Jaan-E-Maan Movie Review

By Satyajit - Eye TV India Bureau Critic's I-view It's cosmic world of cosmonaut Agastya Rao (Akshay Kumar) that transforms into frenzied world of inhibited world of romanticism. It's cinematic world of dreamer Suhaan Kapoor (Salman Khan) that outlives luxuries to its fullest, and finally succumbs to unforgiving miseries of lost love and marriage. It's beautiful world of Piya (Preity Zinta) that demands beauty from nature, friends and finally desires her love interest to be her soul-mate. Welcome to the world of candy floss entertainment of 'Jaan-e-Mann', a visual treat by Shrish Kunder. The concept of love triangles have traveled for many decades and have seen many conflicting periods of successes and failures. If we go by the promos then it can be concluded that Shirish Kunder has gone the Karan Johar way. But don't judge the book by its cover and it's better to read and understand it. The flashy costumes and glossy outlook might create a buzz that the film has loads of style minus substance. Let the storyteller display its full cards and then decide what this is all about? The frustrated lover (Salman Khan) tries to bail out his misery by planting love relationship to get rid from his ex-flame and beloved (Preity Zinta). Ironically, the plan succeeds with the help of her old compatriot (Akshay Kumar) who has been nursing love for her for years. The estranged lover becomes the voice over of the surrogate one and it develops the desired love chemistry. Now, its dude (Salman Khan) counseling geek (Akshay Kumar) for successful relationship and that's not all. The dude dons the attire of costume anchoring for him and leaves no stone unturned. The circumstance brings out the humane out of the immature disco freak and transforms him into the compassionate soulful lover. The paths cross each other and the emotional turbulence of constrained and love struck hearts burst out with tears. This is what 'Jaan-e-Mann' is all about! Candy floss flashy entertainers have always been on the brighter side of box-office results and it has fancied the imagination of pop genre to a large extent. Earlier, it was trademark of select few, but now the genre has been glorified and extenuated by the new crop of filmmakers. It demands loads of aesthetical vision in balancing the style and substance in conceiving syrupy mushy story. The top notch banners have treasured themselves with finesse, and it has dwelled new crop of filmmakers. Debutante director Shirish Kunder is new kid on block who experiments with it and starts big with 'Jaan-e-Mann'. He came out with flying colors as editor in 'Main Hoon Na' followed by his successful martial relationship with choreographer Farah Khan. This comes out as his third histrionic that has garnered meteoric media hype, thanks to high-profile marketing. 'Jaan-e-Mann' is the story of day dreamer Suhaan Kapoor (Salman Kapoor), a self-styled superstar who receives alimony notice from his wife Piya (Preity Zinta). He is in dilemma as Piya has sought Rs fifty million as alimony from him. Suhaan seeks the help of his intelligent uncle (Anupam Kher) who is a proficient lawyer. He advises him to find a suitable match for Piya so that she can remarry with that person and he can be bailed out from this financial mess. In the meanwhile, Champu alias Agastya Rao (Akshay Kumar) walks into their life and seeks the hand of Piya. Suhaan is pleased to know that Agastya was silent lover of Piya in college days. He encourages him to win over her heart. Both board plane to New York for Piya's destination. The taciturn and obstinate Agastya seeks the help of street smart Suhaan in winning Piya's heart. In due course Suhaan is surmounted with the love of his infant baby girl that brings tears in his eyes. Suhaan remorses for his immature behavior and decides for a patch up with Piya. But things have changed now and Piya has found a new life partner in Agastya. The film takes a surprising turn when the real love wins and soul-mates unite. 'Jaan-e-Mann' is a treat for the festive season and brings colors, romance and lights with new flair of filmmaking. It brings out the futurist concept of narration that flash forwards and backwards the events and emotions by stroke of techno-wizardry skills. New designer Surily Goel makes impressive dent by experimenting with multifaceted get ups of Salman Khan. The actor can be spotted in Elvis Presley, Zorro etc attires and it has come out well on screen. Cinematographer Sudeep Chatterjee's master craftsman works superbly throughout and is one of the highlights of the film. The stylish dream sequence where Salman Khan is nominated and finally wins Filmfare Award with noted Bollywood celebrities deserves appreciation. The flashy cinematography of "Humko Maloom Hai" is done in typical "Moulin Rouge" with loads of gloss and sheen. Watch out for the skyscraping gleaming vision of New York and it transforms you there with sheer delight. The soundtrack "Sau Dard" has been picturized with finesse showing the cosmopolitan delights of New York City and the beauty of "Brooklyn Bridge". Finally, the concluding sequence in cosmic space where Akshay introduces her beloved (Preity Zinta in double role) to Salman is finely executed. Sabu Cyril's art direction is cut above rest and it builds up the space for the love chemistry to mushroom. The stylish interiors, scintillating stage setting and exotic display of festive celebrations speak volumes for his expertise. The brilliantly executed cinematography and art direction have been shouldered well with efficient choreography of Farah Khan. The choreographer has been strikingly impressive in soundtracks in songs "Ajnabi Sheher", "Jaane Ke Jaane Na" and "Humko Maloom Hai". The entire leading star cast has been brilliant from the first to last scenes and it is seen in every shot and frame. Salman Khan may show signs of aging but the actor has matured tremendously. The gritty and witty characterizations of immature dude have suited him to the hilt. Salman's performance has been the biggest boost in the film's success and it will be counted as one of his finest performances in recent years. Akshay Kumar is complete revelation in depiction of "nerd" craving for college bombshell in classrooms and discotheques. Akshay has been better known for his action and comical image but this time he has changed lanes completely. In the climax, where he outbursts emotionally in front of the mirror is phenomenal and the tearful scene where he sacrifices his love shows his strength as a reliable actor in business. Dimple-cheeked Preity Zinta lives up to her expectations and delivers her role gracefully. It may sound strange to sport her as sporty college freak but she responds well. The high point of Preity's performance lies where she shows maturity in emotional scenes. Anupam Kher comes in the mould of Danny Devito style of acting of a skillful lawyer and dons "dwarf" appearance with élan. Anupam's versatility can be judged from the way he plays the chameleon character of witty uncle despite his physical limitations. The second half where Anupam appears in second role is worth watching. Pakistani actors -- Jawed Sheikh and Soni Razdan - act well in their respective roles. Aman Verma has little scope in underwritten role of a comical villain. 'Jaan-e-Mann' completely belongs to writer, director and editor Shirish Kunder and he can easily be termed as new directorial prodigy of the year. After David Dhawan, Kunder seems to be the next editor who has taken the tinsel town by storm. The innovative narrative skills of transporting story from spacecraft to Mumbai city is a fine piece of experimentation. Later, the weaving of plots and sub-plots through fine art direction and cinematography is the high point that extracts quality work from the actors. Shirish handles climax very well despite the fact that the screenplay has minor blemishes. There are minor flaws but they hardly retard the flow of the film but it's the length that might restrict audiences. The film has been unfolded in 19 reels and it may become tiresome for viewers otherwise it has shaped very well. 'Jaan-e-Mann' has been backed by esteemed Nadiadwala Productions and has been released with over 1000 prints all over the world. The film will prove beneficial for producers and distributors and will score maximum at overseas and posh multiplexes in metro cities. Despite the fact the film faces tough competition from its arch rival 'Don', it has the merits and credentials to swim against the tide. It can be counted as one of the finest debutante directorial works of the year and should prove money spinner in the coming weeks. In nutshell, 'Jaan-e-Mann' is colorful festive treat that should bring smiles to many faces.

Subhash K Jha's take on Jaan-e-Mann By Subhash K. Jha, October 23, 2006 - 11:50 IST Cast: Salman Khan, Akshay Kumar, Preity Zinta, Anupam Kher Director: Shirish Kunder After watching the vacuous synergy of Don, here comes a film that sweeps you off your feet with its expansive vision of a world where true love triumphs even if it takes six songs, seven aptly choreographed dances (Farah Khan, take a bow) and five utterly heartwarming moments of drama, all woven into a tongue-in-cheek pastiche that collects all the clichés and conventions of the traditional filmy triangle into a clasp that saloms Broadway's truest and most vigorous musical tradition. Initially it's a little tough to get into the gorgeous groove and the flamboyant moves orchestrated by a director who has the derring-do to take on the clichés of cinema and turn them on their head. The first twenty minutes are near-disastrous, what with the dialogues with a devilish dwarf of an uncle (Anupam Kher) about the hero Suhaan (Salman Khan)’s past brush with love marriage and divorce going nowhere. But then the narrative gathers momentum. And we're soon looking at lives that are defined and dressed-up in the best musical tradition. Sadly the music score isn't as supportive as it should've been. Much of the musical impact comes from Gulzar's tongue-in-cheek lyrics paying a homage to that feeling of lovelorn wistfulness , and of course the central performances. Akshay Kumar as the college nerd (look: courtesy the American serial Friends) who silently worships the student next-desk is full of perky beans bubbling over in sensitive motions that show how effortlessly he links with his character. But it's Salman who propels this pungent tale of dramatic love forward. In a narrative saucily freed of serious intentions, buoyed by devices that take sporting potshots at that sting-thing called love, Salman creates an endearing graph as a callous arrogant wannabe film-star (check out his super-starry tantrums in New York when an American director offers him the second lead) who turns into a sobbing mass of fatherly concerns in the second-half when he realizes he has a baby from the wife whom he once deserted. Jaan-e-Mann uses potboiler-conventions to tell a story that takes Hindi cinema to a new narrative level. Characters cheekily tamper with time and space to the extent that they appear to be no slave to either. Musical outfits pop out of nowhere. A Qawwalli group emerges from a cupboard and celebrates the nerd Agastya's devotion to the beauty with brains, when the cool dude Suhaan realizes he still loves the ex-wife whom he's been trying to thrust on the nerd (it's a complicated knick-knack of plotting devices ) window panes shatter in computer-generated synchronicity… Shirish Kunder uses a fascinating and energetic new form of storytelling that fuses the traditional Hindi-film triangle into the all-encompassing vision of Broadway musicals where colours create a riot of over-the-top emotions. Sadly the format is inconsistent, veering vigorously from satire to homage. And yet there's ample room in the lengthy narrative to bring out the emotional power of the plot. Indeed Salman cries (manfully) for almost the entire second-half without getting whiny or tedious…a mean feat! Akshay is full of chortling gaiety, enjoying every bit of his role as a wannabe Salman who realizes devotion cannot be reciprocated by love. A sporting role, performed with great empathy. Preity Zinta remains controlled throughout. The single-mother role allows her no room to let go. And the narrative filled with singing lines that sublimate her woes, allows her no room for dramatics. Though hard to get into, Jaan-e-Mann is great fun once you get into it. This is a world of eternally–designed dreams. No one dies. Yes, all the characters get emotionally disturbed. But Shirish never lets us forget this is a movie. Everything will come our right at the end. Full marks to the debutant director for creating a delicately drawn world of wispy emotions. D.O.P Sudeep Chatterjee and art director Sabu Cyril do a great job of harnessing Kunder's Peter Pan vision into a spiral of whispering emotions that undulate softly , sometimes in counter-productive motions. If only Shirsh didn't get carried away with his novel format. A little bit of control in the space allotted and that tendency for the satire on cinematic conventions to willy-nilly turn into a homage, and vice versa, would have gone a long way into holding Kunder's big Broadway-styled world of song, dance and redemption in place. Gurinder Chaddha in Bride & Prejudice. Jaan-e-Mann gets it right.

A seminal film that will set benchmarks for the way films will be shot in the near future Rating 4/5 By MovieTalkies.com, 20 October 2006. Release Date : 20 October 2006 While every Hindi film is a musical, be it comedy, drama or even a thriller, no Indian film can have the distinction of being a ‘musical’ in the true sense of the term, as seen in Hollywood. Jaan-E-Mann is possibly the first Indian real musical, extremely inventive with stunning visuals and an oft seamless integration of sequences that take the storytelling format to a new level. While watching it, one was reminded of films like Rob Marshall’s Chicago and Baz Luhrmann’s Moulin Rouge (with the Milo making its presence felt more than once in some motion capture sequences that have not been deployed to-date in Indian cinema), with the innovative visual compositions taking the screenplay forward using songs to catapult both the viewers and the players into the action. Moving back and forth between time and places, the film places the lead players down memory lane and in various situations, going beyond the dream sequence that our cinema has been doling out repeatedly. This visual structure makes Sajid Nadiadwala’s Jaan-E-Mann, directed by Shirish Kunder, a seminal film that will set benchmarks for the way films will be shot in the near future. Though a landmark film of this kind is a rarity, it’s unfortunate that the story (story and screenplay are also the director’s) is the regular triangle between Salman Khan’s Suhan, Preity Zinta’s Piya and Akshay Kumar’s Agastya, the three central characters around whom the romance revolves. The film’s greatest flaw is that it takes liberties with logic on a couple of critical issues that make this otherwise dazzling fairytale difficult to digest. Overlong in construction and a bit self-indulgent on the part of the debutant director, Jaan-E-Mann is one of those rare films that borders between being a called a masterpiece and a dud at the same time, taking its own cleverness a bit too far. Also, the film is let down by a poor script, and if the writing would have been as good as the visual construction, then this film would have been possibly the finest musical to emerge from Hindi cinema this decade. Alas, that is not what this film will grow to be defined as by audiences and critics; its greatest strength can be its biggest liability, as audiences not accustomed to this kind of innovative storytelling will take time to come to terms with the format. Interestingly, the film tries to set the mood of the narration through a black and white sequence of Salman Khan’s character, Suhan Kapoor, receiving a Best Actor Filmfare award over Amitabh Bachchan, Rajesh Khanna, Dharmendra and Sanjeev Kumar. While reading this review you may find this a bit weird, but those who have experienced Robert Zemeckis’ Forest Gump and its funny take on mixing the past and the present will understand what this film attempts. As Hanks’ Gump observes in the film, “Life is like a box of chocolates, you never know what you gonna get”, this film throws surprise upon surprise on you as it unfolds, taking the surprise factor a bit too seriously at times, especially in the end wherein you realize who Akshay Kumar’s Agastya finally ends up with (will not say more here to spoil your fun). The film begins with loser actor Suhan’s dream sequence outlined above followed by a one-time alimony demand of rupees fifty lakhs as the unsuccessful hero hasn’t managed to pay his dues to ex-wife Piya across the last one year of rupees twenty-five thousand per month. Suhan wonders how he would lay his hands on an amount like this and even Anupam Kher’s Uncle Boney (again a bit clever in construction by dwarfing Kher to add humour) doesn’t have an answer. Opportunity knocks literally when Agastya lands up at their door to meet Piya, the ex-wife. However, Agastya is too thick to realize that Suhan must have been the man to whom she was married to and starts narrating his own life’s answer to Suhan’s ‘aap ki tareef’. The narration takes Suhan down memory lane to his college dating days of Piya and it dawns upon him that Agastya, now transformed, is actually the nerd who he had fixed up Piya with during his own rock concert performance. However, identities are not revealed and a plan is hatched between chacha – bhatija to send off Agastya to New York, Piya’s new home, to romance and marry her in order to exempt the broke, struggling actor from the alimony. This far-fetched exercise turns into reality and Suhan lands up for company in order to ensure that Agastya succeeds in winning Piya. Dull Agastya turns to the sharp ladies man Suhan for counsel and thus begins the romance between Agastya and Piya under the ace guidance of Suhan. This Cyrano De Bergerac borrowing is interestingly structured and executed with struggling actor Suhan getting a real-life opportunity to showcase looks and characters in the guise of a masked Zorro, Elvis Presley, and of course, a blonde big-busted woman :-). Through radio transmitters neatly concealed behind the ear, Agastya woos Piya through all the lines that Suhan comes up with, always hanging around at close distance to monitor reactions and come up with his next gem that will bring Agastya and Piya closer. However, at times Suhan gets carried away and walking down memory lane, starts using the same lines he had used for wooing her in the past. The unsuspecting Piya gets a bit confused and the emotion of déjà vu is just touched upon the surface and passed over too quickly by the director, while the same device with immense dramatic possibilities could have been explored further for adding depth to the story. The next dramatic turn that the story takes, one will not get into, as it is one of the surprises that work for the film. Again, the visual impact of the surprise is far greater than the surprise itself, as the film takes a liberty or two in the story device that leaves the viewer incredulous. The very reason why Suhan and Piya get divorced is again far-fetched for a film set in a day and time when email, landlines and mobile phones are common place and communication through regular post is not really the ideal form of reaching news of utmost importance to your better half. This basic flaw cannot be overlooked and the foundation of the entire dramatic premise is also weak, plus the raison d’etre of the characters simply doesn’t work. But the actors deliver great performances, though handicapped at times with mannerisms and situations that work against them. Agastya’s guffaws are quite funny in the beginning but the director’s self indulgence again takes over and the mannerism is repeatedly dwelt upon too often; Suhan’s disguises are interesting and funny but again a bit too over-the-top for its own good; Piya is spared any funny excesses but again lacks dramatic dimension as her being divorced and mistakenly let down by her husband Suhan is not really addressed emotionally or strategically. But the credibility truly comes from the performances more than the characterization in every sense of the term. Adding support is the able Anupam Kher and the young Aman Verma, doing well and performing ably with the lead three. Again, all major shortcomings look minor when one sees the visual bravura of this cinematic work of art, and hats off to the cinematographer, Sudeep Chatterjee, and the debutant director, Shirish Kunder (who was an editor before his directorial debut and his editing on this directorial work is also exemplary). But the maker’s over-indulgence is apparent even in the edit construction; the film could have safely been tightened by almost thirty minutes without losing its dramatic form. The other interesting aspect of this film beyond the visual strength is its ability to poke fun at itself without batting an eyelid; from the flop premiere sequence of a film called Jaanemann within the film itself, starring Suhan, to Boney’s reference of a song being fast forwarded with Suhan questioning “why are we skipping this beautiful song and dance” to Uncle Boney’s pat answer “if the song exceeds a certain time limit, you will lose the audience” are both tongue-in-cheek and at the same point in time almost a satirical take on Bollywood. This is just one of the observations that one can make and there are many more which this review will not get into for the sake of the review length, which is already a bit overlong :-). An extremely ambitious maker, Shirish Kunder is surely headed to become one of the country’s top league directors and his visual flair sets him apart from any school of film making that Indian cinema has witnessed to-date. If this is his very first experiment behind the camera then one wonders what will be the visual panache that this creator will pull off in years to come. If this review is being read by anyone close to him or by Kunder himself, then only one piece of advice, leave the screenwriting to someone else.

Stardust Review Review : Jaaneman [20 Oct 2006] JAAN-E-MANN THE STORY: Producer Sajid Nadiadwala returns with his favorite combination of Salman Khan and Akshay Kumar in this love triangle. Suhan (Salman Khan) and Piya (Preity Zinta) play a divorced couple trying to cope up with life after separation. When Piya demands alimony from Suhan, to avoid the situation, he tries to hook her up with Augustya (Akshay Kumar) who’s been Piya’s secret admirer for years. Suhan even helps Augustya in wooing Piya and win her heart. But when the mission is successful, Suhan realizes that he’s still in love with Piya and cannot let her go. That’s the twist. THE PERFORMANCES: Salman Khan is simply fabulous and perhaps this would be considered one of the best performances of his career. Akshay Kumar plays to the gallery and is amazingly restrained. This is definitely an award-winning portrayal. Preity Zinta looks good but adds nothing much to her character. Debut-making director Shirish Kunder handles the proceedings extremely well and despite some flaws in the script, he maintains a firm grip on the narrative. Music by Anu Malik is above average. ‘STARDUST’ VERDICT: The film has opened up extremely well and business is bound to be best in the bigger cities and multiplexes. Word of mouth will ensure a repeat audience, thereby making it a bigger success.

The People of Jaan-E-Maan - Totally Fantastic October 21, 2006 Sakshi Juneja Do I like Jaan-E-Mann? Do I like Jaan-E-Mann? I like Jaan-E-Mann ... I love Jaan-E-Mann ... Jaan-E-Mann is in my blood. Okay, Okay. I agree, I seem to have gone a wee bit overboard with my appreciation for this film, but guess what? I don't give a damn. For the past few weeks, filmi keedas like me have been confused and we've gone through a sort of cinema crisis with the whole Don vs. Jaan-E-Mann fever. Though both the films belong to completely different genres, it's our desi nature to derive whatever extra juice we can from whatever we can. I had actually given up hope about being able to see either of the films because tickets were sold out. Both the movies have been promoted so massively, it's likely even your galli ka watchman has called in sick and taken a day off to watch them. But thankfully, Mata Lakshmi blessed me with a ticket in the form of my angel friend who was nice enough to hunt around for back-door tickets. And so I got to watch Jaan-E-Mann, 6 to 9 evening show. Now I won't be repetitive and go on about the film, since I am sure most of you have already read thousands of reviews floating around in cyberspace. But I really can't resist from writing a few words about the people behind this innovative effort. So here goes. Shirish Kunder (Director, Writer and Editor) - In my opinion this guy is the actual Superstar of Jaan-E-Mann. Frankly speaking, when he got married to Farah Khan the first thing that came to my mind was that he did it only for her reputation and her valuable contacts in the Hindi Film Industry. I mean Shirish could have taken advantage of the fact that his wife's goodwill in the industry could get him many projects with big banners even if his first film flopped. But the hatke attitude with which he has approached his directorial venture simply proves that he knows exactly what he wants - in short, his heart and mind both are in the right place. You become aware of his immense talent at the very start with Salman's Filmfare awards dream sequence. I am bloody hell so glad that finally we have producers who are giving such excellent talented individuals the opprtunity to shape our desi film future. Akshay Kumar (Apna 2nd Hero) - WTF!! Is this guy hot or what. Be his geeky look or his NASA look or his cool dude look, you simply can't resist him (and I talk for all the girlies, and men who swing the other way). No, seriously Akshay seems to be looking sexier with every movie and it doesn't even look as if he is trying hard to do so. On the acting front, he is totally awesome here. His innocence, sweetness and geekiness will simply bowl you over. Even after you have left the cinema hall, even after you had your daily meals, even after you get ready for another day - you will not forget him or his goofy laugh. Preity Zinta (Apni Beautiful Heroine) - was she there in the film! Really! Oh yeah! She was. In my opinion, she was good and gave a decent performance. But the other two main leads totally overshadowed her role, so much so that at times you actually forget that she exists in the film. However, giving her the credit where it's due, she did give a 10/10 in the climax scenes, where many others could have easily gone off-hand. And yes! She does look good. And last but not the least... Salman Khan (Apna No. 1 Hero) - the ones who know me well enough are aware of the fact that I love this guy, going back to the Hum Dil De Chuke Sanam days. I may sound a bit partial towards him but Jann-E-Mann is out-and-out a Salman film. For once his (always questioned) American accent has done him justice. Basically it's like as if the writer wrote this part with only Salman Khan in his mind. He is just perfect with his emotions, dudeness and wackiness. You can't help but totally love him. Watch out for the Elvis Salman, it will surely itch your funny bone to the max. All in all, an excellent film which totally stands out for its distinctiveness in all departments - be it acting, direction, narration, song visualization and costumes. In some ways it is our version of Moulin Rouge. As for rival Don, the prognosis seems to be down, down, down and out.

