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Topic: kabhi alvida naa kehnaa:review (Read 438 times)
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bharath
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kabhi alvida naa kehnaa:review
« on: August 12, 2006, 04:31:45 AM »
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Karan Johar’s film Kabhi Alvida Naa Kehna is a mixed package. The film makes for a thought-provoking and delectable entertainer because of some well-conceptualized sequences, some good humour and performances. But watching the 3-plus hour movie, filled with emotional, tear-jerking moments from the first reel to its conclusion, is a tad tiresome.
When the most awaited movie of the year, with a star cast as stellar as it gets ( Shah Rukh Khan , Rani Mukherjee , Abhishek Bachchan , Preity Zinta , Amitabh Bachchan , Kiron Kher ), hits the theatres, expectations are naturally high. Kabhi Alvida Naa Kehna partly lives up to the expectations.
KANK is a departure from Karan Johar ’s previous works ( Kuch Kuch Hota Hai , Kabhi Khushi Kabhie Gham ) in the sense that the film deals with a theme that is relatively bold in Indian context. The movie simply says that it is better to walk away from a marriage if it is not working.
However, KANK is akin to Karan’s previous works in its lavishness and grandeur – the slow-motion panoramic shots, the very Johar-esque treatment of the songs in which almost all the star cast indulge in celebratory song n’ dance, and, above all, the centrality of the movie’s story being the complexities of relationships. So in a way, with KANK, Karan has only turned more dramatic than his former self. But in his zeal to tell an emotionally moving story, Karan goes overboard at places.
Having said this, KANK still makes for a thoughtful, delectable, digestible entertainer primarily because of some well-conceptualized sequences, some good humour (courtesy Amitabh Bachchan in a superlative performance) and the chemistry between Shah Rukh Khan and Rani Mukherjee.
It is the visually stunning cityscape of New York against which the story of the two troubled marriages unfold.
The sign of the things to come is flashed in the very opening reels of the movie with Maya (Rani Mukherjee) sitting in a park just moments before her marriage to Rishi (Abhishek Bachchan). She is filled with doubt if she should tie the knot or not. It is then a stranger, Dev (Shah Rukh Khan), appears and gives her the advice on marriages while betraying expressions of doubt regarding his own marriage with Rhea (Preity Zinta).
In an interesting parallel, as Maya gets married, Dev meets a tragedy that changes the course of his life.
The clock moves years in the future.
Dev is now a limping, disgruntled cynic with a loose temperament. His wife Rhea, now the major provider of the household, is too busy in her work to care about little things that can become important enough to make or break a family. Dev is the caretaker of his son.
On the other hand, Maya’s marriage with Rishi isn’t really working either. She can’t bear a child. Nor can she feel any romantic passion towards Rishi who is very much in love with her.
A slightly ludicrous situation marks the re-meeting of Dev and Maya at a train station. Dev’s outright abrasiveness and his caustic frankness initially offend Maya. But the more they meet the more they realize the similarity of the situation they are in their respective marriages.
Adjacent to this is the hilarious track of Rishi’s father, Sam (Amitabh Bachchan), a self-admitted philanderer who likes flirting around and sleeping with young foreign blondes and brunettes. But there are moments when the Samarjit behind the Sam comes forth and shows the shades of a sensible, emotional, wise man. He becomes particularly fond of Dev’s mother (Kiron Kher) whom he fondly calls ‘Chandigarh’ because of her waistline.
As Dev and Maya draw closer to each other, Rhea and Rishi too change themselves to make their marriages work, without knowing about the extra-marital affair of their spouses. But the two marriages break up after Dev and Maya’s relationship is open.
What happens next should be seen than written about.
KANK has its share of high points and downers. There are certain sequences in the film that have been well conceptualized – like the dinner when Shah Rukh jokes that he is in love with Rani, but Amitabh senses that there is more to SRK’s joke than just jest, or another sequence when SRK is holding a bouquet for Rani and it is Preity who bumps into him on the road, or Amitabh giving Rani the advice to leave Abhishek. To some extent, Johar has managed to convey the intricacies, the complexities, the dilemmas of two separately married people in love with each other.
