Madhur Bhandarkar is synonymous with thought-provoking, hard-hitting films. Right from CHANDNI BAR to FASHION, the expert storyteller has made movies that hold tremendous shock-value. In turn, Madhur has cultivated a rich fan-base for his films. With JAIL, Madhur not only makes you visit a prison, but also makes you peep into the psyche of a prisoner. In the recent past, Sriram Raghavan's EK HASINA THI [2004; Saif Ali Khan, Urmila Matondkar] and Nazim Rizvi's UNDERTRIAL [2007; Rajpal Yadav] narrated the travails and anguish of innocents who were falsely implicated in a case. Besides, Nagesh Kukunoor's TEEN DEEWAREIN [2003; Naseeruddin Shah, Jackie Shroff, Nagesh Kukunoor] too narrated the story of three convicts. But JAIL is different from the above-named films. Besides watching a thought-provoking story on celluloid, one has also come to expect incredible performances in a Madhur Bhandarkar movie. And JAIL too is embellished with superb performances from its key actors. JAIL transports you to a hitherto unknown world that most of us haven't seen and if this is its USP, it's also something that might go against it. Irrespective of how strong its merits are, a section of moviegoers [read families/kids], who generally tilt towards feel-good/sunshine/entertainment-filled cinema, might skip this film due to its dry [and at times depressing] theme. In a nutshell, JAIL mirrors a reality in true Madhur Bhandarkar style. It's hard-hitting, it's compelling, it's thought-provoking. The efficient storyteller has the courage to speak a new language in every film and for that very reason, JAIL should be on your agenda. Parag Dixit [Neil Nitin Mukesh] is living a dream life -- a great job and a loving girlfriend [Mugdha Godse]. However, things take an ugly turn when, after a series of unfortunate events, he suddenly wakes up in jail. Parag is perplexed. The only salvation he finds is in Nawab [Manoj Bajpayee], a convict, who believes that Parag is innocent. Soon, Parag is left with a choice, to either live a life with hordes of broken hearts and shattered souls amidst the prison walls or hope to see freedom some day. JAIL involves you from the very start. The inmates, their crimes, their individual stories... you get drawn into a world that's very real. So real that you feel it's happening right in front of your eyes. Madhur has a knack of narrating stories and he narrates the story of Parag Dixit with razor-edge sharpness. Besides, JAIL also enlightens you of the legal process, which also acts as an eye-opener. At the same time, the legal procedures and also the behavioural pattern of the inmates tend to get repetitive after a point and that's when you start feeling restless. Nonetheless, the post-interval has some interesting twists-n-turns, like the convicts' escape from the police van; prior to that Neil and Manoj exchanging stares before Neil perches himself in the van; Neil getting thrown in a dark cell, spending the next few days in solitary confinement; a convict using the garbage van as the means to escape; another convict realising that his wife is now a cop's mistress. Also, the climax is touching and moves you. Madhur hits the right note yet again. Madhur, Manoj Tyagi and Anuradha Tiwari's script involves you in most parts. Raghuvir Shekhawat's dialogues are true to life. There's no scope for music in a film like JAIL, but the three songs are smartly integrated in the storyline. Kalpesh Bhandarkar's cinematography is top notch. Special mention must be made of Nitin Chandrakant Desai's prison set, where the film is entirely shot. Not only does Neil Nitin Mukesh deliver his finest performance to date, but the performance would easily rank amongst the finest this year. He conveys the pathos and helplessness that this character demands with amazing understanding. He deserves all praise for his extra-ordinary portrayal. Manoj Bajpayee pitches in a memorable performance. In fact, the supremely talented actor is in form after a long, long time. He's subdued all through, which only goes to prove that he knows the craft so well. Mugdha Godse underplays her part beautifully. Also, she carries the non-glam look well. Aarya Babbar is fantastic. This film should make people sit and notice this young actor. Chetan Pandit is first-rate. Rahul Singh is excellent, especially in the sequence when he confronts his wife. The actor who plays the part of Joe D'Souza is effective. On the whole, JAIL is a well-made film from an expert storyteller. At the box-office, the film will appeal to those with an appetite for hard-hitting, realistic fares, but its clash with AJAB PREM KI GHAZAB KAHANI will affect its business to an extent.