What saves Jaan-E-Mann -- a riff on the oldest love triangle saga -- from mediocrity, is a well-tuned sense of irony. Jaan-E-Mann: The Alternate Review One of the initial scenes marvellously throws you into a black and white awards function, where tension is rife as Rajesh Khanna and Amitabh Bachchan are beaten to the Best Actor Award by Salman Khan, sitting there rubbing shoulders with Dharmendra. It's a glorious Forrest Gump moment that Indian cinema has been crying out for, where Salman (playing a guy called Suhaan) in a dream sequence winks at Meena Kumari with an insouciant 'Thanks Meena.' Fab. Several scenes and a couple of hours later, the sets are bright, garish yellow and the music blaring is an over-shehnai'd version of a Maine Pyar Kiya song. Salman, keeping double chin in check, isn't quite the same young hunk the nation flipped for back in the day, and as he grooves to the beats as an extra on a Bhojpuri movie set. It's interesting to reflect that, today, almost every still-acting star from the grainy period footage is working on some kind of Bhojpuri project. Hmm. Anyway, moving along. Will you like Jaan-E-Mann? Well, if you can bring yourself to believe that Akshay Kumar is an Einstein-idolising geek called Agastya Rao, director Shirish Kunder is home free. The film depends on that wilful suspension of disbelief, and it's best to let go right with his opening shot, a waltzy nod to 2001: A Space Odyssey. The film traipses breezily through its story about a geeky boy turned spiffy astronaut, and a self-proclaimed superstar. Back in college, long-haired Salman walked all over Akshay's dreams, stealing Preity without even noticing the dweeb in braces. Now, seven years later, Salman is sitting with his uncle Boney, a dwarf who picks up on every single 'short' reference. The two are cooking up a scheme to get struggling actor Salman out of his alimony woes. He owes ex-wife Preity a packet, and as the two (Salman on his knees eye-to-eye with tiny Anupam) pray for a miracle, enter Akshay Kumar, complete with halo. As they tell the unsuspecting dopey astronaut that Preity's divorced and in New York, the plan is simple: get him married to Preity so Sallu doesn't have to shell out a rupee. So, smooth Salman walks within a hundred yards of Akshay, feeding him lines he knows his ex-wife will trip on. The wooing process is light and frothy, and by the time Akshay's got the hang of Preity, Salman's back in love. But, what now? It's one of those films that can fall either way, and it's chock-full of predictable cliche. What makes it work is the narrative. First-time director Kunder doesn't hide his love for Broadway. The film unfolds neatly, with almost every set layering into the other. Walls fall back, rooms open into college campuses, contexts change, and a liberal dose of flashbacks helps disparate moments fuse conveniently together. Which isn't to say it works entirely. While the plot proceeds amusingly enough in the first half, the second half is considerably tougher to tackle, audience-wise. A tearjerker doesn't translate perfectly to Kunder's frivolous cinematic grammar, but there are moments when it softens the punch -- the most typically maudlin Bollywood moments are lightened by glass comically shattering in the background. The execution could have been much better though; there are times when Kunder's gimmickry falls drastically short. But, for a first film, he definitely seems to have most of it right. Salman Khan is the film's leading man, no question. It is his story all the way, as he goes from guardian angel to wistful lover. The actor has mellowed over the years, and now cries with more abandon. There is a realism to Khan's tears and, because he was always a likeable funny man, he carries the film with ease. Kunder presents him with some remarkable moments of pathos, and one particularly comes to mind: when he stands teary-eyed in Times Square and watches himself work in a diaper commercial. Honestly, it's good to see Khan back. And while the film may not be his story, a large part of it coasts on Akshay's broad grin. The role forces him to push himself into an awkward box, a mousy fellow unsure of himself. It's a role he hasn't played and he takes it on very well indeed, providing the film's most memorable character with a very nuanced performance. This is an actor who seems to show increased maturity with every other role, and he is definitely heading in the right direction. His screen presence is electrifying, and it's great that he's playing against type. Preity Zinta is an ornament throughout, but comes vividly alive in the film's last scene, a moment that makes you lament why filmmakers today don't let the babyfaced actress have more fun instead of forcing her to sob copiously. She doesn't have much to do in Jaan-E-Mann, but looks appropriately attractive. Composed by Anu Malik, the music doesn't really click until you actually see it visualised. And after you do -- aided by Kunder's deft music-video storytelling -- it grows on you completely. Ever since Munna Bhai MBBS, street lingo has invaded the world of Bollywood lyric. Here, the slang brings extreme banality, making even the mushiest songs casual. In the end, what echoes in your ears as you leave is Akki's thick, goofy he-he-he laugh. It's the best thing in the film.

Planetbollywood Review Producer: Nadiadwala Grandson Entertainment Director: Shirish Kunder Starring: Akshay Kumar, Salman Khan, Preity Zinta, Anupam Kher, Aman Varma, and Soni Razdan Music: Anu Malik Lyrics: Gulzar Genre: Romantic Recommended Audience: Parental Guidance Film Released on: 20 October 2006 Reviewed by: Irfan Makki Reviewer's Rating: 7.5 / 10 Music Review Posters Public Rating Average: 7.39 / 10 (rated by 17 viewers) Give your Rating: Having produced almost a dozen films to date, Producer Sajid Nadiadwala makes his most convincing and persuasive effort ever at knocking the doors of award juries with his latest endeavor, Jaan-e-Mann. Taking a debutant director, Shirish Kunder, under his wings and providing him with a liberal financial backing, Sajid has ensured that the film sports handsome visuals and appears every inch of the Broadway-inspired cinema that it claims to be. Working on the largest scale of his enterprising film-production career, Sajid’s big bucks give Jaan-e-Mann a beautiful body while Shirish’s maiden effort lends Jaan-e-Mann a flamboyant soul. Jaan-e-Mann is a product that spells lavishness and refinement with every unfolding frame. Exquisite camerawork, prominent and innovative sets, sparkling colors; the movie walks, talks, and breaths a life of its own. The producer’s extravagant spending spree and production genius shouldn’t take anything away from Shirish. The young man is truly the captain of the ship in every sense of the word for he handles multiple departments with considerable prowess. Be it the background music, writing, dialogues or direction, Shirish gets his basics right and exhibits an unblemished knowledge of filmmaking – something not all first-time directors can claim to have. His first attempt is quite remarkable for debutant and although he hasn’t quite made a masterpiece with Jaan-e-Mann, he surely has started in the right direction. However – he does suffer as an editor, the irony being that film editing is something that he has been the most familiar with over the years. The movie can easily do away with a song or two and a few post interval sequences as they bring the movie’s otherwise racy narrative to a screeching freeze – a deceleration that becomes a bit uneasy for the viewer at times. But fortunately, thing picks up towards the pre-climax and the movie stays on course for a swift yet satisfying culmination. Having been envisioned as the fusion of a Broadway musical and a typical Bollywood Masala flick, Jaan-e-Mann successfully breaks away from the traditional mainstream Bollywood cinema and ironically, at the same time fits credibly into the commercial norms of Hindi Cinema. Jaan-e-Mann’s biggest strength lies in the fact the movie doesn’t pretend to be something its not. It doesn’t act intelligent and preachy and rather, stays true to its commercial convictions. At no point does it take itself or its characters seriously and that is exactly where it works. Casually walking through the lives of three people caught in a love-triangle, Jaan-e-Mann serves its very purpose of entertaining the viewer without getting overly melodramatic and thankfully, avoids ending up as just another kerchief-caper. Talking about strengths, the film is not without its fair share of weaknesses. The screenplay, at times, suffers from predictability and the dialogues could have been a lot more powerful and moving. As well, Shirish’s decision of pulling off a Karan Johar with Preity’s overly-extended yet closely-knit family and an impromptu Desi family dance number takes away from the individuality of the movie. As mentioned earlier, Jaan-e-Mann is an enormously polished product. Technically brilliant, the movie must be seen on the big screen for its visual grandeur and innovative visual effects to be appreciated. Lensman Sudeep Chatterjee’s cinematography provides a rich, majestic look to Sabu Cyril’s artistic sets while Farah Khan’s choreography, although not path-breaking, matches Anu Malik’s surprisingly well-etched tunes quite fittingly. Shirish’s intention of making a Broadway-inspired movie required ample dose of music and Anu Malik’s tunes are easy on the ears and each and every song tells a story. Special mention must be made of “Sau Dard” for being one of the best musical pieces of recent times. Besides the director’s novel vision, Jaan-e-Mann’s cause is helped tremendously by the principle performances. Salman Khan, as the suave Suhaan, is the centerpiece of the movie’s love puzzle and towers above everyone else. Having the meatiest part of all, Salman’s Suhaan makes an overwhelming impact. Bollywood’s most notorious thespian is at the top of his game yet again and springs a surprise performance that many of his detractors have always considered him incapable of. Employing his eyes to express a million words, Salman displays Suhaan’s notoriety, passion, wiliness, anguish, vulnerability and remorse with staggering belief and assurance. His transition from a conceited smug into a repenting, helpless lover speaks volumes about his immense talent that has remained untapped for most part of his career. Though he does get a bit loud in the initial reels, this is Salman’s movie from start to finish and had it not been for his controlled outing, Jaan-e-Mann wouldn’t be even half the movie it has turned out to be. Akshay Kumar, playing Agastya, lends able support to Salman and holds his own as the blindly-in-lover, timid, low-on-confidence nerd. Primarily being an actor fitting the mould of a macho-hero, surprisingly, Agastya comes naturally to Akshay and he delivers an extremely likeable performance. But he still seems uneasy when it comes to shedding tears on screen. Having said that, Akshay’s naïve Agastya provides the perfect foil for Salman’s bratty Suhaan and their on-screen partnership makes for a fun watch. Preity Zinta looks as if she has walked right in from the sets of Kabhi Alvida Naa Kehna, which indeed is the case as the actress shot for both movies simultaneously. Yet she brightens up the screen and does a skillful job with whatever screen time she gets. The role doesn’t demand dramatics and Preity’s humble yet effective depiction of Piya Goyal is just what the script demanded. Out of the supporting cast, Anupam Kher as the Dwarfed Bonny Singh is agonizingly annoying and loud and one doesn’t quite understand the need to portray Kher as a little man in the first place. Aman Verma makes for a few comic portions and provides some good laughs. Overall, Jaan-e-Mann does exactly what it is supposed to do - entertain and give the paying public a worth for their money. It surely can not be categorized as one of the best movies of all time, but it surely manages to be the most innovation one. Top notch performances, soothing melodies, inventive treatment, clean family entertainment and an unashamed sense of individuality, all make Jaan-e-Mann a rewarding film-viewing experience. It is fun while it lasts and is very likely to leave a lasting impression, not entirely for its content but for its execution. So go ahead, give Jaan-e-Mann some love this festive season if you’re looking for some unadulterated popcorn entertainment.

Jaanemann : Movie Review 21st Oct 2006 03.00 IST By N. K. Deoshi Shirish Kunder’s directorial debut Jaaneman uses a style of storytelling that has never been seen in Bollywood before. The film combines magical realism with Bollywood sensibilities to present a story that makes you laugh and cry. Irrespective of the movie’s box-office fate, ‘Jaanemann’ is a film that will be appreciated for the very innovative style of direction by Shirish Kunder . Here is a director who can think out of the box while, at the same time, sticking to a story that has nothing particularly novel about it per se. Two guys in love with the same girl. One has to make a sacrifice. Eventually, it is love that wins. The movie takes off beautifully. The camera zooms out from lunar craters and pans into a space capsule in which Agastya Rao (Akshay Kumar) tells the story of his good friend Suhaan (Salman Khan) to his astronaut companion, a blonde female whose face is not shown until the end. The movie goes into flashback. Suhaan, a dreamer, wakes up in the morning to a shocking news that his divorced wife Piya (Preity Zinta) wants a final settlement of Rs. 50 lakhs in return for the alimony that Suhaan could not pay because of his poor financial condition. Suhaan and his chacha Bonny (a dwarfed Anupam Kher) don’t know how to raise such a big sum. Soon a solution to their problem knocks on their door. In walks Agastya Rao (a bespectacled Akshay), a man silently in love with Piya since their college days. Agastya is a man who has always been short of confidence when speaking to Piya. Suhaan and his midget uncle hit upon an idea. To help Agastya win Piya’s love so that she marries him and they can be spared of the alimony sum. With this mission in mind, a confident Suhaan accompanies the submissive Agastya to New York, where Piya lives. At every step of the way, Suhaan helps Agastya. Agastya uses Suhaan’s words, his style, his manners to impress Piya. After some initial hiccups, Agastya does succeed. All this while he doesn’t know that Suhaan is her ex-husband. And then a shocking truth emerges for Suhaan. Piya has a daughter from him. After seeing his daughter he has a change of heart. Now he wants to start a new life with Piya and the little girl. But before he acts, Piya gets engaged to Agastya. What follows is a touching tale of sacrifice and love. Intrinsically, ‘Jaanemann’ has a story the likes of which we have seen before also. But it is the way the story has been told that makes this film worth a watch. Kunder fuses fantasy and reality together, using visual images as metaphors. The movie is replete with scenes in which lights, ambience and background sets change in split seconds, without any cut in the shot. Kunder presents songs in a very new, fresh way, that takes the story forward. He uses background music to connect different strands of the story. All this he manages because he is a man of many talents. He is the writer, editor and director of the film. Not just this, he is also credited for the background music. Despite Kunder’s multi-talent, the movie could not have been the same without commendable performances by Salman Khan , Akshay Kumar and Preity Zinta . I personally liked Akshay a lot in the film. He is absolutely convincing in playing the shy, clumsy, giggly and tongue-tied Chimpu (his nickname in college). Later he transforms into a little more suave astronaut, but he retains certain awkwardness in his character. A truly laudable performance from Akshay. Salman Khan holds the other end with equal finesse. It is he who gets the sentimental scenes in the film. And he performs without going over the top even once. Preity Zinta is a natural performer. She brings a wide range of emotional variety to her character. At times she is bubbly, at times sombre, at times assuring and at times inhibited and unsure. Anupam Kher is charmingly likeable in his roles as a dwarf and as a restaurant owner in NY. To sum it up, ‘Jaanemann’ is a film that ought to be seen once at least. Some people may be put off by Kunder’s unconventional style, but the movie merits a recommendation solely because of its uniqueness. It gives birth to a completely new genre of filmmaking in Bollywood. A perfect entertainer for the festive season.

From a member at Naachgaana.com - Akshay Shah JAAN-E-MAN: Banner: Nadiadwala Grandson Entertainment Producer: Sajid Nadiadwala Story-Screenplay-Editor-Dialogues-Direction: Shirish Kunder Cinematography: Sudeep Chatterjee Choregraphy: Sarah Khan Art: Sabu Cyril Music: Anu Malik Lyrics: Gulzar Action: Mahendra Varma Costumes: Surily Goel Cast: Salman Khan, Akshay Kumar, Preity Zinta, Anupam Kher, Jawed Shehikh, Soni Razdan, Nawab Khan and Aman Verma. Released: October 20th 2006 Genre: Romance/Musical Two years ago Sajid Nadiadwala struck gold with the Salman Khan-Akshay Kumar laugh-riot MUJHSE SHAADI KAROGI. This Diwali he strikes back again with his two leading men as well as Preity Zinta. The expectations were soaring as the dazzling promos hit the marquee, and going head to head with Farhan Akhtars DON added the spice of competition amongst movie-goers. So does JAAN-E-MAN lives upto expectations? Is the movie just another love triangle? In short, JAAN-E-MAN does live upto expectations although it does have its flaws, and YES, the movie is a love triangle..but it’s a case of old wine packaged in a dazzlingly inviting new bottle! JAAN-E-MAN revolves around Suhan(Salman... ... Khan) who has divorced from his wife Piya(Preity Zinta). His lawyer cum “chacha Boney (Anupam Kher) notifies him that he must pay a sum of 50 Lakhs to her as he hasn’t been able to pay her the monthly settlement shes meant to be getting because he’s broke. At that moment enters(literally) Agastya aka Champu(Akshay Kumar) who has just returned from the U.S and is looking for Piya. Agastya was in love with Piya during his college days but Piya was in love with another guy(the guy being Suhan which Agastya is unaware of) and hardly noticed his presence as he was the school nerd! We learn that Piya had broken Agastyas heart at the school dance. Heatrtbroken, Agastya left college due to the incident. Agastya has now improved his appearance and is a good looking young man who works for NASA, though he is still unable to talk to girls, and despite his exterior, at heart remains the same geeky, awkward boy he was in school. Suhan and Boney then have a brainwave that if Agastya marries Piya then he won’t have to pay her the settlement and at this juncture Suhan decides to help Agastya win the girl. They fly to New York where Piya is now living and hire a apartment in front of her house and start keeping an eye on her via telescopes and binoculars. Slowly Suhan trains Agastya into becoming more confident, charming, and above all winning over Piyas heart. Although Piya is reluctant at first she realises what a nice guy Agastya is and how much he cares for her and the two decide to get married. End of story? Not quiet! At this point Suhan comes to know of a secret…something that he wasn’t aware of….something changes the course of his life…and he now wants Piya back! Who gets Piya in the end is the million dollar question…watch JAAN-E-MAN to find out! As Shirish Kunder is involved in such a variety of roles with this movie, I will break it down one by one. As a writer Shirish has indeed taken one of the oldest Bollywood formulas. Bollywood has witnessed the love triangle for years and years on end and in that retrospect the story isn’t anything new at all. However its Kunders screenplay that makes all the difference. Despite having a age old story, his screenplay and is alive and crackling throughout. The sequence of events that in the entire first half infact keep the viewer with the constant smile on their face and the light hearted movie connects with the viewer. The second half abounds in clichés in the second half, however the emotional scenes for the most are well etched out which again makes all the difference. However the second half does get slightly too long, but more on that later. As a director Shirish Kunder does a MARVELLOUS job. Folks, this is a fairytale meets Broadway musical and the manner in which Kunder has presented the story is unlike anything Bollywood has ever seen. The narrative is innovative and indeed something that instantly connects with the viewer. The manner in which Kunder has used songs as PART of his narrative and tells bits of the story is just magnificent and shows his talent as a director who is at complete ease sitting on the director’s throne. It would’ve been easy to direct something like this with a cocky “Look at me, iam doing something different because I’ve been given loads of money” but that is not the case as he isn’t just showing off. He is introducing something new here in a subtle and smart manner ! Be it the comic scenes in the first half, or the emotional scenes in the second half…Kunder directs with a certain amount of confidence and conviction which comes as a welcome surprise for a debutant director. What I really liked is the fact that his style of direction(merging realism and fantasy) bears his own distinct mark, despite having a story which isn’t so fresh, he hasn’t copied the style of any other director and with his first movie he sets him self apart as a film maker of class and potential! The movie reveals itself on-screen. No doubt he has been given a large budget here, and the director makes use of every penny and it shows. The musical set pieces merged with splendid storytelling and great performance cement Shirish Kunder as a welcome addition to the new pack of directors....and I will say it now, yeh lambi race ka ghoda hai! The movie does have a few blemishes as well. Kunder the editor drags the movie out slightly too long, and the movie needed to be paced better in the second half. Crisp editing was the need of the hour, and this is surprising as Kunder himself is one of the industries top notch editors! My second fault with the movie was its second half. This is the kind of climax that has been witnessed many a times before, and despite the innovation I thought the ending for the most did down slightly. The ending scene too wasn’t quiet upto mark, and yes…although this is a fairytale fantasy there was room for improvement with the ending. Kunders dialogues are crisp and extremely well written. There is no over-the-top melodramatic lines, the lines flow naturally from the comedy to the drama! The three performances from the leading players in the movie are superb. Salman Khan is a complete and total KNOCKOUT here! I am not a Salman fan by any means, and although there are times he impresses me(HUM SAATH SAATH HAI, TERE NAAM, NO ENTRY) on the whole he is a actor whose acting style I haven’t been very fond of . His overacting and overdose of mannerisms and forced comedy just didn’t gel with me. On the other hand his star following has always AMAZED me as the actor has managed to hold onto a very strong following since his debut in MAINE PYAAR KIYA. With JAAN-E-MAN Salman PERFECTLY blends his star power(indeed he is a true rock-star) with one of the finest performances in his entire career and delivers a performance that takes the viewer completely by surprise. Salman combines a deadly combination of attitude, comedy, confidence, drama and emotion in one and does not over do it ONE BIT. Cut back to HUM DIL DE CHUKE SANAM, where Salman Khan nearly ruined the movie for me with one of the most annoying emotional scenes I have seen in the climax of the movie with his over-the-top crying. Now cut to JAAN-E-MAN where Salman actually managed to move me with his performance. His emotional scenes are flawlessly enacted and there is a high degree of honest in this performance which is something I rarely find in a Salman Khan performance. Salman…all I can say is that please continue that you’re doing here as you’re simply fantastic! Akshay Kumar too is superb in his role and manages to leave a mark. The actor who has recently given some huge hits has found his niche with comic performance playing perfectly to the masses with films like MUJHSE SHAADI KAROGI, GARAM MASALA, PHIR HERA PHERI, DEEWANE HUYE PAAGAL etc yet in JAAN-E-MAN he does a complete turn-around and avoids those exact trademarks. Yes,Akshays character does have comedy but it’s the kind of comedy that is bound to bring a smile to your face rather than his now-famous dialogue-baazi with immaculate timing. His character is one that is lovable and it’s hard not to love Agastya Rao. Playing a geeky nerd, his body language, get-up and above all his nervous laughter(this had the viewers in SPLITS throughout…a brilliant touch to the character which set it apart) was just spot on. He manages to put a restrain on his character without going overboard which would’ve been easy for him to do. On the other hand emotional scenes have never been Akshays forte. The always looks uncomfortable doing a full scale emotional/crying scene in front of the camera and in that sense JAAN-E-MAN is no difference. Towards the climax there are two crucial emotional scenes, and in my humble opinion Akshay failed to make the most of the opportunity in both scenes. He just didn’t seem comfortable and there is something very fake about his crying. In saying that this is again a performance which marks his versatility as an actor. At this juncture I would just like to mention the chemistry between Salman Khan and Akshay Kumar. If they sizzled on-screen in MUJHSE SHAADI KAROGI, they again simply rock together in JAAN-E-MAN. It is evident that the duo share a superb level of comfort together and this translates wonderfully on-screen and their chemistry together is a delight to watch! Preity Zinta spring a surprise again. She is a actress who I’ve always been two ways apart. On one hand there are performances like KYA KEHNA which I just loved and on the other hand there are performances like SALAAM NAMASTE which I hated to bits. She thoroughly impressed me with her last film KANK, and now with JAAN-E-MAN she delivers likeable performance. She too is extremely natural here(a trait that is in all three actors in this movie, credit must be given to Kunder here again) and is instantly likeable. She doesn’t over-do her dimpled smile and delivers a nice and balanced performance. In saying that her role here isn’t as meaty as her roles in previous movies of late. Anupam Kher in a supporting role is OK. I actually found the dwarf Kher quiet delightful and Anupam Kher is a actor who I have always loved watching in a crowd pleasing comic role. The “dwarf” jokes at the start raised a few laughs, though there was no rhyme or reason for him to have a double role, and it just seemed a little bit out of place. Javed Shehikh, Soni Razdan and Nawab Khan are all aptly cast in their parts. Aman Verma does well in his part, there is this one scene where Aman chases Salman dressed up like Elvis and follows him into the toilet. This scene had me in absolute splits and Vermas facial expressions(watch closely) are just HILARIOUS! Anu Maliks music is just spectacular. I liked the songs on first listening but after watching them on the big-screen you can’t help but fall in love with them. As mentioned above, the songs are PART of the story and narrative and each and EVERY song literally comes to life on-screen like a Broadway musical. JAANE KE JAANE NA, AJNABEE SHAHAR, KUBOOL KAR LE are just brilliant but the best track(s) in the enterprise are HUMKO MAALUM HAI and SAU DARD. The signature tune of of HUMKO MAALUM plays throughout and it is just completely addictive. You leave the movie humming the song. SAU DARD too is superb and Nigam voice is as soulful as ever. Technically speaking this is one of the finest products to come out of Bollywood this year. Where most directors use their budget on state of the art SFX for action scenes, stunts etc director Shirish Kunder and producer Sajid Nadiadwala spend a huge budget on some of most AMAZING sets (Sabu Cyril at his award worthy best) and most innovative camerawork ever seen(Sudeep Chatterjee at his award worthy best). I’ve seen New York a few times on the Indian screen this is the most inviting New York City has EVER looked on celluloid. All up where does that leave JAAN-E-MAN. Well the movie is an entertainer in the true sense and has something for everyone although there was room for improvement as the movie has its share of flaws. Superbly innovation direction, great performances, technical brilliant and a wicked soundtrack ensure that JAAN-E-MAN is a MUST-SEE this Diwali! Overall Rating=7.5/10.0 A.Shah Trivia: • If this movie is a HIT, it will be Sajid Nadiadwala and Salman Khans 5th HIT. They have earlier worked together in JEET, JUDWAA, HAR DIL JO PYAAR KAREGA and MUJHSE SHAADI KAROGI • Diwali seems to be a lucky period for Akshay Kumar. 2005 saw GARAM MASALA, 2004 saw AITRAAZ both of which became huge hits despite heavy competition • This time last year, both Akshay and Salman were going head-to-head in a clash with Akshays GARAM MASALA and Salmans KYONKII releasing on the same day. Co-incidentally both of them were directed by Priyadarshan • Sajid Nadiadwalas next film stars Akshay Kumar and not Salman Khan –HEY BABY.

Jaan-e-mann movie review Friday, October 20, 2006 08:11:02 pm TimesNow Film: Jaan-e-mann Cast: Salman Khan, Preity Zinta & Akshay Kumar Director: Shirish Kunder Rating: *** (Pretty Good) Throughout Jaan-e-mann, Salman Khan swaggers, "I am a su...u..per star". And he sure is! Here's a man who has made the ridiculous into an art form – he does his own thing with uninhibited ease and has the audience who can't help but indulge him - so one minute he is impersonating Elvis Presley, the next minute he is walking around New York ala Zorro in the Mask of Zorro and then suddenly he is in drag beating up beefy hooligans ... all this for the noble cause of helping Akshay Kumar woo Preity Zinta in Shirish Kunder's debut, Jaane-e-man! If that has you a little confused - well here is the plot in short – Sohan (Salman Khan) is an aspiring actor married to his college sweetheart, Priya (Preity Zinta). The marriage ends in a divorce and Priya wants alimony of 50 lakh rupees. Soham doesn't have the money, so along with his crafty lawyer uncle, who also happens to be a dwarf (Anupam Kher) figures one way of not paying up, is if Priya marries someone else. Enter Agastya (Akshay Kumar), a geeky astronaut who's always carried a torch for Priya but has no clue on how to woo women. Soham decides to guide him, but he also needs to deal with his lingering feelings for his ex wife. Shirish Kunder's debut is a stand out - not because of the story, but because of the way he chooses to tell the story. The technique is what makes this frothy romance different. There is a fairy tale element to Kunder's narration - parts of the film are fashioned like a Broadway musical, or actually like a musical but more in the Hollywood tradition rather than our desi song and dance routines. What you need to watch out for – the transitions that Kunder uses to move from one scene to the other. One narrative technique that the director uses in abundance- lingering shots which track the action from one end of the frame to the other, revealing some other action altogether. This is a film which proves that technique - both on the edit level as well as in shot taking, can take a routine narrative to another level! (Cinematography -Sudeep Chatterjee who had earlier done some good work for Kyon! Ho Gaya Na!). The film also has a strong comic book element - the contradiction between the rock star and the geek who both love the same girl. But finally a film works because of just how much the story grips you and how much you care for the characters - and in that aspect, Jaan-e-mann works somewhat. The first half is light hearted - Salman gets in all the laughs and Akshay is good support. Preity's job description is to look pretty and she does that exceedingly well! The second half - drags and it is no fun when Kunder does a Johar - suddenly you have Preity's extended family doing a Joharesque song and dance routine all in the attempt to get her to marry Akshay! But all in all, all's well that ends well - and Jaan-e-man is a nice timepass entertainer - go watch it with that mindset - you may end up enjoying it!

