3 Idiots Aamir Khan Movie Reviews

Life is all about listening to your heart and chasing your dreams. That's the essence of 3 IDIOTS, directed by the supremely talented Rajkumar Hirani. Let me come to the point right away. There are films and there are more films. And then there's 3 IDIOTS.

Come to think of it, 3 IDIOTS carries a huge 'burden' on its shoulders: The 'burden' of humungous expectations. And it's not without reasons...

3 IDIOTS is Aamir's next release after the record-breaker GHAJINI.

3 IDIOTS is Rajkumar Hirani and Vidhu Vinod Chopra's third film together, after MUNNABHAI MBBS and LAGE RAHO MUNNABHAI, landmark films.

Three actors from the path-breaking RANG DE BASANTI team - Aamir, Madhavan and Sharman - team up yet again. Plus, Aamir's teaming up with Hirani. It couldn't get bigger!

3 IDIOTS is over-hyped and that could be dangerous for any film since it's the expectations which kill a film if the content doesn't match up to the hype. In this case, all izz well!
Now let's demystify the myths...
3 IDIOTS is not about idiots or nincompoops. It's about three engineering students who believe in 'I'll Do It On my Terms' and that's what the three characters achieve in life and that's what Hirani, Chopra, Aamir eventually achieve at the end of the movie. Making a movie on their terms! One more thing! You cannot draw parallels with any other film, past or present, successful or unsuccessful. And though people may draw parallels with GHAJINI or the MUNNABHAI series, it would be sacrilege to do so. 3 IDIOTS [based on a novel 'Five Point Someone' by Chetan Bhagat] doesn't tilt, it stands tall.

Here's yet another illusion: 3 IDIOTS belongs to Aamir Khan. Yes, it does, but also to R. Madhavan, Sharman Joshi, Boman Irani, Kareena Kapoor and Omi, the entrant in Hindi movies, who delivers an equally sterling performance. The film would be incomplete without any of these characters.

To cut a long story short, all you'd like to say about the film is, All izz very, very, very, very, very well. Watch this film to know what it means!

Two friends [R. Madhavan and Sharman Joshi] embark on a quest for a lost buddy. As they make their way through the perilous landscape [Shimla, Manali, Ladakh], another journey begins: their inner journey through memory lane and the story of their friend - the irrepressible free-thinker Rancho [Aamir Khan], who, in his unique way, touched and changed their lives.

It's a story of their hostel days that swings between Rancho's romance with the spirited Pia [Kareena Kapoor] and his clash with and oppressive mentor, Viru Sahastrabudhhe [Boman Irani]. And then one day, suddenly, Rancho vanishes...

Who was he? Where did he come from? Why did he leave? The friend who influenced and inspired them to think creatively and independently, even as the conformist world called them three idiots. Where is the original idiot now?
3 IDIOTS belongs to everyone. But, yes, there's no denying that Aamir makes you forget all his past achievements as you watch the amazing actor play Rancho. To state that this ranks amongst his finest works would be an understatement. Madhavan is incredible, especially in the sequence when he explains his point of view to his father [Pareekshit Sahani]. Sharman is outstanding from start to end. This was a difficult role to portray and only an actor of calibre could've pulled it off. Boman is superb as the vicious head of the institute. The scenes between Aamir and Boman are extra-ordinary and it's a treat to watch these two powerful actors clash on the big screen, without getting overdramatic. Boman's appearance, mannerisms and dialogue delivery are exemplary.

The length of Kareena's role may not be as much as Aamir, Madhavan and Sharman, but she registers a strong impact nonetheless. Omi is excellent and the viewers are sure to love his acidic tongue and gestures in the movie. Mona Singh doesn't get much scope. Jaaved Jaffery is competent. Pareekshit Sahani is decent.

On the whole, 3 IDIOTS easily ranks amongst Aamir, Rajkumar Hirani and Vidhu Vinod Chopra's finest films. Do yourself and your family a favour: Watch 3 IDIOTS. It's emotional, it's entertaining, it's enlightening. The film has tremendous youth appeal and feel-good factor to work in a big way.The mystery is solved soon after the intermission ends and a new journey begins. That's one of the USPs of the film. Just when you think that the story would be solved, a new story begins. Of course, the pace dips slightly in its second hour, especially during the delivery sequence of Mona [which may appear filmy to a few], but the immediate sequence, when the baby boy is born and also the subsequent sequence between Boman and Aamir bring the film back on track. The culmination to the film is novel and yes, it's a master stroke from the writing point of view!

