Jab Harry Met Sejal Scene By Scene Part 19: The Universality of Heartbreak

Well, this is an okay section.  But the poor thing is stuck between two really great sections.  So I am feeling a bit “oh let’s just get this thing over with!” about it. (full index of JHMS posts here)

Previously, lots of stuff happened!  Essentially, the entire movie.  Shahrukh is a tour guide that Anushka’s family hired to take her around Europe looking for a lost ring.  It was just supposed to be staying back a couple days, but somehow within only a few days they went from guide and client to Anushka having a crush and Shahrukh being over-whelmingly attracted to her but holding himself back.  And then somehow the closeness their urges brought them to turned them into friends instead just servant and mistress.  Only for the world to intrude on their thoughtless joy in each other when it looks like they are going to actually find the ring.  They prepare to say good-bye, Anushka gives Shahrukh absolution for his past sins and tells him to “go home”.  And Shahrukh at the last minute admits that he finds her “worthy”, that he desires her.  Only, then they don’t say good-bye.  They learn that the ring is still not there, they have to go on another journey to Portugal, where they never visited on the original tour.  And in Portugal, in the last section I covered, Anushka came into her own, went with the joy of her discovery of her body, of Shahrukh’s attraction to it.  Until, finally, she came out of her trance to discover Shahrukh standing there in front of her.



This whole movie has been Anushka growing up and Shahrukh growing down.  He had to let go of his bitterness and sadness and guilt and return to being that clean happy balanced person he was at some point in the past.  And she had to grow up into the woman she was meant to be.  And sexuality was a big part of that for both of them.  Anushka had to learn that her body was desirable, that she didn’t have to be ashamed of it or afraid of it.  And Shahrukh had to learn that he was more than just a desirable body, that a woman would stay with him and chase after him because she wanted to take care of him, to drink coffee with him, to sleep curled up against him at night.

And now here they are, journey over.  Anushka has gone through her final metamorphasis and come out on the other end, a woman.  Shahrukh has gone through his long dark night of the soul and come out the other end of it, a healed man.  So, what’s next?

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(that’s his face, “what’s next?”)

In my last section I talked about how this section really changes the film, it’s from here on out that I feel like the happy ending is the only possible ending.  “Harry” and “Sejal” HAVE to end up together, because they already have ended up together.  To separate them after this would just be wrong wrong wrong.  They already are a couple in every way that matters.

That’s what becomes increasingly clear in this little bit here.  They are sitting at a cafe when the song ends.  Sitting like a couple.  I don’t know exactly how they are doing it, but they are more of a couple than they have ever seemed before.  Maybe it’s something about the way they are looking at each other without looking?  They are past that “let’s consciously stare into each other’s eyes” point that they had on the train in “Hawayein”.  They like looking at each other and know they have the right to look at each other, but there is no desperate urgency, because they have their whole lives to look.  That’s what feels different, I guess.  Even though the plot is telling us that they are about to separate, the body language isn’t saying that any more, it is saying “we are together, and happy, but there’s no drama or mystery about it any more, it’s just easy and our lives.”

And that’s why there is a particular kind of pain when the restaurant manager comes out to get Shahrukh, interrupting their time together, and tells him that “Gas”, the man they were looking for who might have the ring, is here.  Shahrukh stands and Anushka stands with him, kind of reaching for him, and he kind of gently pushes her back, tells her he will go see him, she should wait here.  Anushka is worried, says “he’s a criminal”, Shahrukh tells her not to worry, but we can see he is scared too.  And even the restaurant manager looks at them, kind of slightly sympathetic.

It’s not “I am afraid for my life”.  And it’s also not “I am worried for you” exactly.  It’s more, “I am worried for us”.  Anushka is worried about him because if anything happens to him, it will break her.  And Shahrukh is worried for himself, because if anything happens to him, it will break Anushka.  And Anushka is worried about him because if anything happens to him it will break her and that will break him all over again.  This is what people get at when they argue “don’t shoot me, I have a family”.  It’s not “like me, I have a family!  I am a good person!”, it’s “if you hurt me, you will hurt them, and I can’t take them being hurt like that”.  There is a weight of responsibility that is different from just loving someone, an awareness that you are linked to someone else, that harm to yourself is harm to them is harm to you is harm to them and so on and so forth.  It’s all tangled together, which is what Anushka and Shahrukh’s body language is saying here.  One isn’t comforting or holding back the other, they are just sort of mutually patting at each other, each simultaneously both moving forward and back and staying in one place.

