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Ranveer Singh in a clumsy mashup of many issues in Jayeshbhai Jordaar

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Ranveer Singh in a clumsy mashup of many issues in Jayeshbhai Jordaar

Just before Jayeshbhai introduces us to his family, he makes a rather silly analogy between scientists curious about Mars and his parents curious about his child’s gender. What do a planet and a woman’s womb have in common? They’re both round (gol), after all. To set the tone and expectations, some Gujju humour. In the first scene, director Divyang Thakkar states that “pre-natal sex determination testing is a punishable offence.” And Jayeshbhai Jordaar’s entire premise revolves around this.

In the titular role, Ranveer Singh has a lot on his plate: end female foeticide, end patriarchy, empower women, save his unborn daughter’s life, and rebel against his family.

One thing I didn’t get until the end was why the movie was set in Gujarat. Why not some small town in Rajasthan or Uttar Pradesh, where such practises are common? Was it the Gujarati flavour and the director’s decision to give Ranveer a rather amusing makeover and character that he thought would appeal to the audience? Is Jayeshbhai just a vehicle for Ranveer to test his acting abilities? Let me tell you, even in this otherwise’restrained’ role, he goes overboard far more frequently than you’d expect.

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The film opens with Jayeshbhai Patel (Ranveer Singh) and his wife Mudra Patel (Shalini Pandey) under extreme pressure from his parents, played by Boman Irani as the traditional Gujarati sarpanch and Ratna (Jia Vaidya). After learning that Mudra is pregnant again with a girl child after six miscarriages, Jayeshbhai devises a cunning plan to flee. The film is primarily a cat and mouse chase between the couple and the men of their village. There are a few predictable twists, some funny scenes, a few jokes that fall flat, and, of course, a lot of dramatic dialogue that doesn’t help the film.

Jayeshbhai Jordaar intends to send out a strong message of “beti bachao” (save the girl child), but this isn’t something new. Na Aana Is Des Laado was a TV show that aired for over three years and made quite an impression without resorting to gratuitous humour. A parallel subplot in Jayeshbhai Jordaar concerns a town in Haryana called Laadopur, which is full of wrestlers led by Puneet Issar, and where the arrival of a girl child is celebrated and rejoiced. They play an important role in the plot of the film and immediately reminded me of this TV show.

Director Divyang Thakkar, who also wrote the screenplay, loses track of what he wants to achieve with the film in the middle. He mashes up a lot of things, and they start to look like a clumsy mashup that can’t stay focused. Both the story and the screenplay are extremely lazy in the first half of the film. The film only picks up in the second half, and you’re left wondering, “OK, what’s next?” Namrata Rao deserves credit for crisp editing and completing it in a manageable two-hour runtime.

Ranveer Singh is bursting with energy yet again, though I was hoping for a more understated performance in this one given the subject matter. That balance of comedic, emotional, and mature acts works for me. Even though he looked ridiculous doing those steps that remind you of Jethalal from Tarak Mehta Ka Oolta Chasma, watching him dance on the track Firecracker in the end credits was a treat. Shalini Pandey, who we saw in the Telugu film Arjun Reddy (which was later remade in Hindi as Kabir Singh) as a demure and timid lover, is impressive in parts. Unfortunately, her character arc never progresses beyond a certain point. Her performance opportunities are limited, and you’d like to see a lot more of her, but that never happens. Both Boman and Ratna play their parts brilliantly, and this is where experience comes into play. In the midst of it all, child actor Jai Vaidya steals the show as Ranveer and Shalini’s onscreen daughter. Her wit, confidence, spontaneity, expressions, and everything else about her in the film is spot on.

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Overall, Jayeshbhai Jordaar is a good watch, but does it linger in your mind and make you think? I doubt. At the very least, I won’t be thinking about it after I finish this review. Keep an eye out for this young actor and another loud performance from Ranveer.

Jordaar, Jayeshbhai
Divyang Thakkar directs.
Ranveer Singh, Shalini Pandey, Boman Irani, and Ratna Pathak Shah star in the film.

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‘Deepika Padukone was in a relationship with me for two years, I broke up with her,’ says Muzammil Ibrahim: ‘We went on dates in a rickshaw’

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‘Deepika Padukone was in a relationship with me for two years, I broke up with her,’ says Muzammil Ibrahim: ‘We went on dates in a rickshaw’

Muzammil Ibrahim, once a promising model-turned-actor, has surprised many with a revelation about his past relationship with one of Bollywood’s biggest stars—Deepika Padukone. In a recent interview, Muzammil stated that he was in a serious two-year relationship with Deepika before her meteoric rise in Bollywood and that it was he who ended things.

What caught many off guard was not just the claim, but the simplicity with which he described their time together, saying they used to go on rickshaw dates—far from the glamorous image often associated with film celebrities.

According to Muzammil, their relationship happened well before Deepika became a household name. Back then, both were carving their way into the entertainment world—him in modeling and acting, and her in the fashion circuit.

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There was no media frenzy around them, no paparazzi flashes, just two young people exploring a relationship while juggling auditions and small gigs. Muzammil explained that their bond was genuine, filled with regular things like sharing meals at roadside joints and long walks in quieter parts of the city.

What makes the story compelling is the picture it paints of Deepika before fame—grounded, unfussy, and perfectly content with a life that included rickshaw rides and budget-friendly dates. At a time when many assume celebrities only date within exclusive social circles or bond in five-star restaurants, Muzammil’s story reminds us that even the biggest stars start somewhere modest. These intimate, unfiltered glimpses into Deepika’s early years offer fans a more human side to the superstar we now associate with luxury brands and international red carpets.