Every person behind the camera gives his/her best to the film. Hirani and Joshi's screenplay is the mainstay of the film. If you fondly recall 'Gandhigiri' from their previous film LAGE RAHO MUNNABHAI, you'd have a new phrase to chew on this time: 'All Izz Well'. Muraleedharan C.K.'s cinematography is awesome. Note the aerial view at the very start, when Madhavan and Sharman begin the journey to Shimla or the picture perfect look of Ladakh... the DoP does a magnificent job.

Shantanu Moitra's music may sound plain ordinary to ears, but when viewed on screen, the score is just perfect. 'Give Me Some Sunshine', 'All Is Well', 'Zoobie Doobie' are three tracks that would grow on you after you've watched the film. The choreography of 'All Izz Well' [Avit Dias] and 'Zoobie Doobie' [Bosco-Caesar] are eye-catching. The background score [Sanjay Wandrekar, Atul Raninga, Shantanu Moitra] is right. Hirani is a genius and that has been proved twice in the past. He proves it for the third time with 3 IDIOTS. Screenplay writers Hirani and Abhijat Joshi and screenplay associate Vidhu Vinod Chopra narrate a story that's straight out of life. A story that each one of us can relate to or identify with.

Very often, we've read news-reports of students committing suicides because they've to live up to the family's pressure/expectations. This film depicts it at the very start, when a student commits suicide. But the issue doesn't end there, for 3 IDIOTS raises a pertinent question: Was it suicide or murder?

Hirani balances the rough and smooth incidents in their lives beautifully. The sequences in the campus, right from the ragging sequence at the start, to Omi's speech when the word 'chamatkaar' is changed to 'balatkaar' [superb; will bring the house down], to the trio getting caught in an embarrassing situation at the reception of Kareena's sister [Mona Singh], to the dinner sequence at Sharman's house, to Kareena and Aamir driving Sharman's seriously ill father on their bike to the hospital... the funny moments would make your jaws ache.

The interval point is a shocker. The point at which the first half ends will leave you stunned. Now what was that? Kahani mein twist!One more thing! You cannot draw parallels with any other film, past or present, successful or unsuccessful. And though people may draw parallels with GHAJINI or the MUNNABHAI series, it would be sacrilege to do so. 3 IDIOTS [based on a novel 'Five Point Someone' by Chetan Bhagat] doesn't tilt, it stands tall.

Here's yet another illusion: 3 IDIOTS belongs to Aamir Khan. Yes, it does, but also to R. Madhavan, Sharman Joshi, Boman Irani, Kareena Kapoor and Omi, the entrant in Hindi movies, who delivers an equally sterling performance. The film would be incomplete without any of these characters.

To cut a long story short, all you'd like to say about the film is, All izz very, very, very, very, very well. Watch this film to know what it means!

Two friends [R. Madhavan and Sharman Joshi] embark on a quest for a lost buddy. As they make their way through the perilous landscape [Shimla, Manali, Ladakh], another journey begins: their inner journey through memory lane and the story of their friend - the irrepressible free-thinker Rancho [Aamir Khan], who, in his unique way, touched and changed their lives.

It's a story of their hostel days that swings between Rancho's romance with the spirited Pia [Kareena Kapoor] and his clash with and oppressive mentor, Viru Sahastrabudhhe [Boman Irani]. And then one day, suddenly, Rancho vanishes...

Who was he? Where did he come from? Why did he leave? The friend who influenced and inspired them to think creatively and independently, even as the conformist world called them three idiots. Where is the original idiot now?

Paa Movie Reviews

Cast: Amitabh Bachchan, Abhishek Bachchan, Vidya Balan, Paresh Rawal

Director: R. Balakrishnan

When a director takes a road less travelled, it means risk and challenges. Director R. Balakrishnan's "Paa" journey was difficult but he achieved what he had set out to do - Amitabh Bachchan's not recognisable in the role of progeria patient Auro, his character is not over the top and the director has managed to convey the message about the disease without much fuss.

Auro's character is well-etched and Amitabh has certainly presented a new challenge for his colleagues by slipping under the skin of a 13-year-old with wrinkles, cataracts and no hair so convincingly. Not even once does his megastar image overshadow his character.

