Yeh Jawaani Hai Deewani- Frothy But Fun!

The opening scene of Ayan Mukerji's latest film reminds us, in its pomp and splendor, that this is most importantly a Karan Johar production. Make no mistake. This is the world of Mr. Johar, of super-rich people, super-big weddings, of gorgeous lehengas and ghagras and flawless sherwanis and so on. And, as the scene illustrates, this is also the world of perfectly round laddoos and shiny parcels. There are wealthy people, the kind of people who send invitations via FedEx to their globe-trotting buddies and send video messages as well to show off their elaborate wardrobes. Shifting seamlessly, if a bit fruitlessly, from the alternately colorful and frosty Manali (actually Kashmir) to the buzzing Paris and finally landing up on the glistening lake palaces of Udaipur, this is a rich film- a sumptous feast for the eyes and already with that beautifully enigmatic first shot, your tongue is in your cheek. So, who cares if Deepika Padukone's Naina nostalgically goes through her old memories in her room? Indeed, who cares, as long as it looks so good?

Fashioned like an epic story of love and friendship, (the trailers are suggesting it willingly), Mukerji's film might be easily called as the '3 Idiots' of the rom-com genre (the box-office numbers seem to be that big as well). As in that film, the larger-than-life feel-good factor often surprasses any real emotional relatability and much of the energy and vigor is thrown on having a lot of fun. Indeed, it is all dressed up with nowhere to go but is that really a bad thing?

My cynical nature would be inclined to agree but for most part 'Yeh Jawaani Hai Deewani' clicks. It works fascinatingly as a fine piece of mainstream entertainment with characters who exhibit refreshingly modern values. There is something awe-inspiring about the feel-good flair and subtlety of Mukerji's storytelling, such that even when the film feels forced and contrived, it never stops eliciting a WOW. And that is quite an achievement itself.

Part of the film's success has to do with its characters. 'YJHD' is populated with an interesting ensemble of buddies, all of who reek of earthiness and believability rather than being cardboard cut-outs. While this is a film that displays wealth rather explicitly, the explicitly rich characters end up being the butt of most of the jokes. Our main concerns lie with a foursome of friends.

Long-legged tomboy Aditi (Kalki Koechlin) spots her best school buddy, a bespectacled and mild-mannered Naina (Deepika Padukone) and eggs her, much to the chagrin of the latter's conservative mother (a brief but superb Dolly Ahluwalia), to join her and her old buddies Avinash and Bunny for a hike in Manali. Naina, who is obviously bored with her predictable life, decides to fly the coop. But again, make no mistake. This is not really about Naina catching up with Aditi. This is about the bad boy who is there for the trip.

Mukerji is the young director who made us aware of the actor beneath Ranbir Kapoor. Before his superb performance as the South Bombay slacker in Mukerji's debut 'Wake Up Sid', Kapoor was essentially a chocolate boy, predicted to be a favorite of only big wigs like Yash Chopra and Sanjay Leela Bhansali. As in that film, it is Kapoor's character, nicknamed Bunny, that drives most of the film. We first see him shaking a leg with Madhuri Dixit in a 'Kajra Re' style track in an elaborate brothel. He prefers to be called Bunny instead of his name Kabir. 'Like Bugs Bunny' he says, at one moment, in his mischievous best to a pretty but empty-headed girl. And this Bunny is quite a trouble-maker.

Along with Avinash (Aditya Roy Kapur), Aditi and a reluctant Naina, Bunny hops on a train to the famous tourist spot. That is what he always wants to do- travel, travel and travel. But he puts it as if he has what Michael Crichton may call the 'novelty gene'. Seeking thrills, he is there for the hike but he is also there for bonding for buddies.

Obviously, with a character who seems to like travelogues rather than diaries, it means that the film will take us and Bunny many places. Before that happens, Mukerji is confident enough to let us take in the rest of the characters. Aditi is a regular tomboy, full of verve yet tender; Avinash, happy with flirting and drinking, is spendthrift as well; Naina finds herself warming up to Bunny's infectious effervescence. And Bunny...well he is happy, only that he can be happier if he travels some more.

Halfway through the film, after an hour or so of fantastically pacy writing and ribald dialogue (by Hussain Dalal) and Mukerji's deft hand at characterization, things slow down and this is where it starts getting problematic. While the first half is pumped up with priceless moments of genuine chemistry and humor (there is a fantastic scene referring to the 90s hit 'Chumma Chumma' in which the four friends give their energetic best), the second half is a mixed up one, trying to sort out the problems of the characters but eventually Mukerji only clears the air for one of them.

