in expressing love. Instead they say it casually and in underplayed tones. And then there's the core philosophy of faith and time that sets JTHJ apart from Bollywood's regular fare of romances. The film says destiny and time can be the most important factors in a love saga.
That the actors look as beautiful as the exotic locations they're in is a trademark feature of Yash Chopra's films. JTHJ is no different. Katrina Kaif and Anushka Sharma steal the thunder from the landscapes of Kashmir, Ladakh and England. Shah Rukh Khan even in his grungy avatar as the army man lends to the authenticity of his part. (Save for a handful of amateurish make-up instances during the early London sequences).
But JTHJ is so much more than its flawless visual appeal. AR Rahman's music and background score adds a touch of magic to the proceedings. It complements the actors' performances perfectly. Shah Rukh Khan makes a stunning entry, he owns the screen space and he weaves his charisma into a net that holds JTHJ together. Especially effective are his scenes as the reserved army officer. Katrina Kaif is just a thing of beauty. That she looks stunning is a given, but she manages to give one of her career's finest performances as Meera. Her underplay is the perfect contrast to Anushka's lively and bubbly act. Anushka lightens JTHJ with energy, while Katrina anchors it with firm emotions.
At a gracious 3 hours runtime, JTHJ feels like an epic love story. And it is just that. JTHJ is the perfect adieu to a hallmark career. It is the best romantic film made in this generation.
At multiplexes, #JTHJ is outstanding. At single screens and several mass centres, the biz of #SOS is mindblowing.
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