But, on the flip side, Karan overblows some emotional scenes out of proportion. The second half of the film has SRK and Rani in tears in almost all scenes. The talk of love, commitment (or the lack of it), relationships, gets stodgy after a while. And as the movie moves into the third hour of its running time, you feel sated of the mushy sentimentality.
Although the chemistry between SRK and Rani is the mainstay of the film, SRK’s performance, if seen in isolation, is reminiscent of his previous portrayals of similar pained-in-love characters. It is the same trembling of lips, the same high brow, the lump in the throat, the tear-filled eyes, the same histrionic packed in a new character.
Rani cautiously doesn’t repeat herself and gives a rather noticeable, even laudable performance. She does the best of the lines she has been given, enacts best the scenes and situations her characters goes through.
Amitabh Bachchan is the most outstanding in the film. Although he has lesser footage, the Big B adds humour, fun, frivolity and also wisdom to the film with his portrayal of an aged philanderer young at heart.
Abhishek Bachchan’s character is the most credibly written of all. And the junior Bachchan does show moments of brilliance. Preity Zinta has more of a cardboard role of a modern, career-oriented wife who prefers her independence to anything. Kiron Kher plays her part well enough.
To cut to the chase, KANK is not a path-breaking film. It has a stellar cast, good music, good background score and some good performances. But the biggest flaw is the overblown sentimentality, the emotional outpouring which repeatedly fills the movie’s ever-stretching, never-ending 3.5-hour story that lives up to the film’s title.
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Kabhi Alvida Naa Kehna - Worth a Treasure
« Reply #1 on: August 13, 2006, 10:43:45 PM »
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Faridoon Shahryar, IndiaGlitz [Friday, August 11, 2006]
The music of life stops playing a pleasant tune when stagnancy enters a relationship. A relationship you can’t do without. For you are not supposed to. In fact the institution of marriage is so sacred that it deserves to be given loads of time-n-importance. As the tepid waters of time pass by, it is natural to be taken-for-granted. Intentionally. Or unintentionally. Maybe, it is also natural to find happiness in someone else’s Solitude. At times. And it need not be merely sexual gratification. Companionship is far more important in a world that is breaking apart. That’s precisely the subtext of Karan Johar’s best work till date…Kabhi Alvida Na Kehna. A film that earns him immense respect for the sheer belief in experimenting with a bold subject with enormous amounts of dignity!
Filmmakers have experimented with extra marital affairs before this and they shall continue doing after this too. Yet, the sexual consummation between they-who-commit-the-sin in KANK is more out of a need to establish their Bond rather than a rush-of-teenage-blood. KJ makes it clear in sequencing the entire plot that he believed in his story (Co–written with Shibani Bathija) and is not going to compromise on executing exactly the way he wants to. There are moments when you feel the story is going to take the predictable way out. Yet, it ends on a most unpredictable note. So, you are already too curious! Let me give you a sneak peak into what the story is all about.
Dev Saran (Shahrukh Khan) is an ace club footballer in New York with a sarcastic sense of humour. His ambitious wife Riya (Preity Zinta) is a high profile fashion journalist with ‘Diva’ magazine. Both are unable to find time to spend with each other. Or rather Riya doesn’t have much time for her husband and son Arjun (Ahsaas Channa). Dev meets with a car accident as he is coming out of Maya’s (Rani Mukherjee) marriage ceremony with Rishi Talwar (Abhishek Bachchan).
With a limp in his leg and an extra baggage of lost hopes, Dev has a chance meeting with Maya after a gap of four years. Somehow both are unhappy in their respective marriages. They befriend to help each other get closer to their respective spouses. After a few funny-n-failed attempts later, they drift closer. Instead. A bit too close for the comfort of others. Rishi’s flambouyant father Samarjit Singh Talwar (Amitabh Bachchan) gets to know about the rift in his son’s marriage. He tries his level best by collaborating with Dev’s mother (Kirron Kher) so that the two marriages could be saved. But maybe there are a few problems which take their own course in solving themselves.
