This isn’t a review. I am not going to provide a critical analysis of the buried subtext and reflexive postmodernism inherent in the film. (No, I don’t know what reflexive postmodernism is, and quite honestly, I don’t even know if the term makes sense. Why the eff are you even asking?)
I am simply going to narrate what I saw one night when I was working with the TV on. I switched to the channel playing this only after two thirds of the film was over, so I might have missed much of what makes this a great film. That is why I am not calling this a review — I can’t truly review something I haven’t fully seen. I save that sort of nonsense for work.
So this guy — the Akhil of the title — and his girlfriend and a couple of comic sidekicks are stranded in Africa. There’s a tribe on one side and some kind of warlord on the other. The girl’s dad is there as well, but I’m not sure which side he’s on, and I’m not sure he knows either. Anyway, it turns out that there is some precious artifact — the Jua of the title — that has been dropped into a lake somewhere, and needs to be rescued and returned to some shrine maintained by the tribe before the solar eclipse, otherwise the earth will be destroyed. (It’s always solar — lunar eclipses happen so often that if we risked the planet every time we had one, sooner or later the odds won’t work in our favour and we’ll no longer be around to make movies like Akhil – The Power of Jua.) And our intrepid hero has to be the one to find it.
Oh, and the warlord wants it as well, on behalf of some Russian gangster who I assume is willing to pay handsomely for it. Clearly, imminent destruction of the planet doesn’t faze said mafioso. I’m assuming he has a condo in Mars waiting for him. I’m sure it was covered while I was watching Sooryavansham instead of switching to this channel. But he looks like the kind of guy who would grow potatoes using his own crap and then make vodka out of them.
So our hero goes to the lake and dives in. Now, because this is the sort of artifact that can destroy the planet, a school of piranhas have migrated to Africa to guard it at the bottom of the lake. I briefly wondered how they got there, and the obvious answer that sprung to mind was that they piggybacked on an African swallow, which then led me to wonder about the airspeed velocity of an unladen swallow… But I digress.
So, piranhas. African warlords don’t get to where they are without some knowledge of diversionary tactics, so they throw a cow into the water to distract the fish. (Where’s a good gau rakshak when you need one, the cow would’ve probably thought, except I think it was dead before it got dropped in.) Our man makes use of the distraction to go find the artifact and then… I don’t remember exactly, but I think he pivots on some branch and jumps out. Then of course he fights off the Russian on a plane and jumps out before it could crash into an active volcano.
The properly thankful tribal chief takes the artifact back to its shrine and places it on top of an inverted tripod-like stand just before sunlight can stream in and the photons can notice that the orb isn’t there. There’s actually a moment when they’re racing a beam of light and placing the orb just before the beam can hit the tripod. And I’m obviously sitting there thinking, if the photons got there just ahead of the tribals and noticed that the orb wasn’t there, could they make up some excuse involving Heisenberg’s Uncertainty Principle?
I didn’t get a lot of work done that night, but I did google piranhas and swallows and Heisenberg. It was all very informative. Now I have to watch the rest of the film in order to see what else I can learn. Trouble is, I keep getting distracted by Sooryavansham and Indra the Tiger and Ek Aur Most Wanted and…
I suppose I should be thankful that the fate of the planet doesn’t rest on my easily distracted shoulders. You could put the orb in a bucket in my bathroom and ask a guppy fish to guard it, and the earth would be swallowed by a black hole while I’m still ooh-ing and aah-ing over Ravi Teja’s dance moves.