This song from Kabhi Alvida Naa Kehna (2006) depicts this state of love perfectly. Our own, love-filled world is filled with many shades of romance. That moment onwards we become oblivious to the actual world around us. And when it does, it completely encapsulates us in its glory. KANK is a poor film, it is poorly executed, but it does have glipses of Bollywood's unique style, colour and beauty, and that's why I do understand people who are willing to forgive its flaws.Love sometimes surprises us by coming from the most unexpected sources. The film's ending is overlong, could have been shortened, but worse than that, it shows how morally damaged the entire outlook of the writers is - a story of infidelity is romanticised in a way that really looks peculiar. "Where's The Party Tonight?" is catchy, "Tumhi Dekho Naa" is very romantic, "Kabhi Alvida Naa Kehna" is sad and moving. Shankar-Ehsaan-Loy's soundtrack is fantastic and the songs are beautifully pictured. KANK is visually pleasing, partly watchable, and only occasionally entertaining. His dramatic scenes are difficult to play and he does not disappoint.
His romantic and loving Rishi is such a lovely character, and he just does it so well. You just wonder where she left her bubbly and perky tomboy watching this restrained act. She convincingly displays Rhea's tough outside and soft inside, and her gestures and line delivery are spot on. Despite a relatively small role (which Johar must be slapped for), she comes across as a strong, serious career woman and is always credible and dignified. Those who really do well are the supporting actors, particularly Preity Zinta and Abhishek Bachchan. And she too does not have what it takes to play her character's inner struggle which is never brought out well and hers is overall a weak act. I wonder how much glycerin she used in this film. I think she should learn that displaying grief is not all about tears. Rani does not really act, she mostly cries. In some scenes he is witty and funny as always here too, but his character is too exaggerated and underwritten to work. He is a great actor, but this role is not for him as he fails to register its complexity and mostly overacts. India is such a wonderful, culturally rich country, why go elsewhere? Shahrukh Khan, in one of his most unpleasant performances, is irritating for the most part. More than anything, this tendency to choose foreign countries to tell stories of Indians is really getting pathetic. Moreover, the setting is ridiculously exaggerated - the lavish houses and interiors make no sense, sorry but they don't look like people who could afford them. Maybe that's what people like about Bollywood though, which is known for its escapist and larger-than-life melodramas, but even in such films, the context is always clear, as opposed to this film which pretends to understand marriage. Johar's cheesy, theatrical and overly emotional dialogue could be forgiven if the characters weren't wealthy people living in New York 2006 - for your information, they don't speak like this. The main characters in this film always bump into each other coincidentally in the streets of New York as if it was as small as Chandni Chowk. The film is unrealistic, hard to believe, and just never rings true. Many ask, does Karan Johar really know what marriage is all about? My answer is a definite no, and he's not even smart enough to be able to guess. And then begins the so-called extramarital affair. The dialogue gets quite cheap and cliché. The couples start fighting and shouting and insulting each other intensively in what resembles the cheapest soap operas, or a very bad school play. Towards the end of a partly amusing first half, the comedy ends. Many scenes did not contribute to the film in any way. The "Black Peast" sequence should have been deleted. Amitabh Bachchan's affairs with young prostitutes and his pathetic behaviour are not funny at all and are actually very embarrassing. Most of the time the comedy is ridiculous. I also think that while the combination of comedy and drama was handled quite well in Kal Ho Naa Ho, it was overdone here: the comedy was more of a parody, the drama was more of a soap opera.
And considering two hours were just trashy jokes and loud songs, I would've deleted at least one hour of it. But while Abhishek and Preity become good friends, Shahrukh and Rani clearly want more, which later on grows as expected. Soon, Shahrukh befriends Rani and Preity befriends Abhishek. This is the story of two couples (Shahrukh and Preity Abhishek and Rani), in two troubled, unsuccessful relationships. I really like the combination of comedy and drama, laughs and tears in Hindi films, but it doesn't work here. It's not, though it's partially decent entertainment. Kabhi Alvida Naa Kehna was supposed to be Karan Johar's most mature work.
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