I think Karan Johar is in the best phase of his career as a master story teller where he has kept the conventional modes of entertainment value in mind (Song-n-dance, lavish costumes and A-list of actors) but at the same time he has daringly broken the conventions as well. Maybe the initial public reaction may be a bit confusing and a little less encouraging, yet Johar should not lose heart. For, with KANK, he shuts the mouth of all those who call his brand of filmmaking as bubblegum-n-candy-floss. Karan Johar is brilliant, and the intensity of KANK sweeps you off to the magical world of yet unexplored emotions. A must watch for all who understand the foreplay of emotions.
He has taken a step forward in redefining the paradigm of Relationships. And also about the way we look at relationships. But maybe Karan should have curtailed the length of the film as it tends to get too slow at times.
In a big film like KANK, people must be having loads of expectations from the star cast. And the stars don’t let down either. Amitabh Bachchan as Sexy Sam is super-cool-at-sixty-five. He leaves no stone unturned in playing the role of an incorrigible skirt chaser. Be it his styling, garish-yet-cool clothes or his nok-jhok with Mrs Chandigarh Kirron Kher, Bachchan Senior is a true master and sparkles effortlessly. His camaraderie with Junior B is magnificent. This Son and Dad jodi Simply Rocks. You are gonna be seeing much more of them in the future. Together that is.
Shahrukh Khan successfully breaks the shackles of The Big Hero Image he has always been associated with. But like Karan, he is unconventional without forgetting what he is best known for. Although he bends on his broken knee (How can a Hero be a cripple, but this one looks great) that is paining, yet he propositions to his lady love Rani with the same arrogance that was associated with the Rahul and Raj of ‘Kuch Kuch Hota Hai’ or ‘Dil To Pagal Hai’. After ‘Swades’ I would rate this as his best performance this century. SRK as Dev Saran the lovingly strict father, a husband who is unable to react when his wife says that ‘I am the man in this house’ or the man who indulges in sexual jealousy when he watches Maya being pawed by her husband…SRK enters yours heart-n-soul with a graceful ease.
Abhishek Bachchan’s Rishi is young, restless and suave. The camaraderie he shares with his flirtatious father and the ease with which he charms people is hard to miss. Junior B will go places after KANK. He is looking million dollars and his acting skills are getting better with each film. Rani Mukherjee shares an excellent chemistry with Shahrukh. It’s as if they are made for each other. After Shahrukh-Kajol, Kajol-Aamir, SRK-Rani pairing emerges trumps and ought to be repeated by more directors. Although her role is less glamorous, yet she enthuses a lot of charisma in enunciating the detailing of her layered character. Preity Zinta’s Riya will be remembered as one of her finest performance although it may be bracketed in the supporting actress category. She looks gorgeous, wears the prettiest of dresses, dances like a rockstar and looks cool as she slaps SRK stunning the audience in silence.
The supporting star cast of Kirron Kher and Arjun Rampal are efficient while Kajol in ‘Rock-n-Roll Soniye’ and John Abraham in ‘Where’s the Party Tonight’ make their presence felt. In fact, I would say Kajol Rocked in that two minute bit scene. Costumes by Manish Malhotra and Choreography by Farah Khan were beyond expectations. Anil Mehta’s camera work was phenomenally ethereal. Shankar-Ehsaan-Loy’s music was special for the title track, ‘Mitwa’, ‘Rock-n-Roll Soniye’, ‘Where’s The Party Tonight’ and ‘Tumhi Keh Do Na’. Finally if you ask me, if KANK is worth your ticket money? I would say, it’s an experience that stays on with you. Go check out KANK before the Ticket window gets congested with too-much-demand. It’s worth the hype…
Rating: ****
http://www.indiaglitz.com/channels/hindi/review/8582.html
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bharath
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Re:kabhi alvida naa kehnaa:review
« Reply #2 on: August 14, 2006, 01:59:43 AM »
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KANK is an exhausting film
Raja Sen
August 11, 2006 18:50 IST
I feel older. A showing of Karan Johar's mammoth 22-reel Kabhi Alvida Naa Kehna has left me unbelievably exhausted. I walk out of the hall feeling my cheeks for stubble, wondering if my clothes are suddenly dated and my hair's grey.
