Jhootha Hi Sahi Movie Reviews

The film largely follows the idiom which Abbas Tyrewala enunciated in his debut venture, Jaane Tu Ya Jaane Na, reiterating his use of youthful lingo (strange becomes ajeebs here), wisecrack humour and `cool gang' bonding, with a celebration -- and a spoof -- of the traditional Bollywood `andaaz' (style) of essaying romance. Needless to say, it's an idiom that has a refreshing quality and an allure to it, as was proved by his earlier film. Jaane Tu... however, stood out due to its novelty while Jhootha Hi Sahi is a successful encore with a brave attempt by John Abraham to break the mould and prove his mettle as something more than molten beefcake.

John Abraham struggles in the initial reels with his nerdy act and stammer but pulls it off subsequently. Pakhi looks beautiful and puts in a confident act. Raghu Ram, much against his stern Roadies image, comes across as an affable supporting actor with good comic timing. Alishka Varde (the only cast member carried forward from Jaane Tu Ya Jaane Na) is good. The immensely talented Anaitha Nair is wasted in an itsy-bitsy role. Mansi Scott and Omar Khan add good support. Madhavan is wasted. The movie has its share of imperfections yet is charming, pretty much like John Abraham who stammers yet sings flawlessly in the film. If you can overlook inconsistencies like these, Jhootha Hi Sahi is a pleasant watch.

Right from our childhood days, we've been taught lying is bad and only truth prevails. But come on, haven't we all lied at some point or the other? And especially frivolous lies which don't cause anybody any harm. After JAANE TU YA JAANE NA, Abbas Tyrewala comes up with yet another refreshing romcom in the form of JHOOTHA HI SAHI. It's a nicely written film, with good performances and inspiring music. Though we've seen such films in the past, it's Abbas' fresh treatment which makes it an exciting watch.

Abbas Tyrewala’s forte lies in his ability to express friendship and camaraderie in the most beautiful and endearing fashion. Whether it was the six friends in Jaane Tu or the pack six in Jhootha Hi Sahi, some of the most memorable scenes in both the films take place between them. The other noticeable part about the film is its humour. Sometimes crass, most times simple, the silly jokes in Jhootha Hi Sahi certainly make you laugh. There are some moments you will truly enjoy such as the part where Mishka comes for the first time to Sid’s shop, and parts where Aaliya’s boyfriend tries different techniques to propose her.

In Jhootha Hi Sahi (JHS), director Abbas Tyrewala goes wrong on two counts – the first is that he borrows scenes, dialogues and characters from so many Hollywood films / American TV shows that it robs the film of any sort of originality. The second mistake he makes is with the casting – John Abraham as the geeky Siddharth and his wife, Pakhi as Mishka, both lack what it takes to have pulled off their roles.

For a script so hopelessly dependent on conversation, Jhootha Hi Sahi is one spark-free one on one. Sad, considering Tyrewala's mastery of words, genre no bar, makes him one of the best screenwriters in the business. Instead the screenplay resorts to the oldest and convenient-most trick in the trade of substituting verbal interaction for tame song sequences. At the same time, dialogues go out of their way to emphasise on its heroine's implied good looks. Only Pakhi, with her hard expressions, and a warmth-exuding John share zero chemistry. That, plus her needy, indecisive and clingy Mishka dissuade you from making any connect; forget rooting for a happily ever-after.

After watching Anjaana Anjaani and Jhootha Hi Sahi in quick succession, I’ve come to the conclusion that if a Hindi film begins with a lead character attempting suicide and not succeeding, then viewers are in big trouble. Because the next two hours are invariably spent in watching the character discover the value of life, usually by falling in love. He or she goes from depressed and weepy to giddy and happy.

There are so many desis on the screen, with such fine command over Hindi, you know you’re in London, the uniquely Indian neighbourhood that belongs to Bollywood alone. A guided tour, sponsored by the tourism authority, is unnecessary. Three jobless yuppies own Kaagaz Ke Phool, a store that sells Indian books but doesn't “do Deepak Chopra”. They and their friends also live in swanky apartments with wide, open kitchens, couches you can slouch deep into.

Jhootha Hi Sahi, directed by Abbas Tyrewala, is the kind of film that makes you embarrassed for everyone associated with it. It’s one of those films that might have been so bad that it’s good, except that it’s not even bad enough to be enjoyable! Written by the film’s leading lady Pakhi, who also happens to be Tyrewala’s wife, the script is hare-brained and predictable, and has neither the wit nor the charm to work as an engaging romantic-comedy.

John makes a sincere attempt to look the part, but he's awkward, especially in sequences when he stammers. Pakhi is a complete miscast. She looks too matured and has her limitations as an actor. Amongst the sundry characters, Raghu Ram is noticeable. R. Madhavan should avoid such flimsy characters. On the whole, JHOOTHA HI SAHI is an absolute letdown in terms of content. Given its high costs on one hand and weak merits on the other, the film will make a big hole in the pockets of its investors.

A weak, almost spineless screenplay, mediocre storyline, and “ajeeb” chemistry (rather, no chemistry) between lead pair Abraham and Pakhi contribute to the boredom that is Jhootha Hi Sahi. Abraham cannot escape the same criticism either. He fails to shake off his 'hunk' status even though he sports dark-rimmed specs and a (invisible) paunch. The music, by Oscar-winning musician AR Rahman, is surprisingly less than average. The exaggerated climax remains unconvincing and over-the-top. Only die-hard Abraham fans might flock to see him in a new avatar. If you are not among them, skip this one.

Jhootha Hi Sahi is a too clever by half attempt at telling a cool, nerdy story which falls flat on its face. The clumsy film is stuffed with cardboard characters, silly set ups with corny insider jokes and a sagging story line which is stretched right from the word go. The film stars John Abraham, yet to essay a role of substance as a single hero, and new girl Pakhi, who looks haggard and frayed, but no matter, for she happens to be the director’s wife

John Abraham does very well. His sense of timing in comic scenes has improved. Pakhi fails to impress. But, on the...