(I knew I could find an example of this!  This is the way it feels when a marriage breaks apart, very different from earlier in the film when they were just in love and separated.  There’s an extra madness and wrongness to it when a couple this bonded falls apart)

And everyone can see it, can see that this is a real couple, not a young couple in love, but a pair that is locked together forever.  That’s why the restaurant manager gives them a moment.  And that’s why I just can’t imagine a version of this film, past this point, which doesn’t have them end up together.  Because they don’t just need the spiritual connection, they need each other, right there, every day, or else they won’t feel whole.

You can see the weight of separation as soon as Shahrukh leaves Anushka.  He is moving slower, his face is kind of blank and serious, it’s not like he can’t function, but there is something missing, some pain inside right away, even though he was just with her a second ago.  And he reacts a little slower too, “Gas” comes out and it is a desi.  Shahrukh is kind of confused, looks back at the restaurant manager to confirm instead of moving right into the discussion.  Partly, sure, this is surprising, it seemed like we would be meeting some master criminal type instead of this sweet little desi guy.  But compare it with how quickly he has taken control of every other situation up until now, there is something just slightly crippling him at the moment, slowing his mind.

The “Gas” interaction is so great, because it is what desis abroad do.  Desis like Shahrukh and “Gas”, not tourists who are about to return home, but exiles.  They recognize that in each other right away, and “Gas” is delighted to share his “real” name, the one the white people can’t say.  Shahrukh responds that he is “Harry”, without needing to explain that “Harry” is his white people name too, because it is so obvious.

I still think the title, “Jab Harry Met Sejal”, is stupid.  But the name “Harry”, on its own, is not a contrivance.  It should be “Hari”, right?  A common nickname for a common Punjabi name.  Or “Harinder”, his full name isn’t that long or hard, back home he might have gone by the whole thing most of his life.  But at some point sometime he started going by “Harry”.  And now it is his identity, his full identity.  Unlike “Gas”, he no longer feels the need to share his “real” name and an explanation, only the new name and new identity is left.  New, but integrated.

Going off on a tangent for a second, Claudia in the comments said that the tattoo Shahrukh has is meant to be an Ik Onkar design.  But it’s an incredibly elaborate one.  It’s not like Akshay’s Khanda tattoo on his hand in Patiala House, where it was small, but clear.  And also always right there in front of him, a constant affirmation and reminder of a simple identity.  This character is different, he wears his Sikh identity as a complex relationship, and he keeps it inside, hidden beneath his shirt, not the first thing or even the 20th thing you would see.  It is for him, inside, not for the outside world to be aware of.

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(This is a simple version of it, just the letters for “Ik Onkar”.  Shahrukh’s tattoo, which we never see clearly, is a complex elaboration on it)

That’s what Shahrukh’s identity has become, something hidden away and kept deep inside.  But all the more important because of that.  He doesn’t have a Khanda on his hand to tell the world who he is, but inside his shirt he has a whole world of faith that no one sees.  And we can expand that to his Indian identity.  He is “Harry” now, just Harry.  “Harinder” has been left behind to the world.  But inside, “Harinder” is stronger than ever, is coming out in random ways like his visions of Punjab fields as he walks through European cities, washing his hands with water Indian style while eating take out (one of my favorite little moments from “Safar”), and doing Bhangra in the middle of a street.  Anushka is making it come out more and more, but it was always there, inside.

This is a version of the NRI we don’t usually see in Indian films.  Because it’s an uncomfortable reality to face.  Sometimes moving away doesn’t mean the casual acceptance of two identities that we see in Shahrukh in DDLJ.  Sometimes it means a split personality that can never really be resolved.  And I can tell you, from the perspective of a 6th/10th generation American, it never does resolve fully.  My family is American, sure.  That’s the primary identity.  But how do you resolve that with singing the German version of “Silent Night” every Christmas, with forgetting and calling potato salad “kartoffelsalat” every once in a while, with all of the things that still make us “German”? You can’t really explain it, and it never fully goes away, you just either learn to live with it or you don’t.  And some people can’t live with it, especially people like “Harry” who somehow are never able to find and make new roots in their new country.  If he had met Anushka ten years ago, married her in Canada, had kids, bought a house, joined the PTA, all of that, then it would be different.  But somehow, that never happened for him.  Because sometimes it doesn’t, sometimes the NRI experience isn’t something wonderful and perfect and easy, sometimes it is just a pain that never really ends.  And, as I said, even many generations later in a completely acclimated family, there is still some small kernel of unresolved something.