For this is no ordinary 3.5-hour film. It is a saga that stretches on and on -- imagine, if you will, a Balaji Telefilms soap running for several seasons, time leaps and all. Yes, I've lost a sizeable chunk of my life, and you will too.
I am now older, but not wiser. Because Karan Johar, God bless his soul, has never been about meaning. He has manufactured dreams in wonderful abundance, right from the frothy Kuch Kuch Hota Hai straight out of Archie comics, to Kal Ho Naa Ho, a rom-com Julia Roberts wouldn't have looked out of place in. Johar's films are bright and cheery, all merriness and overdone cliches as wholesome as besan ka ladoo. Indulgently, a nicely-packaged treat, never mind extra desi ghee.
Tragically, Johar too seems struck by the 'Substance Syndrome', something that usually affects item girls. Not content to merely shake their booty in our glad faces, the well-built lasses suddenly bring out the dupattas and nurse deluded dreams of acting talent, resulting in much audience grief.
Similarly, Karan, the popcorn populist we all rather enjoy, has decided to turn to a deeper, darker subject. The KANK gang deals with infidelity, with broken marriages standing in the way of true love -- it is a tremendous departure from the happy-joy world the director has dealt with so far, but he can handle melodrama and undeniably make women weep, so perhaps this step made sense.
It would, if only he'd let go of his glossy fun roots. Please forget the Closer rumours right now. Infidelity is a tough subject to broach, but Karan opts for neither the compelling emotional complexity of a Silsila nor the cheeky nonsense of a Masti. Instead, he tries straddling both worlds -- imagine the unforgettable Amitabh-Rekha-Jaya story set in New York to a laugh track. Not wise at all.
So, we have failed footballer Dev Saran (Shah Rukh Khan), resentful towards fashionista wife Rhea (Preity Zinta), simply because she's a success. On the other side of the tracks, we have party-planning upstart Rishi (Abhishek Bachchan) trying hard to court schoolteacher wife Maya (Rani Mukerji), but she's quite the cold fish.
Mere seconds into the film, Khan meets Rani in red wedding regalia on a park bench, wondering if she should take the plunge. It being his anniversary, and this being a KJ film where everyone's a drama queen, he encourages her to get married even as he exposes the vulnerability of his own marriage while rudely bringing to light the fact that she isn't in love. The strangers meet, trade immense dialogue and say farewell, until Rani brings up the film's title -- never say goodbye, for then it kills the hope of meeting again.
And meet they obviously do, four-odd years later, with both marriages well on the rocks. Amid some inexplicable tomfoolery about a black-jacketed kidnapper, SRK creams Rani with a football, re-introductions are made and big life questions are brought up. Meanwhile, their spouses, being true media professionals, use the hospital waiting room to schmooze. Now, everyone knows everyone, and -- as the cracks in the relationships are predictably more than apparent soon -- the SRK-Rani affair begins, kicking off a series of contrived situations, each progressively more artificial than the last.
Yet, as mentioned, the possibly compelling potential for drama isn't given any elbow room. The characters are cardboard, the setting is glitzy, the songs are tiresome, and the story oscillates between high melodrama and slapstick hilarity, going nowhere.
Decidedly going somewhere on the other hand is Amitabh Bachchan, playing Abhi's flamboyant dad Sam ('sexy Sam,' the background score keeps reminding us). A widower who dresses like Snoop Doggy Dogg and cavorts appropriately with blondes, it's fabulous to see Bachchan relish this campy role, fur-lined handcuffs and all. There's a jump in his stride and a twinkle in his eye as he carries off peculiar colours with flair. And the Big B convincingly shows there's way more to him than meets the eye.
A tense romantic drama between two married couples -- and the most compelling character in the film is a dad who dresses rather bizarrely? The film is working from a fundamentally flawed script, and our four (okay, two) main leads aren't really fleshed out at all.