Jaan-E-Mann **** Director: Shirish Kunder Starring: Salman Khan, Akshay Kumar, Priety Zinta. Shirish Kunder has scored and how. The editor turned director has surprised his ever audience (moi) with his film- with a winner all the way. The movie not only entertains it keeps you glued to your seats with the extraordinary treatment never ever seen on Hindi film scene. What makes this movie different is the director’s touch and his inherent need to make a difference to the art of story telling. The transitions, deft dissolves, the flashback mode, the songs, the mood lighting, the dramatics metaphors emphasized by unique cuts and taking make this film an absolute delight. If there is any Bollywood movie meets opera meets musical meets ‘Chicago’ then it’s Jaan-E-Mann. This is not going to be a review where I tell you the story synopsis of the film as to who loves whom and then what happened. For that you will have to watch the film.The flavoring is so correct and addictive. That you are not going to stop at eating one…you will eat the whole wafer factory. Akshay Kumar and Salman Khan stun you with their comic timing. Anupam Kher as the midget redefines his repertoire- three cheers to his BON-identity. The pun on BON ‘O” will only be understood by you when you see the film, till then just act intelligent and presume that I have cracked a good one. In the second half of the film Kunder catches you by your gut and keeping you completely riveted. The emotions gush, the characters get a hang of the situation, the small baby gurgles her way into your hearts and everything right that needs to happen when you are watching a film begins to happen. By the fag end of the film you know the potion that has been conjured by Kunder has effectively cast its spell. It could be old wine in a brand new bottle. But what taste and what packaging!!! The film lets you slip out of the theatre hall with a smile and you know you have seen an out and out entertainer. Salman Khan wows you. Akshay Kumar stuns you. Anupam excels. The technicians look like they were all fired up for this flick. Farah Khan gives her best to this movie. She proves her heart and mind are both safely in one place- in Shirish Kunder. The cameraman Sudeep Chatterjee’s work is as yummy as a double chocolate sundae. So yummy is each frame, that you want eat it up. By the end of the film do you forgive Shirish Kunder for taking so much credit in almost every department-you do. He is truly credit worthy. So if you want to have a blast at the movies. Laugh, cry, get enthralled and go on a complete joy ride. Don’t think a second. Buy a ticket to Jaan-e-man and buy yourself a joy ride. Mushtaq Shiekh

Akshay's goofy laugh wins you over October 20, 2006 18:37 IST What saves Jaan-E-Mann -- a riff on the oldest love triangle saga -- from mediocrity, is a well-tuned sense of irony. Jaan-E-Mann: The Alternate Review One of the initial scenes marvellously throws you into a black and white awards function, where tension is rife as Rajesh Khanna and Amitabh Bachchan are beaten to the Best Actor Award by Salman Khan, sitting there rubbing shoulders with Dharmendra. It's a glorious Forrest Gump moment that Indian cinema has been crying out for, where Salman (playing a guy called Suhaan) in a dream sequence winks at Meena Kumari with an insouciant 'Thanks Meena.' Fab. Several scenes and a couple of hours later, the sets are bright, garish yellow and the music blaring is an over-shehnai'd version of a Maine Pyar Kiya song. Salman, keeping double chin in check, isn't quite the same young hunk the nation flipped for back in the day, and as he grooves to the beats as an extra on a Bhojpuri movie set. It's interesting to reflect that, today, almost every still-acting star from the grainy period footage is working on some kind of Bhojpuri project. Hmm. Anyway, moving along. Will you like Jaan-E-Mann? Well, if you can bring yourself to believe that Akshay Kumar is an Einstein-idolising geek called Agastya Rao, director Shirish Kunder is home free. The film depends on that wilful suspension of disbelief, and it's best to let go right with his opening shot, a waltzy nod to 2001: A Space Odyssey. The film traipses breezily through its story about a geeky boy turned spiffy astronaut, and a self-proclaimed superstar. Jaan-E-MannBack in college, long-haired Salman walked all over Akshay's dreams, stealing Preity without even noticing the dweeb in braces. Now, seven years later, Salman is sitting with his uncle Boney, a dwarf who picks up on every single 'short' reference. The two are cooking up a scheme to get struggling actor Salman out of his alimony woes. He owes ex-wife Preity a packet, and as the two (Salman on his knees eye-to-eye with tiny Anupam) pray for a miracle, enter Akshay Kumar, complete with halo. As they tell the unsuspecting dopey astronaut that Preity's divorced and in New York, the plan is simple: get him married to Preity so Sallu doesn't have to shell out a rupee. So, smooth Salman walks within a hundred yards of Akshay, feeding him lines he knows his ex-wife will trip on. The wooing process is light and frothy, and by the time Akshay's got the hang of Preity, Salman's back in love. But, what now? It's one of those films that can fall either way, and it's chock-full of predictable cliche. What makes it work is the narrative. First-time director Kunder doesn't hide his love for Broadway. The film unfolds neatly, with almost every set layering into the other. Walls fall back, rooms open into college campuses, contexts change, and a liberal dose of flashbacks helps disparate moments fuse conveniently together. Which isn't to say it works entirely. While the plot proceeds amusingly enough in the first half, the second half is considerably tougher to tackle, audience-wise. A tearjerker doesn't translate perfectly to Kunder's frivolous cinematic grammar, but there are moments when it softens the punch -- the most typically maudlin Bollywood moments are lightened by glass comically shattering in the background. The execution could have been much better though; there are times when Kunder's gimmickry falls drastically short. But, for a first film, he definitely seems to have most of it right. Salman Khan is the film's leading man, no question. It is his story all the way, as he goes from guardian angel to wistful lover. The actor has mellowed over the years, and now cries with more abandon. There is a realism to Khan's tears and, because he was always a likeable funny man, he carries the film with ease. Kunder presents him with some remarkable moments of pathos, and one particularly comes to mind: when he stands teary-eyed in Times Square and watches himself work in a diaper commercial. Honestly, it's good to see Khan back. Jaan-E-MannAnd while the film may not be his story, a large part of it coasts on Akshay's broad grin. The role forces him to push himself into an awkward box, a mousy fellow unsure of himself. It's a role he hasn't played and he takes it on very well indeed, providing the film's most memorable character with a very nuanced performance. This is an actor who seems to show increased maturity with every other role, and he is definitely heading in the right direction. His screen presence is electrifying, and it's great that he's playing against type. Preity Zinta is an ornament throughout, but comes vividly alive in the film's last scene, a moment that makes you lament why filmmakers today don't let the babyfaced actress have more fun instead of forcing her to sob copiously. She doesn't have much to do in Jaan-E-Mann, but looks appropriately attractive. Composed by Anu Malik, the music doesn't really click until you actually see it visualised. And after you do -- aided by Kunder's deft music-video storytelling -- it grows on you completely. Ever since Munna Bhai MBBS, street lingo has invaded the world of Bollywood lyric. Here, the slang brings extreme banality, making even the mushiest songs casual. In the end, what echoes in your ears as you leave is Akki's thick, goofy he-he-he laugh. It's the best thing in the film.

Meter: *POOR ** AVERAGE *** GOOD ****SUPERB JEM - 3,5/4 KHAN-E-MANN ***1/2 Starring: Salman Khan, Akshay Kumar, Preity Zinta, Anupam Kher Directed by: Shirish Kunder WHAT'S IT ABOUT: Soaring canvases set against the backdrop of an illuminated skyline, sweeping shots of opera-styled visuals, from a virtual space voyage to the breathtaking landscapes of New York, Sajid Nadiadwala's Jaan-E-Mann is a stunner that will seduce your imagination. Seldom comes a film where a director's sheer treatment surpasses even the tiny holes in the script. Kunder makes a smashing debut with a film that's as glossy and stylised as the ones made by the best in the business. And for a first-timer, that's incredibly commendable. The story begins with small-time actor Suhan (Salman Khan) coming to terms with his divorce from wife Piya (Preity Zinta). Unable to pay her the alimony she demands, he and his dwarf-uncle (Anupam Kher) devise a novel plan when they encounter the astronaut-geek, Augustya (Akshay Kumar). Augustya has been in love with Piya since college days but is unaware about Suhan's relationship with her. Suhan believes that he wouldn't need to pay Piya any alimony if she remarries. And in Augustya, he finds the right candidate for that. Together, they head for New York where Piya lives and Suhan teaches Augustya all the ways and means to woo her. The plan works perfect until Suhan falls in love with Piya all over again. But maybe it's too late because Piya and Augustya are already engaged and ready for marriage. WHAT'S HOT: One look at Jaan-E-Mann and you know why they call movies a director's medium. The film is shot innovatively as Kunder uses quintessential Hollywood musicals as his inspiration to propel the narrative. Borrowed sequences are in abundance: 2001-A Space Odyssey, There's Something About Mary, Addicted To Love, Austin Powers and even Rush Hour. Some scenes even remind you of the pasha of glitz, Karan Johar. But this is a tribute and what a spectacular one at that. Kunder interweaves his narrative with drama, melody, humour and most importantly, a classic sense of style. It's almost poetry in motion. The interaction between Salman and Akshay is brilliantly captured. Preity makes her presence felt but her 'Sex And The City' demeanour is becoming increasingly repetitive-Salaam Namaste, KANK and now Jaan-E-Mann, she looks the same. The surprise packet is 'naughty boy' Aman Verma — in a bit role — his comic timing is impeccable. Akshay is in full form-his transformation from a geek to a man madly in love is amazing. Watch him in the dramatic scene with Preity in the climax. He's done that in a single shot and with such restraint. Even as 'Champu', the college nerd, Akshay hogs every frame. The classroom sequence is the highlight. The show-stealer of Jaan-E-Mann is indeed Salman Khan, uninhibited and stark in easily his best performance in a long time. Farah Khan's choreography is top-class. She certainly has reserved her best for her husband. WHAT'S NOT: The script ought to have been a bit tighter in the second half. The break-up of Suhan and Piya seems as abrupt as the feeble reasons that keep them apart. The 'proposal' song needs to be chopped. Anupam Kher as a midget seems highly uncomfortable. WHAT TO DO: Jaan-E-Mann is a feast for the eyes. It's a film that lingers on you. Watch it for the inventive brilliance of Kunder and the simply outstanding Salman at his spontaneous best. And yes, it's a must-see for everyone in love.

Jaanemann Review - Indiafm.com 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.

Jaan-E-Mann: A darling all the way By Rohini Bhandari 20 October 2006, 01:04 AM Businessofcinema.com Jaan-E-Mann Rating: 4/5 Director: Shirish Kunder Cast: Salman Khan, Akshay Kumar, Preity Zinta, Anupam Kher and Aman Verma. Producer: Sajid Nadiadwala (Nadiadwala and Grandsons Entertainment) Synopsis: Salman Khan (Suhaan Kapoor) and Priety Zinta (Piya) were lovers in their college days. Akshay Kumar (Agastya Roy) is a geek, who studies in the same college as Preity and is her secret admirer. However, he’s heartbroken when he discovers her affair with Salman and goes away to the US where he becomes an astronaut and is currently serving NASA. Meanwhile, Salman and Preity get married and then also get divorced due to communication gaps between them. Post divorce, Salman has to pay a monthly sum to Preity, who now stays in New York and runs her own flower store. However, since he is jobless, he isn’t able to bow to her demands of Rs 500,000 per month. Ten years later, Akshay arrives from the US to express his unconditional love to Preity and gets to know that she is divorced. The person who tells him about this is none other than Salman. However, Akshay is unaware of the fact that the man who informed him about Preity's current condition is the same man who she loved in college and got married to. This is due to Salman's look, which was not the same as Akshay had known 10 years back. Salman sees Akshay's arrival as a brilliant opportunity to get Akshay to propose to Preity so that he could get rid of the heavy compensation. In order to help him get Preity, Salman flies down to New York. However, when he reaches there he realizes that he is a father of Preity's kid and also become conscious of his love for her. But due to lack of confidence in himself and for the fear of rejection, he restrains from approaching her and tries to run away from Preity. On the other hand the chemistry between Preity an Akshay takes better shape. What follows is a series of emotions and drama to set things right in everybody's life and to watch who Preity goes to and what happens to the lovers. The screenplay of the film is the hero is the true sense and spirit. But not taking away any credit from Salman Khan, Akshay Kumar and Preity Zinta who look stunning and have done a spectacular job under the guidance of director Shirish Kunder. Anupam Kher plays a double role in the film. His role as a dwarf is really good and adds a lot to the humorous scenes. Aman Verma excels in the small role given to him. Kunder has invented and gifted an innovative storytelling technique to Indian cinema. His novel techniques of using lights, special effects and camera angles have added a lot of the screenplay of the film. He has not only written the story, screenplay and dialogues, directed and edited the film, but has also given the background score of the film. Not taking away the reality aspect of the story, one even gets a feeling that they are watching a fairly tale because of the way the story has been told. But nonetheless it is a treat. The film doesn't have an excessive dose of filmi dialogues. Instead the director has used songs, background music, facial expressions, lights and camera angles to express emotions and intensity of scenes. On one hand where the screenplay is the hero of the film, Anu Malik's music is its heroine. It has added flavor to the film and elated it to another level. All the songs deserve a special acclaim especially ‘Humko Malum Hai’, ‘Ajnabee Shehar’ and ‘Sau Dard’. The songs not only sound good but also look good and grand on the big screen. On hearing such nice songs and seeing Salman and Akshay together, one does miss seeing their conventional dance as seen earlier in ‘Mujhse Shaadi Karogi’. Only ‘Jaane Ke Jaane Na’ gives them scope to groove to the beat. But Farah Khan's choreography in the jazz style in the songs is splendid. Gulzar's lyrics in the film have been blended extremely well with the story of the film. More so because the songs carry forward the film and also dialogues have been sung in the film. The movie does lose pace at times but one does not mind overlooking it because of unique story telling technique. Especially the scene where Akshay goes to Preity's house for the first time for her parent's anniversary could be a little crisper. Although the climax of the film is emotional and in spite of seeing the actors cry on screen, it hardly triggers tears in the audience. Hence the emotional scenes could have been worked upon better. Also a little worry is about the limited scope of the film in terms of audience. While on the one hand, the film is releasing in B and C centers due to the tie up with UFO Moviez. However, on other hand, the story telling technique of a Broadway musical may not be comprehended by most people. The subject is unique for the multiplex audience but might be alienated by the small centre audience. The film has a lot of in film placements and visibly Bournvita has taken a stark screen presence amongst all of them. The brand name has been used and abused 10 times in a four minute scene. So while it initially adds humour to the film, it later becomes redundant. The movie looks extremely rich, not forgetting this is Saajid Nadiadwala's most expensive film till date ($5 million reportedly). Sudeep Chatterjee's innovative experimentation with lights is worth applause. His cinematography has given New York a flamboyant look that has never been seen before in any Bollywood film that was shot there. The film will be a sheer treat for audiences and an absolute worth for their movie ticket.

Jaan-e-mann Movie Review

By Satyajit - Eye TV India Bureau Critic's I-view It's cosmic world of cosmonaut Agastya Rao (Akshay Kumar) that transforms into frenzied world of inhibited world of romanticism. It's cinematic world of dreamer Suhaan Kapoor (Salman Khan) that outlives luxuries to its fullest, and finally succumbs to unforgiving miseries of lost love and marriage. It's beautiful world of Piya (Preity Zinta) that demands beauty from nature, friends and finally desires her love interest to be her soul-mate. Welcome to the world of candy floss entertainment of 'Jaan-e-Mann', a visual treat by Shrish Kunder. The concept of love triangles have traveled for many decades and have seen many conflicting periods of successes and failures. If we go by the promos then it can be concluded that Shirish Kunder has gone the Karan Johar way. But don't judge the book by its cover and it's better to read and understand it. The flashy costumes and glossy outlook might create a buzz that the film has loads of style minus substance. Let the storyteller display its full cards and then decide what this is all about? The frustrated lover (Salman Khan) tries to bail out his misery by planting love relationship to get rid from his ex-flame and beloved (Preity Zinta). Ironically, the plan succeeds with the help of her old compatriot (Akshay Kumar) who has been nursing love for her for years. The estranged lover becomes the voice over of the surrogate one and it develops the desired love chemistry. Now, its dude (Salman Khan) counseling geek (Akshay Kumar) for successful relationship and that's not all. The dude dons the attire of costume anchoring for him and leaves no stone unturned. The circumstance brings out the humane out of the immature disco freak and transforms him into the compassionate soulful lover. The paths cross each other and the emotional turbulence of constrained and love struck hearts burst out with tears. This is what 'Jaan-e-Mann' is all about! Candy floss flashy entertainers have always been on the brighter side of box-office results and it has fancied the imagination of pop genre to a large extent. Earlier, it was trademark of select few, but now the genre has been glorified and extenuated by the new crop of filmmakers. It demands loads of aesthetical vision in balancing the style and substance in conceiving syrupy mushy story. The top notch banners have treasured themselves with finesse, and it has dwelled new crop of filmmakers. Debutante director Shirish Kunder is new kid on block who experiments with it and starts big with 'Jaan-e-Mann'. He came out with flying colors as editor in 'Main Hoon Na' followed by his successful martial relationship with choreographer Farah Khan. This comes out as his third histrionic that has garnered meteoric media hype, thanks to high-profile marketing. 'Jaan-e-Mann' is the story of day dreamer Suhaan Kapoor (Salman Kapoor), a self-styled superstar who receives alimony notice from his wife Piya (Preity Zinta). He is in dilemma as Piya has sought Rs fifty million as alimony from him. Suhaan seeks the help of his intelligent uncle (Anupam Kher) who is a proficient lawyer. He advises him to find a suitable match for Piya so that she can remarry with that person and he can be bailed out from this financial mess. In the meanwhile, Champu alias Agastya Rao (Akshay Kumar) walks into their life and seeks the hand of Piya. Suhaan is pleased to know that Agastya was silent lover of Piya in college days. He encourages him to win over her heart. Both board plane to New York for Piya's destination. The taciturn and obstinate Agastya seeks the help of street smart Suhaan in winning Piya's heart. In due course Suhaan is surmounted with the love of his infant baby girl that brings tears in his eyes. Suhaan remorses for his immature behavior and decides for a patch up with Piya. But things have changed now and Piya has found a new life partner in Agastya. The film takes a surprising turn when the real love wins and soul-mates unite. 'Jaan-e-Mann' is a treat for the festive season and brings colors, romance and lights with new flair of filmmaking. It brings out the futurist concept of narration that flash forwards and backwards the events and emotions by stroke of techno-wizardry skills. New designer Surily Goel makes impressive dent by experimenting with multifaceted get ups of Salman Khan. The actor can be spotted in Elvis Presley, Zorro etc attires and it has come out well on screen. Cinematographer Sudeep Chatterjee's master craftsman works superbly throughout and is one of the highlights of the film. The stylish dream sequence where Salman Khan is nominated and finally wins Filmfare Award with noted Bollywood celebrities deserves appreciation. The flashy cinematography of "Humko Maloom Hai" is done in typical "Moulin Rouge" with loads of gloss and sheen. Watch out for the skyscraping gleaming vision of New York and it transforms you there with sheer delight. The soundtrack "Sau Dard" has been picturized with finesse showing the cosmopolitan delights of New York City and the beauty of "Brooklyn Bridge". Finally, the concluding sequence in cosmic space where Akshay introduces her beloved (Preity Zinta in double role) to Salman is finely executed. Sabu Cyril's art direction is cut above rest and it builds up the space for the love chemistry to mushroom. The stylish interiors, scintillating stage setting and exotic display of festive celebrations speak volumes for his expertise. The brilliantly executed cinematography and art direction have been shouldered well with efficient choreography of Farah Khan. The choreographer has been strikingly impressive in soundtracks in songs "Ajnabi Sheher", "Jaane Ke Jaane Na" and "Humko Maloom Hai". The entire leading star cast has been brilliant from the first to last scenes and it is seen in every shot and frame. Salman Khan may show signs of aging but the actor has matured tremendously. The gritty and witty characterizations of immature dude have suited him to the hilt. Salman's performance has been the biggest boost in the film's success and it will be counted as one of his finest performances in recent years. Akshay Kumar is complete revelation in depiction of "nerd" craving for college bombshell in classrooms and discotheques. Akshay has been better known for his action and comical image but this time he has changed lanes completely. In the climax, where he outbursts emotionally in front of the mirror is phenomenal and the tearful scene where he sacrifices his love shows his strength as a reliable actor in business. Dimple-cheeked Preity Zinta lives up to her expectations and delivers her role gracefully. It may sound strange to sport her as sporty college freak but she responds well. The high point of Preity's performance lies where she shows maturity in emotional scenes. Anupam Kher comes in the mould of Danny Devito style of acting of a skillful lawyer and dons "dwarf" appearance with élan. Anupam's versatility can be judged from the way he plays the chameleon character of witty uncle despite his physical limitations. The second half where Anupam appears in second role is worth watching. Pakistani actors -- Jawed Sheikh and Soni Razdan - act well in their respective roles. Aman Verma has little scope in underwritten role of a comical villain. 'Jaan-e-Mann' completely belongs to writer, director and editor Shirish Kunder and he can easily be termed as new directorial prodigy of the year. After David Dhawan, Kunder seems to be the next editor who has taken the tinsel town by storm. The innovative narrative skills of transporting story from spacecraft to Mumbai city is a fine piece of experimentation. Later, the weaving of plots and sub-plots through fine art direction and cinematography is the high point that extracts quality work from the actors. Shirish handles climax very well despite the fact that the screenplay has minor blemishes. There are minor flaws but they hardly retard the flow of the film but it's the length that might restrict audiences. The film has been unfolded in 19 reels and it may become tiresome for viewers otherwise it has shaped very well. 'Jaan-e-Mann' has been backed by esteemed Nadiadwala Productions and has been released with over 1000 prints all over the world. The film will prove beneficial for producers and distributors and will score maximum at overseas and posh multiplexes in metro cities. Despite the fact the film faces tough competition from its arch rival 'Don', it has the merits and credentials to swim against the tide. It can be counted as one of the finest debutante directorial works of the year and should prove money spinner in the coming weeks. In nutshell, 'Jaan-e-Mann' is colorful festive treat that should bring smiles to many faces.

Subhash K Jha's take on Jaan-e-Mann By Subhash K. Jha, October 23, 2006 - 11:50 IST Cast: Salman Khan, Akshay Kumar, Preity Zinta, Anupam Kher Director: Shirish Kunder After watching the vacuous synergy of Don, here comes a film that sweeps you off your feet with its expansive vision of a world where true love triumphs even if it takes six songs, seven aptly choreographed dances (Farah Khan, take a bow) and five utterly heartwarming moments of drama, all woven into a tongue-in-cheek pastiche that collects all the clichés and conventions of the traditional filmy triangle into a clasp that saloms Broadway's truest and most vigorous musical tradition. Initially it's a little tough to get into the gorgeous groove and the flamboyant moves orchestrated by a director who has the derring-do to take on the clichés of cinema and turn them on their head. The first twenty minutes are near-disastrous, what with the dialogues with a devilish dwarf of an uncle (Anupam Kher) about the hero Suhaan (Salman Khan)’s past brush with love marriage and divorce going nowhere. But then the narrative gathers momentum. And we're soon looking at lives that are defined and dressed-up in the best musical tradition. Sadly the music score isn't as supportive as it should've been. Much of the musical impact comes from Gulzar's tongue-in-cheek lyrics paying a homage to that feeling of lovelorn wistfulness , and of course the central performances. Akshay Kumar as the college nerd (look: courtesy the American serial Friends) who silently worships the student next-desk is full of perky beans bubbling over in sensitive motions that show how effortlessly he links with his character. But it's Salman who propels this pungent tale of dramatic love forward. In a narrative saucily freed of serious intentions, buoyed by devices that take sporting potshots at that sting-thing called love, Salman creates an endearing graph as a callous arrogant wannabe film-star (check out his super-starry tantrums in New York when an American director offers him the second lead) who turns into a sobbing mass of fatherly concerns in the second-half when he realizes he has a baby from the wife whom he once deserted. Jaan-e-Mann uses potboiler-conventions to tell a story that takes Hindi cinema to a new narrative level. Characters cheekily tamper with time and space to the extent that they appear to be no slave to either. Musical outfits pop out of nowhere. A Qawwalli group emerges from a cupboard and celebrates the nerd Agastya's devotion to the beauty with brains, when the cool dude Suhaan realizes he still loves the ex-wife whom he's been trying to thrust on the nerd (it's a complicated knick-knack of plotting devices ) window panes shatter in computer-generated synchronicity… Shirish Kunder uses a fascinating and energetic new form of storytelling that fuses the traditional Hindi-film triangle into the all-encompassing vision of Broadway musicals where colours create a riot of over-the-top emotions. Sadly the format is inconsistent, veering vigorously from satire to homage. And yet there's ample room in the lengthy narrative to bring out the emotional power of the plot. Indeed Salman cries (manfully) for almost the entire second-half without getting whiny or tedious…a mean feat! Akshay is full of chortling gaiety, enjoying every bit of his role as a wannabe Salman who realizes devotion cannot be reciprocated by love. A sporting role, performed with great empathy. Preity Zinta remains controlled throughout. The single-mother role allows her no room to let go. And the narrative filled with singing lines that sublimate her woes, allows her no room for dramatics. Though hard to get into, Jaan-e-Mann is great fun once you get into it. This is a world of eternally–designed dreams. No one dies. Yes, all the characters get emotionally disturbed. But Shirish never lets us forget this is a movie. Everything will come our right at the end. Full marks to the debutant director for creating a delicately drawn world of wispy emotions. D.O.P Sudeep Chatterjee and art director Sabu Cyril do a great job of harnessing Kunder's Peter Pan vision into a spiral of whispering emotions that undulate softly , sometimes in counter-productive motions. If only Shirsh didn't get carried away with his novel format. A little bit of control in the space allotted and that tendency for the satire on cinematic conventions to willy-nilly turn into a homage, and vice versa, would have gone a long way into holding Kunder's big Broadway-styled world of song, dance and redemption in place. Gurinder Chaddha in Bride & Prejudice. Jaan-e-Mann gets it right.