Rajkumar Santoshi has changed lanes. Known for intense, hard-hitting movies [with the sole exception of ANDAZ APNA APNA], Santoshi now attempts a rom-com in AJAB PREM KI GHAZAB KAHANI, his new endeavour. That's something we all know by now, right? But not many of us know that Santoshi is equally at home handling a comedy. And AJAB PREM KI GHAZAB KAHANI proves it. If you're attempting a rom-com, you need to get a few things right... One, the romance should be livewire. Ditto for the chemistry between the on-screen pair. Two, the film should make you laugh. As simple as that! In AJAB PREM KI GHAZAB KAHANI, the romantic moments are endearing. Most importantly, the on-screen chemistry is electrifying. Ranbir and Katrina look great together! I've often said that comedy is serious business and the audience has moved over from banana peel humour in movies. The comedy in AJAB PREM KI GHAZAB KAHANI - though it borders on absurdity - is funny in most parts. Sure, there're times when you feel that the humour looks forced [climax fight especially], but you don't grudge it since Santoshi's intentions are crystal clear from Scene 1 onwards: Entertainment ke liye kuch bhi karega. Another factor that goes in its favour is Pritam's music, who belts out a couple of lilting tracks. On the flip side, the film could've done with a fresh plotline. When you talk of 'Ghazab Kahani', it has to be ghazab by all means. It shouldn't fall prey to predictability, but the second hour succumbs to mediocrity occasionally. Yet, despite the blemishes, AJAB PREM KI GHAZAB KAHANI is a full-on entertainer. One thing is for sure, you'd fall in prem with Prem and his antics. An ideal date movie that should connect with the youth. Prem's [Ranbir Kapoor] fundas in life were very simple - be happy, make others happy. A case of mistaken identity leads Prem to almost kidnap Jenny [Katrina Kaif], who was brought up by indifferent and uncaring foster parents. Prem falls in love with Jenny, but realizes gradually that Jenny is in love with someone else [Upen Patel], the son of a conniving politician [Govind Namdeo]. Prem decides to sacrifice his love and get the lovers married. In the first sequence, Santoshi makes it loud and clear that AJAB PREM KI GHAZAB KAHANI is very unlike his previous ventures; this one harbours on illogical situations. Right from the time Ranbir sets his eyes on Katrina [the yellow outfit episode], the film is a roller coaster ride. A few sequences entertain you thoroughly. Sample these: Katrina slaps Ranbir when he stammers as well. She feels he's imitating her; Ranbir's sequence in the church; Salman Khan's cameo; the love-hate relationship that Ranbir and his father [Darshan Jariwala] share; the sequence at the party; the interval point when Ranbir falls on the ground literally... the first hour of the film simply rocks! But the second hour makes you a little grumpy. The third angle of the triangle [Upen Patel] isn't convincing, while his father's [Govind Namdeo] track is beaten to death. Even the villain [Zakir Hussain] is a sore point. Watching the second hour makes you feel that the film may've had a longer running time and in order to bring down the length, a number of scenes must've been chopped off, which, in turn, must've resulted in continuity lapses. For instance, Katrina's kidnap by the villains looks too sudden. When and how did it occur? Yet, there're two sequences in this hour which are remarkable and which should bring the house down. One, when Ranbir wears Katrina's top to hide her presence in the house and the climax fight, when Katrina mistakenly bangs Ranbir a couple of times. Directorially, Santoshi proves the naysayers wrong and bounces back with a film that the youth would relate to. You can't write off the maker and AJAB PREM KI GHAZAB KAHANI proves it. Pritam's music has 'Hit' written all over it. S. Thiru's cinematography is first-rate. Ranbir Kapoor is the next big thing and AJAB PREM KI GHAZAB KAHANI proves it yet again. He's charismatic, emotes exceptionally well and tickles your funny bone without making faces. It's a fantastic performance all the way. Katrina Kaif continues to surprise. She surprised you in NEW YORK. She surprises you again in this film. She scores in both emotional and light scenes. Also, Ranbir and Katrina make a wonderful on-screen couple. Darshan Jariwala is exceptional. Smita Jaykar is very good. Upen Patel is decent. Govind Namdeo is getting typecast. Zakir Hussain is fair. Navneet Nishan is alright. On the whole, AJAB PREM KI GHAZAB KAHANI entertains majorly. At the box-office, the fantastic pre-release campaign coupled with the terrific chemistry between Ranbir and Katrina, excellent music by Pritam and tremendous appeal for youth should ensure a big start for the film at the ticket window. The business prospects seem excellent, thus ensuring handsome returns for its investors.

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How long can you milk a concept for all its worth?
Once is great. Twice is good.Thrice is audacious. 5 Times would be pretty stupid is what anyone with a reasonable amount of common sense would say.
And Jail has proved it right.

Madhur Bhandarkar hit upon this motherlode of 'reality' movies with Chandni Bar in 2001. It was first of its kind in the franchise, and there were possibilities in a subject of that nature , and true to its content even recieved a National Award for the film. With Page 3 and Corporate he thought he had the Average movie fan eating out of his hands. Fair enough. The movies were big commercial successes, which made him audacious enough to go on with this now - predictable format of taking this cooking pan, throw in a handful of characters made famous or infamous through the media, known to the public, create a handful of others to support them, saute in over medium heat, add a dash of pithy dialogues and a song to taste, and voila, the latest Bhandarkar dish was ready for public consumption.

Madhur Bhandarkar is a brilliant craftsmen, but knowingly or unknowingly, he has gradually become a prisoner of his own ideas. maybe he should even get a patent for this version of 'reality - films and resell the franchise.
The reasons for the above are many. Chandni Bar worked at various levels. As a story, though the characters had elements of familiarity in real life, the narrative was natural, and honest. As his movies progressed on the same format, of half reelity and half reality, his narrative seems to be becoming more and more contrived and stilted.

Though the concept of a story centered around a jail has been surprisingly not had any takers in Bollywood ( ok, Teen Deewarein, what else?), this time Madhur Bhandarker has gone for the ready - mix variety for his cooking, and predicatbly, the end product looks colorful, sans soul.And as for Jail, all he had to do was look around through the world classics in this genre and pick the most popular of the characters and give it a Bollywood twist.

C'mon, Mr.Bhandarkar, whom are you trying to convince with this deep, intense buddy act interplay between Parag and Nawaab - is it for those who are not familiar with Andy and Red from The Shawshank Redemption? The character sketch is so blatantly similiar that it is disgusting. And Manish mehta as Joe D'souza who runs over 6 people (aha) on a drunken driving spree.
Cardboard cutouts anyone?

The characters as evident form the released story line are too boring to be true. Maybe Madhur never realised that the themes he progressively chose, unlike his first subject, that of dance bars, were so deeply ingrained in the popular media, that events have taken on a jaded sheen in everyday affairs.

How in God's name are you going to put uniqueness in a character that's been so familiar with the public, who knows the beginning, the middle ground and the end of ever character's screen life?
Break out of your shackles, Mr.Bhandarkar.
Maybe its way too symbolic to have this project named as Jail.
Its a bit ironic and sadly funny too.

 

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