Jugjugg Jeeyo movie review At pains to balance out its feminism by humourising manly infidelity and egoism 

 

 Jugjugg Jeeyo’s repentant feminism aims to feed to both sexists and rightists. As a consequence, it's neither then nor there and may as well be nowhere. 

• In some ways, the new Hindi film Jugjugg Jeeyo( Live Long and Prosper) reminds me of the recent Malayalam release Jo and Jo. 

• The ultimate was about a son facing demarcation from her mama who dumps ménage chores on the girl while leaving her son free to chesterfield around. Jo and Jo was so fearful of antagonising the followership beyond their threshold of forbearance for leftism, that each time it showed the son correctly protesting against an injustice within the family, it also fleetly softened the blow by trivialising her and her enterprises. 

 

•  Raj Mehta’s Jugjugg Jeeyo – written by Anurag Singh, Rishhabh Sharrma, Sumit Batheja and Neeraj Udhwani – is more married to its ideals than Jo and Jo, but it too is at pains to soften the blow of its unequivocal feminism by balancing out every review of a hubby’s infidelity and egoism in a marriage with quick shifts to a tone humourising the same conduct. 

•  Kukoo Saini( Varun Dhawan) and Naina Sharma( Kiara Advani) are rotting in a cold marriage filled with bitterness. He resents her professional achievements because he shifted countries to support her career, and has been unfit to make it himself. The two decide to disjoin. Shortly latterly, Kukoo discovers that his Patiala- grounded father too wants out from his marriage of over three decades. Bheem( Anil Kapoor) intends to break it off from Kukoo’s mama Geeta( Neetu Kapoor), a traditional stay- at- home woman

• He has been having an affair with a youngish woman, Meera( Tisca Chopra). 

 Indeed in 2022, it's hard to imagine that an out- and- out marketable Hindi film would openly describe a selfish hubby as selfish and condemn his infidelity.

•  Nearly half a century after Hrishikesh Mukherjee’s Abhimaan, it remains rare for a mainstream Hindi film to examine the social exertion that types men who struggle to celebrate a woman’s successes unless their own careers outmatch hers. Jugjugg Jeeyo does all this and further. Bravo! The film is, still, careful as heck. The narrative is grave and heavy while on Naina and Kukoo’s saga, it tends to be comical while concentrated on Bheem, and the two stories appear to have been told in resemblant lest Jugjugg Jeeyo’s support for Naina hurts too important. 

•  Indeed within the Bheem- Geeta equation, whenever Bheem is called out on his condemnable geste.

•   The pens quicken to assure us that he'll not suffer too important because after all he’s hahaha hohohohoho just a man cheating on his woman.

•  And hehehe c ’ mon, it doesn't count as cheating since he and Meera haven't slept together yet and hahaha hohoho hehehe through all this he wants to be served hand and bottom by a womanish mate hahaha. 

 

•  One of the ways Jugjugg Jeeyo sustains its balancing act is by dissing Meera’s independence and dismissing her sense of tone- worth as an reluctance to fulfil the duties that dear lovely pativrata Geeta has still fulfilled for so long. 

• Jugjugg Jeeyo’s repentant feminism aims to feed to both sexists and rightists. As a consequence, it's neither then nor there and may as well be nowhere. 

 

•  This is, still, not what makes the film a physically painful experience. As Jugjugg Jeeyo swings hectically between comedy and gravitas, as it sometimes still inserts counterpoints to its own overt currentness, one quality remains a constant loudness. Make that two rates that also counted down the intriguing messaging in the director’s before film, Good Newwz loudness, and the clichéd representation of Punjabis as a noisy, roisterous community. 

• For the record, despite its uneven liar, I actually liked corridor of Jugjugg Jeeyo. Varun Dhawan and Kiara Advani are good together, this film gives Advani the kind of part that she deserves and should get further of, Anil Kapoor is incredibly fascinating and energetic( although, of course, the film misuses his charm and bounce to make his awful character appealing), Maniesh Paul as Naina’s family displays solid ridiculous timing in places, and the pens do well with the depiction of supportiveness between Naina, Geeta and Kukoo’s family( Prajakta Koli) defying saas- bahu conceptions. Neetu Kapoor’s Geeta is neglected in the script throughout the first half – which makes the placement of her name as the lead in the opening credits an act of tokenism a la Jayeshbhai Jordaar – but in the alternate half, she gets time, space and one of the stylish of the film’s serious exchanges. 

• Some of these rudiments work well enough that it might have been tempting to forgive Jugjugg Jeeyo for its feminist tightrope walk, but the film’s volume makes that insolvable. The sound design opts for quietude in just a bitsy bit of its 150 twinkles running time, the soundtrack is blaring and the background score tyrannous. The high- rattle humour is occasionally distasteful and frequently juvenile, similar as when a man declares that the only ways for a mortal being to lighten up are “ to do restroom or party ”, and away when a fellow is advised noway to suppress his “ feelings or( bowel) movements ”. Oh lord! Proses! And the reductive definition of Punjabis in Jugjugg Jeeyo as hearty, voluble brutes for the utmost time is exhausting enough without a rumbustious

•  song italicizing the global love for the community’s joie de vivre. 

 

•  Jugjugg Jeeyo comes from a long tradition of Hindi cinema( sample No Entry and the Masti series) treating manly infidelity as a uproarious device while of course a analogous lens isn't trained on womanish infidelity. It's also a observance- barrel- splitting experience. Not every film can be a Great Indian Kitchen in its station to patriarchy, but this bone is a hyperventilating Jo and Jo that dilutes its earnings with a heavy cure of countermanding and by creating a noise. 

•  Standing 2( out of 5 stars) 

 

•  flagon Jugg Jeeyo is now in theatres 

• AnnaM.M. Vetticad is an award- winning intelligencer and author of The Adventures of an Intrepid Film Critic. She specialises in the crossroad of cinema with feminist and other socio- political enterprises. Twitter@annavetticad, Instagram@annammvetticad, Facebook AnnaMMVetticadOfficial