Jaan-E-Mann is closing the NY South Asian Film Fest!

http://www.saiff.org/2006/index.php

Just saw the theatrical preview for this and unfortunately this looks like a terribly jaded product. It appears to be the usual love triangle with a KHNH hangover. KHNH isn't a very accomplished film to begin with and Jaaneman appears to be ripping scenes directly from the movie; the 7 day plan in KHNH: Salman advising Akshay through the earpiece (for those that have seen the preview). I was mildly interested in seeing this film because Shirish Kunder is a half decent editor, which is a rarity in Bollywood, so I was interested in what he would produce. However, a hum ho story line and absolutely insipid music, I'm probably going to give this one a pass.

More on the music, obviously it's going to sell because of the starcast, but has Anu really completely lost it. It's amazing how fast his music has deteriorated in the past few years; I mean some of the songs he's been churning out are downright atrocious. We'll see if he redeems himself with Umrao Jaan.

This sounds like a great fun movie.Any other reviews around.

Plot Summary: Salman Khan is a college stud

This is why the movie will fail, I stopped reading at that point.

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…

Write your own movie review of Jaan-e-Mann
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.


3 1/2 of 5

Don't forget that Aamir Khan played a "college stud" in "Rang De Basanti" so this is definitely a regular thing for older actors to play really young roles.

Actually his character had been out of college for a few years but he still hangs around. Aamir at 40 was a little old for that character, but he looked youthful enough.

I want to start smoking whatever Adarsh was smoking so I too could enjoy this movie. 3.5stars?

The trade is in complete shock with the opening of the film @ 40%


Even though reports are good, without a good initial, it'll be difficult to recover costs.
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BTW, Jaaneman's competitor Don opened to a 90% opening but reports are not good.

I saw Jaanemann on opening night and I have to say that out of all the Bwood films I've seen in the last year, this one has to easily be the worst one. The first half plays like the worst film that Terry Gilliam has never directed: full of incongruous editing, poor SFX (including some obvious wirework that the computers didn't remove), bizarre scene transitions, and depth of field. The Salman Khan glass shattering freakout scene as well as the overreliance on little people for humor also led me to think that the director might've been on some kind of hallucinogen. Then after the film shifts into NY, it becomes a very annoying and slow-moving piece revolving around a baby (with the horrible sound effects making me cringe at every point). Plus they really really overused the same NY locations (how many shots of Times Square are we going to have?). Worst of all, Preity Zinta totally seems wasted in such a role (Salman also looks like he's embarrassed to be playing along with such hackneyed claptrap, but goes along with it anyway). Ugh.

revieweres r calling it most balanced blockbuster masala of the season, for abstinents during ramadan and who r to enjoy special deewali! by Mr Farah Khan

Saw the film today in A1 theatre. IMHO, the film didn't deserve this fate. I and many other friends who were in the same show, liked the film.

It had exceptionally good directional surround and plenty of subwoofer. Didn't find any moment where we got bored or lost interest in what's going to happen now. And all that despite weak songs and without any bikinies or vulgar double meaning dialogs. We all know it's a love triangle but there is no sad ending ?? How ?? have to watch the film or pay attention to the beginning. A perfect family fun film.

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BTW, they showed GURU trailer with it. Looks good.

I knew man!! My money was right on the spot! if stale film stories like HDKG can become super hits then why not JJAN E MAN I think it was strategical decision of audience when they landed in theatres overseas to ear towards sarook, more hyped film!

I remember when MK and Mohabtaen were simeltaneous releases, first weekend we chose Mohabtaen over MK, and except SRK/AISH song, did not like film! then ofcourse had to pay visit to same theatre again to watch MK, that I thought was better film!

i wouldnt recommend this movie to anyone..other than sweetfriend or taran adarsh!

it was nothing more than plain average..barring a few comedic scenes..

well said!! but rana sahab liked it too, based on sound and fun!