Tuesday, November 26, 2013

Bombay Talkies

After waiting nearly six months for its DVD, I finally got to watch Bombay Talkies. It is a concept film in which four directors—Karan Johar, Dibakar Banerjee, Zoya Akhtar, and Anurag Kashyap—present four different stories. All the four stories have no connection per se but there are subtexts that link all of them. First and foremost, films play a role in all four of them in some way or the other. There are also themes of awkward relationships, especially between that of a father and a son, in all four of them. The films also in their own way talk about the importance of speaking a lie. It is these narrative layers that tie the films together. Given that these are in a way four different films, it is natural that there will be different responses to each of them. The four stories are also titled differently—Ajeeb Dastaan Hai Yeh (Karan Johar), Star (Dibakar Banerjee), Sheila Ki Jawaani (Zoya Akhtar), and Murabba (Anurag Kashyap). Although I liked all of them, the story that I loved the most was Zoya Akhtar's Sheila Ki Jawaani. I am a Zoya Akhtar fan and have already written bucketloads on the sheer splendor of Luck By Chance. So, I am going to start with my favorite director.

Sheila Ki Jawaani
Sheila Ki Jawaani
Zoya Akhtar's story is about a young boy, Vicky, who wants to become a dancer when he grows up. The problem is that his father wants him to become a football player. His father spends three thousand rupees to enroll him in a football coaching class, but Vicky struggles to get even the basics of football correct. His family goes to watch Tees Maar Khan in a nearby multiplex and when the song Shiela Ki Jawaani comes, Vicky is thrilled. It was as if he finally found his dream. But again, his dream of becoming a dancer and that too a feminine one like Shiela is diametrically opposite to his father's wish of him to become a masculine football player. I was fascinated by the nuances that Zoya brings in this short story of thirty minutes. It is to her credit that she is able to bring out excellent performances from all the cast members in the short story.
Fascinated by Mom's Make-Up
Earlier this year, Gippi had a character Booboo who was probably struggling to come to terms with his homosexuality. In that film as well, Booboo knew more about his mother's makeup products than his sister, Gippi. I could not say the same for Vicky with absolute surety though. The homosexual or rather the transgender connotations for Vicky are not very obvious. He may or may not turn out to be that way. He was simply confused and probably just trying to experiment with something that liberated him from the constant throes of masculinity. At one point Vicky innocently says to his sister, "Ladki hone me kya buraai hai."
Booboo - Gippi
Vicky - Bombay Talkies
What I felt more was that his father had a similar past. Again, it is the strength of  Ranvir Shorey that just within two scenes he is able to bring out the confrontations that he himself might have faced in his own dark childhood. In the first scene, when Vicky is not able to play football, his father is deeply disappointed but he does not scold him (unlike Dev in Kabhi Alvida Naa Kehna who scolded his son when he wanted to play the violin). He just enrolls him in the coaching class and says, 'kya acha nahi lagta that is not important, kya acha hai that is important". At another point, when Vicky dressed up as a girl and starts dancing to the song Aaj Ki Raat, Vicky's father comes home. Vicky's sister and mother laugh it off but his father, he smiles for two-three seconds and then suddenly becomes angry. Some of the biggest homophobes are themselves homosexuals as portrayed in the terrific film American Beauty. Was this the reason for his anger at his own son that he does not turn out this way? This was when I felt that perhaps he had confrontations in his own childhood. It could also be the thing that he does not want his son to turn out to be someone who is not acceptable in the conventional terms of the society.
Remembering His Childhood
A fleeting smile to a sudden rage
In Taare Zameen Par, when Ishaan is given a mathematics test, all he sees is an animation of cartoons of planets. Zoya leaves us to decipher what exactly is going on in Vicky's head by using her traditional symbolism approach. Vicky is captivated when his mother puts on her make-up. He silently watches girls dancing in his school. He says to his mother that he does not understand football as all that has to be done is "goal maaro, goal maaro, goal maaro". Vicky is so tormented from inside that to shut the conflicting voices in his head, he listened to loud music and increased the volume of the television.
Ishaan - Taare Zameen Par
In the middle of the night, he wakes up and goes and eats 'kaju ki barfi' as if trying to find that sweetness that will comfort him. It is at that moment when he is eating the 'barfi', that he watches a show where Katrina Kaif is talking about her dreams, giving Vicky his 'sweet dreams'. She tells him that it is important to preserve his dreams and for that matter, he might even have to lie. She says to Vicky—
Increasing Volume to Shut the Other Voices in His Head?
Kaju Ki Barfi brings sweetness
The world is not a kind place. Kabhi kabhi apni dream ko chupana padta hai. People always don’t understand you, so they will discourage you. Lekin tumhe to pata hai na, tumhara sapna kya hai, to uska khayal bhi tumhe rakhna padega. You have to nurture it. You have to protect it aur vaise bhi zaroorai nahi hai, har baat, har waqt doosron ko batayi jayi. Har baat batane ka ek sahi waqt hota hai. Tum jo chaho kar sakte ho. Tum jo chaho ban sakte ho. Follow your heart for there is magic in your dreams. If you believe them, they will come true. Bas yakeen karo ki aisa hoga aur tumhe koi nahi rok sakta.