(You will either love this video and get all teary, or think I am very dorky for including an out of date Gujurati rap video that makes no sense)

That’s what is behind this scene, the two kinds of heartbreak together.  Shahrukh and “Gas” are the same, they know that as soon as they introduce each others.  “Gas” is eager to offer him “cutting” chai, to share their heritage.  Shahrukh is eager to get back to Anushka, but lets him down easily, because he knows that pain and urge to connect.  And then there is the bigger pain.  “Gas” admits that he gave the ring to Natassha and she gave it back and broke his heart.  And then starts to cry a little.  And Shahrukh kind of changes his face, not sure what he does here, but you can see that he is feeling bad for “Gas”, and also bad for his future self who will be in that same state shortly.  And “Gas” can see it too, there is an immediate second bond and trust between the two men.  Two lonely broken hearted men exiled from their home.  It’s no surprise that he immediately agrees to give Shahrukh the ring, tells him to come to his workroom the next day.

And the two heart breaks are related.  In Anushka, Shahrukh has found his “home” again, has found himself, has begun to build back that identity he thought he had lost.  And “Gas” had the same with Natassha, we know that just from this little scene, he thought he had conquered this new land, found a beautiful native girl who loved him and affirmed him.  And now she is gone, and so is that affirmation.

That’s why Shahrukh is so thoughtful when he comes out.  But not too thoughtful not to immediately come back together with Anushka, grab her hands kind of loosely with her grabbing back (again, they are equals now, entangled, one organism, not one pulling or following the other).  And then he kind of moves them both away, while reassuring her that “Gas” isn’t scary, he is just kind of sad.  And yet Shahrukh still wants to create a distance from him, because that sad broken man is what he fears for himself, that he will be crying to a stranger in a few days, that this beautiful love he has right now will go away from him.  But it doesn’t matter, the change is coming down on both of them, and Shahrukh’s hesitation has communicated itself to Anushka.  They stand side by side, looking into the future, and something shifts in Anushka’s face and suddenly she looks grown up, she matches Shahrukh, that kind of weary sadness is in both of them.  And that’s when she gently nudges his chest and says “I want to take this home with me.  My Queen-sized bed”.

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Such a great line!  And such a great moment!  The big thing is “Queen-size bed”.  Anushka is a Queen, and Shahrukh has shown that to her.  Her thinking isn’t “King size bed”, as in, “what is important is that you are a king”, it is “Queen-size” as in, “what is important is that you make me into a Queen”.

Claudia in the comments is my little fact checker and confirmed that they have now slept together twice at least that we have seen, presumably every night since “Radha”.  Claudia reminded me that we see a little glimpse of them sleeping right at the end of “Beech Beech Mein”.  I remembered that glimpse, but I didn’t remember exactly when it was.  What I remembered was HOW it was.  They were on the floor.  Again.  Which tells us a whole story.  During “Radha”, Anushka going to him was believable.  They had to be sleeping near each other for safety, she got scared in the middle of the night and, only half awake, went over to him for comfort.  It was kind of an “accident” in a way.  But what we see at the end of “Beech Beech Mein” is an unmade bed and then, a few feet away on the floor, Shahrukh laying on a sheet and Anushka curled up against him.  We don’t get to see the scene where it happened, but Shahrukh must have chosen to sleep in the same room as her instead of across the hall (as he did in Amsterdam).  And must have chosen to make his bed on the floor near her, instead of on a couch or somewhere else that must have been available.  And Anushka, as before, went to sleep with him.  Shahrukh doesn’t feel the right to sleep on the bed, with or without her, he only has the right to sleep on the floor below her.  Even now, when it isn’t circumstances forcing it, when she must have invited him into her room, he still isn’t taking a more comfortable place.  And she is rejecting that, saying “I would rather sleep on the floor with you than alone in my bed.”


By the way, this is ABSOLUTELY a thing that happens in real life.  I heard second hand some complaints from reviews about how silly it is, which just tells me that these people have not spent much time recently with confused young people.  I haven’t experienced it myself, but the many young people friends I took to see this movie, saw these scenes and went “oh yeah, been there!”  I assume it is less common in India?  Just because there would be fewer times that a bunch of unrelated young people of mixed sexes are sleeping in the same room?  But I really don’t know, enlighten me!