Khan is perpetually pissed, an angry man too busy grumbling about his limp to care about his marriage. Mukerji's character is strangely unreceptive of Abhishek's advances. Preity's Rhea echoes Bollywood cliche of career women being ruthless and uncaring. Abhi, while a bit of an upstart, is the most believably written of the bunch. But never once do you feel concern for any of them, nice New York cinematography or not.
Johar's movies are always star-heavy, but rarely has a weak script relied so completely on pretty people with big names to carry every line through. The dialogues they mouth are meant to be meaningful, trying to sound profound about trite nothingness -- then again, the script is by Shibani Bhatija, the woman who wrote Fanaa, which explains a lot. Honestly though, if you really dig Kabhi Khushi Kabhie Gham and are waiting for Fanaa on DVD, you might just love this movie. If you do, tell me how.
As for the pretty people, half the reason you've been scrolling down is to read how the stars have done. Well, it's typical. For those of us who've been hoping for a new and improved SRK, this isn't the film. Shah Rukh hams supreme, scowling and smirking seemingly in slow motion, each facial twitch exaggerated to painful proportions. From heavy breathing to simpering, breathless sobs to caricatured anger, KANK provides a virtual gallery of Khan at his most over-the-top, with the actor's emphasis making the most derivative 'American' lines very painful indeed.
While Rani is laden with flaky dialogues that most actresses would balk at, the actress manages to provide a realistic character, as far as her words allow. Unforgivable scenes are suddenly salvaged by Ms Mukerji breaking into a teary grin, and for that we must thank her.
Abhishek Bachchan plays a cad, a clubbing bling-lover completely smitten by his wife, who really doesn't care. It's a tricky role, and Abhi does impressively with a nuanced performance showing admirable restraint, again despite the words. The actor has a deft comic touch, and his Rishi manages to come off both relatable and sensitive. Preity who? Zinta has barely a walk-on part in the film, her appearances pretty much restricted to the loud and showy songs. Kirron Kher (as SRK's ma) has sleepwalked through 'warmly Punjabi' roles like this before, and inevitably draws the occasional smile.
As does the film. Despite the bad handling, the pained acting, fractured narrative and twisty plot, there are moments where you grin. Moments where Khan pulls off some (ad-lib?) panache, where a line actually comes off as funny, where things work. But, in a film dragging close to four hours and making you feel each minute, we deserve way more smiles per hour.
And, for all the hype about Bollywood heading into a 'bold' direction, KANK ends up being a lot of oversight with barely any insight. No motivations are explained, no headway made. Couples on the verge of marriage would do well not to head into the theatre. You may be dumped for the choice of flick.
Damn, it still hurts. Think it'll take a couple more viewings of another film with a limping leading man to soothe the pain.
Rediff Rating:**
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bharath
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Re:kabhi alvida naa kehnaa:review
« Reply #3 on: August 14, 2006, 02:53:38 AM »
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The wait has finally ended!
Kabhi Alvida Naa Kehna has generated tremendous heat within and outside the film industry. It's not the star cast alone that has resulted in unparalleled, unmatched and unprecedented craze for the film. It's also the person seated on the director's chair that makes Kabhi Alvida Naa Kehna special. Very special.
With Kuch Kuch Hota Hai and Kabhi Khushi Kabhie Gham, his directorial accomplishments, Karan Johar has set such high standards that an all-important question crosses your mind as you walk into the screening: Will Karan surpass his own achievements with Kabhi Alvida Naa Kehna?
Kabhi Alvida Naa Kehna is also an acid test for Karan for yet another reason. It's the first time that Karan has changed tracks. Agreed, the supremely talented director has tackled romance and relationships in the past, but Kabhi Alvida Naa Kehna goes a step further. It takes a bold look at relationships and makes an equally bold statement on the institution of marriage.
Just don't expect Kabhi Alvida Naa Kehna to be a typical candyfloss entertainer. Or an archetypal fare that Bollywood is known for. In those 3.06 hours/22 reels, Karan packs in some solid stuff. And the conclusion to the story is bound to hit the orthodox elements hard. A film like Kabhi Alvida Naa Kehna is sure to have its share of advocates and adversaries no doubt, but it's a film that has the courage to say what it believes in.