With that not only does Katrina become a guardian angel for him that Vicky starts worshiping her, but she will also provide the anchor to the boat of Vicky's dreams. 
Guardian Angel - Katrina
Katrina will anchor his boat of dreams
The most beautiful part of the short story was the relationship that Vicky has with his non-judgmental sister. Her sister understands Vicky so well, and deep in her heart, she is well aware of the troubles that Vicky is going through. Such poise and maturity from a character as young as this is lovely. She lies to their dad that she put up a picture of Katrina Kaif in the room, even though Vicky had put it up. She happily accepted the Katrina Kaif doll that their dad bought for her, even though she clearly did not want it. At one point, Vicky asks her "What is your dream?" and she says that she wants to travel the world. Vicky replies, "as an air hostess" and she charmingly says, "as a passenger".
She wants to become a 'passenger'
And see the world
Even though kids dancing suggestively to item songs has been a big topic of debate, the fact is that these kids love these songs. In my neighborhood in Delhi, I see all the young girls dancing and singing to such songs when they are playing in the evening. I did not cringe when Vicky finally danced to Sheila Ki Jawaani. In fact, the song became a metaphor for his suppressed hopes and liberated him, though fleetingly, from his immense inner turmoil. Kisi aur ki mujhko zaroorat kya, main toh khud se pyaar jataun. I do not see a happy future for him at all and he is going to eventually confront his father when he grows up. He has a life full of struggles ahead. 
As always, the extent of detailing in any Zoya Akhtar film astounds me. As I wrote earlier here that each and every scene in Luck By Chance had a flower as a leitmotif. In this film as well she uses flowers in almost every scene. Whether be it the background paintings, clothes, jewelry, or for that matter the sketched flowers in the ticket.
Dress with Flowers
Flower Painting
Mom's Flowery Dress
Sketched Flowers
Flowers in the Plant
Flowers on the Pyjamas
Flower Earrings
Flower Painting
Flower Painting
Ajeeb Dastaan Hai Yeh
Karan Johar's Ajeeb Dastaan Hai Yeh opens when a young boy, Avinash, goes to his father's room, picks him up from his bed, hits him, and says, "Chhakka nahi hun main, homosexual hun, na chhakka hona galat hai, na homosexual hona". After that, he smiles for a few seconds as if he wanted to do this for a really long time. And I was instantly hooked because the scene comes from the director who dedicates every single film to his father and who made the over-saccharine melodramatic film, that Ram Gopal Verma could not sit through, also called as 'it's all about loving your parents' Kabhi Khushi Kabhie Gham.
Karan Johar Film - Yes!
Avinash is an intern at a Bollywood newspaper Mumbai Masala working with Gayatri. In the first meeting itself, Avinash says to Gayatri, "Gale me mangalsutra, aankhon me kamasutra". Gayatri is married to Dev, a reclusive TV presenter, who has a fondness for old Hindi songs and memorabilia, and keeps these in a special room or maybe a closet. Also, unlike Avinash, Dev is a closeted gay man. Gayatri calls Avinash for a dinner at her place, and there is an instant spark between Dev and Avinash. It turns out that both of them love old Hindi music and they, then, discuss the brilliance of Madan Mohan who composed Lagja Gale. Avinash takes Dev to a child beggar at a railway station who splendidly sings the same song that they discussed. Dev loves her singing. He comes back home and has sex with Gayatri and when Avinash finds out, he is obviously jealous and then he confronts Dev. Dev abuses him and Avinash then tells Gayatri, who finally realized that there was no fault in her. It was all Dev's inability to love her that was the reason as to why there was no spark in their marriage.

