I'd be willing to bet Sajid Khan's modest personality and cinematic sense on the fact that the makers of this 'new age Bollywood MaddyCom' (after Tanu Weds Manu) hit upon the concept after watching the Will-Smith starrer Hitch - Partner be damned.
Yes Man #1: Nice concept, da, sirjee. What a Jodi Maker this Will guy is. Mazza aa gaya! *bites into tandoori chicken*
Yes Man #2: And it was his profession. UBER OMGAZZZ COOL! *downs the peg*
Ashwini sir goes into deep contemplation.
Henchmen stare at him, trying to figure out their boss-cum-mentor-cum-boss's expressions. Ashwini grins. Big thought cloud is happening.
Finally, he speaks, ever so wisely...weighing each word... "Jodi Makers... Jodi... Jodi... Breakers..."
Henchman almost choke due to the blinding flash of innovative brilliance. Immediately, they turn into Assistant Director #1 and Assistant Director #2. End of Story. Well done, saaaar, well done.
So here's the deal. There are atleast 349 Hindi-language films releasing every year, that strive to be comical yet practical takes on contemporary relationships and their rules. 348 and a half, fail.
Jodi Breakers isn't that other half.
The film tries to be inventive with the narrative, but forgets to recognize the fact that the camera is rolling. The actors seem like they are perpetually in their first script-reading session, and you'd have to blame the director for that. Omi Vaidya further proves that he is only indispensible when it comes down to a speech sequence, otherwise he has no business trying to extend his luck beyond 3 Idiots. Madhavan fails to understand that he has moved on from his RHTDM days, and that India has moved on from being ruled by the British (using his best butler English whenever he is frustrated or excited or sad... or has no dialogue) Having said that, he does try to rescue the wooden lines with some improvisation, but the evil mediocrity of the script prevails. Even the usually effervescent Tarana is reduced to a caricature of an outdated heart doctor.
The only genuinely funny scene that had most of us in splits involved Omi Vaidya recovering in the hospital after an aggressively amorous night with a kinky housewife. To see him mumbling Nahin Aur Nahin... in a comatose state was priceless, and the filmmakers would have done well to note that most of the funniness arose from the fact that the previous night was left to our colorful imaginations.
Innovation, in the comedy genre here, is usually limited to the most ridiculously contrived situations that can arise out of a script that is long past its sell-by date. Despite that, when it comes down to the crunch moments (the 'emotional hooks', as they call them), these films yelp loudly and run back with their funny bone tails between their legs. Every possible date-movie cliche is exercised with alarmingly enthusiastic hope, and Bipasha Basu is relegated back to the corner of the mannequin store. Even her perms must be perfect, or of course, the FILLUM WILL FLOP. She was finally reduced to plugging her own fitness obsession (videos), on screen.
Luckily for her, Milind Soman steals the thunder and returns back to his music video roots - with his performance reminding you of what the panther next to him in the famous Made in India video can do if he speaks aloud. And when the audience tries to contain their sniggers out of sheer respect, while dear Helen is (struggling against her wishes) on screen, you know you've failed as a writer-director in a genre that is fast assuming cult-status amongst its fellow genres.
- Rahul Desai aka Reel Reptile