What my friends have told me (not just related to this movie, I have suffered through years of stories of romantic angst like this) is that there’s some guy or girl you have a crush on, and neither of you talk about it during the day, but at night you sleep together like this.  On the futon at your friend’s place, or on the floor of a hotel room you are sharing with a bunch of other young people, or in their bed after they invited you over for a house party.  It’s an unusual circumstance like travel or a crowded room, so you don’t have to really explain it or talk about it to each other, but it is there unspoken.

Only now Anushka is speaking it.  And Shahrukh doesn’t even react.  Somehow they went past the point where saying “Hey!  Why am I getting out of bed to sleep on your chest every night and why are you sleeping on the floor of my bedroom?” would break the spell.  It’s going to take a lot more than that to break them up.


30 thoughts on “Jab Harry Met Sejal Scene By Scene Part 19: The Universality of Heartbreak

  1. This is so satisfying, like a full English breakfast. The downside, as usual, is that it makes me want to immediately re-watch the movie, by legal or other means, instead of working (my user name is well earned).

    As you, joyomama, and maybe others have mentioned, I love how the secondary and tertiary characters here are so lightly sketched. I think Gas and his gang and the creepy mafia guy in the bar in Prague are linked, as elements of the Indian/South Asian experience in Europe that Imtiaz is commenting on. Creepy guy represents Europeans who, with no merit, consider themselves superior to, able to judge, comment on, exploit, S. Asians, especially women. You’ve pulled out in this entry the things that Gas (and to a lesser extent) his gang represent, and why Harry connects with them. I think Harry’s “threats” of reporting them to the authorities become poignant in light of that shared immigrant experience, and almost explain their over the top reactions later in Portugal.


    • Really interesting point about how Shahrukh and “Gas” have this immediate understanding between them, and how that relates to the anger they feel over the “illegal immigrant” situation. Both “Gas” escalating it by attacking them, and then Shahrukh escalating his threats in response. It’s taking that connection they have and using it as a weapon. Another sign of why Shahrukh just needs to go home.

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  2. Seriously, this has be become an addiction for me! Every morning I get my coffee and check on the site for the latest. I am loving every minute of it but it’s like waiting to give birth. Enjoying the experience but can’t wait for the finale. In a way, I’m glad I haven’t seen the movie yet but when I do I’ll have all this wonderful insight.

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    • Your Scene By Scene analysis of JHMS is definitely an addiction! For the legions of us who LOVE everything about this film and are shocked by the way it’s been under-appreciated, misunderstood (or not understood at all) your blog is a welcome oasis!

      I saw the film 19 times in a theater in Florida and had hoped to see it at least half a dozen times more but it was yanked precipitously, leaving me desperate for my next fix (Netflix and DVD).

      Happily, I came upon your blog, which not only echoes many of my sentiments but (even better) points out a lot of things I missed (it’s hard to read the subtitles and stare at SRK and watch what’s going on all at the same time!)

      I’m going to be as heartbroken when you finish the scene by scene commentary as I was at the end of the film when I knew I had seen it for the last time in a theater.

      This is a complex story with complex characters who ultimately simplify both themselves and their lives by coming together.

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      • Reading subtitles and staring at SRK is such a burden! My biggest issue with Dear Zindagi. Such complicated dialogue, such perfect hair!

        I’ll be getting into it in the next section, but one thing I find fascinating is how this film could be seen as having inconsistant characters whose motives and personalities change scene by scene. But in fact, that’s what makes them “real”. They are both growing and changing so much and so rapidly, that they really are different people scene by scene. And, like you say, the version we see in “Butterfly” feels so different from the version in the beginning, because they are finally at peace.

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    • Fingers crossed that Netflix moves fast enough, and I move slow enough, that I will finish just as it arrives.

      I am also strongly tempted to round this out with some theme posts like I did for Bahubali. Only I am worried that my regular readers would rebel if I did it (they are being very patient with me so far, but patience can’t last forever).

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  3. I agree with Nancy. I just can’t wait to read the next installment every day. And yet, I know that means it will come to an end sooner rather than later. It makes me want to see it again, and again.

