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Masand's Verdict: Jaane Tu Ya Jaane Na 
Published on Sat, Jul 05, 2008 at 00:13, Updated on Sat, Jul 05, 2008 at 09:17 in Entertainment section
Tags: Masand's Verdict, Jaane Tu Ya Jaane Na , Cast
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Cast: Imran Khan, Genelia D’souza, Ratna Pathak Shah
Director: Abbas Tyrewala
Even before I'm ready to share my views with you on Jaane Tu Ya Jaane Na, I have a question to ask: Is it unfair to go into a film with a certain level of expectation, especially when the film's been made by someone whose work you have always admired? If it is indeed unfair, then forgive me Abbas, for I have sinned.
But if I'm allowed to expect clever writing, an original screenplay, fleshed-out characters and a fresh plot from the writer of such gems as Maqbool, Munnabhai MBBS and Main Hoon Na, then perhaps you will understand why Jaane Tu Ya Jaane Na was a letdown for me.
Don't get me wrong; I wasn't expecting another Maqbool or a Munnabhai from Jaane Tu. It promised to be a light-hearted romance and that's exactly what I went in to see. But a light-hearted romance from Abbas Tyrewala — the original, imaginative, inspired writer of those afore-mentioned films.
Tired of everyone misunderstanding their strictly platonic friendship for love, 20-year-olds Jai and Aditi (that's Imran Khan and Genelia D'souza) decide they must find each other suitable romantic partners who aren't threatened by the closeness the two of them share. Little do they realise however, that what they feel for each other is indeed love — it's a reality that dawns upon them later when they're with other partners.
Jaane Tu Ya Jaane Na plays out as a predictable Bollywood love story, sticking faithfully to old formulas, even culminating in that now obligatory airport climax. As far as the film's plot is concerned, there's very little that's original. Jaane Tu is not your traditional plot-driven film.
It is, in fact, a film propelled by its characters and their motivations, much like Dil Chahta Hai in a sense, but without the emotional depth of that film.
The characters in Jaane Tu are all cool, light and easy. So cool in fact, that they sometimes come off looking silly. Am I really being unreasonable if I can't understand why Abbas would give us such stereotypes as the gujju in the group — Jignes(h), or the fat sulky one who can't stop whining? Is it really my fault if I'm surprised a writer of Abbas' calibre wrote that ridiculous opening scene in which a group of 20-year-olds sit around in white and deliver sentimental soliloquies for their friend's dead cat? Is it really my fault if I expected a fresh take on love, if I was hoping Jai and Aditi would realise their love for each other, but not because they realized their previous partners were such idiots? Did it have to be so simplistic; did it have to be so clichéd? Indeed it's the silliness in the writing that is my biggest grouse against this film.
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