Jogira Sara Ra Ra movie director: Kushan Nandy
Jogira Sara Ra Ra movie cast: Nawazuddin Siddiqui, Neha Sharma, Sanjay Mishra, Mahaakshay Chakraborty, Zarina Wahab
Jogira Sara Ra Ra movie rating: 2/5 stars
A vintage romantic comedy with a touch of women’s companionship, ‘Jogira Sara Ra Ra,” starring Nawazudding Siddiqui and Neha Sharma, is cooked in the same old formulaic framework as other films of the same genre. “Jogira Sara Ra Ra,” a film that was directed by Kushan Nandy and written for the screen by Ghalib Asad Bhopali, is an adaptation of the overused plot about a young lady who wants to break out of the small-town mindset until she finds someone who matches her crazy and anguish. The film is the worst of the terrible adaptations of the overused storyline. The wedding plot device is the most straightforward and typically Indian way to market and encase a romantic comedy within its framework. Nawazuddin Siddiqui does not want to get married because he does not want another addition to the all-women-crazed home that he appears to sustain single-handedly and that seems to grate on his nerves every time he enters his house. Neha Sharma is this lady who wants to break free. Nawazuddin Siddiqui does not want to get married.
In the opening scene of ‘Jogira Sara Ra Ra,’ which takes place in Bareilly during a wedding, the leading couple, played by Nawazuddin Siddiqui and Neha Sharma, is presented in the most conventional manner possible. The opening sequence music, “Torture,” plays, and the movie then settles into the mood of a slow-burning, never-ending pace, with a few humorous jabs thrown here and there to assist you in sailing through the film.
The only thing in “Jogira Sara Ra Ra” that is actually worth watching is Nawazuddin Siddiqui breaking into dance. Despite the fact that he was trying so hard, the comedic tone of the movie works quite well with his motions.
In terms of their performances, Neha Sharma and Nawazuddin Siddiqui do their best to live up to the expectations of their roles, yet many moments involving them come out as forced, drawn-out, and awkward.
Nawazuddin Siddiqui gives off the impression that he is not quite persuaded by the character he is playing; alternatively, the image of the actor that has been ingrained in our brains in a certain manner prevents me from seeing the actor outside of his comfort zone. Neha Sharma is given monologues in areas where they are not required, and the additional effort to make her character a rebellious contemporary woman who smokes beedis, uses slang, does what she wants, and says what she wants is simply too stereotypical for Bollywood. Is there any hope of moving beyond this in traditional Indian Bollywood films?
Zarina Wahab’s role in ‘Jogira Sara Ra Ra’ is more of a cameo than anything else, while Sanjay Mishra’s character is so badly developed that it makes even a seasoned actor like him appear incompetent, and Sanjay Mishra seems to come from a whole other universe.
The background soundtrack is appropriate for the genre, and the interludes into infrequent songs here and there are a welcome relief from the tell-tale, repetitive, and predictable stock of romantic comedies.
It looks as if the script for ‘Jogira Sara Ra Ra’ is trying to communicate something else and hint at something else. Take, for example, the strange abduction scenarios that are followed by the heartfelt music. A character might be in a certain frame of mind at one time, and then something completely unexpected can happen at another. The screenplay is all over the place, and the director seems to be attempting to add too much, including pointless narrative twists that only serve to muddle the subject as well as character arcs and relationships. The Choudhary gang aspect is very convoluted, and its development is sloppy.
The manufacturing design seems to have a regional flavour. The sight of Sanjay Mishra playing carrom beneath a tree on the outskirts of the city while wearing little more than a waistcoat is delightful. The segments that take place in smaller towns blend quite well into the overarching narrative of “Jogira Sara Ra Ra.”
Due to the fact that the director is too busy attempting to express too many things and sell the same storyline over and over again, there is also very little experimentation with the film’s form and the picture. This is particularly true in the second half of the story, which requires considerable patience on the part of the reader in order to finish. On the other hand, the manner in which “Babua’ was filmed and choreographed was something that I enjoyed. In a straightforward manner, it captured the perspective of middle-class household interactions in small towns.
When it continued going on and on without any reason or goal regarding why or what was occurring in the picture the way it was happening, I, myself, was simply waiting for “Jogira Sara Ra Ra” to stop in every moment. I was just waiting for it to end.
The play “Jorgira Sara Ra Ra” has a three-act structure, and the same “modern-rebel” lady who says what’s on her mind is at the centre of each act. She is trapped in a tiny town and desperately needs a guy to come to her rescue and play the role of a counterpoint, but the humour of the situation prevents this from happening.
Except for the sequences in which you get to witness Nawazuddin Siddiqui dance and the friendship between ladies, the film “Jogira Sara Ra Ra” actually does not have anything noteworthy to offer, with the possible exception of the tune “Babua.” Overall, this romantic comedy is too dated for post-pandemic viewers, who are much more used to being exposed to entertainment of higher quality now.