A seminal film that will set benchmarks for the way films will be shot in the near future Rating 4/5 By MovieTalkies.com, 20 October 2006. Release Date : 20 October 2006 While every Hindi film is a musical, be it comedy, drama or even a thriller, no Indian film can have the distinction of being a ‘musical’ in the true sense of the term, as seen in Hollywood. Jaan-E-Mann is possibly the first Indian real musical, extremely inventive with stunning visuals and an oft seamless integration of sequences that take the storytelling format to a new level. While watching it, one was reminded of films like Rob Marshall’s Chicago and Baz Luhrmann’s Moulin Rouge (with the Milo making its presence felt more than once in some motion capture sequences that have not been deployed to-date in Indian cinema), with the innovative visual compositions taking the screenplay forward using songs to catapult both the viewers and the players into the action. Moving back and forth between time and places, the film places the lead players down memory lane and in various situations, going beyond the dream sequence that our cinema has been doling out repeatedly. This visual structure makes Sajid Nadiadwala’s Jaan-E-Mann, directed by Shirish Kunder, a seminal film that will set benchmarks for the way films will be shot in the near future. Though a landmark film of this kind is a rarity, it’s unfortunate that the story (story and screenplay are also the director’s) is the regular triangle between Salman Khan’s Suhan, Preity Zinta’s Piya and Akshay Kumar’s Agastya, the three central characters around whom the romance revolves. The film’s greatest flaw is that it takes liberties with logic on a couple of critical issues that make this otherwise dazzling fairytale difficult to digest. Overlong in construction and a bit self-indulgent on the part of the debutant director, Jaan-E-Mann is one of those rare films that borders between being a called a masterpiece and a dud at the same time, taking its own cleverness a bit too far. Also, the film is let down by a poor script, and if the writing would have been as good as the visual construction, then this film would have been possibly the finest musical to emerge from Hindi cinema this decade. Alas, that is not what this film will grow to be defined as by audiences and critics; its greatest strength can be its biggest liability, as audiences not accustomed to this kind of innovative storytelling will take time to come to terms with the format. Interestingly, the film tries to set the mood of the narration through a black and white sequence of Salman Khan’s character, Suhan Kapoor, receiving a Best Actor Filmfare award over Amitabh Bachchan, Rajesh Khanna, Dharmendra and Sanjeev Kumar. While reading this review you may find this a bit weird, but those who have experienced Robert Zemeckis’ Forest Gump and its funny take on mixing the past and the present will understand what this film attempts. As Hanks’ Gump observes in the film, “Life is like a box of chocolates, you never know what you gonna get”, this film throws surprise upon surprise on you as it unfolds, taking the surprise factor a bit too seriously at times, especially in the end wherein you realize who Akshay Kumar’s Agastya finally ends up with (will not say more here to spoil your fun). The film begins with loser actor Suhan’s dream sequence outlined above followed by a one-time alimony demand of rupees fifty lakhs as the unsuccessful hero hasn’t managed to pay his dues to ex-wife Piya across the last one year of rupees twenty-five thousand per month. Suhan wonders how he would lay his hands on an amount like this and even Anupam Kher’s Uncle Boney (again a bit clever in construction by dwarfing Kher to add humour) doesn’t have an answer. Opportunity knocks literally when Agastya lands up at their door to meet Piya, the ex-wife. However, Agastya is too thick to realize that Suhan must have been the man to whom she was married to and starts narrating his own life’s answer to Suhan’s ‘aap ki tareef’. The narration takes Suhan down memory lane to his college dating days of Piya and it dawns upon him that Agastya, now transformed, is actually the nerd who he had fixed up Piya with during his own rock concert performance. However, identities are not revealed and a plan is hatched between chacha – bhatija to send off Agastya to New York, Piya’s new home, to romance and marry her in order to exempt the broke, struggling actor from the alimony. This far-fetched exercise turns into reality and Suhan lands up for company in order to ensure that Agastya succeeds in winning Piya. Dull Agastya turns to the sharp ladies man Suhan for counsel and thus begins the romance between Agastya and Piya under the ace guidance of Suhan. This Cyrano De Bergerac borrowing is interestingly structured and executed with struggling actor Suhan getting a real-life opportunity to showcase looks and characters in the guise of a masked Zorro, Elvis Presley, and of course, a blonde big-busted woman :-). Through radio transmitters neatly concealed behind the ear, Agastya woos Piya through all the lines that Suhan comes up with, always hanging around at close distance to monitor reactions and come up with his next gem that will bring Agastya and Piya closer. However, at times Suhan gets carried away and walking down memory lane, starts using the same lines he had used for wooing her in the past. The unsuspecting Piya gets a bit confused and the emotion of déjà vu is just touched upon the surface and passed over too quickly by the director, while the same device with immense dramatic possibilities could have been explored further for adding depth to the story. The next dramatic turn that the story takes, one will not get into, as it is one of the surprises that work for the film. Again, the visual impact of the surprise is far greater than the surprise itself, as the film takes a liberty or two in the story device that leaves the viewer incredulous. The very reason why Suhan and Piya get divorced is again far-fetched for a film set in a day and time when email, landlines and mobile phones are common place and communication through regular post is not really the ideal form of reaching news of utmost importance to your better half. This basic flaw cannot be overlooked and the foundation of the entire dramatic premise is also weak, plus the raison d’etre of the characters simply doesn’t work. But the actors deliver great performances, though handicapped at times with mannerisms and situations that work against them. Agastya’s guffaws are quite funny in the beginning but the director’s self indulgence again takes over and the mannerism is repeatedly dwelt upon too often; Suhan’s disguises are interesting and funny but again a bit too over-the-top for its own good; Piya is spared any funny excesses but again lacks dramatic dimension as her being divorced and mistakenly let down by her husband Suhan is not really addressed emotionally or strategically. But the credibility truly comes from the performances more than the characterization in every sense of the term. Adding support is the able Anupam Kher and the young Aman Verma, doing well and performing ably with the lead three. Again, all major shortcomings look minor when one sees the visual bravura of this cinematic work of art, and hats off to the cinematographer, Sudeep Chatterjee, and the debutant director, Shirish Kunder (who was an editor before his directorial debut and his editing on this directorial work is also exemplary). But the maker’s over-indulgence is apparent even in the edit construction; the film could have safely been tightened by almost thirty minutes without losing its dramatic form. The other interesting aspect of this film beyond the visual strength is its ability to poke fun at itself without batting an eyelid; from the flop premiere sequence of a film called Jaanemann within the film itself, starring Suhan, to Boney’s reference of a song being fast forwarded with Suhan questioning “why are we skipping this beautiful song and dance” to Uncle Boney’s pat answer “if the song exceeds a certain time limit, you will lose the audience” are both tongue-in-cheek and at the same point in time almost a satirical take on Bollywood. This is just one of the observations that one can make and there are many more which this review will not get into for the sake of the review length, which is already a bit overlong :-). An extremely ambitious maker, Shirish Kunder is surely headed to become one of the country’s top league directors and his visual flair sets him apart from any school of film making that Indian cinema has witnessed to-date. If this is his very first experiment behind the camera then one wonders what will be the visual panache that this creator will pull off in years to come. If this review is being read by anyone close to him or by Kunder himself, then only one piece of advice, leave the screenwriting to someone else.

Stardust Review Review : Jaaneman [20 Oct 2006] JAAN-E-MANN Starring: Salman Khan, Akshay Kumar, Preity Zinta and Anupam Kher Directed by: Shirish Kunder THE STORY: Producer Sajid Nadiadwala returns with his favorite combination of Salman Khan and Akshay Kumar in this love triangle. Suhan (Salman Khan) and Piya (Preity Zinta) play a divorced couple trying to cope up with life after separation. When Piya demands alimony from Suhan, to avoid the situation, he tries to hook her up with Augustya (Akshay Kumar) who’s been Piya’s secret admirer for years. Suhan even helps Augustya in wooing Piya and win her heart. But when the mission is successful, Suhan realizes that he’s still in love with Piya and cannot let her go. That’s the twist. THE PERFORMANCES: Salman Khan is simply fabulous and perhaps this would be considered one of the best performances of his career. Akshay Kumar plays to the gallery and is amazingly restrained. This is definitely an award-winning portrayal. Preity Zinta looks good but adds nothing much to her character. Debut-making director Shirish Kunder handles the proceedings extremely well and despite some flaws in the script, he maintains a firm grip on the narrative. Music by Anu Malik is above average. ‘STARDUST’ VERDICT: The film has opened up extremely well and business is bound to be best in the bigger cities and multiplexes. Word of mouth will ensure a repeat audience, thereby making it a bigger success.

The People of Jaan-E-Maan - Totally Fantastic October 21, 2006 Sakshi Juneja Do I like Jaan-E-Mann? Do I like Jaan-E-Mann? I like Jaan-E-Mann ... I love Jaan-E-Mann ... Jaan-E-Mann is in my blood. Okay, Okay. I agree, I seem to have gone a wee bit overboard with my appreciation for this film, but guess what? I don't give a damn. For the past few weeks, filmi keedas like me have been confused and we've gone through a sort of cinema crisis with the whole Don vs. Jaan-E-Mann fever. Though both the films belong to completely different genres, it's our desi nature to derive whatever extra juice we can from whatever we can. I had actually given up hope about being able to see either of the films because tickets were sold out. Both the movies have been promoted so massively, it's likely even your galli ka watchman has called in sick and taken a day off to watch them. But thankfully, Mata Lakshmi blessed me with a ticket in the form of my angel friend who was nice enough to hunt around for back-door tickets. And so I got to watch Jaan-E-Mann, 6 to 9 evening show. Now I won't be repetitive and go on about the film, since I am sure most of you have already read thousands of reviews floating around in cyberspace. But I really can't resist from writing a few words about the people behind this innovative effort. So here goes. Shirish Kunder (Director, Writer and Editor) - In my opinion this guy is the actual Superstar of Jaan-E-Mann. Frankly speaking, when he got married to Farah Khan the first thing that came to my mind was that he did it only for her reputation and her valuable contacts in the Hindi Film Industry. I mean Shirish could have taken advantage of the fact that his wife's goodwill in the industry could get him many projects with big banners even if his first film flopped. But the hatke attitude with which he has approached his directorial venture simply proves that he knows exactly what he wants - in short, his heart and mind both are in the right place. You become aware of his immense talent at the very start with Salman's Filmfare awards dream sequence. I am bloody hell so glad that finally we have producers who are giving such excellent talented individuals the opprtunity to shape our desi film future. Akshay Kumar (Apna 2nd Hero) - WTF!! Is this guy hot or what. Be his geeky look or his NASA look or his cool dude look, you simply can't resist him (and I talk for all the girlies, and men who swing the other way). No, seriously Akshay seems to be looking sexier with every movie and it doesn't even look as if he is trying hard to do so. On the acting front, he is totally awesome here. His innocence, sweetness and geekiness will simply bowl you over. Even after you have left the cinema hall, even after you had your daily meals, even after you get ready for another day - you will not forget him or his goofy laugh. Preity Zinta (Apni Beautiful Heroine) - was she there in the film! Really! Oh yeah! She was. In my opinion, she was good and gave a decent performance. But the other two main leads totally overshadowed her role, so much so that at times you actually forget that she exists in the film. However, giving her the credit where it's due, she did give a 10/10 in the climax scenes, where many others could have easily gone off-hand. And yes! She does look good. And last but not the least... Salman Khan (Apna No. 1 Hero) - the ones who know me well enough are aware of the fact that I love this guy, going back to the Hum Dil De Chuke Sanam days. I may sound a bit partial towards him but Jann-E-Mann is out-and-out a Salman film. For once his (always questioned) American accent has done him justice. Basically it's like as if the writer wrote this part with only Salman Khan in his mind. He is just perfect with his emotions, dudeness and wackiness. You can't help but totally love him. Watch out for the Elvis Salman, it will surely itch your funny bone to the max. All in all, an excellent film which totally stands out for its distinctiveness in all departments - be it acting, direction, narration, song visualization and costumes. In some ways it is our version of Moulin Rouge. As for rival Don, the prognosis seems to be down, down, down and out.

What saves Jaan-E-Mann -- a riff on the oldest love triangle saga -- from mediocrity, is a well-tuned sense of irony. Jaan-E-Mann: The Alternate Review One of the initial scenes marvellously throws you into a black and white awards function, where tension is rife as Rajesh Khanna and Amitabh Bachchan are beaten to the Best Actor Award by Salman Khan, sitting there rubbing shoulders with Dharmendra. It's a glorious Forrest Gump moment that Indian cinema has been crying out for, where Salman (playing a guy called Suhaan) in a dream sequence winks at Meena Kumari with an insouciant 'Thanks Meena.' Fab. Several scenes and a couple of hours later, the sets are bright, garish yellow and the music blaring is an over-shehnai'd version of a Maine Pyar Kiya song. Salman, keeping double chin in check, isn't quite the same young hunk the nation flipped for back in the day, and as he grooves to the beats as an extra on a Bhojpuri movie set. It's interesting to reflect that, today, almost every still-acting star from the grainy period footage is working on some kind of Bhojpuri project. Hmm. Anyway, moving along. Will you like Jaan-E-Mann? Well, if you can bring yourself to believe that Akshay Kumar is an Einstein-idolising geek called Agastya Rao, director Shirish Kunder is home free. The film depends on that wilful suspension of disbelief, and it's best to let go right with his opening shot, a waltzy nod to 2001: A Space Odyssey. The film traipses breezily through its story about a geeky boy turned spiffy astronaut, and a self-proclaimed superstar. Back in college, long-haired Salman walked all over Akshay's dreams, stealing Preity without even noticing the dweeb in braces. Now, seven years later, Salman is sitting with his uncle Boney, a dwarf who picks up on every single 'short' reference. The two are cooking up a scheme to get struggling actor Salman out of his alimony woes. He owes ex-wife Preity a packet, and as the two (Salman on his knees eye-to-eye with tiny Anupam) pray for a miracle, enter Akshay Kumar, complete with halo. As they tell the unsuspecting dopey astronaut that Preity's divorced and in New York, the plan is simple: get him married to Preity so Sallu doesn't have to shell out a rupee. So, smooth Salman walks within a hundred yards of Akshay, feeding him lines he knows his ex-wife will trip on. The wooing process is light and frothy, and by the time Akshay's got the hang of Preity, Salman's back in love. But, what now? It's one of those films that can fall either way, and it's chock-full of predictable cliche. What makes it work is the narrative. First-time director Kunder doesn't hide his love for Broadway. The film unfolds neatly, with almost every set layering into the other. Walls fall back, rooms open into college campuses, contexts change, and a liberal dose of flashbacks helps disparate moments fuse conveniently together. Which isn't to say it works entirely. While the plot proceeds amusingly enough in the first half, the second half is considerably tougher to tackle, audience-wise. A tearjerker doesn't translate perfectly to Kunder's frivolous cinematic grammar, but there are moments when it softens the punch -- the most typically maudlin Bollywood moments are lightened by glass comically shattering in the background. The execution could have been much better though; there are times when Kunder's gimmickry falls drastically short. But, for a first film, he definitely seems to have most of it right. Salman Khan is the film's leading man, no question. It is his story all the way, as he goes from guardian angel to wistful lover. The actor has mellowed over the years, and now cries with more abandon. There is a realism to Khan's tears and, because he was always a likeable funny man, he carries the film with ease. Kunder presents him with some remarkable moments of pathos, and one particularly comes to mind: when he stands teary-eyed in Times Square and watches himself work in a diaper commercial. Honestly, it's good to see Khan back. And while the film may not be his story, a large part of it coasts on Akshay's broad grin. The role forces him to push himself into an awkward box, a mousy fellow unsure of himself. It's a role he hasn't played and he takes it on very well indeed, providing the film's most memorable character with a very nuanced performance. This is an actor who seems to show increased maturity with every other role, and he is definitely heading in the right direction. His screen presence is electrifying, and it's great that he's playing against type. Preity Zinta is an ornament throughout, but comes vividly alive in the film's last scene, a moment that makes you lament why filmmakers today don't let the babyfaced actress have more fun instead of forcing her to sob copiously. She doesn't have much to do in Jaan-E-Mann, but looks appropriately attractive. Composed by Anu Malik, the music doesn't really click until you actually see it visualised. And after you do -- aided by Kunder's deft music-video storytelling -- it grows on you completely. Ever since Munna Bhai MBBS, street lingo has invaded the world of Bollywood lyric. Here, the slang brings extreme banality, making even the mushiest songs casual. In the end, what echoes in your ears as you leave is Akki's thick, goofy he-he-he laugh. It's the best thing in the film.

Planetbollywood Review Producer: Nadiadwala Grandson Entertainment Director: Shirish Kunder Starring: Akshay Kumar, Salman Khan, Preity Zinta, Anupam Kher, Aman Varma, and Soni Razdan Music: Anu Malik Lyrics: Gulzar Genre: Romantic Recommended Audience: Parental Guidance Film Released on: 20 October 2006 Reviewed by: Irfan Makki Reviewer's Rating: 7.5 / 10 Music Review Posters Public Rating Average: 7.39 / 10 (rated by 17 viewers) Give your Rating: Email this page Print this page Having produced almost a dozen films to date, Producer Sajid Nadiadwala makes his most convincing and persuasive effort ever at knocking the doors of award juries with his latest endeavor, Jaan-e-Mann. Taking a debutant director, Shirish Kunder, under his wings and providing him with a liberal financial backing, Sajid has ensured that the film sports handsome visuals and appears every inch of the Broadway-inspired cinema that it claims to be. Working on the largest scale of his enterprising film-production career, Sajid’s big bucks give Jaan-e-Mann a beautiful body while Shirish’s maiden effort lends Jaan-e-Mann a flamboyant soul. Jaan-e-Mann is a product that spells lavishness and refinement with every unfolding frame. Exquisite camerawork, prominent and innovative sets, sparkling colors; the movie walks, talks, and breaths a life of its own. The producer’s extravagant spending spree and production genius shouldn’t take anything away from Shirish. The young man is truly the captain of the ship in every sense of the word for he handles multiple departments with considerable prowess. Be it the background music, writing, dialogues or direction, Shirish gets his basics right and exhibits an unblemished knowledge of filmmaking – something not all first-time directors can claim to have. His first attempt is quite remarkable for debutant and although he hasn’t quite made a masterpiece with Jaan-e-Mann, he surely has started in the right direction. However – he does suffer as an editor, the irony being that film editing is something that he has been the most familiar with over the years. The movie can easily do away with a song or two and a few post interval sequences as they bring the movie’s otherwise racy narrative to a screeching freeze – a deceleration that becomes a bit uneasy for the viewer at times. But fortunately, thing picks up towards the pre-climax and the movie stays on course for a swift yet satisfying culmination. Having been envisioned as the fusion of a Broadway musical and a typical Bollywood Masala flick, Jaan-e-Mann successfully breaks away from the traditional mainstream Bollywood cinema and ironically, at the same time fits credibly into the commercial norms of Hindi Cinema. Jaan-e-Mann’s biggest strength lies in the fact the movie doesn’t pretend to be something its not. It doesn’t act intelligent and preachy and rather, stays true to its commercial convictions. At no point does it take itself or its characters seriously and that is exactly where it works. Casually walking through the lives of three people caught in a love-triangle, Jaan-e-Mann serves its very purpose of entertaining the viewer without getting overly melodramatic and thankfully, avoids ending up as just another kerchief-caper. Talking about strengths, the film is not without its fair share of weaknesses. The screenplay, at times, suffers from predictability and the dialogues could have been a lot more powerful and moving. As well, Shirish’s decision of pulling off a Karan Johar with Preity’s overly-extended yet closely-knit family and an impromptu Desi family dance number takes away from the individuality of the movie. As mentioned earlier, Jaan-e-Mann is an enormously polished product. Technically brilliant, the movie must be seen on the big screen for its visual grandeur and innovative visual effects to be appreciated. Lensman Sudeep Chatterjee’s cinematography provides a rich, majestic look to Sabu Cyril’s artistic sets while Farah Khan’s choreography, although not path-breaking, matches Anu Malik’s surprisingly well-etched tunes quite fittingly. Shirish’s intention of making a Broadway-inspired movie required ample dose of music and Anu Malik’s tunes are easy on the ears and each and every song tells a story. Special mention must be made of “Sau Dard” for being one of the best musical pieces of recent times. Besides the director’s novel vision, Jaan-e-Mann’s cause is helped tremendously by the principle performances. Salman Khan, as the suave Suhaan, is the centerpiece of the movie’s love puzzle and towers above everyone else. Having the meatiest part of all, Salman’s Suhaan makes an overwhelming impact. Bollywood’s most notorious thespian is at the top of his game yet again and springs a surprise performance that many of his detractors have always considered him incapable of. Employing his eyes to express a million words, Salman displays Suhaan’s notoriety, passion, wiliness, anguish, vulnerability and remorse with staggering belief and assurance. His transition from a conceited smug into a repenting, helpless lover speaks volumes about his immense talent that has remained untapped for most part of his career. Though he does get a bit loud in the initial reels, this is Salman’s movie from start to finish and had it not been for his controlled outing, Jaan-e-Mann wouldn’t be even half the movie it has turned out to be. Akshay Kumar, playing Agastya, lends able support to Salman and holds his own as the blindly-in-lover, timid, low-on-confidence nerd. Primarily being an actor fitting the mould of a macho-hero, surprisingly, Agastya comes naturally to Akshay and he delivers an extremely likeable performance. But he still seems uneasy when it comes to shedding tears on screen. Having said that, Akshay’s naïve Agastya provides the perfect foil for Salman’s bratty Suhaan and their on-screen partnership makes for a fun watch. Preity Zinta looks as if she has walked right in from the sets of Kabhi Alvida Naa Kehna, which indeed is the case as the actress shot for both movies simultaneously. Yet she brightens up the screen and does a skillful job with whatever screen time she gets. The role doesn’t demand dramatics and Preity’s humble yet effective depiction of Piya Goyal is just what the script demanded. Out of the supporting cast, Anupam Kher as the Dwarfed Bonny Singh is agonizingly annoying and loud and one doesn’t quite understand the need to portray Kher as a little man in the first place. Aman Verma makes for a few comic portions and provides some good laughs. Overall, Jaan-e-Mann does exactly what it is supposed to do - entertain and give the paying public a worth for their money. It surely can not be categorized as one of the best movies of all time, but it surely manages to be the most innovation one. Top notch performances, soothing melodies, inventive treatment, clean family entertainment and an unashamed sense of individuality, all make Jaan-e-Mann a rewarding film-viewing experience. It is fun while it lasts and is very likely to leave a lasting impression, not entirely for its content but for its execution. So go ahead, give Jaan-e-Mann some love this festive season if you’re looking for some unadulterated popcorn entertainment.

