Taking advantage of this window of opportunity before the others arrive, they proceed to ravish her, after which Monisha commits suicide. What she does not know is that the evil duo of Rajat Bedi and Siddharth, through an insidiously devious plot entailing the mimicking of the voices of all their friends, have called her one hour before the party begins. Monisha, in a state of tumult having to chose between her present love and the guy who had been waiting for her inside a tree for centuries, is invited to a party by her band of friends. In a chilling scene too painful to look at, they alternately bang their head on the rocks in front of them, one going up while the other going down, each saying “Hume kshama kar di jiye maharaj” in a masochistic rhythm of skull hitting igneous rocks.Įven though touched by this bone-crunching display of remorse, Amrish Puri tells the twosome that, regrettably, what has left one of his orifices cannot come back.īut Munish can live, trapped inside a tree such that he sees no other woman, till the 21st century when Puri prophecizes Monisha will be reborn again as a woman (till that, she was possibly going to be reborn each time as a man or some other animal ) at which point he can reunite with his mate.Ĭut to the present day.
Horrified at this curse that has befallen them, Monisha and Munish beg for forgiveness. Enraged at being disturbed just before he was going to obtain “enlightenment”, Amrish Puri curses Monisha to die, before the sun goes down, as punishment for interrupting his reverie. One day bunker-buster Monisha gets too passionate with her thumps and a cave gets flattened-a cave in which powerful tantrik sage Amrish Puri had spent centuries, doing what men do when they are alone. Guess what? That fear comes true for the poor Monisha.Īs the tale goes, many eons ago, Monisha used to be a serpent (an anaconda most probably considering her considerable size) in love with another serpent (Munish aka Armaan Kohli, son of the director), two kindred spirits who spend their time dancing on top of mountains. Everybody knows that the one thing every young girl fears is discovering, once she has given her heart to someone, that she was a serpent in her past life and that her snake husband wants her back. That’s however not all that Monisha has to contend with.
Monisha Koirala (a college student) and Sunny Deol (an alumni of the same college) are in love, hanging out in an august group of vidyarthis (Akshay Kumar, Suniel Shetty, Sonu Nigam, Aftab Shivdasani, Arshad Warsi, Aditya Pancholi, Sharad Kapoor and assorted out-of-work Bollywood actors) -a group which harbors two rotten apples (Rajat Bedi and Siddharth) whose every waking hour is spent in designing and implementing plans to molest Monisha Koirala.
And the reason for that is because Jaani Dushman is one of those rare genre-busting movies where fear operates at many levels-some levels being so subtle that you realize the true horror of what you have just witnessed, many hours or even days after the end credits have rolled, as you wake up in the dead of night, cold sweat running down your brow and the front of your pyjamas wet, with Sonu Nigam’s (as one of the hero’s) effeminate, uber-girlie “bhaiyya bhaiyya” ringing in your ears in a petrifying cadence.įirst the story. Film critics from Peshawar to Pondicherry acknowledge Raj Kumar Kohli’s “Jaani Dushman–Ek Anonkhi Kahani (2002)” (released 5 years ago on August 15) to be one of the greatest horror/ science-fiction movies ever to be made in the history of celluloid.
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