There are bound to be comparisons with films of similar genre. But let's put certain myths to rest at the very outset. The story revolves around two couples, but it's not Closer [Julia Roberts, Jude Law, Natalie Portman, Clive Owen], it's not Sisila either. The speculation should end there. Karan's take on relationships is fresh, bold and innovative. It takes you by surprise. It shocks you as well. And it's also trend-setting.
Frankly, a film like Kabhi Alvida Naa Kehna is akin to a big gamble. The subject matter has to be treated cautiously and delicately, or else it can boomerang badly. It might even hurt the sensibilities if entrusted in wrong hands. But Karan's skilled directorial abilities take the film to a different level altogether. The film charters a novel path as it progresses and gets bolder gradually.
In a nutshell, Kabhi Alvida Naa Kehna bears the unmistakable stamp of a genius -- Karan Johar. The master storyteller only polishes his skills further, proving yet again that he's a forward-thinker and also, a progressive storyteller.
Kabhi Alvida Naa Kehna narrates the story of two families -- Sarans and Talwars -- both not connected to one another. But circumstances bring them together. Dev Saran [Shah Rukh Khan] has an uneasy and troubled relationship with his wife Rhea [Preity Zinta] and son Arjun [child artist Ahsaas]. He resents his wife's growing success and in the process, ends up turning all his anger towards his loved ones.
Maya Talwar's [Rani Mukherji] relationship with her husband Rishi [Abhishek Bachchan] is layered with a lot of self-doubt and question. She is unable to whip up enough passion for Rishi and is disappointed that her love for him does not match her own expectations of what it ought to be. This dilemma pulls her further apart from him, thereby causing a strain on their marital life.
One fine day, Dev and Maya's path cross each other...
Kabhi Alvida Naa Kehna starts like a nice romantic drama, with Abhishek getting married to his childhood sweetheart and SRK talking to his wife about the $ 5 million deal after he has won a game of soccer. But minutes later, the film does a 180-degree turn and establishes the friction between the two couples.
The tension between the couples surfaces gradually, but reaches the crescendo 20 minutes before intermission. The spat between SRK and Preity on one hand [Preity: "I wear the pants in this house"], followed by the heated argument between Abhishek and Rani [Abhishek: "You can't even bear a child"] is amongst the most remarkable portions in the film. These sequences hit you like a ton of bricks!
It's not that the first half is laced with tense-filled moments. In fact, the first hour-and-a-half has light portions in abundance. Amitabh Bachchan's philandering lifestyle provides ample moments of laughter and of course, eye-candy, what with some gorgeous firang babes jumping out of the closet.
In the post-interval portions, infidelities occur, betrayals are discovered and the couples' worlds go upside down. The sequence at the dinner [Sr. Bachchan hosts a sit-down dinner on Kiron Kher's birthday], when SRK expresses his feelings, or when SRK opens up to Preity and Rani to Abhishek about the affairs are master strokes from the writing and execution point of view. Note another scene: SRK waiting with a bouquet of roses for Rani and by a sheer coincidence, Preity walks in at that time at the signal crossing. This sequence [it depends on treatment alone] deserves distinction marks.
The end is powerful, but disturbing. Disturbing for those who believe in the age-old traditions. The film moves about in a serpentine fashion. Just when you thought that the couples have decided to go separate ways, there's another twist in the tale and yet another, in the end.
Karan Johar takes colossal strides as a storyteller. Films like K.K.H.H. and K.K.K.G. were the tip of the iceberg. Karan's take on relationships and marriages is refreshingly different because there's tremendous identification with the characters. You see it happening all around you these days. Technically too, this is Karan's finest work to date; he balances style and substance beautifully.
Kabhi Alvida Naa Kehna is not a date film and the writers [Karan Johar, Shibani Bathija] spell it out at the very outset. The screenplay balances the two extremes -- light moments and dollops of emotions -- with amazing ease. The relationship between the couples or even those between the parent and child [the Bachchans] is delicately handled. If there are moments that move you to tears, there are ample moments that bring a smile to your face as well. Another noteworthy aspect is its forthright dialogues [Niranjan Iyengar]. The lines sound straight of life and there also exist a host of interesting observations. Yes, the film is talky, but in a smart way. You never feel that the characters are talking to hear their own words or to fill up screen time.