Jaanemann : Movie Review 21st Oct 2006 03.00 IST By N. K. Deoshi Shirish Kunder’s directorial debut Jaaneman uses a style of storytelling that has never been seen in Bollywood before. The film combines magical realism with Bollywood sensibilities to present a story that makes you laugh and cry. Irrespective of the movie’s box-office fate, ‘Jaanemann’ is a film that will be appreciated for the very innovative style of direction by Shirish Kunder . Here is a director who can think out of the box while, at the same time, sticking to a story that has nothing particularly novel about it per se. Two guys in love with the same girl. One has to make a sacrifice. Eventually, it is love that wins. The movie takes off beautifully. The camera zooms out from lunar craters and pans into a space capsule in which Agastya Rao (Akshay Kumar) tells the story of his good friend Suhaan (Salman Khan) to his astronaut companion, a blonde female whose face is not shown until the end. The movie goes into flashback. Suhaan, a dreamer, wakes up in the morning to a shocking news that his divorced wife Piya (Preity Zinta) wants a final settlement of Rs. 50 lakhs in return for the alimony that Suhaan could not pay because of his poor financial condition. Suhaan and his chacha Bonny (a dwarfed Anupam Kher) don’t know how to raise such a big sum. Soon a solution to their problem knocks on their door. In walks Agastya Rao (a bespectacled Akshay), a man silently in love with Piya since their college days. Agastya is a man who has always been short of confidence when speaking to Piya. Suhaan and his midget uncle hit upon an idea. To help Agastya win Piya’s love so that she marries him and they can be spared of the alimony sum. With this mission in mind, a confident Suhaan accompanies the submissive Agastya to New York, where Piya lives. At every step of the way, Suhaan helps Agastya. Agastya uses Suhaan’s words, his style, his manners to impress Piya. After some initial hiccups, Agastya does succeed. All this while he doesn’t know that Suhaan is her ex-husband. And then a shocking truth emerges for Suhaan. Piya has a daughter from him. After seeing his daughter he has a change of heart. Now he wants to start a new life with Piya and the little girl. But before he acts, Piya gets engaged to Agastya. What follows is a touching tale of sacrifice and love. Intrinsically, ‘Jaanemann’ has a story the likes of which we have seen before also. But it is the way the story has been told that makes this film worth a watch. Kunder fuses fantasy and reality together, using visual images as metaphors. The movie is replete with scenes in which lights, ambience and background sets change in split seconds, without any cut in the shot. Kunder presents songs in a very new, fresh way, that takes the story forward. He uses background music to connect different strands of the story. All this he manages because he is a man of many talents. He is the writer, editor and director of the film. Not just this, he is also credited for the background music. Despite Kunder’s multi-talent, the movie could not have been the same without commendable performances by Salman Khan , Akshay Kumar and Preity Zinta . I personally liked Akshay a lot in the film. He is absolutely convincing in playing the shy, clumsy, giggly and tongue-tied Chimpu (his nickname in college). Later he transforms into a little more suave astronaut, but he retains certain awkwardness in his character. A truly laudable performance from Akshay. Salman Khan holds the other end with equal finesse. It is he who gets the sentimental scenes in the film. And he performs without going over the top even once. Preity Zinta is a natural performer. She brings a wide range of emotional variety to her character. At times she is bubbly, at times sombre, at times assuring and at times inhibited and unsure. Anupam Kher is charmingly likeable in his roles as a dwarf and as a restaurant owner in NY. To sum it up, ‘Jaanemann’ is a film that ought to be seen once at least. Some people may be put off by Kunder’s unconventional style, but the movie merits a recommendation solely because of its uniqueness. It gives birth to a completely new genre of filmmaking in Bollywood. A perfect entertainer for the festive season.

From a member at Naachgaana.com - Akshay Shah JAAN-E-MAN: Banner: Nadiadwala Grandson Entertainment Producer: Sajid Nadiadwala Story-Screenplay-Editor-Dialogues-Direction: Shirish Kunder Cinematography: Sudeep Chatterjee Choregraphy: Sarah Khan Art: Sabu Cyril Music: Anu Malik Lyrics: Gulzar Action: Mahendra Varma Costumes: Surily Goel Cast: Salman Khan, Akshay Kumar, Preity Zinta, Anupam Kher, Jawed Shehikh, Soni Razdan, Nawab Khan and Aman Verma. Released: October 20th 2006 Genre: Romance/Musical Two years ago Sajid Nadiadwala struck gold with the Salman Khan-Akshay Kumar laugh-riot MUJHSE SHAADI KAROGI. This Diwali he strikes back again with his two leading men as well as Preity Zinta. The expectations were soaring as the dazzling promos hit the marquee, and going head to head with Farhan Akhtars DON added the spice of competition amongst movie-goers. So does JAAN-E-MAN lives upto expectations? Is the movie just another love triangle? In short, JAAN-E-MAN does live upto expectations although it does have its flaws, and YES, the movie is a love triangle..but it’s a case of old wine packaged in a dazzlingly inviting new bottle! JAAN-E-MAN revolves around Suhan(Salman... ... Khan) who has divorced from his wife Piya(Preity Zinta). His lawyer cum “chacha Boney (Anupam Kher) notifies him that he must pay a sum of 50 Lakhs to her as he hasn’t been able to pay her the monthly settlement shes meant to be getting because he’s broke. At that moment enters(literally) Agastya aka Champu(Akshay Kumar) who has just returned from the U.S and is looking for Piya. Agastya was in love with Piya during his college days but Piya was in love with another guy(the guy being Suhan which Agastya is unaware of) and hardly noticed his presence as he was the school nerd! We learn that Piya had broken Agastyas heart at the school dance. Heatrtbroken, Agastya left college due to the incident. Agastya has now improved his appearance and is a good looking young man who works for NASA, though he is still unable to talk to girls, and despite his exterior, at heart remains the same geeky, awkward boy he was in school. Suhan and Boney then have a brainwave that if Agastya marries Piya then he won’t have to pay her the settlement and at this juncture Suhan decides to help Agastya win the girl. They fly to New York where Piya is now living and hire a apartment in front of her house and start keeping an eye on her via telescopes and binoculars. Slowly Suhan trains Agastya into becoming more confident, charming, and above all winning over Piyas heart. Although Piya is reluctant at first she realises what a nice guy Agastya is and how much he cares for her and the two decide to get married. End of story? Not quiet! At this point Suhan comes to know of a secret…something that he wasn’t aware of….something changes the course of his life…and he now wants Piya back! Who gets Piya in the end is the million dollar question…watch JAAN-E-MAN to find out! As Shirish Kunder is involved in such a variety of roles with this movie, I will break it down one by one. As a writer Shirish has indeed taken one of the oldest Bollywood formulas. Bollywood has witnessed the love triangle for years and years on end and in that retrospect the story isn’t anything new at all. However its Kunders screenplay that makes all the difference. Despite having a age old story, his screenplay and is alive and crackling throughout. The sequence of events that in the entire first half infact keep the viewer with the constant smile on their face and the light hearted movie connects with the viewer. The second half abounds in clichés in the second half, however the emotional scenes for the most are well etched out which again makes all the difference. However the second half does get slightly too long, but more on that later. As a director Shirish Kunder does a MARVELLOUS job. Folks, this is a fairytale meets Broadway musical and the manner in which Kunder has presented the story is unlike anything Bollywood has ever seen. The narrative is innovative and indeed something that instantly connects with the viewer. The manner in which Kunder has used songs as PART of his narrative and tells bits of the story is just magnificent and shows his talent as a director who is at complete ease sitting on the director’s throne. It would’ve been easy to direct something like this with a cocky “Look at me, iam doing something different because I’ve been given loads of money” but that is not the case as he isn’t just showing off. He is introducing something new here in a subtle and smart manner ! Be it the comic scenes in the first half, or the emotional scenes in the second half…Kunder directs with a certain amount of confidence and conviction which comes as a welcome surprise for a debutant director. What I really liked is the fact that his style of direction(merging realism and fantasy) bears his own distinct mark, despite having a story which isn’t so fresh, he hasn’t copied the style of any other director and with his first movie he sets him self apart as a film maker of class and potential! The movie reveals itself on-screen. No doubt he has been given a large budget here, and the director makes use of every penny and it shows. The musical set pieces merged with splendid storytelling and great performance cement Shirish Kunder as a welcome addition to the new pack of directors....and I will say it now, yeh lambi race ka ghoda hai! The movie does have a few blemishes as well. Kunder the editor drags the movie out slightly too long, and the movie needed to be paced better in the second half. Crisp editing was the need of the hour, and this is surprising as Kunder himself is one of the industries top notch editors! My second fault with the movie was its second half. This is the kind of climax that has been witnessed many a times before, and despite the innovation I thought the ending for the most did down slightly. The ending scene too wasn’t quiet upto mark, and yes…although this is a fairytale fantasy there was room for improvement with the ending. Kunders dialogues are crisp and extremely well written. There is no over-the-top melodramatic lines, the lines flow naturally from the comedy to the drama! The three performances from the leading players in the movie are superb. Salman Khan is a complete and total KNOCKOUT here! I am not a Salman fan by any means, and although there are times he impresses me(HUM SAATH SAATH HAI, TERE NAAM, NO ENTRY) on the whole he is a actor whose acting style I haven’t been very fond of . His overacting and overdose of mannerisms and forced comedy just didn’t gel with me. On the other hand his star following has always AMAZED me as the actor has managed to hold onto a very strong following since his debut in MAINE PYAAR KIYA. With JAAN-E-MAN Salman PERFECTLY blends his star power(indeed he is a true rock-star) with one of the finest performances in his entire career and delivers a performance that takes the viewer completely by surprise. Salman combines a deadly combination of attitude, comedy, confidence, drama and emotion in one and does not over do it ONE BIT. Cut back to HUM DIL DE CHUKE SANAM, where Salman Khan nearly ruined the movie for me with one of the most annoying emotional scenes I have seen in the climax of the movie with his over-the-top crying. Now cut to JAAN-E-MAN where Salman actually managed to move me with his performance. His emotional scenes are flawlessly enacted and there is a high degree of honest in this performance which is something I rarely find in a Salman Khan performance. Salman…all I can say is that please continue that you’re doing here as you’re simply fantastic! Akshay Kumar too is superb in his role and manages to leave a mark. The actor who has recently given some huge hits has found his niche with comic performance playing perfectly to the masses with films like MUJHSE SHAADI KAROGI, GARAM MASALA, PHIR HERA PHERI, DEEWANE HUYE PAAGAL etc yet in JAAN-E-MAN he does a complete turn-around and avoids those exact trademarks. Yes,Akshays character does have comedy but it’s the kind of comedy that is bound to bring a smile to your face rather than his now-famous dialogue-baazi with immaculate timing. His character is one that is lovable and it’s hard not to love Agastya Rao. Playing a geeky nerd, his body language, get-up and above all his nervous laughter(this had the viewers in SPLITS throughout…a brilliant touch to the character which set it apart) was just spot on. He manages to put a restrain on his character without going overboard which would’ve been easy for him to do. On the other hand emotional scenes have never been Akshays forte. The always looks uncomfortable doing a full scale emotional/crying scene in front of the camera and in that sense JAAN-E-MAN is no difference. Towards the climax there are two crucial emotional scenes, and in my humble opinion Akshay failed to make the most of the opportunity in both scenes. He just didn’t seem comfortable and there is something very fake about his crying. In saying that this is again a performance which marks his versatility as an actor. At this juncture I would just like to mention the chemistry between Salman Khan and Akshay Kumar. If they sizzled on-screen in MUJHSE SHAADI KAROGI, they again simply rock together in JAAN-E-MAN. It is evident that the duo share a superb level of comfort together and this translates wonderfully on-screen and their chemistry together is a delight to watch! Preity Zinta spring a surprise again. She is a actress who I’ve always been two ways apart. On one hand there are performances like KYA KEHNA which I just loved and on the other hand there are performances like SALAAM NAMASTE which I hated to bits. She thoroughly impressed me with her last film KANK, and now with JAAN-E-MAN she delivers likeable performance. She too is extremely natural here(a trait that is in all three actors in this movie, credit must be given to Kunder here again) and is instantly likeable. She doesn’t over-do her dimpled smile and delivers a nice and balanced performance. In saying that her role here isn’t as meaty as her roles in previous movies of late. Anupam Kher in a supporting role is OK. I actually found the dwarf Kher quiet delightful and Anupam Kher is a actor who I have always loved watching in a crowd pleasing comic role. The “dwarf” jokes at the start raised a few laughs, though there was no rhyme or reason for him to have a double role, and it just seemed a little bit out of place. Javed Shehikh, Soni Razdan and Nawab Khan are all aptly cast in their parts. Aman Verma does well in his part, there is this one scene where Aman chases Salman dressed up like Elvis and follows him into the toilet. This scene had me in absolute splits and Vermas facial expressions(watch closely) are just HILARIOUS! Anu Maliks music is just spectacular. I liked the songs on first listening but after watching them on the big-screen you can’t help but fall in love with them. As mentioned above, the songs are PART of the story and narrative and each and EVERY song literally comes to life on-screen like a Broadway musical. JAANE KE JAANE NA, AJNABEE SHAHAR, KUBOOL KAR LE are just brilliant but the best track(s) in the enterprise are HUMKO MAALUM HAI and SAU DARD. The signature tune of of HUMKO MAALUM plays throughout and it is just completely addictive. You leave the movie humming the song. SAU DARD too is superb and Nigam voice is as soulful as ever. Technically speaking this is one of the finest products to come out of Bollywood this year. Where most directors use their budget on state of the art SFX for action scenes, stunts etc director Shirish Kunder and producer Sajid Nadiadwala spend a huge budget on some of most AMAZING sets (Sabu Cyril at his award worthy best) and most innovative camerawork ever seen(Sudeep Chatterjee at his award worthy best). I’ve seen New York a few times on the Indian screen this is the most inviting New York City has EVER looked on celluloid. All up where does that leave JAAN-E-MAN. Well the movie is an entertainer in the true sense and has something for everyone although there was room for improvement as the movie has its share of flaws. Superbly innovation direction, great performances, technical brilliant and a wicked soundtrack ensure that JAAN-E-MAN is a MUST-SEE this Diwali! Overall Rating=7.5/10.0 A.Shah Trivia: • If this movie is a HIT, it will be Sajid Nadiadwala and Salman Khans 5th HIT. They have earlier worked together in JEET, JUDWAA, HAR DIL JO PYAAR KAREGA and MUJHSE SHAADI KAROGI • Diwali seems to be a lucky period for Akshay Kumar. 2005 saw GARAM MASALA, 2004 saw AITRAAZ both of which became huge hits despite heavy competition • This time last year, both Akshay and Salman were going head-to-head in a clash with Akshays GARAM MASALA and Salmans KYONKII releasing on the same day. Co-incidentally both of them were directed by Priyadarshan • Sajid Nadiadwalas next film stars Akshay Kumar and not Salman Khan –HEY BABY.

Jaan-e-mann movie review Friday, October 20, 2006 08:11:02 pm TimesNow Print this PageEmail this PageComment on this Page Film: Jaan-e-mann Cast: Salman Khan, Preity Zinta & Akshay Kumar Director: Shirish Kunder Rating: *** (Pretty Good) Throughout Jaan-e-mann, Salman Khan swaggers, "I am a su...u..per star". And he sure is! Here's a man who has made the ridiculous into an art form – he does his own thing with uninhibited ease and has the audience who can't help but indulge him - so one minute he is impersonating Elvis Presley, the next minute he is walking around New York ala Zorro in the Mask of Zorro and then suddenly he is in drag beating up beefy hooligans ... all this for the noble cause of helping Akshay Kumar woo Preity Zinta in Shirish Kunder's debut, Jaane-e-man! If that has you a little confused - well here is the plot in short – Sohan (Salman Khan) is an aspiring actor married to his college sweetheart, Priya (Preity Zinta). The marriage ends in a divorce and Priya wants alimony of 50 lakh rupees. Soham doesn't have the money, so along with his crafty lawyer uncle, who also happens to be a dwarf (Anupam Kher) figures one way of not paying up, is if Priya marries someone else. Enter Agastya (Akshay Kumar), a geeky astronaut who's always carried a torch for Priya but has no clue on how to woo women. Soham decides to guide him, but he also needs to deal with his lingering feelings for his ex wife. Shirish Kunder's debut is a stand out - not because of the story, but because of the way he chooses to tell the story. The technique is what makes this frothy romance different. There is a fairy tale element to Kunder's narration - parts of the film are fashioned like a Broadway musical, or actually like a musical but more in the Hollywood tradition rather than our desi song and dance routines. What you need to watch out for – the transitions that Kunder uses to move from one scene to the other. One narrative technique that the director uses in abundance- lingering shots which track the action from one end of the frame to the other, revealing some other action altogether. This is a film which proves that technique - both on the edit level as well as in shot taking, can take a routine narrative to another level! (Cinematography -Sudeep Chatterjee who had earlier done some good work for Kyon! Ho Gaya Na!). The film also has a strong comic book element - the contradiction between the rock star and the geek who both love the same girl. But finally a film works because of just how much the story grips you and how much you care for the characters - and in that aspect, Jaan-e-mann works somewhat. The first half is light hearted - Salman gets in all the laughs and Akshay is good support. Preity's job description is to look pretty and she does that exceedingly well! The second half - drags and it is no fun when Kunder does a Johar - suddenly you have Preity's extended family doing a Joharesque song and dance routine all in the attempt to get her to marry Akshay! But all in all, all's well that ends well - and Jaan-e-man is a nice timepass entertainer - go watch it with that mindset - you may end up enjoying it!

Jaan-E-Mann **** Director: Shirish Kunder Starring: Salman Khan, Akshay Kumar, Priety Zinta. Shirish Kunder has scored and how. The editor turned director has surprised his ever audience (moi) with his film- with a winner all the way. The movie not only entertains it keeps you glued to your seats with the extraordinary treatment never ever seen on Hindi film scene. What makes this movie different is the director’s touch and his inherent need to make a difference to the art of story telling. The transitions, deft dissolves, the flashback mode, the songs, the mood lighting, the dramatics metaphors emphasized by unique cuts and taking make this film an absolute delight. If there is any Bollywood movie meets opera meets musical meets ‘Chicago’ then it’s Jaan-E-Mann. This is not going to be a review where I tell you the story synopsis of the film as to who loves whom and then what happened. For that you will have to watch the film.The flavoring is so correct and addictive. That you are not going to stop at eating one…you will eat the whole wafer factory. Akshay Kumar and Salman Khan stun you with their comic timing. Anupam Kher as the midget redefines his repertoire- three cheers to his BON-identity. The pun on BON ‘O” will only be understood by you when you see the film, till then just act intelligent and presume that I have cracked a good one. In the second half of the film Kunder catches you by your gut and keeping you completely riveted. The emotions gush, the characters get a hang of the situation, the small baby gurgles her way into your hearts and everything right that needs to happen when you are watching a film begins to happen. By the fag end of the film you know the potion that has been conjured by Kunder has effectively cast its spell. It could be old wine in a brand new bottle. But what taste and what packaging!!! The film lets you slip out of the theatre hall with a smile and you know you have seen an out and out entertainer. Salman Khan wows you. Akshay Kumar stuns you. Anupam excels. The technicians look like they were all fired up for this flick. Farah Khan gives her best to this movie. She proves her heart and mind are both safely in one place- in Shirish Kunder. The cameraman Sudeep Chatterjee’s work is as yummy as a double chocolate sundae. So yummy is each frame, that you want eat it up. By the end of the film do you forgive Shirish Kunder for taking so much credit in almost every department-you do. He is truly credit worthy. So if you want to have a blast at the movies. Laugh, cry, get enthralled and go on a complete joy ride. Don’t think a second. Buy a ticket to Jaan-e-man and buy yourself a joy ride. Mushtaq Shiekh

Akshay's goofy laugh wins you over October 20, 2006 18:37 IST What saves Jaan-E-Mann -- a riff on the oldest love triangle saga -- from mediocrity, is a well-tuned sense of irony. Jaan-E-Mann: The Alternate Review One of the initial scenes marvellously throws you into a black and white awards function, where tension is rife as Rajesh Khanna and Amitabh Bachchan are beaten to the Best Actor Award by Salman Khan, sitting there rubbing shoulders with Dharmendra. It's a glorious Forrest Gump moment that Indian cinema has been crying out for, where Salman (playing a guy called Suhaan) in a dream sequence winks at Meena Kumari with an insouciant 'Thanks Meena.' Fab. Several scenes and a couple of hours later, the sets are bright, garish yellow and the music blaring is an over-shehnai'd version of a Maine Pyar Kiya song. Salman, keeping double chin in check, isn't quite the same young hunk the nation flipped for back in the day, and as he grooves to the beats as an extra on a Bhojpuri movie set. It's interesting to reflect that, today, almost every still-acting star from the grainy period footage is working on some kind of Bhojpuri project. Hmm. Anyway, moving along. Will you like Jaan-E-Mann? Well, if you can bring yourself to believe that Akshay Kumar is an Einstein-idolising geek called Agastya Rao, director Shirish Kunder is home free. The film depends on that wilful suspension of disbelief, and it's best to let go right with his opening shot, a waltzy nod to 2001: A Space Odyssey. The film traipses breezily through its story about a geeky boy turned spiffy astronaut, and a self-proclaimed superstar. Jaan-E-MannBack in college, long-haired Salman walked all over Akshay's dreams, stealing Preity without even noticing the dweeb in braces. Now, seven years later, Salman is sitting with his uncle Boney, a dwarf who picks up on every single 'short' reference. The two are cooking up a scheme to get struggling actor Salman out of his alimony woes. He owes ex-wife Preity a packet, and as the two (Salman on his knees eye-to-eye with tiny Anupam) pray for a miracle, enter Akshay Kumar, complete with halo. As they tell the unsuspecting dopey astronaut that Preity's divorced and in New York, the plan is simple: get him married to Preity so Sallu doesn't have to shell out a rupee. So, smooth Salman walks within a hundred yards of Akshay, feeding him lines he knows his ex-wife will trip on. The wooing process is light and frothy, and by the time Akshay's got the hang of Preity, Salman's back in love. But, what now? It's one of those films that can fall either way, and it's chock-full of predictable cliche. What makes it work is the narrative. First-time director Kunder doesn't hide his love for Broadway. The film unfolds neatly, with almost every set layering into the other. Walls fall back, rooms open into college campuses, contexts change, and a liberal dose of flashbacks helps disparate moments fuse conveniently together. Which isn't to say it works entirely. While the plot proceeds amusingly enough in the first half, the second half is considerably tougher to tackle, audience-wise. A tearjerker doesn't translate perfectly to Kunder's frivolous cinematic grammar, but there are moments when it softens the punch -- the most typically maudlin Bollywood moments are lightened by glass comically shattering in the background. The execution could have been much better though; there are times when Kunder's gimmickry falls drastically short. But, for a first film, he definitely seems to have most of it right. Salman Khan is the film's leading man, no question. It is his story all the way, as he goes from guardian angel to wistful lover. The actor has mellowed over the years, and now cries with more abandon. There is a realism to Khan's tears and, because he was always a likeable funny man, he carries the film with ease. Kunder presents him with some remarkable moments of pathos, and one particularly comes to mind: when he stands teary-eyed in Times Square and watches himself work in a diaper commercial. Honestly, it's good to see Khan back. Jaan-E-MannAnd while the film may not be his story, a large part of it coasts on Akshay's broad grin. The role forces him to push himself into an awkward box, a mousy fellow unsure of himself. It's a role he hasn't played and he takes it on very well indeed, providing the film's most memorable character with a very nuanced performance. This is an actor who seems to show increased maturity with every other role, and he is definitely heading in the right direction. His screen presence is electrifying, and it's great that he's playing against type. Preity Zinta is an ornament throughout, but comes vividly alive in the film's last scene, a moment that makes you lament why filmmakers today don't let the babyfaced actress have more fun instead of forcing her to sob copiously. She doesn't have much to do in Jaan-E-Mann, but looks appropriately attractive. Composed by Anu Malik, the music doesn't really click until you actually see it visualised. And after you do -- aided by Kunder's deft music-video storytelling -- it grows on you completely. Ever since Munna Bhai MBBS, street lingo has invaded the world of Bollywood lyric. Here, the slang brings extreme banality, making even the mushiest songs casual. In the end, what echoes in your ears as you leave is Akki's thick, goofy he-he-he laugh. It's the best thing in the film.

Meter: *POOR ** AVERAGE *** GOOD ****SUPERB JEM - 3,5/4 KHAN-E-MANN ***1/2 Starring: Salman Khan, Akshay Kumar, Preity Zinta, Anupam Kher Directed by: Shirish Kunder WHAT'S IT ABOUT: Soaring canvases set against the backdrop of an illuminated skyline, sweeping shots of opera-styled visuals, from a virtual space voyage to the breathtaking landscapes of New York, Sajid Nadiadwala's Jaan-E-Mann is a stunner that will seduce your imagination. Seldom comes a film where a director's sheer treatment surpasses even the tiny holes in the script. Kunder makes a smashing debut with a film that's as glossy and stylised as the ones made by the best in the business. And for a first-timer, that's incredibly commendable. The story begins with small-time actor Suhan (Salman Khan) coming to terms with his divorce from wife Piya (Preity Zinta). Unable to pay her the alimony she demands, he and his dwarf-uncle (Anupam Kher) devise a novel plan when they encounter the astronaut-geek, Augustya (Akshay Kumar). Augustya has been in love with Piya since college days but is unaware about Suhan's relationship with her. Suhan believes that he wouldn't need to pay Piya any alimony if she remarries. And in Augustya, he finds the right candidate for that. Together, they head for New York where Piya lives and Suhan teaches Augustya all the ways and means to woo her. The plan works perfect until Suhan falls in love with Piya all over again. But maybe it's too late because Piya and Augustya are already engaged and ready for marriage. WHAT'S HOT: One look at Jaan-E-Mann and you know why they call movies a director's medium. The film is shot innovatively as Kunder uses quintessential Hollywood musicals as his inspiration to propel the narrative. Borrowed sequences are in abundance: 2001-A Space Odyssey, There's Something About Mary, Addicted To Love, Austin Powers and even Rush Hour. Some scenes even remind you of the pasha of glitz, Karan Johar. But this is a tribute and what a spectacular one at that. Kunder interweaves his narrative with drama, melody, humour and most importantly, a classic sense of style. It's almost poetry in motion. The interaction between Salman and Akshay is brilliantly captured. Preity makes her presence felt but her 'Sex And The City' demeanour is becoming increasingly repetitive-Salaam Namaste, KANK and now Jaan-E-Mann, she looks the same. The surprise packet is 'naughty boy' Aman Verma — in a bit role — his comic timing is impeccable. Akshay is in full form-his transformation from a geek to a man madly in love is amazing. Watch him in the dramatic scene with Preity in the climax. He's done that in a single shot and with such restraint. Even as 'Champu', the college nerd, Akshay hogs every frame. The classroom sequence is the highlight. The show-stealer of Jaan-E-Mann is indeed Salman Khan, uninhibited and stark in easily his best performance in a long time. Farah Khan's choreography is top-class. She certainly has reserved her best for her husband. WHAT'S NOT: The script ought to have been a bit tighter in the second half. The break-up of Suhan and Piya seems as abrupt as the feeble reasons that keep them apart. The 'proposal' song needs to be chopped. Anupam Kher as a midget seems highly uncomfortable. WHAT TO DO: Jaan-E-Mann is a feast for the eyes. It's a film that lingers on you. Watch it for the inventive brilliance of Kunder and the simply outstanding Salman at his spontaneous best. And yes, it's a must-see for everyone in love.

