By:
Subhash
K.
Jha,
IndiaFM
Monday,
June
18,
2007
Hmmmmmm.
Er...Ahem
ahem.
What
to
say,
what
to
do
about
this
thanda
thanda
to-do
about
nothing?
Everybody
in
Jhoom
Barabar
Jhoom
including
the
director,
is
an
impossible
imposter.
Abhishek
Bachchan
poses
as
a
small-town
guy
in
love
with
a
ver-r-r-y
poised
and
sexy
Pakistani-French
mademoiselle
from
Paris.
Preity
Zina
poses
as
a
modern-day
Cinderella
with
a
very
posh
British-Indian
fiancÉe.
Bobby
Deol,
a
nerd-optician
poses
as
a
cyber-Superman.
Lara
Dutta,
God
bless
her
luscious
presence,
is
a
tart
masquerading
as
a
prima
donna.
Director
Shaad
Ali
poses
as
an
auteur
with
the
wickedly
audacious
sense
of
humour
of
a
comic-book
aficionado.
While
the
audience,
not
to
be
left
behind,
is
supposed
to
pretend
that
it
finds
the
bizarre
goings-on
hilarious.
But
sorry,
no
go.
This
is
Bunty
without
the
bubbly.
The
joke,
if
any,
is
on
the
creator
of
this
musical
travesty
where
the
four
main
characters
behave
as
though
they
are
so
impressed
with
themselves
and
their
humorous
circumstances,
they
would
rather
not
have
the
audience
along
for
the
joyride,
thank
you.
Nasir
Hussain-meets-Baz
Luhrmann
in
Shaad
Ali's
weird-and-wacky
fun-and-frolic
homage
to
the
spirit
of
backslapping
bonhomie.
As
in
Bunty
Aur
Babli
(we
won't
count
Saathiya
as
part
of
the
Ali's
oeuvre
since
it
was
more
Mani
Ratnam
than
Ali)
Shaad
shows
a
distinct
affinity
to
old-fashioned
masquerades...
You
know
those
potboilers
from
the
1960s
where
the
hero
pasted
on
a
beard
and
pretended
to
be
the
heroine's
professor?
This
is
Moulin
Rouge
with
too
little
meat
and
too
much
rouge...
The
love-versus-flirtation
masquerade
gets
lost
in
too
much
masti,
masquerade
and
mascara,
so
that
at
the
end
of
the
chic
charade
you're
left
looking
at
a
film
that
is
epic
in
design
(big
extravagant
song
sequences)
and
cartoon-strip
in
characterization
and
content.
What
was
Shaad
Ali
thinking
when
he
designed
this
celluloid
confectionary?
Did
he
want
to
show
us
how
far
he
could
go
with
his
sense
of
the
outlandish?
The
screenplay
and
dialogues
(Habib
Faizal)
are
terribly
un-smart.
Each
character
embraces
cockiness
like
a
'laugh'
boat
in
the
simmering
but
shallow
sea
of
silliness.
"If
you
don't
come
back
I'll
be
screwed," says
Lara
in
her
funniest
Pak-French
accent.
"I
won't
let
anyone
screw
you."
Retorts
Abhishek.
Er...
screw-driver
for
the
soul,
anyone?
No
screw-vrew.
But
Abhishek
gets
to
smooch
both
his
heroines,
one
of
them
under
the
Eiffel
Tower.
Sorry,
the
adolescent
kiss
under
the
Eiffel
Tower
in
Mera
Pehla
Pehla
Pyar
last
week
seemed
much
more
heartwarming.
JBJ
is
like
a
long
stand-up
joke
that
goes
wronger
and
wronger
as
the
narrative
gets
longer
and
longer.
Shadows
fall
on
the
frisky
flamboyance
with
ominous
opulence.
Not
that
there
are
no
genuinely
funny
and
bright
moments.
But
they
get
drowned
in
self-congratulation.
Everyone
is
busy
listening
to
his
or
her
own
words
flow
out
in
an
incessant
downpour
of
absurdity.
The
characters
neither
connect
with
one
another
or
with
the
audience
even
when
they
talk
or
sing
directly
to
us.
A
large
part
of
the
overall
design
of
this
in-house
joke
is
occupied
with
songs
and
dances.
All
four
protagonists
dance
the
dance
of
the
dunce
spiritedly.
Bobby
surprisingly
steals
the
frames
quite
often
specially
in
the
'Kiss
of
love'
sequence.
Here's
one
actor
who
is
finally
getting
out
of
his
lazy
career.
Abhishek
and
Preity
do
Bunty
Aur
Babli
2,
replete
with
a
saat
phere
in
front
of
the
Taj
Mahal.
It
was
funny
between
Abhishek
and
Rani
the
first
time.
This
time
the
whole
post-interval
chunk
where
Abhishek
and
Preity
imagine
themselves
transposed
from
London
to
Agra
-UP
is
clear
evidence
of
the
leisurely
lather
running
out
of
froth.
The
bubbly
but
brackish
brew
makes
you
froth
at
the
mouth.
Abhishek
and
Preity,
though
given
the
thankless
task
of
making
the
lines
appear
funny
when
they
are
often
not,
lend
an
illusory
energy
and
effervescence
to
the
parodic
proceedings.
But
it's
Bobby
,
with
his
twin-shaded
stud-and-nerd
look
and
Lara
with
her
luscious
tart-to-diva
makeover
who
come
as
the
surprise
element.
Really,
what's
keeping
luscious
Lara
from
superstardom?
Maybe
wrong
choice
of
films?
(Hint,
hint!)
In
the
quest
for
the
crest
of
comicality,
Shaad
Ali
pays
a
homage
to
old
film
songs
and
films
as
disparate
as
Sholay
and,
ahem
ahem,
Bunty
Aur
Babli.
Lekin
boss,
kuch
baat
bani
nahin.
Maybe
the
self-consciously
clever
words
got
in
the
way?
Or
maybe
Bhatinda
air-cargoed
to
London
is
just
not
amusing.
Namaste
London
did
it
with
far
more
grace
and
affection.
Recent
Stories
"Every
Indian
should
have
Lagaan
DVD"
-
Aamir
Khan
The
Flag
is
a
period
film
based
in
1942
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