Expect the unexpected from JISM, inspired by the
English flick BODY HEAT , which itself was
loosely based on DOUBLE INDEMNITY .
JISM explores the darker side of a woman a
subject alien for Bollywood, a genre that has
rarely been attempted in the past. But JISM is
contemporary and dares to be different. It is
also a shining example of the subtle use of
Kabir Lal (John Abraham) is a restless, reckless
and alcoholic lawyer whose steady race towards
self-destruction even his close friends are
unable to stop. A chance encounter with Sonia
Khanna (Bipasha Basu) a young, sexy and
dangerously ambitious wife of a middle-aged
industrialist Rohit Khanna (Gulshan Grover)
exposes Kabir to needs, emotions and areas of
himself that he never encountered before
The sexual chemistry between the couple
intensifies with each encounter and blinds them
to the point where they decide to get rid of
Rohit together. The trouble in paradise begins
when the murder plan is executed successfully
and Sonia begins to take independent decisions.
Soon, Kabir finds himself a helpless victim at
the hands of his conscience, circumstances and
Sonia. Legal entanglements, moral apprehensions
and mad, destructive passion towards possessing
Sonia lead Kabir to his inevitable doom and
ironically towards his redemption.
JISM scores in several respects, but it tends to
have its loose ends. But first, the uppers
Director Amit Saxena needs to be lauded for
choosing a bold theme for his debut vehicle.
Together with writer Mahesh Bhatt, Saxena has
opted for a plot that defies stereotype. Much
like the two English versions, JISM follows a
seductive and dark theme.
Two, the narrative moves on a singular track
throughout, without deviating into sub-plots.
There's no cheap comedy, no guns, bullets or
mindless action, nor have songs been
incorporated for the heck of it. The subject is
Three, Bipasha's character has been developed
beautifully. Her volte-face in the latter reels
has been handled with such dexterity that the
viewer gets a shock when it dawns upon him that
the lady is not actually what she pretends to
But the film has its share of downers
One, the first half of the film moves at a
lethargic pace. So slow-paced is the narrative
that it tests the patience of the viewer at
times. Also, not much seems to happen in this
half, till Gulshan Grover enters the scene.
Two, the treatment of the story would suit the
elite more than the hoi polloi. For the hardcore
masses, the lethargic pace with which the drama
unfolds and also the class-oriented treatment
will prove a major deterrent.
Three, the climax.
Although the second half has several dramatic
moments, the film fumbles in the climax when
Bipasha has a change of heart unexpectedly. The
climax depicts Bipasha's true colours that of
an ambitious woman who'd stoop to any level to
inherit the riches but the sudden love for
John towards the end looks ridiculous. For,
barely a minute ago, Bipasha had confessed that
she'd never loved anyone in her life, except
Writer Mahesh Bhatt's script is not foolproof.
There's no denying that Bhatt has delved into an
area where very few writers have dared to enter,
but the outcome is not as captivating as it
Amit Saxena's maiden effort at direction is
creditworthy. His story telling is placid, easy
for an average viewer to comprehend. The
dramatic sequences have been handled deftly,
while the erotic ones (plenty of them!) have
nothing vulgar or cheap about them.
Niranjan Iyengar's dialogues are simple,
contemporary, without frills. The lines
compliment the goings-on beautifully. Fuwad
Khan's cinematography is striking at places, but
uneven at times. M.M. Kreem's music gels well
with the mood of the film, but the film lacks a
hit score. 'Jaadu Hain Nasha Hain' is the only
track that can be singled out.
Supermodel John Abraham makes a confident debut.
Although the cinematographer hasn't done
complete justice to his looks, the actor rises
beyond his looks and registers a strong impact
with his performance, more so towards the second
half. His dashing looks and excellent physique
only add to his persona.
But the real show stealer is Bipasha Basu her
sexy look and seductive deep voice, in contrast
with her cold and calculating personality, makes
her the most impressive femme fatale since
Zeenat Aman and Parveen Babi.
Gulshan Grover is quite alright. Anahita Uberoi
is superb in a small, but significant role.
On the whole, JISM exhibits Bipasha Basu's
talent and anatomy to its fullest. Coupled with
a hot title and eroticism in plenty, the
curiosity-value for the film increases manifold.
But the subject and its treatment being
city-centric, the film will appeal more to the
big city audience. The reasonable price at which
it is sold at should prove to be advantageous.