Jaanemann Review - Indiafm.com 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.

Jaan-E-Mann: A darling all the way By Rohini Bhandari 20 October 2006, 01:04 AM Businessofcinema.com Jaan-E-Mann Rating: 4/5 Director: Shirish Kunder Cast: Salman Khan, Akshay Kumar, Preity Zinta, Anupam Kher and Aman Verma. Producer: Sajid Nadiadwala (Nadiadwala and Grandsons Entertainment) Synopsis: Salman Khan (Suhaan Kapoor) and Priety Zinta (Piya) were lovers in their college days. Akshay Kumar (Agastya Roy) is a geek, who studies in the same college as Preity and is her secret admirer. However, he’s heartbroken when he discovers her affair with Salman and goes away to the US where he becomes an astronaut and is currently serving NASA. Meanwhile, Salman and Preity get married and then also get divorced due to communication gaps between them. Post divorce, Salman has to pay a monthly sum to Preity, who now stays in New York and runs her own flower store. However, since he is jobless, he isn’t able to bow to her demands of Rs 500,000 per month. Ten years later, Akshay arrives from the US to express his unconditional love to Preity and gets to know that she is divorced. The person who tells him about this is none other than Salman. However, Akshay is unaware of the fact that the man who informed him about Preity's current condition is the same man who she loved in college and got married to. This is due to Salman's look, which was not the same as Akshay had known 10 years back. Salman sees Akshay's arrival as a brilliant opportunity to get Akshay to propose to Preity so that he could get rid of the heavy compensation. In order to help him get Preity, Salman flies down to New York. However, when he reaches there he realizes that he is a father of Preity's kid and also become conscious of his love for her. But due to lack of confidence in himself and for the fear of rejection, he restrains from approaching her and tries to run away from Preity. On the other hand the chemistry between Preity an Akshay takes better shape. What follows is a series of emotions and drama to set things right in everybody's life and to watch who Preity goes to and what happens to the lovers. The screenplay of the film is the hero is the true sense and spirit. But not taking away any credit from Salman Khan, Akshay Kumar and Preity Zinta who look stunning and have done a spectacular job under the guidance of director Shirish Kunder. Anupam Kher plays a double role in the film. His role as a dwarf is really good and adds a lot to the humorous scenes. Aman Verma excels in the small role given to him. Kunder has invented and gifted an innovative storytelling technique to Indian cinema. His novel techniques of using lights, special effects and camera angles have added a lot of the screenplay of the film. He has not only written the story, screenplay and dialogues, directed and edited the film, but has also given the background score of the film. Not taking away the reality aspect of the story, one even gets a feeling that they are watching a fairly tale because of the way the story has been told. But nonetheless it is a treat. The film doesn't have an excessive dose of filmi dialogues. Instead the director has used songs, background music, facial expressions, lights and camera angles to express emotions and intensity of scenes. On one hand where the screenplay is the hero of the film, Anu Malik's music is its heroine. It has added flavor to the film and elated it to another level. All the songs deserve a special acclaim especially ‘Humko Malum Hai’, ‘Ajnabee Shehar’ and ‘Sau Dard’. The songs not only sound good but also look good and grand on the big screen. On hearing such nice songs and seeing Salman and Akshay together, one does miss seeing their conventional dance as seen earlier in ‘Mujhse Shaadi Karogi’. Only ‘Jaane Ke Jaane Na’ gives them scope to groove to the beat. But Farah Khan's choreography in the jazz style in the songs is splendid. Gulzar's lyrics in the film have been blended extremely well with the story of the film. More so because the songs carry forward the film and also dialogues have been sung in the film. The movie does lose pace at times but one does not mind overlooking it because of unique story telling technique. Especially the scene where Akshay goes to Preity's house for the first time for her parent's anniversary could be a little crisper. Although the climax of the film is emotional and in spite of seeing the actors cry on screen, it hardly triggers tears in the audience. Hence the emotional scenes could have been worked upon better. Also a little worry is about the limited scope of the film in terms of audience. While on the one hand, the film is releasing in B and C centers due to the tie up with UFO Moviez. However, on other hand, the story telling technique of a Broadway musical may not be comprehended by most people. The subject is unique for the multiplex audience but might be alienated by the small centre audience. The film has a lot of in film placements and visibly Bournvita has taken a stark screen presence amongst all of them. The brand name has been used and abused 10 times in a four minute scene. So while it initially adds humour to the film, it later becomes redundant. The movie looks extremely rich, not forgetting this is Saajid Nadiadwala's most expensive film till date ($5 million reportedly). Sudeep Chatterjee's innovative experimentation with lights is worth applause. His cinematography has given New York a flamboyant look that has never been seen before in any Bollywood film that was shot there. The film will be a sheer treat for audiences and an absolute worth for their movie ticket.

When Salman dressed like a woman October 18, 2006 Imagine taking two of Bollywood's hottest actors and dressing one up as a nerd, and the other as a woman! But debutant director Shirish Kunder seemed sure of the way he wanted Akshay Kumar and Salman Khan to look in his film, Jaan-E-Mann, and asked fashion designer Surily Goel to go about the task. As the young designer says, it wasn't an easy one. "We spent an entire day planning Salman's look as a woman. He tried on lots of wigs, makeup, padding... He also had to practice walking on heels, which is not easy for a guy." This is just one of the looks Salman sports in the film though. He also plays a rock star. "He has long hair, torn jeans and earrings. It's a look inspired by Guns 'n' Roses and Bon Jovi," Surily explains. The designer, who has worked on a Hindi film only once before (Salaam Namaste), says that styling for Salman's various characters was the toughest. One of the most difficult things to do was locate a belt for the actor to wear as a rock star. "The belt has a screen. Shirish knew exactly what his actors should look like, and insisted we get a belt like that. I had to search everywhere for it. We then programmed it so his rock band's name flashes on the screen," she said. Then, there was the time Salman lost his hair due to what was reportedly a bad hair-bonding job. "We covered that by making him wear a turban for a song," says Surily. She formed a lasting friendship with the actor on the sets of the film, and even got him to walk the ramp at one of her fashion shows later. "Salman is very helpful. He has a very big heart. He's also knows a lot about costumes. He knows how to fix something that goes wrong. He had a lot of inputs for his look. He wanted more buckles and chains for his rock star outfit, for instance. It was also his idea to tie a bandana and wear just one glove. The look came together because of him," she adds. The film, also starring Preity Zinta, spans a period of 10 years. In their college days, Salman and Akshay play contrasting characters of a rock star and a nerd. Later, after a decade, the three of them look more normal, but very fashionable. "After ten years, Salman wears a lot of jackets and collared shirts," says Surily. "Akshay, who wears a wig and braces in college, looks unrecognisable. In fact, the other two can't believe this is the same nerd from college." Surily adds that Shirish and she thought of Akshay's nerdy look together. "We knew we wanted glasses. We wanted him to look funny and mad," she laughs. Unlike the heroes, Preity's look is not as distinctive in the film. Surily, who did all her shopping in New York, says, "Her look is very funky, bright and colourful. She wears a lot of short skirts and jackets in her college days, and becomes very sophisticated later." Will Jaan-E-Mann make a fashion statement like her earlier film Salaam Namaste did? We'll know after the film releases on October 20.

"If you ask my thirst for playing new roles even when I'm 90, I will say there are hundred more characters I could've have done" - Anupam Kher By IndiaFM News Bureau, October 19, 2006 - 12:58 IST Anupam Kher is one of the most versatile actors of Hindi Cinema. This man has always tried out new roles and now, he is all set to appear in a very different character in Sajid Nadiadwala’s forthcoming film Jaan-E-Mann. He plays a dwarf, which has been one of the most challenging roles he has played. Anupam Kher speaks to IndiaFM about his role about his forthcoming film Jaan-E-Mann. Jaan-E-Mann looks rich and appealing Jaan-E-Mann is a love story. But what makes it unique and unusual is its interpretation by the director. I like the way Shirish has conceived it. I think for thousands of years the stories have been similar but it is the director and creative team of the film that brings a certain amount of freshness. And Shirish brings in a completely different interpretation in the way he has conceived the film. It is just great. You play a dwarf character in the film. Tell us more about your role in the film. He is Salman’s friend Boney Singh. It could have been a normal role. I have played many friends role, mentor’s and philosopher’s role to lot of leading actors but Shirish wanted the same man to be a dwarf. It looks easy on a concept level but on an execution level it is the most difficult and painful thing in the world. If it would have come to me 20 years back then I would have been much more agile. But then the USP of the character is that he is a dwarf yet he doesn’t work in a circus. Dwarf people can also do the normal job as he is lawyer by profession and that made it unusual. So, I play a dwarf named Boney Singh, who is a friend of Salman Khan and he plays a very important role in the first half of the film. What interested you to play this character? What interested me is the fact the he is a dwarf and from the last 70 years of Hindi cinema this is for the first time that any actor played a dwarf. While in Tamil cinema Mr. Kamal Hasan has done it, he played a circus joker. But this person is not a joker. Instead, he is a normal person except that he is a dwarf. So, I wanted to be the first actor in history of Hindi cinema to play a dwarf. As you said, it would have been more agile if you would have done it 20 years before. It seems this character is physically taxing for you. It was very painful. When you have to be on your knees all the time, do dances standing on knees, sometimes even tying the legs to keep your balance is not so easy; you have to be a gymnast. But sometimes but you have to act out such characters as well. I am not over playing my commitment to the character or to cinema. It was surely difficult I can’t deny that but the result is fascinating. Did you undergo any preparations for it? Of course you can’t play the dwarf without preparation. First of all, if you are reduced to half your size, your whole gestures become small. You can reduce your height by bending on your knees and tying shoes on your knees but you can’t cut your hands. You don’t have to work only on your look but also a dwarf man’s psyche. You have to understand how he thinks, how he reacts and how he behaves. It has to work on both these levels. I am a serious actor, I take acting seriously. I have an acting school and I feel my students should be inspired by their teacher or their principal. They should feel that their mentor is an actor who they can look up to. That is why it is important that my choice of characters or roles should be good. That’s the reason why I have tried out different types of roles. Whether it is a Khosla Ka Ghosla a film like Jaan-E-Mann or Vivaah or Apna Sapna Money Money, I have played various characters and then on the top of all is Maine Gandhi Ko Nahi Maara. So, you have to reinvent yourself as a person, as a director and as an actor. I have an acting school and I feel my students should be inspired by their teacher or their principal. They should feel that their mentor is an actor who they can look up to. Jaan-E-Mann is Shirish’s first film as director, so how was the experience of working with him? Jaan-E-Mann is what it is because of the director. Of course Sajid Nadiadwala played an important role to make his dream come true and let Shirish execute the film the way he wanted to. But surely, Shirish’s interpretation of the film and the characters is very unique. He doesn’t talk much but whatever he wants to show he shows in his work. Whether it is the interpretation of the role or the songs or the way he has put this story together for the audiences. It surely is the genre of Hindi commercial film but the way he had executed it is completely different and I am very happy and proud to be part of this project. What about your other co-stars? Well I have worked with Salman, Preity and Akshay in many films before. They are joy to work with. I have more scenes with Salman. He is a dear co-actor to work with. He has a good sense of humor. He has a casual but concrete approach towards his work and towards his characters. Same goes with Akshay. I have no scenes with Preity in this film. I had scenes only with Salman and Akshay. During the scenes, all of us were relaxed and enjoyed because unless all of us are relaxed on screen, audience won’t enjoy our performance. How is your association with Sajid Nadiadwala? I earlier did Sajid’s films like Waqt Humara Hai and Judwaa and now I am doing this film with him. Sajid is a very fine producer a very magnanimous producer too. He has a great sense of humor. He was very much involved with the script and execution work as well. It is a joy to have a producer like him. Tell us something about the music of this film I love its music. Of course my favorite song is ‘Jaane ke Jaane Naa’ I love that song and I am dancing in that song with my legs tied. I think children are going to relate to my character because I have done TV shows with children and they like me. So, this will be something different for them. It’s my tribute to children that come and enjoy Anupam uncle this way. Coming back to the music, the love song ‘Humko Maalum Hai’ is also very beautiful. In fact, all the songs are very good. I think the soundtrack of the film is really fascinating and I must again say that Anu is a great composer but Shirish has also made a lot of contribution. Sudeep Chaterjee’s cinematography is also good. I think every aspect of this film is good, I haven’t seen the complete film as an end product but I have seen all this in a dubbing theatre. What is the USP of this film? I think it’s one of the finest films of this year. It’s entertaining, it will make you laugh, it will make you cry and it has fantastic performances. It has a great music. It has a dwarf and it has lavishness. It has joy and it has everything that viewers want in a film. Besides, it is larger than life. What is your expectation from this film? I think it will be a super hit. You are one of the most versatile actors of Hindi cinema and have played a wide range of roles over the years. Is there any specific character that you have not played and would like to play in future? If you ask this question to me even when I’m 90, I will say there are hundred more character I could’ve have done. There is no full stop for an actor, he is always hungry. Besides, I feel I am very lucky. God has been kind to me that I have been able to get the roles that I wanted.

Akshay Steals Salman's Thunder? The trial show of the red hot film this festival season JAAN- E- MANN has begun. And insiders who have seen the first trial of the film are raving about the performance of Akshay Kumar in the film. In fact a very prominent trade analyst who saw the trial was blown over by the performance of Akshay Kumar. According to him Akshay has delivered a very ‘Hum Dil De Chuke Sanam’ type of a performance. He has played the role of an underdog geek to a romantic to perfection. He even added that Akshay is sure to get a national award for his powerhouse performance. It was Ajay Devgan who stole Ashwarya in Bhansali’s powerhouse film. It seems it is gonna be Akshay who will steal Salman’s thunder in ‘Jaaneman’. Akshay Kumar is presently shooting in Dubai and will not be present in India, like previous occasion for the release of the film. Incidentally whenever he has done that, all his films have turned out to be a blockbuster

Jaan-E-Mann exclusive screening The stars of JAAN-E-MANN watched the film early this week. But the first, exclusive screening of JAAN-E-MANN for producer Sajid Nadiadwala and wife Wardha’s friends from the film fraternity was held on Wednesday night [18th October] at the swanky Yashraj Studio in Andheri. Amongst those present at the private screening were Pinky Rakesh Roshan, Zarine Khan, Fardeen Khan with sister, Lali David Dhawan, Kishan Kumar and wife Tanya [T-Series], Vipul Shah and wife Shefali, Raj Kanwar, music composer Anu Malik with family, Priyanka Chopra’s parents Dr. Ashok and Madhu Chopra, Dr. Pandey [Chunkey Pandey’s mother], Sophie Chaudhary, writer Milap Zaveri and Sajid Khan [Farah Khan’s brother and director Shirish Kunder’s brother-in-law]. Sajid and Wardha played excellent hosts.

Tune churayi meri, kisne o sanam? Mumbai Mirror Anu Malik is hit by allegations that Jaan-E-Mann’s music has actually been scored by A R Rahman's assistant, G V Prakash Subhash K Jha Anu Malik seems proud of scores in his two new back-to-back albums Jaan-e-Mann and Umrao Jaan. The question is, are the Jaan-e-Mann tunes actually Anu's? According to a source, "The director Shirish Kunder was completely disappointed by Anu's tunes. Together with A R Rahman's assistant G V Prakash Kumar, Shirish completely re-did the score. Anu has no moral right to take credit for the tunes. In reality, he has not composed even a single note." Anu, however, vehemently denies the charge. "I swear that all the songs in Jaan-e-Mann are done by me. GV is a production guy. Every tune from Sau dard hai to Ajnabee to Sabko maloom hai, is mine. We took GV for the sound production. Those who are spreading this strange rumour should try to create the same tunes with someone else. You think Shirish Kunder would allow me to take credit for the music if I hadn't done it? My style is easily identifiable in Jaan-e-Mann. Actually the music in Jaan-e-Mann and Umrao Jaan are so good they can't believe I've done it. Actually , G V Prakash left Mumbai before the background music for which he's credited, could be done. So the background was done by Shirish and a guy called Rohit. No one in this industry will give me a chance if I wasn't delivering the goods. Ask Gulzarsaab, who's written the lyrics…" And, what about his feud with Himesh Reshammiya? "I've no time for all this. I've moved on. I'm doing so many other things. I'm not threatened by any other composer. I've always felt I'm very good provided I've a director like J.P. Dutta or Shirish Kunder to inspire me. I yearn to work with Aditya Chopra and Sanjay Bhansali. These guys know what they want," he says. Anu's daughter Anmol has sung in Umrao Jaan.But she has no plans of entering the Hindi movie industry. "Anmol has her own ideas. She writes composes and sings tunes. But not in Hindi. …English. She wants to be an international pop star." So did Anu, at one time. WHO IS G. V. PRAKASH? A full-fledged music director at 19, G V Prakash now has big names such as Shankar Mahadevan and Alka Yagnik singing to his tunes. Well, he is A R Rahman's nephew. But few know that Prakash is also a Grade 8 gold medallist in solo piano from Trinity College, London. Before, Jaan-E-Mann, Prakash has worked in films like Swades, Kisna, The Rising: Ballad of Mangal Pandey, Rang de Basanti with Rahman

Adlabs rolls contest around Jaan-E-Mann By Businessofcinema.com Team 20 October 2006, 12:15 AM MUMBAI: Adlabs Cinemas is upbeat on the festive season and has planning something special for patrons at all their multiplexes - Fame Adlabs, Huma Adlabs, Imax Adlabs, R Adlabs, Metro Adlabs and Pacific Mall Adlabs. For every ticket of Jaan-E-Mann purchased either online or at the box office on 20, 21 or 22 October, the person would be eligible to win the Elvis costume worn by Salman Khan in the movie. What's more, the ticket buyer also stands a chance to meet the star cast of Jaan-E-Mann - Salman Khan, Akshay Kumar and Preity Zinta at a private dinner at the newly opened Ebony Lounge in Mumbai's Metro Adlabs. The results will be declared by Adlabs on the following weekend. Adlabs is also the overseas distributor of Jaan-E-Mann.

All in the family for Jaan-E-Man October 18, 2006 Producer Sajid Nadiadwala broke his usual policy of taking a very long time to decide on green-lighting a movie project and backed the $5 million Jaan-E-Mann in a matter of minutes. He was not at all worried either that his most expensive film yet - starring Salman Khan, Akshay Kumar and Preity Zinta - would be directed by a newcomer. "When the choreographer happens to be my sister and the story-writer and the director happens to be her husband, I feel my film is in good hands," he said with a wide grin when he visited New York recently to promote the film. He was talking about Farah Khan -- Bollywood's top choreographer who has also directed the hit Main Hoon Na, starring Shah Rukh Khan -- and her husband Shirish Kunder. "Farah is more than a sister to me," Nadiadwala said, "and when she gave me a two-minute narration of a story idea Shirish had, I instantly said I will make it. I found the love story to be unusual. I felt we could make a film that was spectacular and heart-touching too." Salman and Akshay too agreed to do the film a few minutes after he had discussed the project with them, Nadiadwala said. "They read the script only on the first day of the shoot," the producer added. Zinta said she was drawn to the project because she knew it was going to be a lighthearted film. "An important factor in signing the film was the fact that someone like Sajid, who knows a great deal about making big films, was going to produce this film. When you have a new director, it becomes very important that a very smart, very wise producer is there to guide everyone," Zinta said. "I am very selective about scripts," Nadiadwala -- who has produced seven films in 12 years including the hit Mujhse Shaadi Karogi -- pointed out. "It takes me a couple of years to finalize a script. And here I was committing an expensive, star-studded film on a two-minute narration! "But I am very family oriented, and I was very confident that the entire team that includes composer Anu Malik, who is like a brother to me, would pull off something very special," Nadiadwala added. "I have always believed that Farah is the Sachin Tendulkar of choreography," he asserted. "And with her husband and Malik involved in this film, she has given her very best to it." The producer claimed Jaan-E-Mann is not the usual Bollywood musical. "The songs are used in the film to carry the story forward, and choreography plays a very important role in the film too," he said. People have often asked him why he still signs Anu Malik when many leading producers have moved on to more current flavors like Himesh Reshammiya. "Anu can surprise anyone who has faith in him and who challenges him," Nadiadwala said. Jaan-E-Mann's music is ample proof that Malik still has a lot of beautiful music left in him, the producer insisted. He added that Jaan-E-Mann would be one of the films -- apparently with Umrao Jaan -- that will revive Malik's career. "Anu has given music for two of my biggest musical hits, Judwaa and Har Dil Jo Pyaar Karega," he added. "He was the obvious choice for Jaan-E-Mann." Nadiadwala admitted that despite the two-minute nod, it took Kunder and him almost a year to fine-tune the project. A few days after the producer's New York visit, there were reports that following an interview Kunder had given a Mumbai tabloid, Farah Khan had sent her apologies to Nadiadwala. The debutant director had apparently told the tabloid he would never work with Nadiadwala again, owing to the difficulties he faced while shooting. A source close to both men insisted that the conflicts and misunderstandings were minimal. "But then every director, particularly a first timer, becomes very possessive of his film," the source pointed out. "Even the best of Hollywood directors including Martin Scorsese and Francis Ford Coppola have had disagreements with their producers. That is why many years after the release of a film like Apocalypse Now does Coppola come out with a director's cut," the source added. Nadiadwala, whose career started as an associate producer on the 1967 hit Pathar Ke Sanam, pointed out his family's long association with the Hindi movie business, and their track record of grooming talent. "Over the decades many well known directors have made their debut with films produced by the Nadiadwalas, especially Shakti Samanta (Aradhana)," he said. "We have had a history of grooming newcomers or bringing back into the limelight distinguished directors who have been lying low." The Nadiadwala family has produced such hits as Howrah Bridge, Taj Mahal, Chitralekha and Adalat, the last being one of Amitabh Bachchan's big hits in the mid-1970s. "So I was very confident in handing over Jaan-E-Mann to Shirish," the producer said. He confessed that too many people had asked him about the wisdom of releasing his film on the same day as Farhan Akhtar's Don. The producer did not seem to be tired of assuring the doubters that there need not be any cannibalising -- and that one big budget film does not always have to eat into the box-office gross of its seeming rival. The market is big enough to absorb two hits, he said, pointing out how in summer Hollywood sees several big budget films released the same week. The Indian market too has become sophisticated in recent years, Nadiadwala felt.

Goodness gracious Preity & Salman! Shubha Shetty-Saha Wednesday, October 18, 2006 20:41 IST It was perhaps one of the most touching parties thrown by a star in eons. Yesterday, actor Preity Zinta held the first peek of her film ‘Jaan-E-Mann’ for more than 1000 children from various orphanages and trusts across the city. Preity was at the theatre since 9.30 in the morning, rehearsing for the show that she was later going to put up for the children. The entire floor of a mall was converted into a kiddie zone with various stalls that included tattooing, hair braiding, hair colouring, drawing etc. And, food and drinks flowed too. Preity, looking like a small girl in a tee and miniskirt, was bubbling with enthusiasm as she posed with each of the kids. The magic show turned out to be the highlight of the evening as Salman Khan himself emerged out of his cut-out, amidst squeals of excitement from the kids. Most kids couldn’t believe their eyes, like Bobby who came from St. Catherine’s home, told us, “Preity toh achchi lagti hai, par Salman bahooot achche lagte hai!” Bobby could not have asked for anything more that afternoon. If Bobby was happy, Salman looked happier posing with him and other kids. Said Preity, “All the kids were wishing me happy birthday, even though I kept telling them it’s not my birthday! It’s my first such event and I am so happy that it went off well. Salman Khan never says no to a good cause and I am so glad he was here to give me company. Akshay (Kumar) couldn’t make it because he’s in Dubai.” Wizcraft managed the event. Volunteers wore a t-shirt that said, ‘Live bravely’ autographed by Preity and the kids were given goodie bags as presents. Sajid Nadiadwala, the producer of Jaan-E-Mann was also present at the evening. A happy sight of beaming children around us, Preity proved to be a jaanemann (sweetheart) in real life too!

