Cinema: Jhoot Bole Kauva Kaate; Nothing to Crow About

Hrishikesh Mukherjee's comeback vehicle has his trademark urbane humour and sound narrative but fails to recreate the magic of his earlier films.

Movie: JHOOT BOLE KAUVA KAATE
Director: Hrishikesh Mukherjee
Cast: Anil Kapoor, Amrish Puri, Juhi Chawla, Anupam Kher, Sajid Khan

Sajid, Juhi, Kapoor and Kher: comic relief

It's been a long interlude for this veteran director. After a self-imposed exile of 14 years from the world of cinema, Hrishikesh Mukherjee has made a comeback with Jhoot Bole Kauva Kaate, the film which is meant to be the last in the trilogy of his memorable comedies, Golmaal and Naram Garam.

When he left, it was to stick to his first principle in filmmaking: no compromises. So when he returned with his director's baton at the behest of Polygram, Mukherjee generated considerable curiosity. For, Mukherjee has not only given audiences some of the most cherished moments in cinematic history -- memorable films like Anand and Anupama or sparkling comedies like Chupke Chupke -- he has also launched the careers of some of Bollywood's better actors and actresses like Jaya Bachchan with Guddi and Leela Naidu, unforgettable in Anuradha.

Jhoot Bole Kauva Kaate in that sense carries the burden of his own legacy. And alas, it is a disappointment.

The story is simple enough. Amrish Puri plays a former police officer and a rigid disciplinarian father who disapproves of the eligible bachelor (Anil Kapoor) falling in love with his daughter (Juhi Chawla). Lie upon lie piles up as the young man tries to woo the father of the woman he loves. He tries all he can to make the father see him as a good boy but each lie takes him further from his goal. Daddy's suspicion peaks and all hell breaks loose when he threatens to put the conspirators behind bars. Much coaxing and cawing later, all ends well.

For Mukherjee, storytelling remains the most important part of filmmaking. And he does it by striking a balance between narrative, humour and character. He narrates interesting stories about credible people through genteel comedy which derives inspiration from circumstances and situations, not slapstick. Within its ambit, the film is engrossing with some lovable moments. Acting as a comedienne, Juhi excels in her character as the reluctant conspirator to her lover's hair-brained schemes.

The quintessential intelligent middle-class wit -- a trade mark of Mukherjee's romantic comedies -- is intact. But for the rest the film goes a little awry. Puri, hard as he might try, doesn't come remotely close to Utpal Dutt's performance as the original eccentric father in Golmaal, while Kapoor as ungainly Ramanuj, is almost a parody of Amol Palekar's Ramprasad.

Jhoot Bole Kauva Kaate has an old world charm but technically and artistically, the film is stuck in the '70s. The dialogues are stilted and Jal Mistry's cinematography often resembles that of a television sitcom. The song sequences are refreshing and mercifully don't resemble aerobics sessions. The music, except for a couple of songs like the title song and Badi mushkil hai, fails to catch on. The film is engrossing for those looking for clean cinema with some good laughs. As Kher says, "Jhoot Bole Kauva Kaate may not have technical finesse but it has life." Palekar, a close friend observes, "It has urbane humour balanced with a sentimental touch. Hrishida is a director who is generous with actors. Though he never underlines the fact, on the sets he is the boss in total command."

The Big Boss keeps everyone on their toes. His poor health doesn't prevent him from rolling cameras on the dot at 9 a.m. irrespective of whether the cast is ready or not. If a mobile phone rings, he will impose a fine. And it isn't funny if someone dosesn't respond to his jokes. An inattentive Anupam Kher was once admonished with a stern, "I can lose a friend, but not a joke." Says Kher: "He called everyone including Amrish Puri beta. So I was like his grandson."

For all his enthusiasm, coming back to Bollywood took a little getting used to. It was not without its trying moments. "The actors and actresses gave me all the respect and honour I deserve at this age, but they lack dedication," he fumes. "It is as if acting is just one of their professions. To make a fast buck, the stars are killing the goose that lays the golden eggs." The flip side of annoyance was of course amusement. "My stars were a little upset when they realised the film was to be shot just in one state," he chuckles.

Mukherjee's reputation for fun and humour -- Sajid Khan describes him as the "cute school principal with the enthusiasm, energy and spirit of Santa Claus" -- goes hand in hand with that of being a strict disciplinarian. For the actors he's the revered one. Says Kher: "The thrill of working with him was akin to working with Dilip Kumar. He's an institution."

For all this and more, the septuagenarian director's latest work is definitely worth a watch. But seen in the light of his earlier films, it does disappoint. Precedents, they have a way of proving burdensome.

"I'm old by my heart is still young"

Veteran filmmaker Hrishikesh Mukherjee, affectionately called Hrishida, dons the director's cap for his new film, Jhoot Bole Kauva Kaate, after a 14-year self-imposed exile. The 76-year-old thespian, who has made 40 films and won seven National Awards, still has that spark left in him. Excerpts from an interview with Senior Correspondent Nandita Chowdhury.

Q. A youthful, romantic comedy at 76. How did this film happen?

A. Well, the heart is still young even though the body doesn't cooperate at times. After Golmaal and Naram Garam, I wanted to make a third film to complete the trilogy with Utpal Dutt and Amol Palekar. But there were several constraints. Then Utpal passed away and Amol aged. The project remained unfulfilled. This time Polygram approached me to make this film.

Q. You are coming back after 14 years. Why?

A. I was literally dragged into this project. Initially I was certain my kind of films wouldn't run. Most of today's films project what we've detested all along. Mainstream cinema depresses me. Lewd movements in song sequences, two people singing and dancing and suddenly 20 other boys and girls coming out of nowhere. If you are romancing would you like a crowd around you? But Vijay (Lazarus) of Polygram was persistent and allowed me to make it my way.

Q. You have made the biggest actors quake in their feet. What about today's stars?

A. When I am directing, my relationship with the cast and crew is that of a father and they have treated me likewise. The stars are all very talented but they lack discipline. Why don't they come on time? They want industry status but suppose you start a factory and the workers come two hours late every day, you'd kick them out wouldn't you? I've shouted at people on various occasions. Also, my hero and heroine are used to singing and dancing in Switzerland even if the script says Bhopal or Baroda. They were initially a little upset that I was shooting the entire film in Maharashtra. I said nothing doing, the story is set here. Finally I agreed to go to Manali because monsoons had approached Maharashtra.

Q. You've saved the producers a lot of money.

A. (Laughs) In the past, producers have approached me to make lavish big-banner films. But I am a middle-class man and have always made middle-class films. The bigger the budget the more one is restricted in terms of art as the money has to come back. Earlier we used to make films with a budget of Rs 5-6 lakh. Polygram offered an unrestricted budget. This film cost us over Rs 4 crore and that for me is very expensive.

Q. You seem to believe in a dream world

A. Yes. Earlier we used to look for ideas which had good human values and develop them. For me, what happens in real life is also the truth. No vamps or villains, no sex or violence. People should all be good, helpful, loving and smiling. You can sit with your entire family and watch this film.