Director Divyang Thakkar explores Hirani-esque space and comes up with a pretty good ride on the subject of female feticide
Director Divyang Thakkar explores Hirani-esque space and comes up with a pretty good ride on the subject of female feticide
Solving serious issues in the midst of laughter is not a new thing in Hindi cinema. in Jayeshbhai JordarIn this, director Divyang Thakkar explores Hirani-esque space and comes up with a pretty good ride on the subject of female feticide. The ride comes with a slew of bumps, but the director doesn’t throw the internal logic out the window.
Not necessarily for people who want their cinema to be subtle, it caters to people who grew up Child bride Switching to general entertainment channels and OTT platforms Gulaki And home peace type of material.
Jayesh (Ranveer Singh) is the kind of guy who doesn’t know what feminism is, but has his heart in the right place. We find many characters in the hinterland who can’t cope with the atheist mindset of their parents, but aren’t able to sustain them either. For them life becomes a stork; The act of balancing the two generations. Thakkar paints this parody of life with a broad brush, but ultimately, it gives diminishing returns.
Jayesh’s fearful father Prithvivish (Boman Irani) and helpless mother Jasoda (Ratna Pathak Shah) are busy maintaining the patriarchy in a fictional village in Gujarat. They want a grandchild to carry on their clan name, and don’t think twice before eliminating any conclusive X chromosome that gets in the way of their wish.
Prithuvish is depicted as a late entrant in the league of aging cracks in the khaps of western Uttar Pradesh and Haryana. Like the rest of them, he blames women for the rise in male hormones and wants to push them behind every possible veil.
When Jayesh learns that his wife Mudra (Shalini Pandey) is pregnant with their second daughter, he decides to run away from his heir apparent father and his acolytes. The build-up evokes curiosity mixed with humor, but as the cat-and-mouse game begins, the dramatic underpinnings of the narrative become apparent.
It starts to feel like a series of skits on women’s empowerment that would work well on a roadside stand. Some of them have a strong emotional appeal that makes you laugh and ponder at the same time, but others are juvenile and dated.
The scene where Jayesh’s sister slaps him when he faints and also gets along with her unbearable husband is an example where Divyang gets a mix of happiness and message in the right proportion. Jayesh trying to cut off his male part to thwart his father’s efforts, he also strikes the right chord.
However, the young director gets deluded when he tries to link the present day of Gujarat with the past of Haryana in terms of the impact of female feticide. This may sound hilarious on paper, but doesn’t translate to screen. The film has a running time of only two hours but still, some scenes seem stretched beyond their capacity. important Puppy The (kiss) scene where Jayesh underlines the importance of seeing women as more than just the womb is one such example.
It is left to Ranveer to fill the gap with his performance and he does not disappoint. Jayesh is not an easy character to fit in; His valor is overshadowed by the fear of his social values and the status of a father. But Ranveer brings out Jayesh’s insecurities and courage without disrupting the tone of the film, and once again becomes the character by hanging the vanity in the cupboard. He shows how one can be fine-tuned in an elevated environment.
Bowman isn’t bad either. In a few key scenes, he instills genuine fear before turning into a big bear you’ll want to hug. Jiya Vaidya as daughter Siddhi does justice to a well-written part of today’s internet-connected child. Ratna has nothing but to explain the reason behind Jayesh’s soul.
It’s the kind of film that won’t make you queue at the box office, but will keep you awake when Jayeshbhai walks into the living room on a Sunday afternoon.
Jayeshbhai Jordaar is currently running in theaters