Hiding in a Closet
What I really liked was this is a totally minimalist Karan Johar. Karan has a gorgeous sense of inculcating colors and larger-than-life shots in his films. I can watch Kabhi Alvida Naa Kehna any number of times just to watch how beautifully Karan uses his camera in songs, particularly in Tumhi Dekho Na and Kabhi Alvida Naa Kehna. He understands romance and here, he does not use his sweeping shots but focuses on the people and uses symbolism to get his point across—something that Karan does not use much. At one point, Avinash visits Dev's place and asks him, "Do you want to come out?", obviously referring to Dev being a closeted gay man. The special closed room where Dev kept his songs was a metaphor for him being in the closet. At another point, Gayatri says that she does not have a cabin in her office because, "Band kamre me mera dam ghut ta hai", referring to her loveless marriage from which she cannot get out. She puts extra sauce in her food to compensate for the lack of sauciness in her sexless life. At another point, and in the story's most brilliant scene, when she finds out about Dev, she takes off all her makeup and says she always thought maybe she is doing something wrong, but the problem was always in him. She put on 'make-up' to make up for her flaws, but she has no flaws now, so why should she put on the make-up. She takes off her jewelry because now she is free. It is these hidden subtexts that made me love this one. Of course, Rani is terrific like always.
"Do you want to come out?"
Trying to add spice to her life
No 'make-up' anymore
I had written earlier how I felt there were gay undertones in Student Of The Year. In this film, Karan explores it a bit further. I really hope he makes this as an extended full-feature film. I have no doubt in my mind that he will make it as elegant as any of his other films and he will bring out the emotional conflicts of people beautifully - something he excels in. At one point in the film, the little singing girl says to Dev that jhooth bolna buri baat hai. Later when Dev is outed, he goes back to the girl and he does not have money and the girl says that he is lying. He then says, "jhooth bolna buri baat hai", as if he finally learnt to accept his own truth.
Jhooth bolna buri baat hai
This particular story is full of extremely sad characters. The utter loneliness of Avinash makes him do foolish things and he says bluntly that he is sad. He reads Free by Jonathan but he cannot break free from his solitude. The lack of sexual gratification in Gayatri's marriage will not be compensated by reading Fifty Shades of Grey. The repression of Dev's own sexual desires cannot be compensated by listening and taking refuge in watching Anand. These characters are terribly lonely, not only due to their unfulfilled sexual desires but also because of that elusive love, which never seems to shine on these hapless souls. And that is why they can only sing that melancholic love song Lag Jaa Gale. Baahen gale me daal ke ham ro le zaar zaar, aankhon se phir ye pyaar ki barasaat ho na ho, shaayad phir is janam me mulaaqaat ho na ho. Will these people find ever find love? I really hope they do. Something about this short story is deeply moving.
Free—not really
Fifty Shades of Grey—not in her life
Anand - not in his life
Dibakar Banerjee's Star is adapted from Satyajit Ray's Patol Babu Filmstar. Nawazuddin Siddiqui is terrific in this short story, where he plays a failed entrepreneur, who is accidentally taken as an extra in a Ranbir Kapoor film. What I loved was that this is the first time I have seen the bird Emu in any film. Dibakar makes the bird a central character in the film. I just could not completely understand what it meant. The only interpretation that I could make out was that since Emu is a flightless bird, it was a reference to the failure of Purandar in all the things he dabbled in—from businessman to an actor. He could never fly just as an Emu cannot fly. Actually, on more research I found out that Dibakar says, "You see, Emu farming was a major enterprise in innumerable households across Maharashtra and other states some four to five years ago. It ruined so many families. The Emu in Nawazuddin's home is symbolical of his wasted life." Perfect.
Tujhe karke nahi lena, tujhe milna chahiye, haina?
What I really liked was the short story's message that you cannot play safe all the time. You ultimately have to decide what you really want to do. That you have only yourself to blame if you do not work hard to realize your dream. "Tujhe karke nahi lena, tujhe milna chahiye"—this will not work. Watch this story for Sadashiv Amrapurkar's terrific scene when he does the imitation of Purandar's dialogue 'Ai' in so many different ways.

