Tera Jadoo Chal Gayaa
Abhishek proves his mettle

WHEN raw talent comes up with a compelling performance, it casts a magic spell on the audience, and that’s exactly what happens in Puja Films Tera Jadoo Chal Gayaa. It is editor-turned director A Muthu’s maiden film and Kirti Reddy’s debut in Hindi films while Abhishek gets his second outing at the turnstiles. The final product is more than one expected. The first half is fairly entertaining but the latter half, to some extent, is not upto the mark. It may well prove to be the difference between the film being termed an average success and a superhit. The film would have been a sure hit if only the director had managed to maintain the tempo in the second half. The twist in the story makes it hardly convincing and loses basic interests. Despite all the drawbacks, the highlight of the film is Abhishek Bachchan’s stunning performance and Ismail Darbar’s soul-stirring numbers which will help the film sustain itself at the b-o to some extent. The film definitely has mass appeal and should do well in even the smaller centres.

Pooja (Kirti Reddy) works as a creative director for an advertising agency. While on a trip to Agra to attend a friend’s wedding, she come face to face with Kabir (Abhishek Bachchan) who does errands as video photographer. Kabir takes an instant liking to her but fails to put his admiration into words. Pooja leaves Agra with the feeling that Kabir is a good friend. There’s trouble in store for Pooja back in Mumbai. Her boss hands over the dismissal letter to her for late arrival. At this moment, her colleague Maggie (Johnny Lever) bails her out by showing a picture which also features Kabir and says that both were engaged and that had caused the delay. The boss relents and she gets a timely reprieve.

The girl who dreams about her fiance in Armani suits and driving a Mercedes is on the move to woo her boss’s foreign returned son Raj (Sanjay Suri). She is unaware that Kabir is on his way to Mumbai with his foster parents (Paresh Rawal and Himani Shivpuri) to find his lost love. Kabir is dumbstruck when Pooja says she doesn’t love him and her dreamboy is Raj. On the contrary she asks Kabir to help her out of the mess she has created for herself. The engagement with Kabir which never happened becomes the stumbling block. She asks Kabir to create a situation where she will be compelled to break her engagement and clear the way for her marriage with Raj. This is the point in the story from where the film goes haywire. A reluctant Kabir promises to help her out. But in the process he wins the heart of Pooja’s boss, who with his contacts in the music industry, carves out a role of a professional singer for Kabir. He becomes an instant hit and cuts a private album directed by Pooja. Her mother who silently watches the change in attitude in Pooja, finally makes her understand that it is Kabir and not Raj who’d make the ideal man in her life. So, as it happens in every other film, Pooja packs off to Agra to join her lover.
Performance wise, it is a treat to watch Abhishek Bachchan. It seems he has come a long way after Refugee in which he had very little scope in a non-glamorous role. Slotted in a North-Indian character he exudes shades of his father but consiously never tries to ape. He is at his best in comedy, emotions, action and dance numbers. What else can one ask for from a budding actor who is just two films old? Abhishek with his matured performance renews the hope of better outings. Kirti Reddy makes a promising debut and has good screen presence, but has a long way to go. Paresh Rawal dons the role of a North Indian muslim to perfection and his performance is one of the highlights of the film. Himani Shivpuri lends able support. Johnny Lever doesn’t raise much laughter in the new role of a gay. Sanjay Suri, albeit in a small role does justify his role.

A Muthu is not a disappointment in his new role as director, and exhibits good flair for comedy, characterisation and narrative. He is handicapped by the twists in the story in the second half where the situations get out of his control. Yet, it is a commendable job considering it is his first film. Music by Ismail Darbar is the soul of the film and all his numbers are in a class by themselves. The music director has his own style, and he continues the good work he started with Hum Dil De Chuke Sanam. All the eight numbers are quite situational and have been picturised lavishly. Cinematography by Santosh Thundiyil is excellent and his frames of European locations are fabulous. Art director Sameer Chanda once again proves his worth with some very good sets which are close to reality.
Padmaraj Nair

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