Preity Zinta invites over 1,200 kids for Jaan-E-Mann Kids were all the more excited on meeting Salman Khan at the screening Express News Service Mumbai, October 18: Living up to her image of being one of the bravest and warmest actors of Bollywood, Preity Zinta on Wednesday invited children from charitable institutions and hospitals to the screening of her latest release, Jaan-E-Mann, at Cinemax in Andheri. The actor booked five screens for a special show for over 1,200 children and rolled out a red carpet for their welcome. Suited booted dwarfs escorted the kids to stalls like magic show, tattoo, hair braiding parlours etc. Preity herself performed a small skit and also posed for pictures with each and every child. The actor had been planning this bash after a visit to Leelavati Hospital last year where she met two orphans. “I asked them what they want most in life and they replied that they have never been to a party since nobody invites them and that they’ve only been to Ganpati festivals. This statement really touched me and I decided to throw this party.” For this party, she had a theme ready. The actor got printed “Live Bravely” on black t-shirts which she gave to the kids. “I actually wanted to write ‘Keep Mumbai Clean’ but realised that everyone will laugh at me,” she said. “Since I'm the face of the Bravery Awards in India and there were lots of kids in the party who might not make it till next year, I felt, a positive message like this will be encouraging,” she said. The kids literally had a ball. Nine-year-old Bobby from St Catherines Home passionately said, “Yeh ekdum mast party hai. Waise toh mujhe Kkrish dekhne ka tha par Salman bhi chalega. (It’s a lovely party. Though I wanted to watch Krishh, Salman will also do)”. For 7-year-old Heena, this was her first multiplex experience. “Itni sardi hai andar par Salman aur Preity didi ekdum mast hai. (It was so cold inside the hall, but I liked Preity and Salman a lot)”. The energy levels of the kids reached a new crescendo when actor Salman Khan made a special appearance as a goodwill gesture for Zinta. “Yeh Salman hai. Kitna sundar hai (Is he Salman Khan? He is so good looking),” exclaimed 11-years old Rohit.

Candid camera on Jaan-E-Mann By: Upala KBR October 18, 2006 Salman Khan and Akshay Kumar What happens when Sajid Nadiadwala, Salman Khan, Akshay Kumar, Preity Zinta, Farah Khan and a newbie director team up for a film? Humko maloom hai ke yeh Jaan-E-Mann Rs 35 crore ka hai, that it’s an emotional love story and is a love triangle… but we wanted more. So we’ve got some interesting gupshup about the film and the cast. Sajid gives us an exclusive gossip and behind-the-scenes stills from Jaan-E-Mann. Producer khush hua Says Sajid, “The first time I met Shirish (Kunder) I was impressed. Farah told me, ‘He’s marrying me’ and my first impression was that if this guy is ready to marry my sister, he’s a great guy! When he gave me a one-line narration of Jaan-E-Mann, I was even more impressed. What floored me was the way he shot and delivered the final product. Shirish will go a long way…” Salman and Akshay Salman ke nakhre Says Sajid, “Aisa kuch nahi tha. Salman has a unique way of working which not many people understand. He works only with friends and it’s always an amazing experience working with him. When stressed, many things happen and we expect 100 per cent from everybody. But all these things are signs of creativity and the bottom line is to have a great product.” Preity’s allergy The Zinta babe has allergy problems. One night, while shooting in New York, she took some allergy medication. Says Sajid, “The call sheet was 7 am but we were still banging on her door at 9 am. Preity Zinta, Akshay Kumar and Shirish Kunder She just wouldn’t open the door. Akshay finally wanted to break it open but I didn’t know what the American laws were like and if they might arrest us! I was scared for Preity and was almost in tears. Suddenly, she opened the door and started firing us as if nothing had happened. She couldn’t understand why we were banging on her door!” Talking about the number of delays that have marred the film’s schedule, Sajid says, “It’s the first film in which I have been so apologetic towards everybody. There were so many date adjustments, that had I not apologised or said thank yous so many times, my film would have taken at least four years to be made. I’ve even said sorry to the spot boys!” Akshay bhaag gaya Salman Khan, Shirish Kunder and Preity Zinta According to rumours, Akshay Kumar considers it lucky to be out of the country when a big film of his releases. He feels his film will become a hit if he’s not in Mumbai. Currently, he’s in Dubai and will return to Mumbai for Diwali. But he will only spend a few hours with his family and fly out again. If Jaan-E-Mann is a hit, this will be his third successive Diwali hit after Aitraaz and Garam Masala. “Salman’s my bro” “There was a lot of camaraderie on the sets. Salman and Akki were working together after 1[.]5 years, ad there was never any tension on the sets. We would watch cricket, fool around and play games. Sometimes, I would see both of them cracking up over something and only they knew what it was. Akshay always tells me that whenever he sits with Salman, it seems as if he is sitting with his elder brother,” says Sajid. Salman Khan and Sajid Nadiadwala Favorite songs Akshay plays a bumbling, unattractive nerd who transforms into a handsome young man, while Salman plays a rockstar. Sajid’s personal favorite song is Sau dard, while Salman’s is Humko maloom hai and Akshay’s is Kabool kar le. Anu da jawab nahi! Anupam Kher’s dwarf act was created by Shirish using special effects. Says Sajid, “Anupam had to keep shooting over and over again as it was very difficult to film those scenes. Khersaab had to re-shoot three times because of the 26/7 rains and Salman’s hairloss, but he was kind enough not to complain. I apologised to him twice and said thank you four times. I tried imitating him for exactly five minutes. Supporting myself on my knees was so painful, I just couldn’t do it for too long!”

Kunder may hit bull's eye with 'Jaan-e-Mann' After choreographer-turned-director Farah Khan, it's her husband Shirish Kunder's turn to prove his mettle in Bollywood with his directorial debut "Jaan-e-Mann" - a triangular love story releasing Friday. This Salman Khan-Akshay Kumar-Preity Zinta-starrer can turn into a surprise Diwali hit because both Akshay and Salman share a good onscreen chemistry and the audiences loved them together in "Mujhse Shaadi Karogi". The film revolves around three college friends. Suhaan Kapoor (Salman Khan), a cool dude and wannabe rock star, is full of himself and his dreams. Only when he's on the verge of losing everything, does he realise what really matters to him in life. Agastya Rao (Akshay Kumar), a bespectacled geek, cannot talk to save his life and gets tongue-tied whenever he comes face to face with the woman he loves. But he believes in the power of love. Piya Goyal (Preity Zinta) is a lovely, strong girl yet strangely vulnerable. She appears to have everything - beauty, brains, wealth and a heartache that refuses to die. Both Agastya and Suhaan love Piya but they have to part ways after finishing studies. When they meet after 10 years, Suhaan is a well-known rock star, Agastya is working in a space station and Piya is a loner - they realise that in the decade that went by, all three had been unlucky in love. The film's music is doing well and the promos have sparked off genuine interest. It's festival time and people enjoy family entertainers, so the film stands a good chance at the box office.

The Don-Jaanemann Connection By Moses Navgire (IndiaFM News Bureau), October 18, 2006 - 05:00 IST Don or Jaan-E-Mann? Which one will be the bigger? Which one will be the better? Which one will do better business at the Box Office? Which one will give paisa-vasool entertainment? Will the audiences accept a remake or will the romantic tale steal the show. These are the questions doing the rounds in media. Everyone connected to the industry in someway or the other is waiting for the answers to these questions. But we at IndiaFM thought of looking at Don versus Jaan-E-Mann through a different perspective. If we leave the whole trade business aside, the two films, Don and Jaan-E-Mann have some interesting similarities and differences. The two films also happen to have some weird connections. So, let’s find out how the two big releases of this Diwali are connected with one another. The first major difference that you’ll notice between Don and Jaan-E-Mann is the role reversal. Astonishingly, Shah Rukh who is known as the biggest romantic star of Bollywood will be seen in hardcore action flick this season and on the other hand, Akshay Kumar, who can safely be called as the best action hero of Bollywood till date will be seen in a super-romantic drama. Though he has done few romantic films before, not many of his romantic flicks made a mark. So, Akshay in Jaan-E-Mann is something we can look forward at. The locations of the film, too, depend upon the story of the film. Now, since Don is about crime and criminal and is loaded with action scenes, the location of the film is Malaysia. Places like this would mainly be associated with Akshay’s action flicks. On the other hand, Akshay Kumar and Salman Khan have moved to New York. The city which has been SRK’s hub for past couple of romantic films (Kal Ho Naa Ho and KANK). Therefore, interestingly, the look of Don is an Akshay Kumar’s power-packed flick while Jaan-E-Mann looks like Shah Rukh’s romantic tale. Incidentally, Ritesh Sidhwani/Farhan Akhtar and Sajid Nadiawala, the producers of both the films, had their last releases in the year 2004. Ritesh-Farhan’s Lakshya came out on June 18, 2004 while Sajid Nadiawala’s Mujhse Shaadi Karogi released on July 30, 2004. Hence, both the producers will be releasing their films after a period of two years. Shankar-Ehsaan-Loy have done the music for Don while Anu Malik has composed the scores of Jaan-E-Mann. Interestingly, the producers, Ritesh/Farhan and Sajid Nadiadwala have always trusted upon SEL and Anu Malik respectively for the music of their films till date. Another major co incidence is that there has been an exchange of lead actress this time. Priyanka Chopra was the lead actress in Sajid Nadiawala’s Mujhse Shaadi Karogi but this time she stars in Farhan Akhtar’s Don. On the other side, Preity Zinta was the lead actress in Farhan Akhtar’s Lakshya but this time, she is the leading lady in Nadiadwala’s Jaan-E-Mann. Ironically, in Jaan-E-Mann, the two male protagonists Akshay and Salman try to score over the leading lady Preity Zinta, while in Don, the lead actresses Priyanka Chopra and Isha Koppikar try to get the male protagonist Shah Rukh Khan on their side. As far as co-incidences goes, the same release date is not the only one. There are many other factors that coincide between Don and Jaan-E-Mann. The major one is that Shirish Kunder, the writer-director of Jaan-E-Mann was the editor of Shah Rukh Khan’s Main Hoon Na in 2004. And this year his film is competing against a SRK starrer. However, if we jump on the other side; we notice that Don is co-written by Salim Khan who is father of Salman Khan. As far as trade goes this will be second time that Akshay Kumar’s film will be clashing with a SRK starrer. In 2004, Akshay’s Aitraaz and Shah Rukh’s Veer Zaara released on the same day. Besides, Diwali has mainly been the period of SRK’s romantic films but for the past two consecutive years, Akshay Kumar has taken up the Diwali slot and delivered big hits (Aitraaz and Garam Masala). Coming to the promotional look of the two films, the whole Green and Black combination in the Don reminds of The Matrix while the look of Jaan-E-Mann is completely Moulin Rouge inspired. Releasing the theatricals of the upcoming releases has now become a trend. So, get set as you will be getting a glimpse of some of the upcoming releases before the show starts. Where the trailer of Honeymoon Travels Pvt Ltd. will be played before Don you will see the promo of Bhagam Bhag with Jaan-E-Mann. Despite so many differences and co-incidences, the two competitive films of this Diwali also have some common factors. One person who is common for both the films is Farah Khan. Farhan Akhtar is her first cousin while Shirish, as we know, is her husband. Farah has choreographed some of the songs of Don while managed the complete choreography of Jaan-E-Maan. Another of course, would be that the audio of both the films is available on T-Series. Now that’s some connection! With the festival of Diwali coming up this season, Farhan Akhtar and Shirish Kunder have given us yet another reason to celebrate this festive season. Besides, the junta looks equally excited for both the films. Therefore, we can expect the crowds gushing into the cinema halls for both Don and Jaan-E-Mann. So, book your tickets now and get ready to celebrate this Diwali with Don and Jaan-E-Mann.

Preity Zinta to screen Jaan-E-Mann for kids By Johnny Vaz 17 October 2006, 08:27 PM MUMBAI: Bollywood actress Preity Zinta will be holding a special screening for kids of her upcoming film release Jaan-E-Mann. The film, which stars Salman Khan, Akshay Kumar and Anupam Kher along with Zinta, will be released on 20 October. Zinta, who is working along with the Make a Wish Foundation, says, "Jaan-E-Mann is a child friendly film and I want to screen it for the kids as I want to have a blast. Moreover, kids love you unconditionally and they won't come to the film with preconceived notions. I want to give these children a reason to smile." "I am also planning to host a small kiddies' party where these small kids will sing, dance and play games. There'll be loads of surprises and gifts for them," she adds.

DON v JAAN-E-MANN- The battle hots up. Mumbai Circuit-Don has the edge due to bookings in Mumbai and especially Pune where it has a big lead. Delhi/UP-Don has better advance in Delhi/NCR but Jaan-E-Mann has a massive print count in UP which may become a factor from Friday.. East Punjab-Don takes lead in A centres like Chandigarh, Ludhiana, Gurgaon and Faridabad but Akshay's popularity in B+C centres of the circuit could tell over the week. West Bengal-Don is clear lead on bookings and should emerge winner here in first week at least. Bihar-Jaan-E-Mann is clear winner but exhibitors are anxious about long run due to NRI/Urban theme of film. CP Berar-Don shows better advance in Nagpur only. Jaan-E-Mann should emerge winner here. CI-Indore gives Don the lead and it will be interesting to see if the other centres can turnaround this deficit. Rajasthan-In Jaipur they are neck and neck but elsewhere Jaan-E-Mann has clear lead. Nizam-Both films have seen 50% tickets go for the weekend in Hyderabad and any film could emerge winner. Mysore-Don is well ahead on advance and is certain to lead here. (Bangalore sees record advance for Don)

Salman beat Shah Rukh! The film industry is now keenly waiting for the much-talked about war to happen this Friday. Shah Rukh starrer ‘Don' and Salman's ‘Jaanemann' releasing this week, and to the movie buff peoples it's nothing but a huge fight between the two Khans. Both the films are being touted to be a blockbuster. But which film will do better at the box office, it remains to be seen. Could Shah Rukh Khan beat Salman in this fight or lose his Bollywood King tag to Salman, it's a million-dollar question now. Already the fans of two stars have started betting. And amidst all the chaos, the Star News had conducted a survey recently, and the poll result as came can make the Salman's fans very enthusiastic. Yes, the result showed Salman has beat SRK by a 55/45 percentage of SMS voting. However the King Khan-fans haven't given up hope any way. The great Friday fight is sure to be an exciting one.

The Don vs Jaan-e-mann slugfest Somen Mishra CNN-IBN Posted Tuesday , October 17, 2006 at 15:44 Updated Tuesday , October 17, 2006 at 15:58 Email Print CLASH OF THE TITANS: Both films are holding paid-previews in all the major theatres in Mumbai. Mumbai: This Diwali it's the clash of the titans at the box office. Farhan Akhtar's Don and Shrish Kunder's Jaan-e-mann are making their presence felt with each passing day at the box office battleground. So, let’s see the figures first, which movie stands where. Don has been made on a budget of Rs 30 to 35 crore and is releasing with about 800 prints overall. And it’s also creating a record of sorts as the biggest ever overseas release with 340 prints in 28 countries and dubbed in five languages. On the other hand Jaan-e-mann has been made on a budget of Rs 35 to 40 crore and is releasing with over 1,000 plus prints overall. It’s also making a record on the home ground with 150 prints released in Mumbai territory alone and making its way to 250 theatres. Both films are holding paid-previews in all the major theatres in Mumbai and they are already sold out. To cash on the curiosity value, SMS and tele-booking facilities were opened almost 15 days in advance of the release and the opening weekend at major theatres are already 60-70 per cent full. The makers of the films are leaving no stone unturned as far as the promotion of the films is concerned. Producers are pulling all possible strings even if it means clashing with each other. So, while Shah Rukh and Priyanka boarded the Pepsi Blue Billion train from Jaipur to Delhi to support the Indian cricket team, the stars of Jaan-e-mann walked the ramp at MTV Style Awards. A few days ago, the cast and crew of Jaan-e-mann had a pre-release party and on the same day a book on King Khan was launched. And the crew of Don also made their presence felt at the launch of a new watch endorsed by Shah Rukh Khan. So, will debutant Shirish Kunder give two-film old Farhan Akhtar a run for his money? Or will Don chase away Jaan-e-mann? Who will hit the mark and who will miss? To catch all the action get ready for the race that begins on October 20.

'This is an out-and-out Salman film' October 17, 2006 If you've been catching Akshay Kumar's interviews and television soundbytes about his upcoming Jaan-E-Mann, you might have caught more than a whiff of boredom. But while the star admits he's going through the motions, it isn't because of a lack of enthusiasm. "The thing is," Akshay sighs, "Everybody asks the same questions: what are your co-stars like to work with; what is your role in the film..." His being annoyed by the repetitive queries is justifiable, especially since he's worked with both Salman Khan and Preity Zinta before. So while he admits to being fed up with irrelevant and obvious questions, what he really wants to talk about is the film. Don't be fooled by the promos; Kumar is very clear that this isn't just another gags-and-backslapping film. "We've already done that, haven't we? We made people laugh their heads off with Mujhse Shaadi Karogi," he says. Also, Salman and Akshay are two heroes who really don't need to prove their comedic pedigree anymore. "Exactly. And while MSK made you laugh, this one will make you cry." "It's a film with a message and a lot of soul. When I say it'll make you cry, I mean it's a powerful movie with genuine emotion. It touches you," says Akshay. "Of course, there is some humour. But this isn't comedy in the sense that it's designed as a joke; this is very realistic. In fact, the movie is very realistic; these things actually happen in life. "On a very basic level," Kumar summarises, "This film is about a geek versus a dude, with the two having fallen in love with the same girl. I haven't seen characterisation like this. Both characters are very well-written." Contrary to type, he plays the geek in Jaan-E-Mann. "I had to break out of the box," he explains. "The tag of good-looking-but-can't-act is dangerous. I had to come out of the shell and Jaan-E-Mann helped me do that." I have always played characters with appeal," he admits. "Like in Garam Masala, where I was juggling three women. But here, it isn't about appeal; in fact, no girl wants to date me at all." He shrugs off suggestions of unfeasibility. "You're lying if you say you've never been rejected. Every stud has to face rejection." Apparently, college life for the actor wasn't quite like today. "I was an unpopular guy," Akshay declares. "I was just the opposite of how I am today, and to be very honest, nobody wanted to date me." Unbelievable as that may seem, Kumar follows it up with another bombshell. "Jaan-E-Mann is an out-and-out Salman Khan film. And he's just great in the movie." Suggestions of modesty almost anger Akshay at this point. "Why can't you believe me when I say that? It's not just about modesty; I honestly believe it's Salman's film all the way. And he's done so well that his work actually enhances my performance." Currently in Dubai shooting for Anees Bazmee's Welcome -- where he stars with Anil Kapoor, Mallika Sherawat and Katrina Kaif -- Akshay still can't get over New York. "Jaan-E-Mann was my first New York film; we shot 50-60 percent of the film there. And the whole look is completely different," he gushes. "I've shot all over the world, in many other countries, but New York is something else. The director wanted New York, and it's such a big backdrop. It's really come out excellently. Just the kind of thing we wanted." Another thing Akshay feels has turned out perfect is Anu Malik's soundtrack. The actor actually breaks into lines of song as he highlights his favourite tracks Humko maloom hai and Ajnabi. "What I like about the music is that it has romance. Today's music has just got rhythm; it's all only beats. And I really appreciate the fact that Anu didn't go for the bang-bang sound. Here we have smoothness and genuine melody, and I personally think Hindi cinema is losing out on that." And finally, the actor just can't stop raving about debutant director Shirish Kunder. "I'm telling you, this guy is a genius. The way he's made this film, he's taken Indian filmmaking to the next level. I don't know the fate of the film, but he will definitely be remembered for this. The movie has such an international look and feel, and considering that our films are made on such a limited budget compared to Hollywood, this kind of product is indeed a big achievement." He laughs when asked to go on. "No way. Watch the film on Friday and you'll know what I mean." All right geek, we'll be waiting.

Preity- Even the kids will love JAAN-E-MANN Bollywood Trade News Network JAAN-E-MANN is increasingly turning out to be the blockbuster this festival season of Diwali / Idd. And Sajid Nadiadwala has left no stone unturned in promoting the film for the grand release with full-page ads across media. Besides the high profile JAAN-E-MANN, UFO Moviez party, which was a starry event. The superstars of the movie Salman, Akshay and Preity Zinta set the ramp ablaze at the MTV Style Awards. And with Akshay being the Diwali / Idd specialist with back to back hits like AITRAAZ in 2004, followed by GARAM MASALA in 2005, JAAN-E-MANN seems to be heading for a hat-trick of Diwali / Idd hits in his repertoire. "The Diwali / Idd festival season is very apt for family entertainers to be released, wherein the whole family would love to see the film together. And that makes JAAN-E-MANN a very apt film for Diwali / Idd release," says Sajid Nadiadwala. "I have this great gut feeling on JAAN-E-MANN. Leave alone the romance even the kids will love it. It's a film with clean humour. JAAN-E-MANN is a film you will see it over 100 times and still enjoy it," adds Preity. Seems like 'Mr.Block-buster' of Bollywood surely has his pulse on his audience. JAAN-E-MANN is slated to be released on Oct 20th and the advance booking Opens Today in Cinema all across!

Salman beat Shah Rukh! The film industry is now keenly waiting for the much-talked about war to happen this Friday. Shah Rukh starrer ‘Don' and Salman's ‘Jaanemann' releasing this week, and to the movie buff peoples it's nothing but a huge fight between the two Khans. Both the films are being touted to be a blockbuster. But which film will do better at the box office, it remains to be seen. Could Shah Rukh Khan beat Salman in this fight or lose his Bollywood King tag to Salman, it's a million-dollar question now. Already the fans of two stars have started betting. And amidst all the chaos, the Star News had conducted a survey recently, and the poll result as came can make the Salman's fans very enthusiastic. Yes, the result showed Salman has beat SRK by a 55/45 percentage of SMS voting. However the King Khan-fans haven't given up hope any way. The great Friday fight is sure to be an exciting one.

Exclusive News & Gossips: What makes Jaan-E-Mann biggest Diwali/Eid release !! by S. Krishnaveni Jaan-E-Mann has been in the news right from day it started. The buzz just got bigger with coming together of two charismatic superstar Salman & Akshay who shared an extremely robust chemistry in the blockbuster 'Mujhse Shaadi Karogi'. Bollywood diva Preity Zinta just made the film much bigger. Additionally it is being produced by 'Mr.Blockbuster' himself Sajid Nadiadwala who has had a consistent strings of blockbusters starting with 'Waqt Hamara Hain' 'Jeet , Judwaa, Har Dil Jo Pyaar Kareega, Mujhse Shaadi Karogi. The film trade, the true barometer of a film success at the Box–Office has declared it as a winner, even before its release . How bullish is the film trade about JAAN E MANN can be gauged from the fact it has broken all records for the distribution rights of the various territories. That the film has got record breaking offers right under the nose of over-rated films that were tom tommed at the beginning of the year speaks volumes on the confidence of the trade in the film. Jaan-e-Mann is 35 crore film and Sajid Nadiadwala invested the amount only in a 2 minute narration of Farah Khan at a party because he was so impressed & kicked by the idea. The much awaited musical block-buster Jaan-E-Mann is a romantic musical love story based in New York showcased like a broad way musical with the story told in an unusual manner by the very talented debutant director Shirish Kundar. Says Sajid Nadiadwala,"People will be pleasantly surprised when they see Shirish's film. It is a visual delight, the emotions are right. It has a very unique method of story telling and it is a romantic musical which the audience prefers in the festival season." Jaan-E-Mann' has become such a hot proposition that Sajid Nadiadwala has got the best theaters and record breaking theater chain especially in the lucrative market. In fact it's a record of sort that the distributors have got 250 plus screen in the Mumbai territory alone. It also proves the confidence level in the distribution fraternity regarding the quality Entertainers from the Nadiadwala Grandsons banner. Even the eye grabbing trailer of JAAN E MANN created quite an impact in the mind of the audience. The slick and innovative promo cost the producer a cool 40 lakh. Says Sajid " I didn't mind spending 40 lakh on the promo of JAANE E MANN, because Big things need Big money. A quality product has to be marketed well. That is my commitment and belief in the film." The music of JAAN-E-MANN is already scorching the musical charts and has brought back melody back in the fore in Hindi films, a welcome relief from the cacophony dished out lately. Anu Malik has given a musical score that flows into the narration of the script and are 'story songs' that takes the film forward. It's sure to be a benchmark in his career. And with Farah Khan, considered as the Sachin Tendulkar of Choreography, and also the wife of Shirish Kunder, has given her best and promises to be visual delight. Shirish considers that Salman has given his best performance of his career, and Akshay Kumar's unimaginable depth in a difficult role, and Preity is as natural as ever. The excitement factor of JAAN E MANN is its innovative story telling technique and visual treatment backed by a very dependable banner known for churning out block-busters. Additionally the star cast of Superstars, Salman, Akshay and Preity are riding high in the box office meter and the popularity that cuts across the Multiplex audience, B & C centers and the Overseas market. As Priety Zinta rightly puts it across "JAAN E MANN is a universal Entertainer. It will be enjoyed by a 4 year old to a 104 year old" Perhaps all the right ingredients, JAAN E MANN might just become this Diwali/Idd record box office smash !!!!!!

