Kabhi Alvida Naa Kehna

I make onion poha for breakfast thrice a week, with the bare minimum ingredients possible. One day I tried to experiment some (inspired by the stalls outside my Engineering college) and tried some sugar (caramelized onions anyone?), extra turmeric and some red chilli powder. The result was anything but edible but I humbly gulped it down.

KANK is an honest attempt to break away from the mauled of sugary romances by the new age love guru Karan Johar. An honest attempt, huh? Its the result that speaks volumes in the age of fast-food and fast-love. What we get to witness this time is not the time tested elaborate shaadis, karwa chauths or the big fat Indian family reunions, reminiscent of his and Yash "uncle's" earlier movies. This time its the bold subject of infidelity - the sensitive (ahem!) portrayal of seeking love outside a loveless (???) marriage. How far does Karan succeed? Lets check it out through the eyes of a neutral, unassuming viewer.

KANK is the story about Dev (Shahrukh), a footballer whose career dreams are broken along with his leg when he meets with a freak accident, which makes him a recluse. His ever complaining ways puts his marriage with Rhea (Priety), a successful woman, on the rocks. In another part of New York city, there is marital tension between Rishi (Abhishek), & Maya (Rani) for reasons only known to Karan dude. Maya is a cleanliness freak and doesn't know why she is married to Rishi even after 4 years being together. She thinks that she is trapped in a loveless marriage, whereas her hubby still goes ga-ga over her. In the midst of all this mayhem, we have the swinging sexagenarian Sam (Big B) who could be the poster boy for Viagra and Dev's endearing mom played by Kirron Kher.

Its baffling to comprehend the first meeting between the protagonists Dev & Maya on the latter's wedding day and the subsequent exchange of words between total strangers. She is confused about the marriage right from the word go due to godforsaken reasons. Cut to the present times and the duo meet up under similarly make-belief circumstances. The sequences revolving around a bizarre character "Black Beast" is corny to the core (now I wish I had seen Krrish!). The first half is laced with incoherent scenes like these, barring a few. The screen lights up whenever Big B is there, he provides the much desired light-hearted moments. His tete-a-tete with Kirron Kher is quite funny.

Well, coming back to the crux of the movie, the protagonists become pally, meet up regularly and discuss ways to save their crumbling marriages. At this point, Karan dude goes over the top again and gives us the work which resembles that of an overzealous amateur. The scenes where Maya teaches Dev the art of giving a good massage in a furniture store and Karan trying it on his wife and Maya metamorphosing into a seductive hunterwaali clearly takes the movie to abysmal levels. Then the inevitable happens, the duo become too close for comfort and decide to cheat on their respective spouses - what set out as mending work created a bigger monster.

Now lets talk about the performances, which forms the most important aspect of a Karan Johar movie as he employs the best in the industry. Shahrukh plays the role of Dev with conviction and nobody else could have bettered him here, but hey wait a minute, haven't I seen the same expressions in half a dozen of his earlier movies? Rani is competent but one hardly tends to sympathize with her character inspite of crying a bucketful. Abhishek Bachchan is the surprise packet, he goes through a range of emotions as if he is already a veteran, great acting from the junior. Priety looks glamorous and in a couple of scenes manages to overshadow king Khan too, but was that cleavage show necessary? Kirron Kher too does a great job but its Big B who again proves yet again that he is the real king and this time he gives a certain Mr.Hashmi a run for his money. He is ice cool in the first half and philanthropic towards the latter stages.

All said and done, the stellar cast raises the bar of the movie but then to what extent? A movie with such a half baked plot and treatment can't be saved from the obvious, it disappoints. The screenplay leaves a lot to be desired and that poses a question in front of Karan dude - Is it really worth to break away from the mauled? An ardent fan of his movies would be satisfied watching the protagonists running around trees and mustard fields and elaborate traditional celebrations of filthy rich families.

