Oct 26, 2006 04:34 AM
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(Updated Oct 26, 2006 07:19 AM)
As of late films in Bollywood have become a lot more slicker and glamorous and production standards have really hit an all-time high. We saw some international standard special effects and action scenes in Krrish; then some uber-cool car-chase scenes, a skydiving sequence, a Hollywood-like heist, gritty fight scenes and explosions galore in Don. However, both Krrish and Don are action films, and thus necessitate the use of technology and SFX. It is when non-action films, particularly romances start using technology, that you know Bollywood really has fully embraced techology and reinvented itself for the 21st century.
Jaaneman is an exemplary example of such a film and what modern Bollywood has to offer. It is perhaps one of the most hi-tech Bollywood films ever made, with abundant use of motion control camera and the use of visual effects as narrative.
However, does Jaaneman have anything more to offer other than that? The first 15 min into the film, I thought it had nothing else to offer. It was dire, an OTT farce of film and the first song felt like it was never going to end, and because I had heard so much about the Broadway spectacle Janneman was, I was greatly underwhelmed. And then, as soon as Akshay Kumar enters the story --- and then the film begins, and what a joy it is to watch. The explosions of colours, the vibrant choreography, the booming background score and the hyper songs. If you do not watch this film in the theatre - you are missing out man. If there is any Bollywood film in recent times that should be seen in the theatre- this is it.
However, this film goes much beyond just glitz and glamour, it actually has a soul and emotionally engages you. The chemistry of the threesome Akshay Kumar, Salman Khan and Preity Zinta is excellent and they endear the audience. In particular Akshay Kumar, whose goofy laugh and geeky mannerisms never fail to draw a chuckle.
The songs are some of the best choreographed and executed in recent history. I have always emphasised that Bollywood needs to start treating it’s song and dance as monumental events in the film, in the same way Hollywood treats action and SFX sequences or HK cinema treats martial-arts scenes. The song and dance, the vibrant colours and emotions is what distinguishes Bollywood from other kinds of cinema.
There are very few directors who really do this, most use song and dance as an excuse to flash some skin, as promotional music videos, as tourism or even as story-filler. We know this, that is why we often use them as toilet breaks!
However, those who know their craft, such as Sanjay Leela Bhansali, integrate these songs into their stories, turn them into huge choreographed events, that razzle and dazzle the audience and at the same time move the story forward. Shirish Kunder knows this very well, and makes sure that each song is a felt-experience, a work of art, an explosion of creativity . He does not always succeed through, sometimes he overdoes the farcical dimension and that was certainly true for his dwarf number.
In fact his must successful songs, actually are not his psychedelic numbers, but his more softer and lighter ballads such as Sau Dard, Ajnabee and Humko Maloom Hain, which float across the screen.
As a directional debut, this is a film to be proud of for Shirish Kunder. He has a very firm handle on the visual department, a very creative and innovative style and techno-savvy sensibilties. I hope he inspires other Bollywood filmmakers to follow his example. I am somehow very optimistic for the future of Bollywood cinema now. First Krrish, then LRMB, and now Jaaneman ---it’s been a great year. Whatever next?
