Bollywood has churned out loads of romantic dramedies based on triangular love affairs but none as tiresome and tepid as Hai Jawani Toh Ishq Hona Hai. Designed as a summer entertainer for families that would revive the ’90s era of commercial hits, it falls back on the tried-and-tested formula of what confusion and hilarious misunderstandings would follow after a husband cheats on his wife when their marriage runs into a roadblock. But what was deemed as an amusing or even popular storyline three decades ago cannot pass muster at present. This becomes the reason why the story falls flat, its jokes fail to cheer and its characters do not connect with the viewer.
Considered to be veteran filmmaker David Dhawan’s last outing, the comedy brings together all the signature elements of his oeuvre. The director holds nothing back... madness is the keyword that defines every dialogue, action and reaction in every scene. Which in itself would be free from blame as one does not go in to watch a David Dhawan film expecting a lot of common sense or realism. But what it also demands is that besides surrendering to its steady stream of chaotic and unrealistic situations, the audience would also willingly accept everything that challenges their understanding of accepted social behaviour.
Though Varun Dhawan delivers a high-energy, comic performance as Jass Ahuja, his character lacks transparency and trust. No matter how much the script tries to make him appear fun, lovable and even responsible, his morality remains suspect till the end. The strange turn of events with which the film ends, where not only are his transgressions forgiven and forgotten but he is also allowed a fresh chance at love with another unsuspecting woman, is disturbing to say the least. Mrunal Thakur, as his wife Baani, is a character full of paradoxes. An educated and empowered young CEO, she is portrayed as someone who is fickle and changes her views on critical issues like career, marriage and motherhood very rapidly. Mrunal’s screen presence is, however, always gorgeous and graceful, her colourful music and dance sequences with Varun being the highlight of her performance. Preet, the girl Jass falls in love with afterwards, is played by Pooja Hegde with style, confidence and comedic flair.
Hai Jawani Toh Ishq Hona Hai also boasts an impressive ensemble cast, whose cumulative contribution to the film’s laughter quotient is forced and often tiring and repetitive. Maniesh Paul and Jimmy Shergill have supporting roles that compel them to take recourse to loud, physical and situational comedy, while Rakesh Bedi and Chunky Panday fail to rise above the script and struggle to land their dialogues in a manner that genuinely tickles the audience’s sense of humour. Mouni Roy springs a surprise in the latter half of the film in a brief role that adds an unnecessary dimension to the plot, while Kriti Sanon appears in a cameo that was totally unexpected but delightfully entertaining.
Though the story does not allow any sub-plots, clandestine affairs abound in this tale of extramarital love. Not to mention the endless partying, music and dancing that the main characters indulge in, which gives one the feeling that life in the world of Hai Jawani Toh Ishq Hona Hai is a continuous parade of fun, frolic and love affairs. What makes matters worse is that its plot is heavily reliant on too many chance meetings, coincidences and narrow escapes, that conveniently occur at every stage of the narrative. Its mishmash of weird and implausible sequences that do not fall into any coherent design make the experience of watching the film chaotic and confusing, especially when the narrative constantly jumps between the past and present, and between India and England. So much so, that the loud, noisy dance numbers that begin to play at the drop of a hat actually offer a welcome respite to those among the audience who may be struggling to find some semblance of logic or reality in what is being shown on screen.
Mostly picturised in stunning and naturally beautiful locations, the film’s vibrant and cheerful music and dance sequences offer brilliantly choreographed moments, capturing the fun and youthful energy with which the film radiates. However, the tendency to indulge in ’90s nostalgia in almost every song by alluding to hits in ’90s films like Biwi No.1 or Saajan Chale Sasural becomes exhausting after a point, especially post-intermission, when the predicament of the hero is certainly not one in which he may wish to break into song and dance.
Though unapologetically commercial, it is the film’s dependence on regressive slapstick comedy tropes and overused jokes that ultimately fail to entertain the modern audience, though it does have enough crazy, fun moments to elicit some laughs here and there.
My favourite David Dhawan film is... Tell t2@abp.in