Nowadays I make onion pohas with a dash of lemon and they taste just fine. I guess I've learnt that the right way of making it by pondering over my mistakes, without going overboard with experimentation. Good luck Mr Johar!

i gave it an 8 because granted the music wasn't as great as one would as liked but the movie is different and i saw it the day it opened and i am still thinking about it. the movie is bold and different from the typical karan johar movies, it's gets really funny and gets serious. you have to keep an open mind, and if you don't take the contents of the movie to mean that you can cheat on your husband, you'll enjoy it. traditionalist keep an open mind and people you complained about karan's first three movies as being the same and that's true. here is a movie that has never being done in bollywood and it's sad that people are trying to compare to the Hollywood movie closer. there are huge differences between the two movies, closer was about two dishonest couples who took life as a game and lost each other in the process. KANK is about finding out that sometimes when you commit in haste you can hurt others as well as yourself in your quest to make things right. the portrayal of shahrukh as a husband jealous of his wife's success is right on the money about the pressures couples face when the female takes control. can't wait for it to come out on DVD.

Like an Expensive Melodramatic Indian Soap Opera In New York Karan Johar attempts to make a 'so-called mature' movie but the handling of the themes and the storytelling is very amateur. Many of the comedic sequences, especially the silly ones like 'black beast' (racist?) were cringe inducing. Much of the dialogues are the kind you would hear in soap operas.

The characters are poorly written. Rhea is supposed to be a strong woman who loves her job and family and while her quality time with family is limited, her excuse to Dev is that she's 'forced' to be the 'man' of the family? This is not the kind of thing one would hear a strong independent woman say. Then there's Maya, who is also a strong character and yet she lets herself be treated so harshly by Dev. Sexy Sam is quite a pathetic caricature blend of a sleazy Casanova-type old hag (who only seems to sleep with white girls that are about 40 years younger than him) and the loving father who's there for his son and whatever.

The last hour is so laughable because of the sheer awfulness in execution, acting and writing. Johar's direction lacks aim and focus while his script seriously lacks consistency. The overall soundtrack is far from memorable but two songs are quite beautiful: 'Tumhi Dekho Na' (artistically shot) and 'Mitwa'. Not surprisingly, the background score is heavily intrusive.

Shahrukh Khan pretty much overacts in every single one of his scenes. Dev isn't supposed to be likable nor sympathetic but the way Khan plays him is frustrating to the viewer especially with his overdone expressions and measured tone of voice. In my opinion, this is perhaps Rani Mukherjee's worst performance to date. She fails to demonstrate the complexity and depth of Maya and could someone ask Rani or Johar why Maya keeps crying so much? Abhishek Bachchan tries to be funny and charming but he's not entirely convincing which, unintentionally, makes it easy to understand why Maya doesn't want him. Amitabh Bachchan is incredibly irritating as Sexy Sam (though he is not as bad as Khan) but otherwise he does a fine job in a number of sequences, especially the ones with Kiron Kher. Kher is quite superb as the grounded mother and Sam's confidant. Preity Zinta stands out as she delivers an impressively restrained performance with grace and élan. She easily steals the show from Bachchan, Khan and Mukherjee.

It's interesting that Johar has attempted to tackle a mature contemporary theme and even though he failed, I think his intentions were sincere. Perhaps, this is a path Johar shouldn't tread yet.

Well first of all, i would like to say that this film by Karan Johar disappoints many. I watched the film a day before it was released nationwide, and i was very disappointed at the result. The film plot is hard to believe at times, and only 2 or 3 scenes were of the Karan Johar quality that i used to know out of all the 3hrs and 11 minutes. The film concentrated on Shah Rukh and Rani too much, that after a while i got bored of them. The first half was very slow, and was shot in the familiar setting of Kal Ho Naa Ho. I was very impressed by Abhishek Bachchan, as he really shone in this film as so did Preity Zinta. Amitabh Bachchan was his usual great self and brought a little comedy into the film. Kirron Kehr was also appealing in the film. The second half picked up a little speed but the plot was very slow, and dragged on a little at times. The songs were pictured beautifully and i think the songs were the highlight of the film. Overall, i did not enjoy this film, and i am very disappointed at what should have been a great film to see, considering the cast and budget.