Big B has an author-backed role and his oneliners are the best - if he tickles your funny bones with his comments in one scene, in the next Auro tugs at your heart strings with his emotional paradoxes.

Amitabh's make up is such that it doesn't give him much room to use his facial muscles. Despite that he conveys every emotion he is going through and as the movie progresses one feels a connect with Auro.

In the performance department both Amitabh and Vidya Balan, who plays his single mother, complement each other.

Vidya has given a power-packed performance as a woman who single-handedly raises her progeric child and try to give him a normal life - she is never shown over concerned or fussy.

Amitabh and Abhishek's scenes together are both funny and emotional.

These are the finer points of the film.

But the film has flaws too. Abhishek is portrayed as an ambitious young politician, fine! But his media bashing spree is annoying!

Balki takes a pot shot at the media by showing that TV journalism is manipulated, but it doesn't look convincing at all. Abhishek's dialogues lack substance.

Except his sequences with naughty Auro, most of his scenes don't fit in the scheme of things.

But laudable parts of the film are P.C. Sreeram's cinematography and Ilaiyaraaja's music.

Paresh Rawal is wasted in the film. One wonders why he accepted such a role.

Jaya Bachchan is the surprise package of the film. She appears on the screen to introduce the cast and the crew.

Watch "Paa" for Amitabh and Vidya's brilliant performances.

De Dana Dan Movie Review

Cast: Akshay Kumar, Suniel Shetty, Katrina Kaif, Paresh Rawal, Sameera Reddy

Director: Priyadarshan

In our school days we were taught nonsense rhymes that were incoherent, jumbled words strung together trendily. "De Dana Dan" is a 150-minute-long nonsense rhyme.

Its power to mock every rule of sensible and intelligent filmmaking simply infuriates and exasperates you to a point of complete breakdown of communication between cinema and art.

The characters are fairly funny to begin with. Akshay Kumar as Archana Puran Singh's slave-cum-driver is the portrait of anguished hilarity. He brings to his part of the servile toy-boy a kind of facile fury that flaunts an easygoing sense of self-deprecating comedy.

Suniel Shetty as Akshay's partner in the nonsense rhyme scheme seems to enjoy the comicality initially...At least he's relaxed until the frames begin to fill up with more characters than Noah's Ark and the spaceship invented to save mankind in Roland Emmerich's "2012" combined.

There are more characters romping in confusion in "De Dena Dan" than in any of Priyadarshan's over-crowded comedies. Two marriageable women (Katrina Kaif and Sameera Reddy) with secret lovers, their harassed fathers, Tinu Anand and Manoj Joshi, an avaricious father-in-law-to-be (Paresh Rawal) and his son (Chunky Pandey), a tart (Neha Dhupia) willing to sleep with anyone who pays. And that includes poor Vikram Gokhale who looks out of place in the boisterous goings-on.

"De Dana Dan" is like a jabbering juggernaut hurling with its fast-talking, constantly-moving army of characters into a region of utter chaos. The screenplay throws forward a gaggle of incoherent gags, which suggest that the melee of characters is more distressed by their financial than emotional condition in life.

Soon we, the audience, cease to figure out what the characters are up to or how they are inter-related, if at all.

Just go with the flow. At times, literally because at the climax we have the characters swimming and spluttering in a flood of water let loose from a bombed terrace tank in a luxury hotel.

Who planted the bomb? Is it the funny hitman Johnny Lever? Or the funnier assassin Asrani roaming around the hotel trying to hard sell a corpse in a coffin?

All this, mind it, is supposed to be the summit of hilarity. The jokes depend almost entirely on the actors' ability to say the atrocious lines as though they mean it. Some like Akshay Kumar and Paresh Rawal succeed. Others don't.

At the end of the day, this comedy of incredible mistaken identities and monstrous errors of judgement coaches us on the meaning of 'slapstick'...literally. Everyone slaps the person closest to him or her regardless of the reason or the repercussion.

Zany or just plain witless? You decide.

If this is the present and future of mainstream Hindi entertainment then we need to do some serious thinking on the way a coterie of super-successful directors and actors have redefined entertainment to a state of utter inanity.

"De Dana Dan" is not a film. It's a series of skits strung together to convey a sense of baggy fun and frivolous entertainment.

