Creative Quotient
Welcome to the brave new world of ‘practical’ romance. Writer-director Imtiaz Ali mirrors the uber cool urban romance with it’s no-strings attached attitude. Zany Jai (Saif) and zingy Meera (Deepika) bump into each other at a London pub and soon they have moved in together. How one finger poke leads to a cheek pat, a nuzzle and then a kiss...is such a gracefully orchaestrated scene. In fact, it’s almost infectious. Their continual reference to “our status” a la social networking sites is so with the times.

The clinical logic with which the two break-up to suit their career choices is the brutal truth about today’s youth. Their ‘break-up’ party is another brazenly youthful notion. After the party, Jai runs into Veer (Rishi), the owner of the restaurant, who admonishes him over the break up arguing that ‘love is for keeps’. He then narrates his own love story with Harleen back home in Delhi. Here on both the love stories are braided together flitting back and forth in time and space and attitude. Veer’s romance with Harleen is mostly mute but full of passion. For instance, Veer travels from all Delhi to Kolkata just to catch a glimpse of his beloved, whom he hasn’t yet exchanged a word with!

On the other hand is the verbose Jai who just can’t help expressing all to his consort, who in turn leaves nothing unsaid or undone. The director holds the viewers in thrall with the contrast of times and culture.

The dialogues are crisp and witty and these “new angle” lines are most engaging. The ‘aam log- mango people’ line is sure to catch on. It’s a valiant effort by the director match up garangutan expectations from him, Jab We Met was no mean watermark to reach. But this a refreshing take on romance - never mind the confused lovers therein.

Technical Expertise
Director Imtiaz’s narrative interweaving the present and past makes for a stimulating watch. The lead pair slips into their parts most effortlessly. Saif is the cool dude he plays and at the same time the robust Sikh he plays in Rishi’s flashback. One word that describes his performance is dynamic. He’s just so involved in the film that he becomes an integral part of it. Bambi-eyed Deepika is statuesque and convincing in her practical, careerist role of a fresco painter. Rishi Kapoor, the original lover boy, is endearing in the avuncular part but he is inconsistent as far as the Punjabi accent goes. Rahul Khanna fits in well in that special appearance.

The production values are lavish. N Nataraja Subramanian’s cinematography gives San Francisco, London and Delhi a distinct character and editor Aarti Bajaj does a competent job of sewing together the non-linear narrative maintaining an easy flow. Pritam’s music is inspiring but sadly the songs aren’t situational, most songs are thrust in and they tend to pose as speed breakers.Salim-Sulaiman’s background score goes with the flow.

Don’t miss the last song with rolling titles which pitches both Saifs together - the Sikh bhangra jugalbandi with mod hip hop– it is a hillarious watch.

This is a neat, new age romance that all can get used to. The sooner the better.

On the whole, the film deserves the widest audience.