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A.R.Murugadoss
Story


Dilip Shukla
Screenplay Dialogues


























Movie Review
JAI HO:Salman-selling sans Storytelling


*Dhishoom-Dhishoom*Dance-Dance*Salman-Salman* Jai Ho is all of the above and none of what you’d like to watch in a flick. It’s not even a madcap comedy, something for which many of us would happily agree to leave their brains behind. 

Director Sohail Khan has tried to encash ‘the social activist’ aspect of his bro’s public image but it fails to pass off as content. Jai Ho, a remake of Telugu blockbuster Stalin (2006) which starred Chiranjeevi, falls flat thanks to its incoherent and sloppy storyline. 

Jai Agnihotri (Salman Khan) is an ex-armyman who is always a phone call away from helping people (which here means, on most occasions, beating up the bad guys). He’s perfectly selfless, overtly sentimental and unquestionably violent when it comes to the sufferings of others, a job which Superman and Batman at times have sort of failed at. Jai’s family members, including his sister (played by Tabu), have been given too much footage and as a reciprocal gesture, scenes are created in order to justify their presence. 

So here’s what has been used as the shooting material assuming it would automatically turn itself into a script: A girl commits suicide, in a turn of events, and the alleged culprit is the state home minister’s daughter who couldn’t care less for people while travelling in her father’s laal-batti vehicle. Meanwhile, Jai keeps helping around people postulating his master-plan to change the world: “Never say thanks, help three people instead and tell them the same.” An assortment of actors from yesteryears of television and bygone lanes of films, including Yash Tonk, Vatsal Sheth, Mahesh Thakur and Ashmit Patel; swarms the screen as a cacophony of characters is created through various scenes. Also meanwhile, Rinki (newcomer Daisy Shah) the friendly neighborhood Gujrati kudi, dances around and child artiste Naman Jain (playing Jai’s nephew Kabir) keeps mouthing one particular joke again and again. If this is done for the purpose of creating humor or evoking resentment towards life’s absurdity, one can never be sure of. 

Amidst all this, a masterful strategy is invented by the writer/s in order to keep making way for physics-defying action sequences which can be thus presented in a mathematics-defying formula: Jai beats (A+ 5 men of A) = A calls upon (B + 10 men of B) therefore, Jai beats B = B calls upon (C + 20 men of C) therefore, Jai beats C who is related to Danny Denzongpa, the main villain. What follows is a chain of events loosely related to each other before the climatic action sequence, looking just the same as any other dhishoom-dhishoom, clears the way for the end credits. 

In totality, Jai Ho purposely stays away from presenting anything new, only giving in to the demands of Salman fans who are supposedly the majority in a cinema-hall. So apart from song-dance and action sequences we also get the climatic shirt-off bonanza. But in trying to achieve all that it insults the intelligence level of a big section (which is, however, a minority) of the audience who might as well prefer to walk out. 

Salman looks rock-solid in action sequences but unconvincing in emotional scenes. He’s definitely in great shape which will certainly help the film to extend the time-period of his paranormal spell on his fans. Sohail Khan’s direction is naive, further lowering down the quality of the preachy, over-simplistic and repetitive screenplay. Songs can be called unremarkable, in case one is really required to comment. 

Jai Ho is Salman fan-fair all the way. If one is interested in any other type of cinema-hall outing, it’s a total thumbs down. 
 



   Dinkar Sharma

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