Cast: Saif Ali Khan, Alaya Furniturewala, Tabu

Directed By: Nitin Kakkar

In Jawaani Jaaneman, director Nitin Kakkar who directed the national Award film Filmistaan (2013) enters into commercial film uses the Ole Ole 2.0 song right at the beginning to establish Jazz (Saif Ali Khan) as a 40-year-old casanova who lives in London and works as a real estate broker. One day, he meets Tia (Alaya F) at one of the clubs who accidentally spills her drink on him. 

The next day, they meet again and she tells him that perhaps they have a lot in common. When she casually tells him that she wants to talk to him, he mistakes it as a cue for pick-up and takes her to his home. However, his life turns upside-down when she confesses he has a 33.33% chance of being her father. As they opt for a paternity test, Jazz and Tia learns that Tia is also pregnant, thanks to her commitment-phobic boyfriend. Hereon, the story is about his transformation from a guy who wants to live his life enjoying as a bachelor to someone who not just has to accept paternity but takes the responsibility of a would-be grandfather. 

The film tries to take a modern, no-judgment, politically correct based philosophy with Millenial driven scenarios in an attempt to be perceived ‘cool’. However, in the two-hour screenplay, it restores to using several clichés.

When the trailer of the film released, it raised the expectation of the audience. Saif started his career in the industry playing characters who start off as Casanova but eventually set into the ‘nice and conventional guy’ narrative before the film ends. His comeback character in the industry also had a similar character curve. Despite proving himself as a versatile actor, this is the character band where you can find him at utmost comfort and ease. In Jawaani Jaaneman too, Saif is living as Jazz. He does justice to the role offered. 

Alaya F has indubitably made a good debut. She is refreshing, confident, bubbly, expressive, and handles the emotional scenes with equal commitment. Most actors of her age (and the connection) try to get a launch film that can thrust them into a glam role. However, the choice of role and the acting prowess of Alaya makes this debut count. 

Tabu, has completely done something different in this film. She plays the gypsy mother of Tia, who establishes her character with one dialogue, stating, 'I hate phone calls'. The character adds to the entertainment quotient in the film. The downside is that there is no justification why she did a vanishing act once Tia delivers a baby. Tabu is timeless diva and never disappoints even if the film doesn't give the much meatier role to the actress.

The supporting cast such as Farida Jalal, Chunky Pandey, Kiku Sharda, and Kumud Mishra do their bit but are restricted by weak writing. Kubbra Sait looks pleasant on-screen and handles her part effortlessly.

This film, by no stretch of the imagination, is bad in the conventional sense. It’s lazy. It doesn’t make you groan, it just doesn’t make you laugh. It is full of promise, but such a fragile, experimental promise that it cracks easily under the weight of a script that wasn’t given enough time to brew.