JSML is anther poor boy meets rich girl, rich girl’s daddy-o sees red, rich girl leaves poor boy, then years later rich girl meets poor boy again , this time again daddy ain’t so cool, but rich girl and poor boy walk into the sunset anyway.

In the tradition of You’ve Got Mail and Sleepless In The Seattle the coo-some twosome only meet after the interval. Talat Jani directs with minimum flair and wit. It’s pretty easy to argue against a film that provides absolutely nothing new and just about every cliche and picture films before it have to offer. Populated with character-types rather than character, Bholu Khan’s story is heavy on melodrama but light on real drama. Although the film seems to be intended as a sort of silhouette romance, Rumi Jaffrey’s script is so underwritten and the director’s point of view is so uncertain that it comes across only as a series of disjointed episodes. Moreover if you are looking for a resemblance of logic, reason or continuity, perish the thought.

The chemistry between Kareena Kapoor and Tusshar could not strike the silver screen ablaze for the second time, the sparks produced in Mujhe Kucch Kehna Hai at least generated some flames this one fails to do anything except make you reach into your popcorn hoping there’s a puzzle at the bottom to keep you occupied.
Anyways the saving graces include Samir Chanda’s sets, Johny Lal’s candyfloss camerawork and Nadeem- Shravan’s spiffy music tracks. Tusshar Kapoor is earnest conveying that honest boy look .His body lingo in the dance sequence is cool too. The luscious Kareena Kapoor is remarkably low-key and relieves the tedium of the inane venture.

But sadly by the time the plot performs its final logistic somersault, most viewers would probably making a hasty dash toward the exit door. Jeena Kissey Liye? Not this film?

Rasika Iyer