    I saw it for the last time in theaters (I’m assuming it won’t still be around next week) and was glad to have the opportunity, and to keep in mind as much of what has been discussed here while also allowing myself, on this last watch before a digital version becomes available, to just plain enjoy it.

    One thing that resonated for me at the end was something you said way, way back at the beginning: this is a well-made movie. There is so much in here, in all the small moments that connect the dots. Like the “Queen size bed” line.

    Regarding the tattoo, I suspected from the first BTS photos through all the trailers that this would be like the blond streak in Charlie’s hair in HNY–never explained, just there. Of course, understanding the Ik Onkar speaks volumes about Harry and his connection to his Sikh roots, which is so much more satisfying than that stupid blond streak!

    Also, thank you for making Gas a more sympathetic character for me, instead of my first impression as a silly, pathetic caricature.

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    • One more thing, which doesn’t really belong here but it is related to having seen it once more. The bridge scene–Molly and I discussed it after seeing the movie and have a different take than you.

      Harry grabbing Sejal had seemed more threatening to me than protective, and I think seeing the whole scene made that more clear than before. It is right after Harry tells her that she’ll be accosted by a “villain” (is that really what it is in Hindi?), and that grab looks more like an “I’ll show you what it might feel like” than “I’m holding you so you don’t get hurt.” I have seen that moment as a combination of threatening and a little sexually aggressive. Ultimately, he is trying to protect Sejal, but I think it is by scaring and angering her, rather than by embracing her in a protective way.

      Small point I know. But thinking of it this way made the scene more satisfying for me.

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      • I agree with you about that scene on the bridge. Sejal was so angry that Harry didn’t find her sexy that she abandoned good sense and stormed off into the night. Harry was showing her how dangerous that could be!

        And, yes. she proved in Prague that she could defend herself–but only to a point. She was clearly out of her depth.

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        • What I like about the Prague scene is that it showed she could defend herself physically, but not emotionally. And Shahrukh was sensitive enough to know that. He wasn’t following her to the bar because he thought she would be chased by goons, but because he thought she might get scared or upset and need someone there to comfort her and take her home. And that, I think, was his fear in Amsterdam as well. Not that she would be hurt physically by a mugger or something, but that she would be scarred emotionally by that kind of experience which she had clearly never had before.

          And part of this is, as we see over and over in the film, Anushka feels completely safe and happy so long as she is with Shahrukh. They go to increasingly dangerous and skeezy places, and she is comfortable in them if he is there. That’s why he is insisting on following her home in Amsterdam, not that he will leap in and fight off attackers (we never see him do that), but that he will give her that feeling of safety just by being there. At this point it is just a general sense that having a desi man with her will make a young desi woman feel safe (picking up on Procrastinatrix’s sense that part of this is about Indians abroad), but as the film goes on it grows more and more, until in the section coming up when they both have this strong sense of “so long as I can see you, I am not afraid, no matter what happens.”

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      • This interpretation feels truer to me too, including Sejal’s last “Let me go!” after he has let her go. joyomama and I saw JHMS together twice, and the second time she had a really interesting thought about this scene. Hope you don’t mind me sharing, joyomama!

        joyomama said (paraphrasing), maybe Harry, because he really doesn’t know how to react to Sejal, is kind of trying out different things that have worked with other women. This sort of “strong-arming” thing may have worked in the past.

        Doesn’t seem to work for him here as he seems frustrated with both of them at the end of the scene.


        • I like this idea. I could see Harry, in both his personal and professional life, getting stuck with drunk angry women who want to do dangerous things. I’m picturing a girlfriend who wants to walk along the railing of a high bridge in heels, or a client who wants to get into a fight with a local, any thing like that. He is always so in control, and ultimately responsible, that he wouldn’t be able to just walk away. And probably most of the time just grabbing them serves to stop them and also calm them down. Only in this case, he found that he was reacting to it, he felt something when he grabbed her.

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        • It’s a good thing you remember what I said, because I NEVER do. My students used to to drive me crazy asking metro repeat something I said so they could write it down, and I would just stare at them vacantly.

          But it did seem to me that Harry needs time and various interactions to figure Sejal out. I like this, because I don’t need another movie about a wise dude who understands a woman right away, better than she understands herself.

          This reminds me of Dear Zindagi, where Shahrukh spends part of each session learning morning about Alia.