Kabhi Alvida Naa Kehna was promoted as Karan Johar's most mature work. It's not, and it's actually rather childish in the way it addresses marriage. Look, the combination of comedy and drama, laughs and tears is common in Hindi films, and I like it, but it doesn't work here. The banality of the story couldn't be more contrived or transparent: two couples (Shahrukh and Preity; Abhishek and Rani), in two troubled, unsuccessful relationships; Shahrukh befriends Rani and Preity befriends Abhishek; while Abhishek and Preity become good friends, Shahrukh and Rani clearly want more, which later on grows as expected. The film has a great share of loopholes. First, it is so exhaustingly long, especially for the story it tells. Almost four hours. And considering two hours were just trashy jokes and loud songs, I would've deleted at least one hour of it. 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. Most of the time the comedy is ridiculous and consistently unfunny. Amitabh Bachchan's affairs with young prostitutes and his pathetic behaviour are not funny at all and are actually very embarrassing. The "Black Beast" sequence should have been deleted, it's one of the most redundant, pathetic and pointless sequences I can imagine. It's just one of many sequences which didn't contribute to the film in any way.

Towards the end of a hardly amusing first half, the comedy ends. And all of a sudden starts the drama. The couples start fighting and insulting each other intensively in what resembles the cheapest of soap operas or sometimes even a very bad school play. An overblown scenery is filled with cheap and cliché "family situations", which are totally unconvincing and everything about them strains credulity. And this supposedly brings to the so-called extramarital affair. Many ask, does Karan Johar really know what marriage is all about? The answer is a definite no, and he's not even smart enough to be able to guess. His approach to the idea or concept of a marriage is shallow and lacking in any depth or critical thinking. As a result, the film in those portions where marital life is put to test, is unrealistic, hard to believe, and just never rings true. 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 music in the background is just completely distracting. I do know people like Hindi films also for their escapist and larger-than-life melodramas, but even in such films, the context is always clear, as opposed to this film which pretends to be a portrait of a marriage which never gels.

Those were the specifics, but what about the basics, like, for instance, the fact that the main characters always bump into each other "coincidentally" in the streets of New York as if it was as small as Chandni Chowk. 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 and their financial and social background hasn't been set up well enough to make any of their lifestyle credible. I just kept wondering who are these people! Are they American citizens, or Indians living in America? They speak Hindi and heavily accented English, so they haven't been in the US for long, so what made them move to America? How come recent immigrants are so financially successful? If they were successful back in India, why did they move to the US in the first place? Even the little boy, supposedly US-born, speaks English with a Hindi accent. Does Johar even know that no kid speaks a heritage language better than a dominant societal language, especially English? More than anything, this tendency to choose foreign countries to tell stories of Indians is really getting pathetic. India is such a wonderful, culturally rich country, why go elsewhere?

The acting in this film is roundly average, but no one is to be blamed in particular since the direction, writing and editing are so weak, and the setting and dialogue just keep reducing the desired seriousness of the situations. Shah Rukh Khan, in one of his most unpleasant performances, is irritating for the most part. He can be a great actor when given the right opportunity, but this role is not for him as, worse than just not being good enough, he fails to register its complexity and mostly overacts. There are some scenes where he manages to retrieve his trademark witty style here for a few minutes, but his character is too exaggerated and underwritten to work, and strangely even his charisma is missing! At points one is even left wondering why anyone would fall for him here in the first place. Rani Mukherjee is similarly a major letdown. First, she does not really act, she mostly cries. I mean, she is a waterfall. I think she should learn that displaying grief is not all about tears. And there are far too many tears there. I wonder how much glycerin she used in this film. She seems to not have a clue what it really takes to play her character's inner struggle which is never brought out well; hers is overall a weak act.

Those who really do well are the supporting actors, particularly Preity Zinta, who is excellent as Rhea. 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. She convincingly displays Rhea's tough outside and soft inside, and her gestures and line delivery are spot on. When given the right chance, Abhishek is a revelation, but the chance is limited. His romantic and loving Rishi is a lovely character on paper, much less so within the film's context, but the actor does it relatively well. His dramatic scenes are difficult to play and he partly delivers. As expected, Kirron Kher is spectacular in a brief part. Kabhi Alvida Naa Kehna is visually pleasing, partly watchable, and only occasionally entertaining. Shankar-Ehsaan-Loy's soundtrack is fantastic and the songs are beautifully pictured, especially "Tumhi Dekho Naa". 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. 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.