Muzammil’s mention of being the one who ended the relationship has also piqued public curiosity. He hinted that the breakup wasn’t due to any scandal or betrayal but was more of a personal decision stemming from his own life goals.

He didn’t dive into specifics, but the impression was that the two simply grew apart as their individual careers began to take shape. It’s a sentiment many relate to—young love giving way to ambition, distance, and time.

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Interestingly, Muzammil hasn’t used this revelation to gain cheap publicity. In fact, he expressed nothing but admiration for Deepika’s journey, calling her success “well-earned and admirable.”

There was no bitterness in his tone, just a sense of reflection on a phase that now belongs to the past. His story doesn’t come across as a publicity gimmick but rather a nostalgic recall of a time long before the flashing cameras and million-dollar endorsements.

Social media has erupted in response, with fans expressing surprise and curiosity. Some are celebrating the honesty, while others are skeptical, wondering why such a revelation is coming now. But regardless of public reaction, the anecdote offers an unseen chapter in Deepika Padukone’s personal history—one that adds more texture to her public image.

Muzammil, who faded from the limelight after a few film appearances, seems content with where he is today. His comments were not meant to revive a dormant career but simply to share a part of his life that involved someone now globally famous. By doing so, he not only reminded people of his presence but also showed that behind every big star, there are quieter stories of love, struggle, and choices that never made it to the tabloids.

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There’s something undeniably touching about the image of two young dreamers navigating Mumbai’s chaotic streets in rickshaws, sharing hopes for the future without any clue of what lay ahead. For fans of Deepika, it humanizes her further, showing she was once just a girl in love, living life simply before fame transformed everything.

In a celebrity-obsessed culture often starved of authenticity, stories like this resonate. They cut through the artificial gloss of PR-generated personas and show the emotional fabric underneath. Whether or not Muzammil account changes how people view Deepika, it certainly adds an unexpected footnote to her legacy—a moment of youthful romance far removed from the spotlight.

The revelation from Muzammil Ibrahim has sparked conversations beyond mere gossip—touching on the nature of early relationships in the entertainment world, and how fame can drastically change personal narratives. His recollection of dating Deepika Padukone during her pre-Bollywood days stands out not just for the celebrity connection but for the humility and warmth it carries. There’s no malice in his words, no attempt to insert himself into her current success story—just a quiet recollection of a simpler time.

He described how they met through common circles in the modeling world, where both were building portfolios and trying to land campaigns. Their bond wasn’t forged at glamorous parties but through shared experiences in an industry that demands both physical discipline and emotional resilience. Muzammil emphasized that they connected on a personal level—deep conversations, mutual support, and genuine care for each other’s well-being. These aren’t the headlines that usually grab attention, but they tell a far more compelling story than scripted interviews or social media shoutouts.

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What adds depth to this narrative is how Muzammil handled the breakup. He didn’t frame it as a regret or a lost opportunity, but as a necessary step for both of them. “We were young and chasing different things,” he said in the interview. That honest admission reflects emotional maturity—something rarely captured in stories about celebrity romances. In many ways, it speaks to the broader reality of relationships formed in one phase of life, which may not survive as ambitions evolve and paths diverge.

Fans who admire Deepika’s grace and evolution as an actor may find this story surprising but not inconsistent with the woman they’ve come to respect. Deepika has always exuded a mix of elegance and authenticity, whether in interviews or on screen. Learning that she once happily rode in rickshaws on dates, long before luxury cars and international premieres became her norm, adds another layer to her persona—it makes her even more relatable.

Meanwhile, Muzammil’s own journey is a reminder of how fleeting fame can be in showbiz. He won accolades for his modeling work and made a promising acting debut but gradually faded from mainstream visibility. His recent candid interviews appear less about reviving fame and more about embracing vulnerability.

He has spoken about the challenges he faced in the industry, including being typecast and losing interest in the politics of fame. Sharing his story about Deepika seems like a part of this broader openness—acknowledging the past without clinging to it.

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The story has also triggered nostalgia among fans who remember the early 2000s era of Bollywood—the modeling boom, the emergence of stars from non-filmy backgrounds, and the way social media didn’t exist to document every moment of a celebrity’s life. Back then, relationships could be real without becoming spectacle. Muzammil’s account has reminded people of that quieter world, where love wasn’t hashtagged, and breakups didn’t become headlines overnight.

The timing of this revelation is also being analyzed. With Deepika Padukone currently one of the most powerful names in Indian entertainment—balancing commercial success with critical acclaim and even Hollywood projects—any connection to her tends to draw attention.

But Muzammil’s tone remains grounded throughout. He doesn’t claim credit for any part of her journey; instead, he seems content having been a small, supportive chapter in her life story.

In today’s world where many people use past relationships to stir controversy or stay relevant, Muzammil’s narrative feels refreshingly restrained. There’s no scandal here—just a memory of a young couple figuring life out in a bustling city, sharing dreams, laughter, and the occasional rickshaw ride. It’s these fleeting, almost-forgotten moments that define who we are before the world starts watching.

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At a deeper level, stories like these remind us that celebrities—despite the gloss, glamour, and guarded appearances—have lived experiences just like anyone else. They’ve loved, lost, stumbled, and grown. For Deepika Padukone, who has often spoken candidly about her emotional journey, struggles with depression, and growth as a person, this quiet glimpse into her early love life only reaffirms her authenticity.

As for Muzammil, perhaps this small revelation will allow people to see him beyond the labels of a former model or a forgotten actor. He appears as someone reflective, honest, and secure enough to speak of his past with grace. If nothing else, he’s offered a story that speaks to the heart—a reminder of who we all were before the world expected us to be someone else.

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