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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.