- Release Date: 21/09/2023
- Platform: Netflix
- Cast: Kareena Kapoor Khan, Jaideep Ahlawat, Vijay Varma
- Director: Sujoy Ghosh
I was intrigued by the trailer of ‘Jaane Jaan,’ and then I inquired about its source material: the critically acclaimed bestseller, ‘The Devotion of Suspect X.’ I learned just enough about the story to pique my interest in the film without spoiling its plot and characters. I was confident that this would be one of those films perfect for viewing on a rainy summer afternoon when you can’t go out for work and aren’t quite tired enough to sleep. The presence of Jaideep Ahlawat and Vijay Varma added to my excitement. Kareena Kapoor Khan also looked extremely different from what we are used to seeing from her. This being her OTT debut, she was being marketed as the linchpin of the film, rumoured to be playing a role unlike anything she had portrayed before. While she is undoubtedly one of the mainstays of the film, for me, it was Jaideep Ahlawat and Vijay Varma who truly carried the film between them.
The story:
The story of the film revolves around Maya (Kareena Kapoor Khan), a single mother who owns a café called ‘Tiffin’ in the sleepy town of Kalimpong. Maya has a secret admirer in her next-door neighbour, Naren (Jaideep Ahlawat), who is evidently in love with her but is unable to express his feelings for her. He suffers from low self-esteem due to his balding appearance and also because he looks older than his age. However, he is a mathematical genius and a gifted martial artist. Things take a bizarre turn when a dark chapter from Maya’s past resurfaces in Kalimpong, threatening to destroy the only thing she holds dear. As the story progresses, both Naren and the arrival of a cop named Karan (Vijay Varma) have a significant impact on Maya’s life, leading to violent oscillations between hope and tumultuous struggles with the law and the looming threat of a prison sentence.
Jaideep Ahlawat is sensational:
While the film’s screenplay features Kareena Kapoor Khan more extensively, I eagerly anticipated Ahlawat’s appearances, as he was mesmerizing and mysterious in his portrayal of the character. What I absolutely loved about his performance was how hopelessly in love he was with Maya and yet how honourable he remained in his poise and demeanour towards her. He effortlessly maintained respect and distance from the woman who not only coloured his dreams but was one of the primary reasons for his survival. How Ahlawat realised this aspect of his performance was heart-warming to watch.
There are moments in the film where one can see Ahlawat’s character getting jealous, and also moments when it becomes clear that, no matter how much we desire it, a union between Naren and Maya would never be possible. These moments profoundly resonated with me. These scenes are filled with power and emotions, effortlessly enhancing the characters. These scenes wouldn’t be the same without the stellar performance of Ahlawat, who once again completely transforms himself for a character and is uncannily believable and haunting.
Vijay Varma lends terrific support to Ahlawat:
Varma plays a different character this time, one who is hellbent on solving a crime that, in all eventualities, would mean the arrest and incarceration of Maya. He is also an old friend of Naren. Varma’s investigation, coupled with his dynamics with Naren and his inescapable urge to romantically associate with Maya, creates a simmering drama that is hard to escape. It was also extremely challenging to portray all these emotions effectively without going overboard. To appear natural while interacting with two such dissimilar characters is no mean feat. Varma not only completely sells his character but also becomes the source of a lot of tension and drama, as he is always just a stone’s throw away from apprehending Maya and putting her behind bars, thereby potentially destroying everything that Naren had done to safeguard her existence. My tension stemmed from the fact that I wanted to see Naren succeed more than I wanted to see Maya safe.
Kareena Kapoor Khan delivers a terrific performance:
This film relied on Kareena Kapoor Khan to not only convey the genuine emotions and turmoil of the character of Maya but also make the audience resonate with her and feel her tragedy. While most of the audience will champion Naren, if Maya’s character was not worthy of the feelings and romance that she incited in Naren, the entire film and its impact would have fallen flat on its face. Kareena ensures that this doesn’t happen and justifies every second of the screen time that she gets. She not only makes us fall in love with her character but also grounds her every emotion and action in realism, ensuring that there is nothing questionable about her life and actions in the film. This makes the character realistic and endearing, ensuring that we associate it with someone we know, thereby enhancing its appeal.
Sujoy Ghosh’s direction is innovative and captivating:
Sujoy Ghosh has a knack for directing atmospheric thrillers, and he is in his element here. He not only extracts honest and bravura performances from his ensemble cast but also maintains a sombre mood and atmosphere throughout the film’s runtime. This ensures that the drama and thrills in the film are relentless and possess our senses, even during times when nothing substantial is happening. Ghosh knew how best to use the setting of Kalimpong to his advantage; he literally employed the locales as one of the characters in the film and ensured that they played a predominant role in capturing and maintaining the sombre mood of the story. He also effectively communicated the characters and their limits to the actors, ensuring that none of them went overboard. Ghosh also employs numerous innovative storytelling techniques to keep the proceedings interesting and absorbing.
I haven’t read the original source material, and hence I will not be able to comment on the quality of the adaptation. However, when I was watching the film, it never felt for a moment like a Japanese story that was given Indian colours and feel. On the contrary, it felt absolutely like a personal story that could have come out of Kalimpong.
Avik Mukhopadhyay’s cinematography deserves special mention:
I was blown away by the beauty that was on display and yet how everything about the visuals felt tailor-made for the story and the drama. The visuals and the various aspects of Kalimpong are effectively used to anchor the story, the characters, and the drama to the world that the director was trying to conjure. I would have loved for these images to wash over my eyes on the biggest screen possible. However, such is the state of entertainment in India these days that films of this nature often go directly to OTT platforms. If this film had been released in theatres, it probably wouldn’t have recouped its production costs. But on Netflix, it will reach the kind of audience that has an affinity for films of this type. Sadly, this has deprived audiences of seeing Avik Mukhopadhyay’s gorgeous compositions on the kind of screen they truly deserved.
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Final words:
‘Jaane Jaan’ is the perfect watch for a rainy summer afternoon when you have nothing else to do. The film impressively blends suspense and emotion, with standout performances by Jaideep Ahlawat, Vijay Varma and Kareena Kapoor Khan who shines, grounding her character in realism and justifying every moment of her screen time. Sujoy Ghosh skilfully maintains a sombre atmosphere in Kalimpong’s scenic backdrop, effectively anchoring the story and its elements in the visual settings of the topography. Avik Mukhopadhyay’s cinematography adds an eerie, atmospheric touch and contributes immensely to Ghosh’s vision for the story and screenplay. While the film’s OTT release may limit its reach, it will facilitate its reach to an audience appreciative of this genre, aesthetics and type of filmmaking. Despite missing out on the big screen, ‘Jaane Jaan’ delivers a captivating narrative and breath-taking visuals deserving of a larger canvas.
Rating: 3.5/5 (3.5 out of 5 Stars)
The views expressed in this article are that of the reviewer and do not reflect EastMojo’s position.
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