Again, this story had something related to a lie. When Purandar comes home, he tells a fascinating story to his daughter that he played an important role in the film although he was just an extra. The scene where he mimes is a demonstration of his acting prowess.

Trivia: The voice of the faceless director is none other than Reema Kagti's :)
Voice of Reema Kagti
Anurag Kashyap's Murabba is about Vijay whose father sends him to Bombay to make Amitabh Bachchan eat a piece of murabba. This was my least favorite story as after a point, it just got repetitive. At one point, Vijay's father says to him, "Achaar ki botal me kabhi murabba nahi daalna chahiye". Again, the themes of films, the importance of lying, and the relationship between father and son was explored in this story as well.
Finally, in the end, a song commemorating a hundred years of the film industry was played with a tribute to all the big stars. They have used YouTube videos to lip-sync the old stars to make them sing the song. From Dilip Kumar to Saira Banu to Rajender Kumar to Sadhana to Tanuja to Amitabh Bachchan to Rajesh Khanna to Dimple Kapadia. Also, stars from the 1990s appear as themselves instead of in their clips. The song has been heavily criticized as tacky but when it was playing, I was thrilled by seeing all these famous actors on the screen because as Shah Rukh says in Luck By Chance, "Stardom ek cocktail hai, it's insane"Bombay Talkies is not a masterpiece but there is enough in it for each of us. I still do not know why are we fascinated with the movies. Perhaps, they provide us a refuge from our mundane lives bringing succor to our repressed aspirations. Or, maybe we find ourselves in those characters giving answers to the things that trouble us. And, that is why I will always keep on watching Hindi movies.
Celebrating 100 years
Dialogue of the Day:
"Sangeet soch badal deta hai , aur kabhi kabhi sochne ka waqt bhi nahi deta."
 —Bombay Talkies

Wednesday, November 20, 2013

More Love for Yeh Jawaani Hai Deewani

I watched Yeh Jawaani Hai Deewani again a few days ago. I have already written about it here, and I thoroughly enjoyed it this time as well. Whatever the critics think of it, I really, really like it a lot. I was able to focus on some things that I was not able to do earlier, and I still have so much to write about it.

