Flat Tyre(wala)

I know that Jaane Tu Ya Jaane Naa has worked for most of those who saw the movie, but I beg to differ. This one did not work for me and I am trying to figure out whether it was because I expected too much from the directorial debut of one of the most celebrated scriptwriters of recent times. Why is it that a love story has to be narrated by the group of friends to a total novice? (Didn't we see that in Aziz Mirza's Chalte Chalte not so long ago?) Why is it that every Bollywood love story has to end in an airport or a railway station? (I can remember at least a dozen films) Why is it that every gang in college has to have a dim- witted girl and a sardar/ gujju? (gujju in this case). After experiencing the frothy freshness of the Munnabhai series, the intensity and intelligence of Maqbool and the tongue- in- cheek irreverence of Main Hoon Na, is it wrong on the part of the audience to expect that Abbas Tyrewala would steer clear of cliches while debuting as a director? At least, I expected him to make something different while he ends up making something like that unbearable Malayalam flick "Niram" which is at least 10 years old. Yuck! The reason why I could sit through the movie is because of those few smart characterizations- Manjari Phadnis springs a surprise playing Meghana. In spite of the limited screentime available, she brings out clearly the anguish and agony that stems out of the realization that she is the only reason her parents are still together. Arbaaz Khan and Sohail Khan have not enjoyed themselves on screen like this before, playing the crazy cousins of the protagonist. And they definitely have the audience in splits. Paresh Rawal is in comfort zone after a long time and enjoys whatever he is doing on screen. Naseruddin Shah exudes pride on being a Rathore from Ranjaur- the only thing is that his dead character speaks to his wife from within aphoto frame. Now, this is a ploy that we have already seen and enjoyed in Ashok Saraf's tele serial "Hum Paanch" but trust Naseruddin Shah to come up with a striking example for what it means to perform within "confined space". Making an unconventional debut is Prateik Babbar- the intensity with which he brings to life the irreverent Amit needs to be experienced to be believed. The boy is a power house of talent and is someone to look forward to in the coming years. Standing tall among the supporting cast is the indefatigable Ratna Pathak Shah playing the hero's mother. She is magical beyond words and sets new standards in acting with her superlative performance. The music is a winner (Pappu can't dance, Kabhi Kabhi Aditi and Dil Kabhi Gandha- all of them are equally good) all the way. The production design is urban and uber cool. Camera, Editing and Sound are of the quality that you expect from a production house like Aamir Khan Productions. And the lead pair? Well, Genelia D'souza (I am personally suffering from an overdose of Genelia) is not half bad but then again, this is another "Genelia" kind of role and the lady with a perfect dress sense is going the Preity Zinta way as far as choice of roles are concerned. "Reinvention" is the buzzword for Genelia if she wishes to have a long and fruitful career in Bollywood. Imran Khan is sincere and is sure to be seen making "acceptance speeches" at all award functions early next year. If you approach the movie without expectations, you may end up smiling when you leave the theatre.