Kurbaan Movie Reviews

Cast: Saif Ali Khan, Kareena Kapoor, Vivek Oberoi, Dia Mirza, Kirron Kher, Om Puri

Background Score & Music: Salim Merchant, Sulaiman Merchant

Director: Rensil D'Silva

Wake up Yash Raj & Co. and smell the coffee. Your very own blue-eyed boy Karan Johar and his men are now beating you at your own game. Film after film, K Jo is churning out hits while YRF’s list of flops is piling up.
Why?
Because, unlike YRF’s new breed of directors, people at Dharma productions are not paying obsequious homage to their patron with their films. They are all making most of the creative freedom, ushered upon them by Johar and in turn set the cash registers ringing for their boss on Friday.

Just like Ayan Mukerji’s Wake Up Sid, Rensil D'silva's directorial debut Kurbaan lies far way from the typical Johar territory- often marked by hotties prancing around in chiffon saris with SRK, surrounded by countless junior artists. It is a dark love story of a New York based Delhi girl Avantika (Kareena Kapoor), who becomes a victim of professor Ehsaan Khan’s (Saif Ali Khan) 'love jihad'.
After a whirlwind romance, the two tie the knot and move into innocuous Indian neighbourhood in the Big Apple. But everything is not as hunky dory as it seems, Avantika finds it out the hard way from her neighbour in distress, Salma (Nauheed Cysrusi).

What follows next, is a series of incidents that sucks Avantika into a vortex of danger and intrigue. As her life spirals out of control, Avantika realizes that she is just a pawn in Bhai Jaan’s (Om Puri) huge game and no one is to be trusted. Not even Ehsaan. Like a true fanatic he does what he thinks the Lord would do if He knew the facts of the case.

Now her only hope is Riyaz Masood (Vivek Oberoi) and together they strive to save land of the free from another terror catastrophe.

In his 2 hour 40 minutes long thriller, Rensil clearly demonstrates how wisdom becomes nonsense in the mouth of a fanatic. The antagonists here are not rabid mullahs but the suave intellectuals who are blinded by their hate for the infidels. But one should never judge a religion by its nutcases. So, the 35-minute long chilling climax justifiably puts an end to their nefarious designs and upholds the truth that all extremism in the name of religion is bad, no matter what the provocation is.

Kurbaan is not only high on content but a well-packaged product too. Salim-Suleiman’s music and background score adds to the intensity of the film. Anurag Kashyap and Niranjan Iyengar's dialogues are scathing.
The film also sees some of the best performances of the year as well. While Saif as Ehsaan evokes both contempt and empathy, Kareena’s Avantika looks clearly torn between her love and hate for him. Vivek Oberoi also makes a grand comeback as an actor in the film.

It goes without saying that Om Puri clearly excels in his part as a mastermind but it is Kirron Kher who takes the cake away from the quinquagenarian actor. It’s a big, big relief not to see her playing the loud Punjabi mother for once and that too in a Karan Johar flick. Nauheed Cyrusi, Kulbhushan Kharbanda and especially Dia Mirza excel in the cameos.

All in all, Kurbaan is must watch for all those yearning for a sensible cinema. It shows the futility of a fanatic’s version of jihad and reaffirms that the most excellent jihad (struggle) is that for the conquest of self.
source: santabanta.com

Blue Hindi Movie Reviews

Cast: Sanjay Dutt, Akshay Kumar, Zayed Khan, Lara Dutta, Katrina Kaif, Kylie Minogue

Director: Anthony D'Souza

When the makers of a film proudly proclaim their product to be at par with their Hollywood counterparts, one is bound to be sceptical. More so because "Blue" is an action film, that too set underwater, which is not just a first in Bollywood but also a rarity in Hollywood.

So does "Blue" set new standards for Bollywood action movies? Does it actually get into the underbelly of the sea and show a world hitherto unexplored? The answer is yes.

Let's put it this way - "Blue" may not be the mind-blowing commercial action thriller that you would have ever seen. However, it certainly is the most innovative attempt that deserves to be acknowledged and lauded.

Action is truly the USP of the film and keeps the momentum going for "Blue" due to which one doesn't quite miss the presence of a solid storyline.

From first till the last frame, it's the amalgamation of action and an unknown world (under the sea) which brings in a novelty factor.