I had written earlier that the first time Kabir and Naina meet is on the train and Kabir stretched out his hand to pull Naina on the train was reminiscent of Raj and Simran in Dilwale Dulhaniya Le Jayenge (DDLJ). Even the relationship between Kabir and his dad had shades similar to that of Raj and his Pops from DDLJ. I found one more subtle reference to the movie. The first time Kabir speaks to Naina, he uses a similar dialogue that Raj spoke to Simran. Raj says, "Aisa lagta hai maine aapko kahin dekha hai, Robbie ki party pe, nahi?" And Kabir says, "Tum, Aisha, right? Hum Tanya ki party me mile the."
Naina also reminded me of Simran when she said she has never been to parties. Also, when Bunny and Naina are on a day trip to Udaipur and compare life in India and abroad, Kabir says, "Broadway me Phantom of the Opera" and replies, "Maratha Mandir me DDLJ with popcorn." Perhaps that is why Anupama Chopra says this :)
Earlier this year, in an interview with Rajeev Masand, Ayan Mukerji had said that the one film that changed his life was Dil Chahta Hai. Apart from Yeh Jawaani Hai Deewani being the story of three friends similar to that of Dil Chahta Hai, Ayan pays tribute to his favorite film in his own way.
The song Ilahi had similar picturization sequences as that of Tanhayee from Dil Chahta Hai, such as the scene in the cemetery, sitting near the edge of a scenic locale, and washing of the face (which comes just after the song finishes in Yeh Jawaani Hai Deewani). The feeling of loneliness and the wandering of the soul experienced by Kabir matched with the one felt by Aakash. Ayan pays tribute to the film that changed his life in these subtle moments. Just like Sanjay Leela Bhansali referred to his favorite films in Saawariya.
I was also fascinated by one of the other song sequences in the film. In the song Kabira, Aditi and Kabir sit in front of a mirror while she is getting ready for her wedding. Within three seconds of the song, a lot can be learned about both of them. I loved that Kabir is sitting very close to Aditi in the first frame. In the second frame, he is further, and in the third frame, he is even further but at a higher level. This was very symbolic of his distance and his changed stature with his friends and that he has moved away from them with time. Also, he does not smile even once, signifying his utter unhappiness. In contrast, Aditi does not move at all and remains seated in her spot like she does not move in real life. Her hairstyle in the three frames was symbolic of her own changes in life - from unkempt to tidy to well-groomed - from her rebellious and in-love phase with Avi to putting life on track and learning to accept her unrequited love for Avi, to finally doing something in her life and getting married to Taran. My favorite part was that she also did not smile in the first two frames, but in the third frame, she smiles because she has finally found happiness. I also loved it that they do not show Aditi smiling suddenly in the third frame, but they show her gradually smiling as if she has learned it. Just watch the song to understand what I am trying to say.
Frame 1
Frame 2
Frame 3
Learning to Smile
At one point in the film, Avi and Kabir are fighting, and Avi says to him, "Yaar tere spane, teri life, tere problems, tere bahane, sab kuch tera, mera kya Bunny. Pata kya hai tujhe mere baare me, meri life, mere sapne, mere haalat. Aditi ko to tujhse koi umeed hi nahi hai, Bunny." Interestingly, a few scenes later, Kabir asks for a pair of socks from Avi. Also, Kabir is holding his shoes in his hand. This was again referring to the fact that Kabir was now trying to put his feet in someone else's shoes, i.e., Avi's. He asks for Avi's socks, and he is not wearing his own shoes but keeping them in his hand, trying to understand Avi's problems. Their conversation during that scene also confirmed this idiom of 'putting feet in someone else's shoes' as Kabir offered to help Avi by saying, "Toh phir kya kar sakta hun main tere liye, Avi." That scene was again a metaphorical reference, else why would Kabir hold his shoes in his hand? Loved it :)
Putting Feet in Someone Else's Shoes
What I also liked was Kabir's relationship with his dad. I do not know how to define his relationship with his father. It was very complex. There is a slight touch of rebellion, with an equal amount of love and concern between the two. On one side is Bunny, who wants to live independently and on his own terms, but at the same time, he does not want his father to worry for him and does not want to disrespect him. On the other side is his father. He wants Bunny to live his life fully, but at the same time, he worries for him a lot. He wants Bunny to do whatever he wants, but at the same time, he silently cries because he does not wish for Kabir to leave him and go to Chicago. It was portrayed very beautifully because, in some ways, relationships with parents are—complex, awkward, and loving. And it was really moving when his step-mom said to him that he gave his father the most happiness "Kyunki tumne kabhi khwaabon ka peecha nahi chhoda, apni zindagi apni marzi se jee, vo jaante the apni marzi se jeene ki keemat kya hoti hai." 
As beautiful as it was Kabir and his dad's relationship, I loved Naina and Kabir's relationship too. I have written about it earlier in this scene, too. My favorite scene was in the end when Kabir comes to Naina's house on New Year's Eve. He kisses her as soon as she opens the door, and then she starts crying. I don't know why but I thought it was something wonderful. And the fact that both Ranbir and Deepika are such beautiful people makes the relationship look even more gorgeous. I loved that Kabir used to call Naina very informally using 'tu'. I mean, most of the relationships shown in films are formal where people call each other 'tum.' And when he says, "Apne mind me already shaadi kar chuka hun tujhse aur tu bhi kar le mujhse", I felt so happy, I don't know why. The relationship between Naina and Kabir was very contemporary, without any hesitation and formality. My minor quibble is that Ayan did not tell us exactly how this relationship would work. Kabir agreed not to do the TV show but still wanted to travel. How will it work out? I don't know, but I loved this scene like anything.
I have always loved those characters who have dared to accept their one-sided love and ability to move on with their lives. I have written here many times that once you love someone, you love them forever. In this context, I was really fascinated by Aditi. If there was one character who actually grew in the film, it was Aditi. She will always love Avi, but she realizes that "us relationship me kabhi Avi tha hi nahi, sirf main thi akeli but you know Taran ke pehle main theek hi thi, lekin usse milkar realize hua main khush bhi ho sakti hun, kuch logon ke saath sirf waqt bitane se sab kuch sahi ho jata hai." She chose happiness over love, so what wrong did she do? Didn't Shruti's mom do that in Barfi? Whether it was Rahul in Ek Main Aur Ekk Tu or Laurent in English Vinglish or Akira in Jab Tak Hai Jaan or Simran in I Hate Luv Storys or Rishi in Kabhi Alvida Naa Kehna or Deepa and Sid in Dil Chahta Hai - all these characters dared to accept that love is not always reciprocated but that does not mean you stop living your life, right? Aditi learned to be happy, and as they say, happiness is subjective. I really hope Aditi learns to love Taran as well. There is something poignant about her vidaai scene with Avi, in a way, she is taking leave from his love as well and starting a new life. The song Kabira is too heartbreaking.
Bye to Avi's Love
I loved Naina for her maturity, and I do not think I have seen such a mature character like her who can understand someone so beautifully. She tells Kabir to go away because, "Mujhe tumse pyaar ho jayega phir se, aur tumhe nahi hoga phir se." And of course, when she also says, "janti hu Bunny, samajhti hun tumhe, pata hai tumhare sapne kya hai, ki tum zindagi se kya chahte ho." Or when she says, "aath saal beet gaye hai, usne kabhi mudke nahi dekha aur maine intezaar bhi nahi kiya."
They look so good together that I actually took screenshots of their scenes and have been looking at them for the past two three days as if these are my friends' pictures. 

