From Matrubhoomi: A Nation Without Women (2003) to Kaali Khuhi (2020), Bollywood in the past has dealt with the issues of female infanticide on multiple occasions. But every time it has been showcased in a serious way.
First-time writer-director Divyang Thakkar tries to break away from the routine with Jayeshbhai Jordaar. The Ranveer Singh starrer focuses on the illegal social practice of female infanticide prevalent in a satirical manner, thereby giving a fresh perspective to an important matter.
That Jayeshbhai (Ranveer) and Mudra (Shalini Pandey) will become parents to another daughter, is something we know from the trailers. There is a constantly complaining and grumpy elderly father (Boman Irani) whose single point agenda is ‘vansh ko aage badhana hai.’ He constantly frets over his daughter-in-law’s inability to provide them with a son. There is a mother (Ratna Pathak Shah) who, throughout her life, is oppressed by her husband’s patriarchal thoughts, which is also known since the beginning.
What I was expecting was a little more surprise, and yes, a little more fun. Thakkar immerses us into a beautifully detailed world with flesh and blood characters but halfway through, he goes into Bollywood fairy tale mode leaving the viewers with a mixed feeling. He chooses not to build his character as an alpha male and instead chooses to go with a character (Jayeshbhai) who cannot even hurt a fly. Will he rise to the occasion and rebel in the sexist and chauvinistic environment that he was raised in? Instead of tiptoeing around the issue or sensationalising beyond reason, Jayeshbhai Jordaar throws prudishness to the wind and gives the issue a passionate embrace. The film is persuasive as long as the narrative stays with the small victories.
Despite touching upon a burning and angry issue, the film is funny. Ironically, as soon as the film tries to be just funny – by highlighting the idiosyncrasies of its characters in isolation from the narrative – it loses its charm. Thakkar’s noble intention runs thin when the screenplay starts reducing the issue to jokes for quick giggles.
Post-interval, the narrative moves from nuance to broad stroke which makes the whole proceedings very convenient. The film also tries to highlight the issues of child marriage and the patriarchal mindset in the society which kind of makes it meanders from the main subject.
It is Ranveer who emerges as a star. He carries the film firmly on his shoulder. He tries his best to become Jayesbhai, who hides his hurt and only wants to do right by everyone. With each appearance, his level of commitment is clearly on the upside, and he is a very likable actor, striving to win us over if he does miss a couple of beats here and there. His performance clearly helps the film rise a few notches above the ordinary in terms of appeal and impact. He deserves a pappi (kiss) just like his character explains the importance of a kiss to solve any problem.
From the arranging of the ‘pallu’ on the head to some of her fulsome exchanges with Ranveer, Shalini is solid and makes an excellent start. She plays a crucial role, the wife who allows her husband to believe in himself: he only dares to dream because she dares him to. Their chemistry is pretty natural.
Off the supporting cast, Jia Vaidya who plays Ranveer and Shalini’s daughter in the film deserves a special mention. When the proceedings get a little boring, it is her character who brings the film back to life. Boman Irani is typically solid as Ranveer’s disgruntled father. On the other hand, Ratna Pathak Shah seems to be grappling with an under-written character.
Jayesbhai Jordaar is not only unsatisfying but also poignant. The film is breezy enough at its core but despite its rousing moments, the film leaves you feeling unfulfilled. It could definitely have surely been more ‘Jordaar.’
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