Anil Mehta's cinematography is awesome. The film has been filmed in New York and the lensman captures the various seasons and colors with gusto. The outcome is easily comparable to the best in Hollywood. Shankar-Ehsaan-Loy's music is melodious. 'Mitwa', 'Rock N Roll Soniye' and 'Where's The Party Tonite' appeal also due to the vibrant choreography [Farah Khan]. The styling and the production values are topnotch. Editing could be tighter. A bit of trimming, in the first half mainly, would only sparkle the film further.
In Kabhi Alvida Naa Kehna, the actors get a chance to shine and no one shines brighter than Shah Rukh Khan. Let's just state one thing here: This is SRK's finest work after D.D.L.J. His sequences with Preity specifically, when the couple has their spats, or in the climax, when he just stares at Rani from inside the train, proves that he's undoubtedly the best in the business. The ferocity with which he delivers his lines and the restless energy he imparts to his character electrifies every scene that he's in.
Rani is remarkable yet again. In fact, if you consider BLACK to be her most memorable performance so far, then watch her in Kabhi Alvida Naa Kehna. This surpasses her work in Black or Veer-Zaara and Paheli. Her makeup as well as her overall appearance is tremendous. She's never looked as good before!
It would be unfair to describe either Abhishek Bachchan or Preity Zinta's performances as 'lesser'. Abhishek is brilliant, especially when he gets serious towards the end. His penultimate sequence, when he gives a golden advice to Rani, is outstanding. Preity not only looks gorgeous, but the dedication to her role shows at vital points. Her penultimate scene with Rani, when she confronts her at the marriage reception, is fabulous.
Amitabh Bachchan is in superb form. The naughty streak that he displays soon disappears in the second half, when he realizes that something is amiss. In fact, his expressions at the dinner first and also in the hospital only reiterates the fact that he's an icon. Kirron Kher excels in a brief but significant role. Arjun Rampal looks perfect for the part. Kajol and John Abraham [both appear in songs] add to the glamour quotient. Child artist Ahsaas looks cute and acts well.
On the whole, Kabhi Alvida Naa Kehna is an outstanding film from the writing, performance and execution point of view. It has style, substance, it takes challenges and doesn't follow formulas -- and that is its biggest strength. At the box-office, the film will embark on a hurricane-like start, establishing new records in days to come. The first weekend will be superb, while the weekdays [15th and 16th August are also holidays] will result in a record-shattering first week billing. With no opposition in sight for the next few weeks, Kabhi Alvida Naa Kehna will have a dream run at the box-office. Its business in Overseas will also be remarkable. Has the potential to prove the biggest money spinner in this territory
rating***1/2
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shalini
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Re:kabhi alvida naa kehnaa:review
« Reply #4 on: August 15, 2006, 08:22:34 AM »
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tiring movie
i would give it 1.5/5
srk was simply ridiculous.
abhishek played his part well,talking about rani she did not give her best shot.preity was just a glamour doll.amitabh was simply wasted.
i used to think srk was better than salman,but after seeing this movie i can say that its time now for aamir to be the king khan.
now i will say that
aamir is the king khan
then comes salman.
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bolly fan
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Re:kabhi alvida naa kehnaa:review
« Reply #5 on: August 15, 2006, 09:51:14 AM »
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i would give this movie 2/5.
truly very disappointed with srk.i expected a lot from him.
the only positive thing was abhishek.
guys he will rule bollywood one day.
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Regnig
Senior Fan
LYKES: +5/-31
Posts: 298
Roll the Ginger...Rollz the Gingerz
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Re:kabhi alvida naa kehnaa:review
« Reply #6 on: August 16, 2006, 10:08:59 PM »
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So one movie to defeat more than 10 years of reigning power. I dont think so.
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The beats of life and tribe.
Kendz and AKJ for the avvi and siggy respectively and F.Boards.
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Logged
