We’re taken back almost to the world Priyadarshan, Neeraj Vora created with their 2004 film Hulchul, where we meet a village named Pravingarh in Gujarat led by its patriarchal Sarpanch Ramlal (Boman Irani). He’s like one of those politicians who believe that women wearing bikinis invites assault and so bans soap as a “protection for the beauty” of his villages women.
On learning about the baby girl, the Sarpanch’s son Jayeshbhai (Ranveer Singh) has somehow avoided such conservative thinking, so he plans to flee from his wife Mruda (Shalini Pandey) and daughter Siddhi (Jia Vaidya). What is your opinion on this?
After 10 years, Ranveer Singh made his debut as a ‘Dilli ka launda’ in Maneesh Sharma’s Band Baaja Baaraat, and now the actor has transformed his lifestyle while the director has altered his attitude. The one thing that hasn’t changed is the pure entertainment with a social message this time around.
For those who are bashing this as ‘outdated,’ how many ‘hero saves the day’ movies have you seen and liked? It’s not comparing the two things; but at least do some research after watching how it’s done if you’re beating someone up for having the same structure.
Story of ‘Val Divyang Thakkar’ is a montage of several gorgeous moments, some predictable dull sequences, and powerful acting by Ranveer Singh and Jia Li, all with a social message that has previously been addressed but unfortunately/ironically there’s always room for improvement when we talk about Female foeticide in India owing to the real-life instances we still get exposed to every now and then.
The script is a homage to such events as: Bahu, the housewife, being made to put her thumb print on a paper while kneading flour for chapattis, leaving a bit of dough mixed with the ink, how from being covered in a ‘ghunghat’ in all of her wedding photographs, the “bahu” gains freedom by allowing the wind to draw down her ghunghat while driving a car and other such tiny yet important moments.
The style of filming emotions that Siddharth Diwan enjoys to capture the ‘raw’ and ‘natural’ aspects of the film comes in useful. To keep the movie tight, Namrata Rao does everything correct as an editor! (I was just kidding; you get the idea.)
A Side Note: In the background of YRF’s “Swag Se Swagat,” the line from “sabko gale lagana, apni culture ki hai aadat” by YRF’s “Swag Se Swagat” is played as a shady truck driver helps an extremely lost Shalini Pandey’ s Mruda and her daughter. (No room for this anywhere, but I wanted to make it clear.)
How are they?” must be asked of Ranveer Singh for the numerous characters he carries inside him (yes, I know I’m referring to the same story that he himself disclosed about Javed Akhtar-Gauri Khan-Shah Rukh Khan recently). from Delhi’s street-smart to Mumbai’s police officer, rapper, a Turco-Afghan mad king to now, a Gujarati entrepreneur — it requires asking “How are they?” for the many people he plays (yes, I realize I’m talking about the same tale that he just revealed about Shah Rukh Khan and Javed Akhtar-Gauri Khan – lately).
It’s one thing for actors to get into character, but it’s another for them not to convince you that they’re attempting to do so. Singh has been adding parts to his filmography that are difficult to master, yet he somehow manages to do so.
The film also provides us with two solid actors in Shalini Pandey (wife of Jayeshbha) and Jia Vaidya (daughter). Both their characters play passing the ball when it comes to adding to the story. Jia is the queen to Ranveer’s king, effortlessly assuming a leading role. Boman Irani succeeds in annoying you with his antiquated approach through his on-point performance, making the objective accomplished.
Ratna Pathak Shah’s performance is frequently eclipsed by not obtaining enough meat in comparison to other characters, but here she just pales in comparison to the rest of them. She shows her mettle in a single emotional scene with Ranveer, but we need more of them to establish the bond between son and mother effectively.
Definitely, Divyang Thakkar brings a wealth of expertise from his prior Gujarati movie roles such as Kevi Rite Jaish and Bey Yaar. Thakkar manages to strike the balance between humor and emotions effectively most of the time, thanks in part to Maneesh’s seamless execution of the regional flavor in Band Baaja Baaraat. It’s possible that the social message “pop up” in the second half may pinch some people, but the good conclusion will prevent you from leaving dissatisfied from the cinema hall. (Also, take a shot for every time you hear “vansh”)
I haven’t tagged Vishal-Shekhar’s music as the weakest link in a film in a long time, but this one changes that. There was no song within the movie that piqued my interest even situationally, much alone adding them to my playlist after hearing them with the sequences.
Sanchit, Ankit Balhara brothers (Sanchit, Ankit) are frequently moving between films like Padmaavat, Bajirao Mastani, Gangubai Kathiawadi to War, Radhe, Panga. It’s difficult to figure out their “signature” style because they’ve moved across such a broad range of movies. This is also a good thing since it provides more options; however I hope they discover their own way of composing.
The Last Word
In the end, Jayeshbai Jordaar does not tackle an “antiquated issue,” but it picks up on a problem previously addressed while adding its own charm, humor, “pappi-worthy” emotions, and “oh so amazing” acting by Ranveer Singh.
Jayeshbhai Jordaar Trailer
On May 13, 2022, Jayeshbhai Jordaar’s book will be published.
Name: Jayeshbhai Jordaar
Star Cast: Ranveer Singh, Shalini Pandey, Boman Irani, Ratna Pathak Shah, Jia Vaidya, Samay Raj Thakkar
Director: Divyang Thakkar
Movie Rating: 4.0/5