Ae Dil Hai Mushkil (#21 of 52)

Karan Johar movie’s are an event by themselves. So ADHM can not exist as just ‘ADHM’ – but it is Karan Johar’s ADHM which means that any views and opinions about the movie must be looked at objectively through that lens. In fact it’s impossible I’d say – especially with a movie embroiled in as much controversy as this – to not view it through that lens.

I’ve always had a soft corner for Karan Johar the person – maybe it’s the cooliyat and poshness which has a halo effect, but also I think there is a tendency to root for him because he always seems like a bit of an underdog (yes I am aware how full of irony that statement is) with his young age (once upon-a-time) and vibe of vulnerability, effeminate mannerisms, under-a-cloud sexuality, the number of pot-shots he’s subject to etc. So I quite enjoy Koffee with Karan, I don’t mind his columns on NDTV and think he’s quite brave about it and I therefore always seem to want to like his movies as well.

I was too young to be aware of the macro-environment around Kuch Kuch Hota Hai, but I think I liked it then because quite frankly it was cooler than any other Hindi movie I was then aware of. I recognized how silly Kabhi Khushi Kabhi Gham was, but I had fun I remember (my dad did not, this also I remember). I went out of my way to watch Kabhi Alvida Na Kehna (see my review here from 2006) – and I don’t know whether I was being subconsciously defensive, but 18 year old me seemed to like it and I still think it was a mature effort. Student of The Year I was massively disappointed with (there was 0 surprise in the movie if you’d watched the trailers) – but I look at that as an anomaly in the KJo universe – it’s so different from most of his other movies. Long story short, I had expectations from ADHM. Not to be blown out of the park but that this should be an interesting take from a seemingly intelligent man at least.

After ADHM however, I’ve kinda lost faith in Karan Johar. Because this movie was quite frankly a ridiculous ego-trip, attempt at pretentious intelligentsia with enough wink,wink…nudge,nudge while catering to the masses at the same time. So the rest of this piece is going to read like a rant. You’ve been forewarned.

The beginning itself did not seem fresh – this was exactly how 2 States had been played back with Arjun Kapoor as a narrator. A shrink at least makes sense to go into memories, why you would do that for a magazine interview…but this is in the overall scheme of things – a minor quibble. Anushka and Ranbir meet while on a night out in town, a premise in itself I never understood. She kind of picked him up to make out with him, then decided this wasn’t fun. So normal people leave. Madam however invites the guy over to travel across town. Then she without rhyme or reason, calls his girlfriend a gold-digger (she may have been, but this had zero reason established), fights with her, then again calls Ranbir out for another double date and so on until they’re both single, and become best friends rather too quickly. Quick recap now: Hot-ex comes into the picture. A seemingly independent, strong, free-spirited girl who was giving gyaan about love crumbles in a minute against character. Heartbreak Hotel ensues. Spurned Ranbir finds a cougar Aishwarya (of course with a cool profession like a shayar, no one can be a banker or HR manager in a Karan Johar movie no?) to hang out with (read: sleep with). Seems to learn something, but actually learns nothing. Learns some lessons on one-sided love from cougars ex. Pursues Anushka again who is now married. Channels this grief to make music mean something (again borrowed from Rockstar). Becomes successful singer. Anushka leaves hot-ex in meanwhile. Reunites with Ranbir. Some more lessons on one-sided love. Exit scene.

Okay – so where does one start the litany of complaints which I left out mid-way? I am grateful I read an article the morning I watched the movie in which Yash Johar explained why all characters in his movies are rich: ‘So that the focus can be on emotions and not on the economies of everyday living’. So that’s Ranbir and anyways, he ‘wants to be’ a singer. But WTF is Anushka Sharma up to for the whole movie? Not once do we get an inkling of what she is doing or what she wants to do except for attend Bollywood dance classes in the middle of the day. Likewise the not-so-successful shayar in Vienna. The only guy with at least an interest in earning a living is the relatively bad guy (smoker, tattoos, grunge-profession like DJ – yep all stereotypes met).

On that note, why is this whole movie shot in random pretty European cities? Shoot anywhere you want – but at least build some connection of the city to the plot. London has nothing to do with Ranbir (Ayan) and Anushka (Alizeh) – they could have been rich brats in Delhi. Why in blue hell is an Urdu poet/shayar (what’s the difference?) in Vienna of all the places? If you wanted to force-fit Vienna into the story, at least make Aishwarya’s character (Saba) an Austrian temptress from whom the kid learns a few lessons.

But wait. What lessons? Again I totally missed the point or take-away of the whole Saba track. Was it just to tell Ayan that he’s still besotted with Alizeh? The only lesson about iktarfa pyaar that came in actually came from her husband. The whole breakdown, the epiphany, run to the hotel – what did it tell him? The way Ayan reacted after being turned down, was that not enough of an indicator for Alizeh to understand he’s never going to grow up? But at least we stuck to the whole no means no part here.

And what was the deal with Saba anyways – as they say in MBA lingo – WIIFM (What’s In It For Me)? Was she just looking for a boy-toy initially? Side note – why was Ayan singing Hindi songs with goras in the middle of Europe? And oh – the denouement (I overuse that word) with that convenient exit option – Cancer. Where could we have possibly have seen that before? And what exactly happened at the end? While I appreciate the fact that at least like KANK, there was no forced happy ending – was this a sad ending?

I personally think one-sided love is a wonderfully interesting topic to make a movie upon. The most underrated Indian gem around this is a 2011/12 movie Ek Mein aur Ek Tu which even though was a rom-com handles the issue with a bit more nuance than ADHM. This movie fails in my mind because of more than a few reasons. One the characters other than Ayan are ridiculously one-dimensional. It is just difficult to take any of them seriously when they behave, talk and react like most people would not. Especially both the key women. What are they smoking as a Firstpost article asked us? At least Ayan is a petulant kid who know’s he’s a petulant kid.  The other for me was the whole set-up – the whole London, Paris, Vienna sojourn, the aimless wandering which just kept gnawing at me even though I knew it should not be a big deal. The dialogues are stilted. Anushka whom I really like has over-acted. Aishwarya is weird at times. And Ranbir seems to have played this man-boy too many times in his career already.

There are pieces of the movie that work – the outbursts, the raw-ness of the emotion, the maturity of confessions, two wonderful songs in the second half and of course some killer one-liners. Also the fact that for a mainstream mein mainstream movie like this, there are risque choices – Ayan and Alizeh making out minutes after they meet, the refreshingly un-judgemental way in which Saba has been portrayed. But all of these are buried so deep under a labyrinth of ridiculousness that they’re a glass of water to a man in the desert. They’ll help you go a little further, but hardly going to help you recover to safely.

★★

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