I enjoyed JTYJN and thought it was a refreshing change. I don’t agree with some (OK, one …) comment here where it says the humour was badly done and that they know how to package it better in the South. In fact, the problem with most Tamil movies is that the humour track is separate – it’s a parallel story-line most of the time. In JTYJN the humour was part of the main story and I at least thought it worked – I was in stitches towards the end when Jai begin fulfilling the “three conditions”

I am surprised nobody mentioned this though. In that Aditi-Jai gang of 6, was it not obvious that Jiggy and Shaleen too were “made-for-each-other”? I was hoping that their characters would be developed eventually (and my hopes raised when Shaleen gets a call about her father in Aditi’s place) and that they would get together by the end! To me, this expectation was what kept these 2 characters afloat.

May be they are yet to realize it and that is what the “wait” at the end of the film signifies?

I know it is too much to expect a reply for the 101th comment on a review of a rather “old” movie but I hope someone will tell me that I am not the only one imagining a non-existent romance between 2 under-developed characters

I found some of the themes in the story internally inconsistent – Aditi calls her parents by nicknames (pumpkin?) and they are supposed to uber-cool. Yet, they worry about what biradari will say and are eager to marry her off at 20. The khadoos Mala in the Greek Chorus – was far more interesting when she was khadoos – her rapid meltdown was positively irritating. Why is everyone assuming that love at 20 years has to culminate in immediate marriage? Even the end – I wished they had just returned from an MBA or something, still together, and not from a honeymoon. The coolness is evidently superficial.

I think Jai likes his life relatively simple – and so Meghna, who may be more interesting is probably also too complex for him – he likes them bland and safe. He looks decidedly uncomfortable in her house at night and in contrast, Aditi’s family offers him another family – a father, a brother – he probably is in love with all that also.

Ratna Pathak Shah is fabulous – I love her in Sarabhai versus Sarabhai. Her character are so interesting and I loved that she is shown reading books of womens studies by Naomi Wolf and suchlike. Love the detailing.

There were some flitting symbols on the periphery – Sushant and Aditi romance in a victoria – later it is shown clipping by empty. Again, there is a riderless horse floating by when Jai and Meghna are breaking up.

You said “i have seen this tendency among certain section of ppl who always claim that hindi movies are rip off from one or the other south indian movies”.

Well, don’t shoot the messenger, but a lot of Hindi movies ARE ripoffs, not just of South Indian movies, but they borrow liberally from Hollywood as well.

For example, a scene in Love Story 2050 with Harman Baweja hanging off the front of a rollercoaster, asking out Priyanka Chopra on a date is reminiscent of a scene in The Notebook. Kismat Konnection is a version of Just My Luck and pretty much anything Priyadarshan does in Hindi is a remake of a Malayalam movie, Bhool Bhulaiya being the most recent one.

That’s not to say every South Indian movie is original (Ghajini for example is a remake of Memento), but the ripoffs or remakes or whatever you want to call them coming out of Bollywood are much more frequent and numerous. Just saying…