Saran has had an enviable hit ratio so far. Most of his movies have had strong, original stories with an unexpected
twist thrown in for good measure. Jay Jay is his first blatant copy with the underlying concept being a
straight lift from the Hollywood flick Serendipity. His screenplay is as usual quite good but there's only so
far even a good screenplay can go in fattening up a really lean story.
Jagan(Madhavan) falls in love with Jamuna(Amoga) at first sight. Jamuna too likes him but being a believer in fate and
destiny, she writes their names and addresses on a 100 rupee note, turns it over to a waiter and disappears. If either
of them lays his or her hands on the note, they would be able to find the other person and it would mean they were
destined to be together, is her argument. Once they separate, Jagan attempts to find her. Meanwhile, Seema(Pooja),
sister of two dons, falls for Jagan and wishes to wed him while Jamuna has her own suitor in the form of her uncle's
Jay Jay's story can be fitted on the same 100-rupee note that Amoga writes their addresses on! It is similar to
movies like Indru Mudhal and Ice where the hero and heroine search
for each other and end up having several close encounters during their search without actually meeting one another. The
100-rupee note simply adds another dimension, with Madhavan and Amoga having some close encounters with the note
also. But Saran deserves credit for a screenplay that pads the one-line story quite well. By adding suitors for both
Madhavan and Amoga, having Calcutta as a location and introducing a couple of dadas into mix, he gives the
impression of many things happening.
Saran has always managed to give his romances a special touch that made them seem different than run-of-the-mill
romances. Even Gemini, a predominantly masala movie, had a cute romance
where Vikram enrolled in an evening college for Kiran's sake. So, it comes as an unpleasant surprise that in a predominantly
romantic flick, Saran's handles the romance with an unsure hand. Madhavan's entreaties to Amoga at the coffee shop
may be funny but the seriousness of his love after a single meeting is unbelievable. And for the other romance, Saran relies
on the age-old tactic of Madhavan saving Pooja from some rowdies to make her fall for him.
With Madhavan and Amoga not destined to meet for most of the movie, Saran has to rely on the Madhavan-Pooja romance
to keep things moving. Though they meet in a cliched manner, their relationship is nicely handled from then on. Pooja's
attitude is refreshingly practical and so she doesn't turn into the whiny loser in the love triangle. Since Madhavan fell for
Amoga after just a single meeting, there are times when we think he might be better off with Pooja! Pooja's suitor obviously
doesn't have much importance in the scheme of things and so he is made into a one-dimensional character, who is around
mainly to generate laughs with his threats of suicide.
Madhavan seems to have made an actual effort to look bad with unkempt hair and unfashionable, unsuitable dresses. He
seems to overact especially during the song sequences but is impressive in his encounters with Pooja's brothers. Pooja
may not have won Madhavan but wins over Amoga when it comes to acting. While Amoga looks cute too, Pooja is definitely
the more natural actress among the two. Malavika is better than both of them in acting naturally and her dialog delivery is very
casual. Saran's usual comedy team of Charlie and Dhamu work separately here but neither is given much of an opportunity to
be funny. Bharadwaj once again stands Saran in good stead with some good numbers. Kaadhal Mazhaiye...,
Jee Boomba..., Unai Naan... and Pengal Nenjai... are all catchy numbers. Reema Sen appears for the
May Maadham... which has some naughty lyrics by Vairamuthu.