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Jab Tak Hai Jaan reviews! (Page 15)

Hazardous IF-Rockerz
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Posted: 13 November 2012 at 6:44pm | IP Logged
To be honest I do classify this movie as a sad film. At the end I did not feel light at all. My heart was heavy.
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Posted: 13 November 2012 at 6:45pm | IP Logged
Originally posted by Raiinie2

Originally posted by nadaanmasakalli

 You put it all so nicely Iks :))but i agree with you 

HugHug Seems like its only us two, who feels this way. Hmmm.. waiting to read other IF members review. 
u guys can include me too..I only liked the movie after intermission 
I liked the movie  but nothing extra ordinary Embarrassed
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Posted: 13 November 2012 at 7:01pm | IP Logged

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Posted: 13 November 2012 at 7:04pm | IP Logged

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 life-affirming faith. Yash Chopra's Jab Tak Hain Jaan 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 three hours, these antics, propelled by passionate love, are sore and laughable. The story of Jab Tak Hain Jaan, written by Aditya Chopra, isn't much of a story—just a patchwork of tried-and-tested situations, revealing any of which will be to kill your thrill of guessing the next predictable turn of events.
The best of talent come together in Yash Chopra's swan song. Gulzar's lyrics, A.R. Rahman's music, Anil Mehta's cinematography, and Hindi cinema's reigning romantic matinee idol Shah Rukh Khan. Chopra has translated romance on to screen lyrically, and there are some of those trademark flourishes—realized in some beautiful scenes—in this tepid and outdated story whose only template is Chopra's earlier films. There is no surprising dimension or nuance to a love story that involves a struggling young Londoner, an odd jobs man who can charm the pants off people with his broken English, who, due to a preposterous twist of fate, becomes an expert in the bomb diffusion squad of the Indian Army (Samar Anand, played by Khan). The wealthy object of affection, with a traumatic childhood, is regressive and unable to take her life in her own hands (Meera, played by Katrina Kaif). The third in a triangle is a 21-year-old documentary film-maker who is wooing the Discovery Channel head honchos with a film on the lover boy who is now the soldier with a tough exterior (Akira, played by Anushka Sharma). Wish fulfilment, really, but not in this film.
 
There is a crucial hole in the basic template, which Chopra made his own in his long career—poetic, rhapsodic music that beautifies his scenes, even his characters. Rahman's music dilly-dallies along the formulaic and the original; there are flashes of genius in the way he uses voice, but overall the music is remarkably ineffective. Mehta's cinematography—the way he and the director use the locations, London and Ladakh—have the stamp of seasoned hands. Some of the dialogues are memorable.
Towards the end, when the plot is very obviously done with its meanderings, and things head towards a climax, an insufferable number of scenes go into bizarre lovers' exchanges. Fervent sighs and tears encumber these lengthy scenes. Khan's histrionics become tiresome and his familiar weaknesses as an actor are pronounced, overshadowing the spunk and magnetism his persona lends to the role—his reputation as a romantic hero, firmly and unmistakably in a tradition which Dilip Kumar and Dev Anand steered, is intact.
Katrina Kaif is porcelain—cold and without texture. In the best scenes, she is an apparition in white. Anushka Sharma is bundle of nervous energy. No surprises there either, except in the moony scheme of things, she is a vibrant, if not an entirely realistic punctuator.
For Yash Chopra, cinema was about big locations, stars, billowing pallus. He loved the film camera. In his best films, these elements cohered, and added up to a vision. It may have been an idealized vision of love, which Hindi films have always celebrated, and with which Chopra's work almost institutionalized. Jab Tak Hain Jaan is far from the best in that tradition. It is strikingly out of tune with the age, and real emotions. Even seen as a film about extreme characters, there is no originality in the story or its treatment to make it timeless.
Jab Tak Hain Jaan released in theatres on Tuesday.

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Posted: 13 November 2012 at 7:06pm | IP Logged

Film Reviews

The Last Love Letter

Karan Anshuman
Freakin' Awesome!Freakin' Awesome!Freakin' Awesome!Freakin' Awesome!Freakin' Awesome!

Posted On Wednesday, November 14, 2012 at 12:00:12 AM

First off, let me say this: Yash Chopra was one of Indian cinema's finest. Ranging from the path breaking Deewaar to Lamhe that was well ahead of its time, from the thrilling Ittefaq to the sensitive Veer Zaara, he has left behind a body of work that will serve as the standard representing the decades he worked in. He was the rare filmmaker who moved with the times, refusing to cling to obsolete ideas unlike his contemporaries; disallowing the years to dictate his will and spirit.

You'll see a lot of Chopra in Jab Tak Hai Jaan. He and his writer, son Aditya borrow from their own work generously but seek to keep it contemporary. Take the way the protagonists deal with the God-as-a-character motif ever present in their films. They still stalk ever-empty churches in foreign locales but the patron NRI saint is now referred to as Sir Jesus and the banter irreverent and tearfree.

The leading man and ladies are less prudish than usual (a pole dance in a train? Nice!); even though SRK will always win them over with his charm no matter how much in love or engaged with another man they are (ref: DDLJ, DPTH, VZ, etc.) And finally, the first admission of love now comes in an offhanded, almost casual manner in places you'd never expect: an underground station in London, in the army barracks in Kashmir.

So here SRK sweeps a Rolls Royceriding Katrina Kaif off her feet with his guitar strumming and singing lessons.

In one of the best scenes in the movie, her character Meera lets go of her inhibitions in a surreal underground/graffiti tunnel setting. It's unsettling in a good way; exactly what the makers intended. Of course, a wholly unnecessary song instantly follows this. Oh how the songs bloat the narrative. Halve the number, and JTHJ would've stood its ground.

Meera also loves trading her vices in exchange for favours from Jesus.

And she goes on to make a deal she should've with the devil. She promises (to that figment of her imagination) that she will never see the love of her life again. Cue the Ladakh/army stuff, another girl, a series of repetitive, convenient plot devices derived from sources close to home. That the actors - especially Khan - rise above the writing, is credit to them.

That the whole film hinges on a second-grade-type "god promise" is the old wine here. Not helping matters is the length of almost three hours, two accidents in critical moments, a Karz-type track, tons of lessons in dialogue alone, "nazook mental states", talk of not "crossing the line" physically when the heart has leap-frogged past the finish... The writers have ample opportunities to take a risk, to push the characters into a corner from where they have no outs; but they squander these away and opt instead for fluff and the ordinary. Broad strokes define Jab Tak Hai Jaan. The details are amiss and it doesn't quite come together.

Khan will elicit collective sighs that can spook a population every time he appears with his stubble and army uniform, his clean-shaven, mussed-up hair version in the first half of a flashback is a return to form of sorts and he reminds you of the vintage, impish SRK of yore when he won hearts by bouncing about and charming ladies, old and young alike.

Anushka and Katrina are quickly getting slotted into type: 'bubbly' and 'NRI' respectively.

Yash Chopra's last film, Jab Tak Hai Jaan may not be his finest, but even here we are treated to his willingness to tinker and update his own previous work and beliefs in the telling of his concluding romance. And despite the calculated scripting to evince emotion, the real tears flow when you see him at work in the tribute accompanying the end credit titles. Jab Tak Hai Jaan indeed. Thank you for the entertainment, Mr Chopra.

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