Bunny, as said before, loves to travel but he seems to know as well what it is costing him. After roaming through the exquisite city of Paris, he suddenly starts missing his old buddies and lands up on Aditi's grand wedding affair. Things seem to have changed- Aditi dresses up mostly in traditional attire, Naina left her glasses long back, while Avinash seems to have almost drowned in liquor and gambling.

But for Mukerji, some things don't change. The friends still find time to shake their legs to energetic dance numbers and play some hilarious gags as well amidst some beautiful and ethereal settings. In one crucial moment, when Bunny and Avinash quarrel with each other, they pause at the sight of Aditi dressed up in her traditional best and they easily apologize to each other. Really, as if it is really easy to forget everything and join in the celebrations.

Yet, there are also a notable number of times when Mukerji settles for some warmth- for some genuine signs of friendship among the leads. In one scene, Bunny offers to help Avinash with his debts, but Avinash waves them away and instead asks Bunny to join for a drink. Priceless.

Mukerji seems to be suggesting that Bunny's thirst for travel has left him deprived of warmth of his relatives and friends. It is a fine point to make and Mukerji portrays it perfectly with his emotionally balanced style, aided by warm dialogue and mesmerizing visuals. A conversation between Naina and Bunny is particularly well-handled- the two rattle off about similar things- she speaks about watching DDLJ at Maratha Mandir with popcorn while he talks about Phantom of the Opera at Broadway. The contrast between the two is perfectly depicted and it makes the rapport among the leads really special.

Still, for all of Mukerji's economy and his exuberant feel-good approach, 'YJHD' starts entering predictable territory. All of a sudden, Aditi and Avinash are shoved aside, a bit mercilessly and the film becomes too focused on Bunny and his feelings for Naina. Can he leave his passion for travel- his deepest desire-only for her? The film wobbles dangerously at this point and given that most of the fun and frolic is over, we end up letting a sigh. Thankfully, Mukerji wraps up everything smartly if a tad too conveniently. By the end, we are back to level 1, still more concerned with the fun rather than the characters themselves.

For its obvious flaws and lack of focus, 'Yeh Jawaani Hai Deewani' is still quite a good film, mostly because it manages to entertain us for most of the time. Living up to the hype of being a grand summer entertainer, Mukerji's film gives us more than the usual amount of fun that we get every summer. Everything looks stylish, grand and monumental while the rapport among the leads is full of humor and energy. There is even a full-fledged comic chase in Manali which further sees our four buddies sticking together against all odds.

And then, there is the music. Pritam's chartbusting tracks are beautifully captured on the screen- fitting perfectly with the plot and pumped with a brash mix of melody and energy. V.K Manikandan's visuals are beautifully textured and bright while the locations are shot with dizzying flair. As if to resurrect the grand age of romances shot in exotic locations which seems to have been lost with the demise of Yash Chopra, this Karan Johar production delivers bang for the buck, doing what Yash Raj Films did sometime back ago (the last Yash Raj outing was a solid 70's style drama set in the not-so-bright real-estate sprawl of Gurgaon)

And the cast is quite good as well. Ranbir Kapoor, handling the reins of the film as well as his slightly unsympathetic character, delivers yet another stunning act- blending a split-second comic timing with amazing conviction to give us a genuinely flawed and believable character. His lady love, however, is nothing beyond one-note; Deepika dons the thick spectacles well enough but that is the only brave thing she does- eventually ending up the same plastic heroine that she has always been. She is not awful but it is just that her character deserves a far better performance.

Kalki, in contrast, shows her acting chops yet again- shifting effortlessly from those wide Cheshire Cat grins to tender vulnerability. Kapur, who shone as the brooding lover-boy in 'Aashiqui 2' plays it nicely here as well but his character feels a bit predictable and his problems also feel unsolved as well. Still, the young actor does it well.

Coming from the king of big-budget glitz and glamour, 'Yeh Jawaani Hai Deewani' is nevertheless a considerably entertaining romp that manages to balance its emotions quite well. Ayan Mukerji has brought us a wild, wacky yet luxurious party where you brush away all your worries and troubles and join in the fun. It might not be the definitive youth movie of all times but yes, it is one hell of a party where you cannot refuse to shake a leg to a dance number or two.

Play It Again, Ayan!

My Rating- 3 and a Half Stars.