While it’s bold and treads new ground as far as Karan Johar’s themes are concerned, the film also relies heavily on trademark Johar dependables like eye-watering cinematography, impeccable production design and extravagantly filmed songs. His racy dialogue makes you turn beetroot red with embarrassment, but you’re also fighting hard to suppress your giggles. Unarguably the film’s central source of comedy is Amitabh Bachchan playing Abhishek’s randy father with a voracious sexual appetite. There’s also a childish but hilarious nonetheless scene of Shah Rukh and Rani suspecting their respective spouses of infidelity. That episode plays out much longer than needed, and only adds to the film’s length.īut for real laughs, there’s a priceless scene around Rani and some S&M gear she slips into to spice up her marriage. If there’s something that jars, then it’s the puerile comedy in the film’s first hour involving a child kidnapper and a case of mistaken identities. And subsequently the colour coordinated song that follows. Or the scene at the opera where Shah Rukh is overcome with jealosy when he watches Abhishek exercise his conjugal rights on Rani.īut if you’re looking for vintage Karan Johar, then it’s that scene where Shah Rukh convinces Rani that they’re made for each other because they both love the colour blue. Just watch how he builds the tension in that scene where both Rani and Preity approach Shah Rukh from across the road, both unaware of the other’s presence.
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He knows exactly how to turn a seemingly ordinary scene into something special with just that one line of dialogue, or that hint of background music. Johar goes from highs to lows, from plateaus to peaks with the ease of a pro. Few understand the intricacies of narrative as well as he does. And really, that’s what makes them both relatable and endearing on screen.įew writers have such solid control over their screenplay as Karan Johar does. As a result they do all the wrong things and they say all the wrong things. They’re confused, they’re complexed, and they’re hurting as hell. Unlike the protagonists of his last film Kabhi Khushi Kabhie Gham who were all good-as-gold and pristine clean and merely conflicted over a misunderstanding, the characters in Kabhi Alvida Naa Kehna are damaged goods. There are no easy answers, and thankfully, Johar doesn’t shy away from making that clear. In fact it unabashedly holds a mirror to everything that’s wrong in modern marriages. Right off the bat, you’re relieved that this one’s not a syrupy saga about perfect relationships. Shah Rukh and Rani find love in each other’s arms and embark upon an affair that is sure to leave too many people shattered. In another part of the same city, Rani Mukherjee marries her childhood friend Abhishek Bachchan but feels little passion towards him although he’s nuts about her. In fact, he’s a bitter and temperamental man who not only makes an insecure husband to his successful wife, but also a tyrannical father to their little son. Shah Rukh’s a failed football player whose marriage to Preity Zinta has lost its fizz. For Shah Rukh Khan and Rani Mukherjee, both trapped in marriages that are falling apart, the options aren’t too many.Īfter all, love is all about staying faithful to your partner till death do us apart, isn’t it? Well maybe not, Johar suggests in this glossed-up, all song-and-dance tear-jerker set in the heart of Manhattan, New York.
What do you do if you find your soulmate after marriage? That’s the key question at the heart of director Karan Johar’s Kabhi Alvida Naa Kehna which opens at cinemas this week. Cast: Shah Rukh Khan, Rani Mukherjee, Abhishek Bachchan, Preity Zinta and Amitabh Bachchan.