Feroz Khan’s JANASHEEN has everything going in
its favour –
* It brings Feroz Khan and Fardeen Khan together
for the first time. Watching a hi-profile father
and son duo on the big screen always holds a
* JANASHEEN has been shot at some of the most
exotic and eye-filling locales across the globe.
* JANASHEEN boasts of plenty of skin show by
Celina Jaitley, Kashmira Shah and Pinky Harwani.
* JANASHEEN is embellished with a good musical
score. A few songs are extremely popular as
* Like all F.K. products, JANASHEEN has gloss,
grandeur and style.
* Most important, it is directed by Feroz Khan.
The name is synonymous with qualitative fares.
Perfect to set the box-office ablaze? No, not
quite! Like a majority of Hindi films, JANASHEEN
lacks in that one vital department that is the
lifeline of every film – script. And that is
what takes the graph of the film downhill!
JANASHEEN is the story of Lucky Kapoor [Fardeen
Khan], living in Australia, who’s driven by the
ambition to be a motorbike racing title holder.
Lucky’s life takes a drastic turn when his
father [Harsh Chhaya] dies in an accident and he
has to return to India for a short while. Here,
he meets the girl, Jessica [Celina Jaitley], who
loved him since childhood. At the same time,
deception, evil and lies surround him at every
step, trying to keep him away from the truth.
JANASHEEN is also the story of Saba Karim [Feroz
Khan], a fugitive from Afghanistan now living in
Australia. A rich and ruthless businessman, in
Lucky he finds a likeness to his dead son.
Saba plays a game of hearts… unknowing to him,
this game entangles his own heart when he tries
to deceive Lucky by becoming his foster father,
only to realise that his own paternal instincts
are still alive.
Feroz Khan is a master story-teller. APRADH,
DHARMATMA, QURBANI, even JAANBAAZ had a story to
tell. JANASHEEN also has an interesting plot,
but the plot has not been elucidated well to
keep the viewer hooked on to the screen for
What begins as an exciting fare gradually falls
prey to mediocrity as it advances. The film
loses grip as the drama shifts to Australia,
where a grown up Fardeen Khan hates his father
for reasons that aren’t explained and which
puzzle the viewer no end. For, in a sequence or
two earlier, the father and son duo [Harsh
Chhaya with the child artiste enacting Fardeen’s
childhood role] were shown on great terms,
behaving more like friends than father and son.
At this point, the songs [well executed] and the
motorbike race [exciting] are woven to the
script, which does take away the audience’s
attention from a half-baked script.
The film takes a turn for the better as Feroz
Khan enters the scene – his get-up, his
dialogues, the overall screen presence, the
signature tune when he appears on screen
elevates the film to another level altogether.
You actually start ignoring the deficiencies in
the script till the interval point, for the film
has some well canned individualistic sequences.
But the post-interval portions take the sheen
away from the enterprise. The screenplay
meanders from arresting to implausible to least
exciting with amazing regularity. For instance,
the sequences between Feroz and Fardeen are the
best part of the enterprise, but the same cannot
be said of the moments Fardeen and Celina share
with each other. The romance looks completely
one-sided, as Celina’s heart pines for Fardeen,
but Fardeen does not reciprocate in a similar
The climax is a downer. Though well shot, the
impact is not as exciting as one would expect it
to be. The sudden turn of events in the
pre-climax, which lead to the climax, should’ve
been stronger for the climax to have a
Feroz Khan’s work as a technician is, like
always, absolutely flawless. The manner in which
the director executes each shot proves yet again
that here’s a veteran who believes in changing
with the times. The film has style, but how one
wishes the maker would offer substance as well.
The screenplay has its engaging moments, but is
inconsistent, jerky and not as intriguing.
F.K. products have always been embellished with
a good score. The songs that stand out are
‘Nashe Nashe Mein Yaar’, ‘Pyar Hone Laga Hai’
and ‘Teri Chahat Mein Paagal Hoon’, However, at
least two songs – ‘Ab Ke Baras Poonam Mein’ and
‘Marhaba’ – should be deleted right away since
they disturb the flow of the story and act as
Cinematography is first-rate. Dialogues are well
penned, especially those delivered by Feroz
Coming to the performances, JANASHEEN clearly
belongs to Feroz Khan. The actor sets the screen
afire every time he appears. His presence is
Fardeen Khan is inspiring in a few sequences,
although one expected him to hit a boundary
knowing that he has evolved as an actor after a
captivating performance in KHUSHI. Celina
Jaitley looks like a doll, has been photographed
amazingly well, acts better than her maiden film
[KHEL], but still needs to work on the emotional
and hi-pitched dramatic scenes.
Johny Lever irritates. Kashmira Shah, in a wierd
get-up, is ok. Yash Tonk is alright. Ditto for
Archana Puransingh. Harsh Chhaya is efficient.
On the whole, JANASHEEN pales in comparison to
F.K.’s earlier works, although it has some
plusses on its side. However, the plusses aren’t
enough to have a successful run at the
box-office, more so in the wake of a mighty
opposition in the form of KAL HO NAA HO. The Idd
holidays should prove advantageous to an extent,
but a long run is ruled out.