New film may spell hope for Bollywood.

Many times Indian actor-director Aamir Khan has surprised me. Long ago in 1991, his "Dil Hai Ki Manta Nahin," a frame-by-frame remake of Frank Capra's 1934 "It Happened One Night," took the cinema world by storm. Helmed by Mahesh Bhatt, the movie was a runaway success with its lilting songs and an endearing performance by Khan, who was doubling up for Clarke Gable, that legendary Hollywood star. In the course of time, Khan became synonymous with interesting Bollywood fare, and they included Deepa Mehta's "Earth," Ashutosh Gowariker's "Lagaan" (that won an Oscar nom) and more recently his own, "Taare Zameen Par." Admittedly, its script could have been better, but I must pat Khan for choosing a bold subject like dyslexia and, what is more, getting a superb performance from its lead child artiste, Darsheel Safary,

Now, Khan has produced "Jaane Tu Ya Na Jaane." Directed by Abbas Tyrewala, the film, introducing Khan's nephew, Imran Khan, has attracted a big opening, normally seen in the case of superstar starers. In a dismal six-month showing, Bollywood that has had flop after flop has pinned its hope on "Jaane…" Probably, the movie will not disappoint, and there are reasons.

Its freshness and an uncomplicated, unpretentious way of story telling are film's greatest clinching factors. There are no gimmicks, which means no special effects that often steal the soul of a movie. The narrative flows in an easy way.

Some friends gather at the airport to receive a couple friend of theirs, returning after their honeymoon. When the flight gets delayed, the friends amuse themselves by telling a tale. Each takes his or her turn to push the story forward. Jai Rathod (Imran Khan) is a docile, well natured young man, who is brought up by his slightly quirky mother, Savitri (Ratna Pathak Shah). She abhors violence, and is often at the local police station trying to give a dressing down to Inspector Waghmare (Paresh Rawal) for his crude, third-degree highhandedness. . And she would like Jai and Aditi (Genelia D' Souza) to marry. Aditi is a feisty, hot-tempered girl, who loves cats and loves even more to scratch her artistic, painter brother, Amit (Prateik Babbar), during the frequent fights the two have.

Jai and Aditi may have been together for a long time, but they are not sure they are in love, and a time comes when in their desperation to convince themselves that they are not man-wife material, pair off with different partners. He gets a sweet natured girl, and she a macho.

At some level, the story is clichéd. Now we have seen many such narratives of two people trying to fight off that feeling of love, and I can never understand how one could have written a script whose climax is impossible to believe. Yet, the movie survives in my estimate with its wonderful performances, youthful freshness and lilting music.

Both Khan and D'Souza are charming and natural as the lovers fighting love! However, the acting honours clearly belong to Naseeruddin Shah, who as a Rajput hero, Rathod, is brilliant in a cameo role. As the dead husband of Savitri, he talks to her from a huge photo frame, endlessly rebuking her for making their son Jai into a sissy. When Jai turns the corner and exhibits "a violent streak" as Waghmare concludes, Rathod is jubilant. Here is his son at last a man. Pathak Shah is as able as the worried mother and widow.

A.R. Rahman's music appears to have regained some of the magic we saw in his earlier days. There is some pep in it, but what is even more exhilarating are the witty one-liners that are marvellously novel.