Jug Jug Jiyo Movie Review: The only thing keeping escape movies alive is reconciliation. No issue, whether it be adultery, bigamy, or breakups, is judged intractable enough to prevent the audience from feeling upbeat and comforted. And the only way to do that is to cover over the harsh realities of life with tons of humor. Read more about Jug Jug Jiyo Movie Review below.
Sukanya Verma notes that JugJugg Jeeyo is a comedy starring David Dhawan but wasn’t made by him.
In JugJugg Jeeyo, where jokes are plentiful and divorce is presented with such dazzling brilliance and reckless humor that you’ll forget what the fuss is all about, divorce is more commonplace than taboo.
Essentially, this is a David Dhawan comedy that was not made under his direction.
The style of hilarity and mayhem that accompanied Govinda and Kader Khan’s legendary wisecracking when stuck in a pickle is imitated by director Raj Mehta.
No matter how complicated the situation was or how deep the deception went, everyone got up and danced, laughed heartily (sometimes at the expense of others), took a few lessons to heart, and everything finished happily in its cheerily packaged scenario.
The dysfunctional Punjabi family fervor is at its height in this instance as well as a father and son’s comically chaotic choice to dissolve their individual marriages coincidentally with a family wedding.
It appears like Kuku and Naina’s (Kiara Advani) marriage is over, having gone from childhood sweethearts in love in Patiala to an icy vibes-sharing pair in Canada.
He is unsuccessful, while she is.
He seeks recognition, and she seeks it.
However, like so many Bollywood couples before them, as Kuku’s baby sister (Prajakta Koli) prepares to settle down with a man she doesn’t love in the party-ready town of Patiala, they must pretend everything is OK in front of their overbearing families.
Before Kuku can inform his parents of his imminent divorce, Kuku’s extremely intoxicated father Bheem (Anil Kapoor) declares his decision to divorce his wife Geeta (Neetu Kapoor), and formally consummate his relationship with a spooky Mira Madam (Tisca Chopra).
The somewhat Pati Patni Aur Woh concept has no genuine basis.
Geeta comes across as charming and perfectly agreeable.
The impression we get of Bheem is that he is a self-seeking crook and a typical WhatsApp uncle, whose poor jokes and overactive yet reluctant libido provide plenty of material for JugJugg Jeeyo’s raunchy humor.
The innuendo-loving Maniesh Paul, who plays Gurpreet, Kuku’s brother-in-law and flamboyant dressing gagman, remarks, “Purana pressure cooker.”
Bheem does, however, take on the air of a lovable rogue when he is portrayed by Anil Kapoor, whether he is singing Do Dil Mil Rahe Hain (Pardes) in a drunken stupor, referring to his wife as a “vegetarian sherni,” or amusingly sitting on the street in the middle of nowhere while saying, “na ghar ka na ghaat ka.”
Varun Dhawan’s blubbering, naive feminism, and work-in-progress feminism are a perfect match for his cheeky father’s antics.
Biwi No 1 offers glimpses of Salman Khan’s wandering tendencies together with AK’s boisterous Punjabi spouting Lakhan.
There are hints of Kamal Mehra, the conceited father from Dil Dhadakne Do, but without the composure or polish and with a similar medical outlook.
There is a hint of Kishan’s wandering gaze and No Entry’s phony regrets.
JugJugg Jeeyo uses the veteran’s impeccable comic timing as well as elaborately staged festivities of gorgeous people wearing pretty clothes dancing in pretty settings to upbeat music to divert us from the melancholy at its core.
Neetu Kapoor, who plays the character who is being betrayed, radiates grace and genuine passion, giving JugJugg Jeeyo a depth it doesn’t aim for.
Particularly when she identifies “adhoori ladaiyon ki thakaan” as the cause of partnerships’ demise.
Despite the movie’s advice on marriage and male privilege, it ignores the wife’s function as a companion rather than a caretaker or child-bearer.
Kiara in spitfire mode gives annoying Punju aunties and their belief in baby-granting rituals a well-deserved chewing down, but the women are frequently ignored in favor of males being men.
What I liked about Kiara’s representation of the large Indian family bahu is that it’s neither docile nor hostile, like in a soap drama.
Her genuine affection and concern for her husband’s family contrast with the decorum Bollywood frequently forgo in favor of drama and mischief.
JugJugg Jeeyo is deeper and sadder than it seems, if one can get past the humor and jokes.
Whatever minimal uplifting perspective Mehta intended to portray is only weakened by his cutesy treatment of the conflict.
Its gaudy antics serve to confirm that a vegetarian sherni’s husband never changes sides and that everything can be resolved with corny romantic gestures and pushing issues under the rug.
Jug Jug Jiyo’s carefree disregard for accountability promotes having fun above all else.
Fortunately for Mehta, the actors in the play are absolutely hilarious even if you don’t take anything seriously.