Cast: Akshay Kumar, Salman Khan, Preity Zinta, Anupam
Kher, Soni Razdan
Producer: Sajid Nadiadwala, Prashant Shah
Director: Shirish Kunder
Music Director: Anu Malik
Cinematography: Anjay Thakur
Choreography: Farah Khan
Editor/Screenplay/Dialogue: Shirish Kunder
Jaan-e-mann is director Shirish Kunder’s directorial debut. Shirish
Kunder has a famous better half, Farah Khan who has also done the
choreography of the movie.
After the rollicking comedy of David Dhawan’s Mujhsey Shaadi Karogey,
Akshay Kumar and Salman Khan team up again in Shirish Kunder’s
Jaan-e-mann. While the comedy timing between Akshay and Salman had
people rolling on the floor in Mujhsey Shaadi Karogey, it is gonna be
some more of their fun ride in Jaan-e-mann. The movie is a slated as
The music of the movie is already creating waves. It looks like
Jaan-e-mann has been Any Malik’s comeback of sorts. As promised by Anu
Malik, he has given chances to Indian Idol contestants a chance to sing
in this movie. Salman Khan has also lent his voice partially for one of
the songs, Humko Maloom Hai.
Going by what the director has to say about his movie, it is a romantic
movie with comedy thrown in and not a comic romantic. We don’t mind
either, don’t we?
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…
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
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
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
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
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
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.
The movie hits the theatres on Oct 20th for Diwali along side big wigs
like Farhan Akhthar’s Don and J.P. Dutta’s Umrao Jaan.