"It was not an easy job to be playing a person rejected by every woman. Something like this never happened to me" - Akshay Kumar Jaane-E-Mann appears like one crazy ride Jaane-E-Mann is all about a triangle love story between a dude and a nerd. Salman is the dude. I play the nerd. Priety Zinta is the girl we both fall in love with. The movie starts from 1970s and goes ahead another 15 years in the film. I have three kinds of looks in the film. This nerd who was in college eventually becomes an astronaut in NASA. How his love story takes shape forms the crux of Jaan-e-mann. How would you define your character in the film? Definition I have already given. Like I said earlier, I play a nerd. It was quite difficult to do that. It was not an easy job to be playing a person rejected by every woman, who does not have a date with him. Something like this never happened to me, so it was quite a difficult job to play a character like this. I managed it, thanks to my director who had confidence in me and also to the producer who believed I could perform this very heavy duty and difficult role. It is your second film with both Salman and Preity. How has the experience been so far? Priety, yes this is my second film. I started with Sangharsh. It was the film where I started taking acting seriously. It was a film where I took acting as a real profession. Earlier I used to act to earn money. But with Sangharsh things changed. Me and Preity have both evolved and turned out in different ways. She has gone ahead and has become a very great actor. She got all the support from Karan Johar, Aditya Chopra. She belongs from that school and I am still waiting to get admission in that school. I fondly call her Basanti because she keeps on talking all the time. She has a lot of things to talk about. Any topic you give her, she has a lot of things to say. I really enjoy working with her. Salman is a great co-actor. We enjoy working with each other and I feel we share a great chemistry together on screen. People liked us in our first movie and will like us again here. Anupam Kher has a complete make over. He plays a dwarf. What do you have to say about that? Yes he is playing a dwarf. It was a very hard role for him. Not only to enact but it was physically very hard to play a dwarf as all throughout he had to walk on his knees wearing green colored socks so that they could graphically remove the leg. It was quite a difficult task to walk on the knees and even dance and say your lines and even remember your lines. Hats off to Anupam Kher, he has done it brilliantly. I was amazed as to how he could do it and how he could perform it. Tell us about Shirish Kunder Very rarely you come across with a new director who is a genius. Shirish is a genius. The way he has conceived the film is extra ordinary. I would proudly say that this man with this film is going to change the level of Indian cinema. He is going to bring it to the next level. So I am very proud of being a part of Jaan-E-Mann. I would proudly say that Shirish Kunder with this film is going to change the level of Indian cinema. He is going to bring it to the next level. Did you help him editing the film? No he himself is a very good editor. He did not require my help. I don’t think so he needed my assistance. You now seem to be Sajid Nadiadwala’s new lucky mascot. Mujhse Shaadi Karogi, now Jaan-E-Mann and you are also doing Hey Baby for him. What do you feel? Me and Sajid are basically school friends. We go back a long way. He was my senior in Don Bosco. From there I never thought I would one day come in this line and one day meet Sajid Nadiadwala and he would make a film with me called Waqt Hamara Hai. Then we had a little break, we did not work with each other for at least about 9 years. After that we started Mujhse Shaadi Karogi. It was great and I am glad that we started working again. Tell us about the music of Jaan-E-Mann. Music is doing very well. It has some different kind of music. It has got Ajnabee which is a different song from the routine Hindi songs. It has been done in a very different way. The orchestra is different. The song has been recorded in Chennai with some different technicians coming and recording with the help of Anu Malik who is the music director of the film. There was a lot of input from Shirish while recording the songs. So Ajnabee is your favorite track? Yes Ajnabee is my favorite track. What would be the USP of Jaan-E-Mann? In Mujhse Shaadi Karogi, Salman and I made people laugh. This time we will make people cry. The USP would be me and Salman coming together again. The USP also is the characters we both play in the film. It is from two different aspects of life. One is a rock star and one is a nerd. Both coming together, having a love story in between for the beautiful girl Preity. This complete package is the USP of the film. You started of as an action hero, and now you are considered one of the finest actors for romantic leads and comic leads. A conscious decision or just happened? Well I was actually bored being labeled as just an action hero. So I decided that I need a change. I desperately need it. It was a risky job to switch over because if one actor is labeled in one particular genre then it becomes really difficult to switch over. But I succeeded. A lot of people told me not to try it since everything was going well for me but I was very fortunate to come out of it and get into something different from my image. Will we see you soon in an action movie? Yes, definitely yes. I will be doing an action movie very soon. I do want to make a very hi-fi action movie and dedicate that film to my son. I want to make a very hi-fi action movie and dedicate that film to my son. Don is releasing with Jaan-E-Mann. Any sense of competition? Well Don is a different kind of film. Jaan-E-Mann is different. Don is already a hit concept. It has a lot of action and is different genre from Jaan-E-Mann. So there is no competition from each other. Both the films are releasing during the festive season. So I don’t see any point having competition. What is your expectation from Jaan-E-Mann? I am expecting quite a lot from Jaan-E-Mann for a simple reason. I earlier told you about the USP of the film, the look of the film, that producer Sajid has left no stones unturned to make the movie look beautiful. We have a good product and I am very confident of this film. One of the publications said something about you and Nana Patekar. An alleged fight was mentioned. Could you clarify? There is nothing to clarify because there is nothing that happened there. Your future projects? Bhagam Bhaag, Namaste London are the two movies which will be my next releases. You did an album sometime back. Will you take singing as a profession? No. I did that for a good cause. I am not a good singer at all. I just did it because the song was in my mind and I wanted to bring it ahead and put it in front of the world what is there in my mind. It is not an album but just one song that I sang. The whole album belongs to Sukhbir. He has done the music and his father has sung it. Will Akshay Kumar produce or direct a film? No. I just want to be happy.

Jaan-E-Mann´ May Release In Japan Also ! Sajid Nadiadwala's Shirish Kunder directed Salman , Akshay , Preity starrer 'Jaan-E-Mann' may perhaps become the first mainstream Hindi film to be released in Japan . While the Overseas rights of the film are with Adlabs , it has been picked up for Hong Kong , Bangkok(Thailand) and Japan by a new distributor , Rajesh Harjani .

UFO Moviez and Nadiadwala Grandson Entertainment celebrates 500 Digital cinemas in India and United Film Organizers (UFO Moviez), the world's largest digital cinema network, celebrated the momentous achievement of 500 Digital cinema installations and the festive release of Shirish Kunder's much awaited debut movie JAAN-E-MANN, produced by Sajid Nadiadwala at the J W Marriott, Mumbai. The State-Home Minister Mr. R R Patil unveiled the plaque heralding UFO Moviez 500th Digital Cinema installation. The entire movie industry celebrated these two special occasions along with Raaja Kanwar, Vice Chairman and Director UFO Moviez, Sanjay Gaikwad Executive Director, CEO - UFO, Sajid Nadiadwala - Producer JAAN-E-MANN, Shirish Kunder - Writer, Editor and Director JAAN-E-MANN and the stars of the movie Salman Khan, Akshay Kumar and Priety Zinta. That was not it, the Khan clan made its presence felt with Fardeen and Natasha, Arbaaz and Malaika, Zayed Khan's wife Mallika Khan, sister Farah, mom Zarine Khan and DJ Aqeel were present to make the evening more glamorous. Choreographer Farah Khan along with brother Sajid Khan, Salman's sister Arpita came onto cheer their loved ones. David Dhawan along with Govinda, who was away from the limelight for a while were seen adding their charm to the night. Indian bad men Gulshan Grover with Chunkey Pandey were also a part of the star-studded night. The evening was filled with entertainment with a stand up comedian act by Raju Srivastav who kept the audience in splits and a medley of dance performances by Terrence Lewis and his troupe. Other celebrities who came to the party to join the celebrations were Arbaaz Khan, Malaika Arora Khan, Sohail Khan, Anna Singh, Arpita Khan, Farhan Khan, Sajid Khan, Fardeen Khan, Boney Kapoor, Govinda to name a few. JAAN-E-MANN is planned to be released over 1000 screens, including UFO's chain of digital cinemas on the 20th of October 2006. This will not only help JAAN-E-MANN in gaining a larger audience but also recovering revenues in the maximum revenue generating weeks i.e. - The first two weeks. (The larger spread at a lower cost will tremendously benefit the producers). We are looking at a trend that is revolutionizing the 'business' of Indian Cinema as it has all around the world.

Watch Jaan-e-Mann for Salaam-e-Ishq The news is out. Nikhil Advani’s magnum opus Salaam-E-Ishq will have its first theatrical promo along with one of the most awaited film of 2006, Jaan-E-Mann. Salaam-E-Ishq is one of the most awaited films and it already has a lot hype surrounding it thanks to its massive star cast which comprises almost half of the film industry’s leading stars amongst which include Salman Khan, Priyanka chopra, Anil Kapoor, John Abraham, Vidya balan and Akshaye Khanna. What makes the promo even more wait worthy is that the promo has been cut by none other than Arjun Kapoor, son of Boney Kapoor. Arjun is assisting Nikhil Advani on this film. Salaam-E-Ishq releases on 26th of January, 2007. According to insiders, Arjun Kapoor is one young lad to watch out for as he seems to be a very promising learner.

What makes JAAN-E-MANN biggest Diwali/Idd release! Bollywood Trade News Network JAAN-E-MANN has been in the news right from day it started. The buzz just got bigger with coming together of two charismatic superstar Salman and Akshay who shared an extremely robust chemistry in the blockbuster MUJHSE SHAADI KAROGI. Bollywood diva Preity Zinta just made the film much bigger. Additionally it is being produced by Sajid Nadiadwala who has had a consistent strings of blockbusters starting with 'Waqt Hamara Hain' 'Jeet', 'Judwaa', 'Har Dil Jo Pyaar Kareega' and 'Mujhse Shaadi Karogi'. The film trade, the true barometer of a film success at the Box-Office has declared it as a winner, even before its release. How bullish is the film trade about JAAN-E-MANN can be gauged from the fact it has broken all records for the distribution rights of the various territories. That the film has got record breaking offers right under the nose of over-rated films that were tom tommed at the beginning of the year speaks volumes on the confidence of the trade in the film. JAAN-E-MANN is 35 crore film and Sajid Nadiadwala invested the amount only in a 2 minute narration of Farah Khan at a party because he was so impressed and kicked by the idea. The much-awaited musical blockbuster JAAN-E-MANN is a romantic musical love story based in New York showcased like a broad way musical with the story told in an unusual manner by the very talented debutant director Shirish Kundar. "People will be pleasantly surprised when they see Shirish's film. It is a visual delight, the emotions are right. It has a very unique method of story telling and it is a romantic musical which the audience prefers in the festival season," said Sajid Nadiadwala. JAAN-E-MANN has become such a hot proposition that Sajid Nadiadwala has got the best theaters and record-breaking theater chain especially in the lucrative market. In fact it's a record of sort that the distributors have got 250 plus screen in the Mumbai territory alone. It also proves the confidence level in the distribution fraternity regarding the quality entertainers from the Nadiadwala Grandsons banner. Even the eye-grabbing trailer of JAAN-E-MANN created quite an impact in the mind of the audience. The slick and innovative promo cost the producer a cool 40 lakh. Says Sajid "I didn't mind spending 40 lakh on the promo of JAANE-E-MANN, because big things need big money. A quality product has to be marketed well. That is my commitment and belief in the film." The music of JAAN-E-MANN is already scorching the musical charts and has brought back melody back in the fore in Hindi films, a welcome relief from the cacophony dished out lately. Anu Malik has given a musical score that flows into the narration of the script and are 'story songs' that takes the film forward. It's sure to be a benchmark in his career. And with Farah Khan, considered as the Sachin Tendulkar of Choreography and also the wife of Shirish Kunder, has given her best and promises to be visual delight. Shirish considers that Salman has given his best performance of his career and Akshay Kumar's unimaginable depth in a difficult role, and Preity is as natural as ever. The excitement factor of JAAN-E-MANN is its innovative story telling technique and visual treatment backed by a very dependable banner known for churning out blockbusters. Additionally the star cast of superstars, Salman, Akshay and Preity are riding high in the box office meter and the popularity that cuts across the multiplex audience, B and C centers and the overseas market. As Priety Zinta rightly puts it across "JAAN-E-MANN is a universal entertainer. It will be enjoyed by a 4 year old to a 104 year old." Perhaps all the right ingredients, JAAN-E-MANN might just become this Diwali / Idd record box office smash!

'Zindagi' doesn't rock, 'Jaan-E-Mann' wins first battle against 'Don'? By Raj Kumar, AllBollywood.com Staff While Lage Raho Munnabhai continues its dream run at the box office, the last month has provided a lot of damp squids at the box office. None of the releases have made a major impact. This week's major release, Zindagi Rocks, is already off to a terrible start with the critics, earning only a 31 % with the critics with 9 reviews in so far. It would be even lower, however MTV India (the films only positive review so far) gave the film 3 stars even though they stated "If you’re a Sushmita fan, then no ways can you miss this one! Otherwise don't bother." For all critics reviews of Zindagi Rocks, click here. Make sure to be checking back daily during Diwali week as we will have all the reviews for Jaan-E-Mann and Don as they come in. Both the films are expected to open to huge box office, with both predicted to be amongst the biggest openings of the year. :crazy Meanwhile, Jaan-E-Mann already has a slight edge over Don in the music department. In our new music reviews section, the music for Jaan-E-Mann is currently at a 73% with 7 reviews in (all the reviews are positive) while Don is only slightly behind with a 71% with 11 reviews in (2 of the reviews are negative). However, both ratings are very good and should only help the openings of both films. To access our new music review section, click here. For all the music reviews for Jaan-E-Mann, click here. For all the music reviews for Don, click here. Which soundtrack do you think is better, Don's or Jaan-E-Mann's? To vote, vote in our opinion poll on the left side of the screen.

Box office hungama: This Friday it's SRK vs Salman! Shubha Shetty-Saha Sunday, October 08, 2006 00:30 IST As ‘Jaan-e-mann’ opens with ‘Don’ on October 20, everyone’s waiting to see which Khan proves to be the bigger draw. It’s for the first time in the last 10 odd years that Salman and Shah Rukh Khan have been around in the industry that their films are set to release on the same day. So history of sorts seems inevitable on October 20 when SRK’s ‘Don’ and Salman’s ‘Jaan-e-mann’ release together. Trade pundits are of the opinion that it’s going to be a tough battle as both the actors enjoy a similar kind of star appeal. Taran Adarsh, editor, Trade Guide says, “You can’t draw comparisons between the two actors; neither can you equate the two films. While Shah Rukh is the urban hero with huge popularity overseas, Salman is the man of the masses. Since their films are releasing in the festive season, both are likely to work. A very prominent distributor from the North has just told me that there is enough room for both the movies.” Pankaj Jaisingh of Ashtavinayak distributors does not agree. He says, “The market feels that the Shah Rukh Khan movie will do well in urban areas and multiplexes and also abroad, as he is number one overseas. But at the same time, Salman Khan is accepted across the border. He is popular in urban areas and the interiors. The fact is because these films are releasing together, they are going to eat into each other’s market. If they had released alone, they would have had 100 per cent opening, but now we are expecting 80 per cent justice for both of them.” Amod Mehra, trade analyst, however thinks Shah Rukh has an edge over Salman. “If you ask me which actor has a bigger box office draw, I would say it is SRK. Salman is not as hot with the audience as Shah Rukh is. Though both the actors have the same kind of charisma, SRK’s films are known to draw 100 per cent audience. However, Salman has Preity Zinta and Akshay Kumar for company, so that film also is expected to have a great opening. How the film fares later on will depend on the merit of the film.”

SRK v/s Salman: Kisme hai dum? By: Upala KBR October 8, 2006 October 11 is always a big day in Bollywood. After all, it is Amitabh Bachchan’s birthday. But this year, that day is going to get even bigger. There will be two mega parties on Bachchan’s big day. And no, neither of them has anything to do with the Big B. Deliberate plans High-profile film producer Sajid Nadiadwala will be hosting a party to celebrate UFO films’ 500th digital film (Jaan-E-Mann), the invites for which went out two months ago. The second bash will be for the release of a book on Shah Rukh Khan, called SRK — Still Reading Khan, penned by Mushtaq Sheikh, which was planned only last week. It’s being said that Nadiadwala and his stars Salman Khan and Akshay Kumar are miffed about SRK’s party. They feel that the book event has deliberately been planned by Shah Rukh to clash with their do. Interestingly, the book release was initially planned for early evening, but was later pushed to 9 pm (the same time as the Jaan-E-Mann party). So now, both high-profile events will take place are on the same day and at the same time. Farah Khan, who’s husband Shirish Kunder makes his directorial debut with Jaan-E-Mann won’t divide her loyalties between him and good friend SRK. She says, “I will attend both events.” Ironically, her brother and funny man Sajid Khan will be compering both shows! How he plans to do that is still a mystery. Says Sajid, “We are trying to work this out. But if it comes to the worst, I’ll have to attend both events as they’re all my friends.” Loyalty test The Jaan-E-Mann party will be held at the JW Marriott (Juhu) while the book release will be at the Grand Maratha (Andheri). Come Wednesday, the loyalties of several B-town citizens will be put to the test. It even seems to have become a prestige issue for both sides to have the bigger and better party. Says Nadiadwala, “UFO Movies had planned this event two months ago. I usually never throw parties, but yes, we have a huge guest list.” Sajid’s party has been planned by Wizcraft, and will be a televised event attended by the who’s who of the industry, including the Maharashtra chief minister Vilasrao Deshmukh and other high-profile politicians from Delhi. Meanwhile, names like Bipasha Basu, Bobby Deol, Sunil Shetty, Kareena and Karisma Kapoor, Pehlaj Nihalani, Ashutosh Gowariker and Sanjay Leela Bhansali are only some of the guests on SRK’s list. No ulterior motives When quizzed about why his book release has been planned on the same day, Mushtaq Sheikh reasons, “We couldn’t find a five-star hotel on any other day. It’s absolute rubbish that Shah Rukh is deliberately hosting the event on the same day. People are forgetting that I am the author and I chose the date.” Sheikh says that he approached seven big hotels and spent three months trying for a booking and the only date he could get was October 11. “Else, I would have to wait till February. That was too late for me. Once the hotel gave me the two dates, I reverted back to Shah Rukh. After he confirmed, I okayed it with the hotel.” Now it remains to be seen who will attend which party. Of course, we’ll keep you posted on all the juicy details! The Scorpion’s sting Interestingly, there is a faction that believes that Shah Rukh chose October 11 for his book launch to clash with Bachchan’s big bash. But the Big B is not having a party this year, as hi mother Teji is ill. Still Reading Khan Mushtaq Shiekh’s 450-page coffee table book, SRK — Still Reading Khan, is priced at Rs 3,000 and weighs nearly four kilos! Says the author, “I’ve met his school and college friends in Delhi, his family and close friends and done lots of research. SRK has hundreds of shades to him. Every time you meet him, you connect to one. I’m still getting to know him…” Midday Top Ten albums of the week By Joginder Tuteja, October 6, 2006 - 02:57 IST This Week:2 Last Week:5 Jaan-e-Mann Booming to number two position, 'Jaan-E-Mann' now awaits its theatrical release. 'Udd Jaana', the first item song of the film, has been premiered and should meet the eyeballs of Salman Khan fans PUSH - This is what is required for the promotion of the film when just 2 more weeks remain for the film's release. It is quite uncharacteristic of Sajid Nadiadwala to have waited for so long before going full throttle on the film's promotion

Jaan-E-Mann´ - Shirish Did Not Want Comic Portions In The Promos By: Abid It may come as surprise to many , specially to those who have recently become Salman and Akshay fans that the director of 'Jaan-E-Mann' , Shrish Kunder , did not want any comic portions of the films to go in the promos . Well we will reveal the reason ! According to Shirish himself , " It's a romantic drama . There's hardly any comedy in it . The image of my actors worried me and still worries me . I was worried that people would expect a romantic comedy because of the actors' images . So I was particular that no comic portions of the film would go in the promos . Whatever few laughs in the film will be a bonus ."

Anu Malik proves his versatility again IndiaGlitz [Thursday, October 05, 2006] The music of JAAN E MANN is rocking the charts in the country and is slated to become one of the classic albums of all time. In fact the trade confirms that the melodious music has become quite a rage. With JAAN E MANN, Anu Malik has brought melody back in Hindi film, quite a welcome relief from the cacophony dished out lately. Full of passion and grandeur, Jaan-E-Mann is one of the most enjoyable soundtracks from Anu Malik. It conveys the emotions of euphoria, confusion, festivity, fame, loneliness and pain all at once. Malik goes sophisticated with the music and displays a complete grasp of his work replete with chorus effect a la an opera which consolidates on the grandeur look and feel of the film. 'Hum Ko Maaloom Hain' is an odyssey where you tend to forget about everything and get captivated into this magical music of life. It is genuinely touching and intense. The strength of the music lies in the magnificent collage of the different situational musical pieces. The way Malik has translated his ideas to a full orchestra sweep away your expectations. Both Anu Malik and Sonu Nigam make it all sound so easy in spite of Gulzar saab coming up with his trademark 'conversational' lyrics rather than a conventional prose. After pioneering the rock qawwali in 'Main Hoon Na', one would have never expected Malik to churn out another different qawwali and not a rehash. He leads another musical innovation! Three ingredients are needed for a successful qawwali: high pitch rendering, grand orchestra and an energetic chorus are used to full force in 'JANNE NE JAANE NA'. Malik innovatively adds two more spicy ingredients; a catchy tune and electrifying music! There is a feeling of loneliness, sadness and anguish in 'Ajnabi Sehar'. 'Ajnabi Sehar' is a delightful piece that takes you through the ups and downs of this complicated, yet fun life! Anu Malik truly reinvents himself with ' Ajnabi Shehar', a soulful melody which is a new experience altogether in today's music scenario and has a healing appeal to it. Sau Dard is an audio tonic for souls aching for deeper meaning, inner peace and harmony. Udh Jaana...Bro! is a fun number to be enjoyed! Malik proves again that he can survive the competition and maintains his prime position for his versatility. In Jaan-E-Mann, Malik proves that he has a tune for every situation. Jaan-E-Mann's soundtrack is a must-have album for aficionados of melody lovers and Anu Malik is back in business because with 'Jaan-E-Mann' he creates a kind of music that truly befits the musical genre of the film!

The Surprise with Jaan-E-Mann A surprise awaits the viewers who throng the movieplexes to watch JAAN-E-MANN from 20th October onwards. The first look of Priyadarshan’s BHAGAM BHAAG, produced by the reputed production house Shree Ashtavinayak, will be unveiled on the occasion. Yes, the first promo of this comic caper will be introduced with the prints of JAAN-E-MANN. It’ll be a dual treat for Akshay Kumar fans since both JAAN-E-MANN and BHAGAM BHAAG star the actor in lead roles.

Jaan-e-Mann is definitely going to rock Jaan-e-Mann is bound to be a visual delight as so aptly suggested. The various stills themselves project the hard work poured into making it a super movie and indicate that the story is going to be awesome and close to reality. The scenes have been beautifully choreographed, with attention given to the smallest detail. From wardrobe to the well-coordinated background, everything has been carried out to the finest detail. Salman’s expressions are excellent; our rock star is going to rock again, as always! The songs are a definite pleasure to ears, beautiful lyrics and melody that one wants to listen over and over again, not ear shattering hungama. The suspense is still on! With just a few days left in the New York premiere, the excitement is palpable! Perfect choreography, beautiful songs, and excellent stills; so what is lacking-nothing except the much awaited release! Jaan-e-Mann is definitely going to rock!

The excitement of 'Jaaneman' 30th Sept 2006 10.00 IST By Agencies Jaaneman is a love triangle starring Salman Khan , Akshay Kumar and Preity Zinta in the lead roles. And director Sirish Kunder is pretty excited about the film as it is his directorial debut. Kunder says 'Jaaneman' is purely a musical having some outstanding melodies without any dancing by his choreographer wife Farah Khan . "Farah is known to bully her directors who let her do what she wants. But here, she had to contend with me-her husband and when I told her that I did not want dancing as all were story songs, there were lot of fireworks initially," Kunder told reporters at Cinemax in Mumbai where the film's producer Sajid Nadiadwala and United Film Organizers (UFO Moviez), the world's largest digital cinema network, has announced their tie up to screen the film in 400 UFO digital screens in the country. "I am a dreamer and a compulsive people-watcher especially at international airports and five star lobbies. My head is forever teeming with stories. Farah is my sounding board and when I tell her a story idea she reacts immediately. When she told Sajid Nadiadwala about this particular story, Sajid's reaction was immediate and positive overnight. I found myself scripting a film," Kunder who is a well-known film editor said. He said he wanted Gulzar to do the screenplay and dialogues but Gulzar told him that since the story was so visual only he (Kunder) could write them. "But he was kind enough to pen the lyrics," Kunder said. Nadiadwala who is producing 'Jaaneman' said Farah was like his sister and when she gave him a two minute narration of a story idea Kunder had, he instantly said, "I will make it". "I am very selective about script and usually it takes me couple of years to finalise a film. Here, I committed Rs 35 crore to a two-minute narration. I am very family oriented and was confident that Kunder would pull off the multiple roles of writer-director and editor. The entire process took one year. There was lot of brainstorming, debate and arguments. But in the end, both of us were satisfied with the end result."