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This is another one from Mahesh Bhatt's factory that will make him a lot of money. A film like this can be written in a day, shot in a few weeks on a measly budget, and sold for a good price. It's an unpretentious and blatant producer's film, made solely keeping in mind the money game. It's not art. It's pure business. A few thousand such films are made every year and sold in film markets around the globe. You can buy them a dime a dozen, or even by their weight. This is 'C' grade stuff being marketed as mainstream Indian cinema.

Innocent Izna (Sunny Leone) was in love with Kabir (Randeep Hooda) a police officer in anti-narcotic cell. They had fallen out over something. Kabir has gone rogue now and settled in a Sri Lankan resort masterminding assassination of important Indian figures. His wig-headed ex-boss (Arif Zakaria) is after him who has put his protégé a young hunky IB officer Ayaan (Arunoday Singh) on to the mission. Ayaan uses Izna to get to Kabir. A threesome is formed. Ayaan, Izna, and Kabir. Izna has long legs and an oozy bust line and no man can get away from her charm that is a blend of body and a vulnerable innocent persona. She is a pawn in the cat and mouse game. She thinks Kabir is a traitor. By the time she realizes the truth, it is too late and in the end everyone dies.

Mahesh Bhatt uses the film to tom-tom his pet theories on terrorism, love, and existential dilemmas faced by humanity. Indian security establishment is corrupt that gives birth to terrorists. Quite predictably, Bhatt's sympathies lie with Kabir, the terrorist mastermind, since the poor guy is merely a product of his circumstances. Kabir is a rebel and a hero who almost knowingly embraces death in pursuit of his love (Izna) who finally betrays him and gets betrayed as well. These supposedly artistic touches and socio-cultural-existential discourses come across as comic interludes in the film. It's like reading the Geeta, the Bible, and the Quran to a couple in heat. Bhatt probably does it to extend the film's footage to feature length. It's the easiest thing to do for him. He is well read and has the gift of the gab. Hooda delivers Bhatt's philosophical soliloquies to an audience that wants him to talk less and screw more. This is where Bhatt has made a serious error of judgment. He wastes footage on something his audience is in no mood to take. Let us see if he finally pays a price for this folly.

The film's sole selling proposition is Sunny Leone. She is a lovable porn star who willingly and easily takes to men. She is uninhibited and her kisses and embraces look authentic unlike the awkward ways the 'Sitas' and 'Savitris' of Indian cinema do it on screen. She is bit self-conscious as an actress but that goes well with her ridiculous role. She is all right in semi-nude bedroom scenes and thus largely delivers on her promise. If she does not come across as a proficient actress blame the film's director Pooja Bhatt, who is more of a production designer. She pretends to be a film director but is an interior designer and set-decorator in actuality, not a genuine one though. The Bhatts and genuineness – nothing can be more oxymoronic.

JISM 2 can be judged only on one parameter - the moolah it makes at box office. Going by the early reports it should make enough through the weekend to be declared a hit. That will excellently serve the producers' objective. Let me reiterate once again my pet theory. The line between 'C' grade and the mainstream cinema has vanished. Anurag Kashyap, Ekta Kapoor, Mahesh Bhatt, and the other celebrated names of the Indian film industry are doing exactly what the much-reviled Kanti Shah has been doing for years.

From Dada Saheb Phalke to Kanti Shah – that sums up the 100-years passage of Indian cinema. Now, go ahead and celebrate it shamelessly.

Rajesh Kumar Singh