Dharma Productions uploaded some deleted scenes from the film on their official YouTube channel. I really liked three of them. Naina teaches Kabir some really important lessons in life, in this one, she says, "kisi se kuch milne se badi khushi hai unke kuch dene me." When Kabir asks for her Ganpati, she gives it to him without hesitation. It was a lovely scene in a way she is also teaching him the importance of letting go.
In another scene, they also explain the myth of the Bhutha Parbat. In the film, when Kabir and Naina are trekking in the night, they see an animal. Now, I understood what it meant, and the spirit of the king and the girl blessed them so that they might be together. Interestingly, the narrator says, "us ladki pe waqt beetne ka koi nishan hi nahi tha." If I remember, Kabir says to Naina during the final scene, "beet ta waqt hai aur kharch hum hote hai." Some connection between the lines. 
I was reminded of the deer scene from the Helen Mirren-starrer film The Queen. The scene comes after Diana's death, and the queen is trapped in the jungle. Again, it was a beautiful scene where the deer probably referred to Diana's spirit.
Watch the brilliant scene from The Queen here.
And this scene of Aditi as well :(
More scenes of the film on the YouTube channel.

Kabir's Aawara tattoo

A guest reads 'A Feast of Crows' by Geroge R. R. Martin (Game of Thrones Series)

Kabir reads 'On The Road' by Jack Kerouac -  Fits perfectly :)

Kabir also read Lonely Planet's Chicago

Four old songs in the film:
  • Kabir sings waqt ne kiya koi haseen sitam and kabhi kabhi (more poetic) while Vikram sings yeh sham mastani and ek ladki ko dekha to - did not get its meaning completely though :(
  • Chumma Chumma by all of them :)

The quote by Benjamin Franklin

The quote by Edward Everett. The face of Zoya Kher looks very familiar.

Naina reads drug elimination in the book on Immunology. Will she take off Kabir's nasha? ;D

I also liked this scene when Kabir comes home and puts the keys on the table. The camera pans over to the keys for three-four seconds. Did it mean that Kabir finally unlocked the solution to his restlessness? He finally came home, and is it time to rest now? :)

Despite all the criticism attributed to this film, I love this film. The last forty minutes are just so splendid. From the Kabira song till the end, the movie reaches its zenith for me. It makes me laugh, it makes me think, it makes me feel lonely, and it makes me feel loved. I won't have these people in my life. Someday :)

Earlier review on Yeh Jawaani Hai Deewani here.

Dialogue of the Day:
"Nahi bhool payi, bas nahi bhool payi. Mujhe usse jitna pyaar tha, usse kai zyada use apne khwaabon se tha. Takleef hui lekin is baat ki khushi bhi thi ki main apne saath vapas yaadon ka ek bada sa suitcase le ja rahi thi, jinhe main kabhi nahi bhool paungi, vo din, vo raatein, vo hasi, vo masti, vo dosti..Bunny..vo apne khwaabon ki aur itni tezi se daura ke palak jhapakte hi gayab ho gaya. Aath saal beet gaye hai, usne kabhi mudke nahi dekha aur maine intezaar bhi nahi kiya."
—Naina, Yeh Jawaani Hai Deewani