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          • Although, in Dear Zindagi, I think he picked up “abandonment/commitment issues surfacing in her love life” in about the first 5 minutes. But then, he was playing a therapist, there was a reason he was supposed to be “wise older man”. And that’s why they never had a romance. Oh boy, now I want to watch Dear Zindagi again! Thank goodness for Netflix.

            In this film, yes, it would have been really strange if he had figured her out, and more importantly figured out his reactions to her, right away.

            On Thu, Aug 24, 2017 at 1:13 PM, dontcallitbollywood wrote:


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      • I can see that. It also puts a different spin on the moment right after, when he reverts back to “this way ma’am”. He has given in, and shown her what is inside, and now his tour guide act is even more of an “act” and they both know it. He is only her servant because he chooses to be.

        And it totally relates to yesterdays post! Her family never saw that side of him, they still see him the way Anushka did before the bridge moment. She felt so comfortable teasing and experimenting with him because after all, he wasn’t a “real” person. He was just some Punjabi guy her family hired to take care of her. On some level she was already beginning to be aware that he was more than that, but the bridge scene really brought it to life. Only, for her sister, he is still the “safe” guy they hired, the thought that he is ultimately a man and she is a woman doesn’t occur to her.

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    • This performance was clearly so method for Shahrukh, so kind of inside out instead of outside in (which he can also do, in things like Duplicate or Om Shanti Om), I bet the tattoo was most important for Shahrukh knowing it was there. Just like it was a constant reminder for Harry-the-character of how he was feeling, it was a constant reminder for Shahrukh-the-actor of what his character was going through.

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  4. I absolutely agree on the inside out part. It felt that in this performance there was so much internal stuff going on with him. Part of that is Shah Rukh, but also credit has to go to Imtiaz to get this performance out of him. Poor Imtiaz, who got so much grief from the critics. I just think they didn’t get it. They saw another story of a tortured man on a journey in foreign locales and just concluded “same old thing.” (They pretty much did the same with Sejal’s character: she was just this “annoying entitled Gujarati girl.”) I’ve seen all of Imtiaz’ films and, while there are definitely some similarities that thread through them, Harry is a character who stands on his own.

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    • Taking the tattoo as an example, I am pretty sure I saw somewhere that was Imtiaz’ idea. To have the tattoo and never show it. Which is the way directors should work with actors, giving them those character tools that help them build their performance.

      On Thu, Aug 24, 2017 at 1:17 PM, dontcallitbollywood wrote:


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  5. “growing up“ – “growing down“… a nice wordplay 🙂

    My own vision is more of ‘growing into’ … into the person one really is in harmony with… in this movie it is through the (unconditional) love one gives and gets by someone who equally isn’t ‘in sync’ avec oneself. And this ‘growing into’ goes beyond the movie, will continue for Harinder and Sejal, which I picture going further the positive way.

    First I wondered about the reason to put this title to the following scene-by-scene (which I would have expected later) but then I understood. “More die of Heartbreak” (Saul Bellow)…and it has not to be ‘only’ the love for a woman that causes heartbreak (Gas even has multiple reasons)…in the contrary, love one experiences generally can perceptibly soothen heartbreaks.

    Well, Gas has found a rather violent way to deal with his heartbreaks (the goons in Prague weren’t send to persuade Natassja in a friendly manner to do whatever Gas wanted her to do) and despite his nice behaviour ShahRukh did not genuinely feel relieved to have to deal another time with this man. But there was this option to stay a day more with Sejal…

    It’s the time for melancholy…

    To oneself, both have now – to oneself – admitted the depth of the love for the other, the desire to be with the other.
    I think, the movie left out the moment when Sejal turned Harry towards her and touches his face in a half kneading-half caressing way almost both giving way to a consensual because it would have put them on a same level in knowing about the nature of the other’s love, would have made them to ‘partners in love’ but would not have made logic Harry retracting from an obvious consensual act of love-making or at least the separation the way we are made to perceive it…(honestly, I largely prefer ‘love-making’ for their sexual desire because ‘having sex’ was Harry’s past and would have been Sejal’s future). That cut made me again thinking that Imtiaz had variations of the theme in his mind which made him hesitate for so long to give his movie a final title. (I am mighty impressed about the multiple ways the story’s course can be changed thinking of some scenes shown during the promotion or thinking of them being shot in two different ways or put at another place.)

