Musings on Yeh Jawaani Hai Deewani

Beware: Here be potential spoilers!

It’s not a bad movie by any stretch, but it’s not a brilliant one either. But if Race 2 is a hit, this one deserves to be the blockbuster it has turned out to be, so there you go. I don’t have the patience to write a full-length review of this film, and it’s highly unlikely that I will offer a point of view that others haven’t, so I’m just going to focus on a few things I noticed.

  • When we were discussing the film afterwards, my wife Lakshmi made an interesting point: Apart from the fact that one of them has a failed bar and another is some kind of doctor, do you know anything else about these people that doesn’t pertain to the plot? I wonder if even their private conversations revolve around Bunny’s life and not their own. I’m sure there was a way of writing a few more character details into the script if one wanted to. This is just lazy writing.
  • Having said that, I’m glad the characters aren’t all “fixed up” by the end of the film. (And I’m especially glad that Bunny didn’t do the fixing.) They end up where they are comfortable ending up at this point in their lives.
  • Although the story focuses on Ranbir and Deepika (the latter of whom is particularly luminous in the film), it’s Kalki Koechlin and Aditya who make that four-way dynamic work. Lovely work! Kalki especially is delightfully uninhibited in her role.
  • As good as Ranbir Kapoor is as an actor (and let’s face it, he’s head and shoulders above his competition right now), it takes just a three minute scene with people like Farooque Sheikh and Tanvi Azmi to show how far he still has to go. True, they’re playing mature adults and he’s playing a nomadic man-child who still has some growing up to do. But the difference in their comfort levels cannot entirely be attributed to this. Watch that quiet moment between Sheikh and Azmi when Ranbir leaves the room after a particularly nasty comment directed at his stepmother. Years of married life and an understanding of each other and their son, condensed into a two-second wordless exchange, and not even shot in close-up. Sometimes, that’s all a couple of seasoned actors need to make their characters come to life. Unfortunately, sometimes, that’s all they get.
  • For me, the most disappointing part of the film is the scene where Ranbir speaks of his father’s death during a car ride with Deepika. His face is lit intermittently, as though from the headlights of oncoming traffic. I suspect Ayan Mukherjee borrowed the composition from a similar scene in Million Dollar Baby, except he doesn’t quite get it right. The light pattern is too rhythmic to have come from traffic, and Ranbir doesn’t yet have the vocal skills that the scene demands. Had they gotten it right, the scene could’ve been the emotional centerpiece for the character — it could have even made the ending somewhat plausible. Pity.

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