For those hunting for a storyline, "Blue" actually begins and ends at the basic synopsis level. Mr. Richie Rich Akshay Kumar wants a treasure to be explored and entices his employee and friend Sanjay Dutt with tempting offers.

Dutt is reluctant to take that dive into the sea even though his girlfriend Lara Dutta and brother Zayed Khan do present him enough reasons to take the plunge. Eventually he relents and the journey of "Blue" begins. Simple.

There are five key action sequences that keep the pace up for the film. Each of the three bike sequences featuring Zayed become better and better and in fact his introduction a la 'Fast and the Furious' is something unique for an Indian film.

The boxing ring sequence featuring Sanjay and Akshay does hint of "Broken Arrow", though it works in establishing their characters. Most importantly, the entire underwater hunt sequence is a breathtaking affair.

Anthony D'Souza has a strong eye for visuals and that shows. Technically, whether it is camerawork or sound, "Blue" bears an international feel. Whether it's Sanjay or Akshay, the revelation about their past isn't quite hammer strong, even though convincing.

Moreover, even though the film is a multi-starrer, one does expect Akshay to be on the forefront. However, for a change, a film featuring him does allow equal screen space for other actors as well.

As for Lara and Katrina Kaif, their presence is required to make the film look good and in that aspect, they do well.

In a nutshell, "Blue" is made for those who want pulsating action, innovative stunts, glamour and some unbelievable moments that defy logic.

It mainly caters to the youth that just want some non-stop action in those two hours while keeping James Bond movies in mind.

The kind of films where bikes are meant to race through traffic, cars are meant to explode, women are meant to bring on a glamour quotient, villains are meant to be suave, action is meant to belong to never-seen-before variety and technical aspects are meant to be superior to the best.

Agyaat Movie Review (Overall Bullshit)

Star cast: Nitin Reddy, Priyanka Kothari, Gautam Rode, Ishrat Ali, Howard Rosemeyer, Joy Fernandes and Ravi Kale

Director: Ram Gopal Varma

Rating: 1.5/5 (flop)

Overall Rating: Bullshit (Agyaat 2 ? WTF ending was)

Irrespective of the fact that his last few films haven’t really been great experiences, one still enters a Ram Gopal Varma movie with certain expectations in mind. But Ramu nowadays it seems is hell bent on scaring even his most loyal fans away. Agyaat turns out to be one such experience wherein you go in expecting a thrill ride but come out absolutely unmoved rather irritated.

Agyaat tells the story of a film crew arriving in a dense forest to shoot their film. The team comprises of a tantrum throwing hero Sharman (Gautam), the heroine he badly lusts for – Aasha (Kothari), a South Indian producer Moorty (Ishrat Ali), an eccentric director JJ (Howard), a submissive spot boy Laxman (Ishtiyak Khan), the philosophical cameraman Shakky (Kali Prasad), a forever frustrated action director Rakka (Kale), Assistant Director Sujal (Nitin) and the simple script supervisor girl Sameera (Rasika Duggal) who has a secret crush on Sujal. While Sameera pines for Sujal, he dreams of attaining the film’s leading lady Aasha. Circumstances lead to a two day shoot break. Setu (Joy) the local jungle guide then suggests a small camping trip in the jungle. During night when everyone is enjoying the bonfire, following a strange sound Setu goes on to find out more about it but doesn’t return. When the crew members go on to find him they find his dead body. Petrified, they all try to run out the jungle but their car meets with an accident. Now trapped in the unknown terrain as they try to find their way out more crew members start dying under mysterious circumstances.

With hardly any known faces amongst his cast members, Ramu manages to hold your attention to some extent by his gimmicky shot taking and effective use of background music. Agreed in a thriller with a short running time of under two hours there is less time for character development but what about the screenplay Sir? Also, the placing of the annoying item song in the opening credit titles serves no purpose. Most of the actors too are a huge let down in the sense that they simply end up grating on your nerves and in fact you feel relieved that they have been bumped off

Agyaat through its promos and Ramu’s interviews appeared to be his ode to films like Predator, Blair Witch Project etc but in reality it appears an insult to them. At the end by literally keeping the mysterious killer ‘Agyaat’ (unknown) he seems to have already made a preparation for a sequel.

Telugu star Nitin Reddy making his Bollywood debut is earnest. Priyanka Kothari shows a bit of improvement in her acting. Gautam Rode fits the part. Amongst the rest cast, none really impress.