    Well, melancholy will be more prominent in the following part, I think, but the Queen-size-bed and Harry’s eyes are a good introduction.

    Thank you, Margaret, for pointing to the fact that the second time, too, they were lying on the floor (I wasn’t sure of that so I didn’t mention it). What indeed was important they the felt at ease to sleep together without a need for a closer contact…it underlined the important (for them important) relation-status of friend-friend.
    The third scene (ah, I love the number “3” – in the movie and as such) underlines something more than that without excluding it.

    For me, the tatoo has the same importance as the bracelet – making obvious that it is always Harinder who is the main person…even when he would lose the bracelet, he would have the impressive tatoo to mark his identity.

    Liked by 1 person

    • I think we see the face to face moment on the beach later in the film, during the flashbacks in “Ghar” after she has left. Which I find really interesting, it feels like maybe that is Shahrukh thinking back on that moment after she has left him, and thinking “was that the time I could have/should have done something? Was there a moment there when I could have changed things? When she could have changed things?”

      You are making me think about the tattoo again, when you mentioned losing the bracelet. I think you got it exactly, that’s why he wanted the tattoo. So he would have a permanent marker of himself and his faith, even if he lost the bracelet, and has already lost the kesh and (presumably) the other signs of Sikhdom. I imagine he had it done soon after his arrival in Canada, partly because it seems like something a young man would do. But also because it seems like something he might have done in reaction to feeling his identity start to slip away. Perhaps at the same time he cut his kesh.

      On Fri, Aug 25, 2017 at 2:56 AM, dontcallitbollywood wrote:


      Liked by 1 person

  6. oh, oh, agaiiiiin! So sorry…just at the beginning, my inclination for thinking in French when it comes to express my thoughts about things dealing with love, made me write “avec” instead of “with”… and still those slips (double “to oneself”, deleting the word “kiss” while changing the line a.s.o.)—*sigh*


    • Your thoughts are so wonderful, it is worth spending a little extra energy to follow tiny mistakes!

      Anyway, if you haven’t already figured it out, this is a very international blog. Probably 50% of my commentators do not have English as their first language, we are forgiving.

      On Fri, Aug 25, 2017 at 3:04 AM, dontcallitbollywood wrote:



  7. Pingback: Jab Harry Met Sejal Scene By Scene Index | dontcallitbollywood

  8. I love how Sejal is so concerned for Harry’s safety and he’s deeply touched. After meeting Gas, both Harry and Sejal realize how close the separation is. They’ve come so far (not just traveling) in such a short time but the end is looming large for both of them. You can see the pain and sadness when Sejal says she wants to take her “queen sized bed” with her.


    • Yes! On this rewatch, I keep noticing the way she says “but he’s a criminal” when Shahrukh says good bye to her, like a lost little girl, and he just kind of touches her face because he is so touched by her concern.

      On Fri, Sep 8, 2017 at 2:29 PM, dontcallitbollywood wrote:



  9. It’s now five weeks into the movie and I still can’t let go…

    I had an idea and it fits to your post about “They’ve come so far (not just traveling)”, Nancy.
    Did you realize that Lisbon is the farthest capital/major city away from Amsterdam, the farthest to the south-west and the only one that openes to the vasteness of the Antlantic Ocean? Amsterdam and Lisbon are diametrical… so has become the meaning of “caring for”…btw. Frankfurt is a step back into the north…

    Margret, will there be another kind of meeting point for JHMS-‘Druggies’, now that we can watch the movie bit-by-bit? Or would that be exaggerated?


    • I think I will keep you all coming back to these posts. Partly for “posterity”. That is, at any point in future anyone can come back to these posts and not only read my thoughts minute by minute, but have a handy place for all your comments.

      I should say, like you I am still thinking about this movie and could easily write more. But I know some of my other regular blog readers have been patiently waiting through the JHMS coverage, and most of my important thoughts are here already, so that seems indulgent! Anyway, time better spent back on DDLJ and other films that I haven’t covered as well.

      (if it helps, October 2nd will start the monthly SRK birthday celebrations, so in about 3 weeks there will be more SRK posts than you know what to do with. Not JHMS, but similar)

      On Wed, Sep 13, 2017 at 4:44 AM, dontcallitbollywood wrote:



  10. Pingback: Another Deleted Scene!!!! Shahrukh Must Be Very Concerned About my View Counts | dontcallitbollywood

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