Agyaat is a disappointment. Enter this jungle at your own risk. Then don’t complain we didn’t warn you.

Love Aaj Kal Bollywood Movie Review

Cast: Saif Ali Khan, Deepika Padukone, Rishi Kapoor, Rahul Khanna

Director: Imtiaz Ali

Rating: 1.9/5 (flop)

One of the reasons Saif Ali Khan has given for turning a producer is that he wants to own the work he’s doing. His first venture in this new role is work he should be proud of owning.

The star of “Love Aaj Kal”, however, is director Imtiaz Ali. His 14-reel-long storytelling is exhilarating, for the romantics for sure.

So many movies have been made on the topic of love that it has become difficult to come up with a fresh take on the subject, at least in Bollywood which is facing a shortage of good scripts.

But Imtiaz Ali, who is also... the film’s writer, presents a ‘new angle’ of romance, and ‘discusses’ it deftly, often with the help of witty one-liners and heart-warming moments.

His script seamlessly moves across continents and decades, and the lead characters, both aaj and kal, occupy spaces that are created to reflect what love was and is in the respective eras. It’s all about New Age versus age-old relationships and the timelessness of love.

So we have Jai (Saif) and Meera (Deepika Padukone), a modern-day London-based couple, who are dating each other but without any strings attached. In fact, they are practical enough to break up when career goals separate them.

Meanwhile, an old Sikh restaurateur Veer Singh (Rishi Kapoor), whom Jai casually befriends, narrates to him his own love story to make a point about how matters of the heart were dealt with differently in his times.

As a handsome young man in ‘Dilli’ many years ago, Veer (Saif playing the young Veer too) silently and relentless pursued Harleen Kaur, a pretty neighbourhood girl.

Both the stories unfold simultaneously on screen, one shot in sepia and the other in all the colours of modern living. The inter-cuts are interestingly done, with the two same situations compared, then and now, on several occasions. Ultimately, both stories come to a matching end.

No matter when and where you may be, the essence of love remains the same even though its form changes, we are told.

Though easy to summarise, the script of “Love Aaj Kal” is clearly not an easy one to write, but commendably, Imitiaz Ali makes it seem fairly simple. His narration is invigorating, and with a running time of about 2 hours, the film’s pace doesn’t drop, with even the songs taking the story forward.

The only fault can be pinned to the film’s somewhat abrupt beginning, and more so to the song in the end credits, which gives the movie a ‘filmy’ touch, while it had seemed so real right through. By putting Veer and Harleen in the present times and alongside Jai and Meera in a disco setting, the director adulterates the aura of the ‘kal’ couple, whom you want to remember the way they were shown in the movie. Placed similarly, “Mauja Mauja” worked in Ali’s “Jab We Met”, but “Ahun Ahun” doesn’t work here, it just messes up the continuity of narration.

However, this doesn’t take away much from Saif’s labour of love. He has put his heart and soul into the promotion of “Love Aaj Kal” these last few weeks and the same effort has gone into his roles in the film. We have seem him in many movies as the modern, witty and confused protagonist, so as Jai he’s on familiar territory and does well, just like always. But it’s the character of Veer that really challenges him as an actor, and Saif rises to the challenge with élan. Shunning his uber-cool persona, he gets into the skin of bicycle-riding-tiffin-in-hand Veer with conviction, and gives an endearing performance.

If it hadn’t been for his portrayal of Veer, Saif would have been upstaged in his home production by Deepika, who turns in a stunning performance, her career’s best. For once, her acting deserves more praise that her looks, which are stunning too. While casting for the film, Imtiaz Ali was apparently convinced that only Deepika could play Meera, and he was so right!

The identity of the actress who plays Harleen Kaur has been kept under wraps, though an ‘introducing Rinku Singh” was spotted in the end credits. Whoever she may be, Harleen looks ethereal and does well as the demure girl-next-door who makes Veer fall in love, that one and only time.

Technically, “Love Aaj Kal” is refreshing as well. The visuals are aesthetic and pleasing, with good-looking people and even more pretty locations upping its appeal. The editing is crisp and the screenplay, brisk. The movie’s soundtrack is already dotting the charts.

What more does the aam janta, or Mango people as Jai calls them, need? Go on, fall in love with this one.