Har pal yaha, jeebhar jiyo, jo hai samaa...kal ho naa ho...
It takes a special person to apreciate a great Bollywood movie. There's the constant melodrama, the endless love triangles and dress changes, the randomly inserted songs and hammy dialogue...not to mention the age-old desire to be everything to every viewer. There are so many Hollywood-esque problems that threaten its quality, so many qualms that any self-respecting American critic would feel compelled to point out, that loving it seems like a chore. If anybody can do so, however, it is an Indian.
And I LOVE being an Indian.
KAL HO NAA HO ("Tomorrow May or May Not Come") is the third film involving writer-director Karan Johar and Dharma Productions, an Indian film label that has become synonymous with box-office and critical gold. Their first two productions, KUCH KUCH HOTA HAI and KABHI KHUSHI KABHIE GHAM were both , in their respective times, the most popular Hindi films of all time, and with good reason. They were the ultimate crowd pleasers: a perfect mix of comedy and drama with compelling stories, masterful performances, catchy music, and impeccable direction. They hit every emotional high and low possible in the typical Bollywood audience, and the end results were magnificent. KAL HO NAA HO continues this tradition in grand style.
Naina Catherine (Priety Zinta) is the eldest daughter of Jenny Kapoor (Jaya Bachchan) and a father whose suicide has wreaked havoc on the entire Kapoor family. The constant bickering among the members of her household has transformed Naina into a pitiful bore who has "forgotten" how to smile. Her best friend is Rohit (Saif Ali Khan), a fellow MBA student who has seen Naina through all her troubles. The two have never been more than just friends.
Along comes Aman Mathur (Shah Rukh Khan), a charasmatic man who enters the Kapoors' home and changes their lives for the better, much to Naina's dismay. Aman helps every member of the family with any problem and seems to have all the answers - he is perfect. Aman eventually wins over Naina and changes her into a smiling young woman once again, but not before she begins to have feelings for him. What's more, Rohit soon reveals that he loves Naina.
Yet all is not as it seems. There are secrets to be uncovered, pasts to be mended, and futures to be made, and what the trio find out may suprise them.
This is, firstly, an immesnly pleasing film. The first half jumps right into the act with some wonderfully comedic scenes showcasing the talent of all three leads and the flair of first-time director Nikhil Advani. A particular scene involving a housemaid who suspects Aman and Rohit of being gay is among the most humorous Hindi film moments I've seen. Karan Johar's forté with dialogue really shines here -everything is quick-witted and funny, yet never insulting to the intelligence (many Hindi films can be). We grow to love and care about these characters quickly, but thankfully characterization does not bog down the forward motion of the marrative. The first 90 minutes literally flies by.
The most noticable aspect of KHNH is the tone the writer and director bring to the film: it's incredibly energetic and light, and takes chances with material that worked for me. Many times, the characters seem to speak one-on-one with the camera in an interview style to convey personal feelings or thoughts, an interesting tactic. There are other little touches: the "Day 1", "Day 2", etc. introductions stand out in particular (see the film to find out what I mean). There is an incredible scope and vibrant feel to the movie, as in an Dharma production.
The second half of the film gives all involved a chance to really shine. Once the twist is revealed, things take a downward turn and the climax begins. Much of the light tone from the first 90 minutes creeps its way into the second half at all the right moments, but there are some truly heart-wrenching scenes toward the end of the film. This is to be expected, but their impact is heightened by the skill of the filmmakers. In most cases, Hindi films pile crying scenes on top of one another in the hope of eliciting some, if any, reponses from the audience, but KHNH succeeds due to solid characterization and wonderful performances.
This is clearly Shah Rukh Khan's film, and he acts his heart out. It's the same performance we've seen a million times from him, but his skills aren't broke so they don't need any tuning. His screen prescence is unmatched in this industry, and he captivates you during both the comedic and emotional scenes. This was a chance for him to paly a different type of character, and his natural charisma lends itself well to what the part requires. Priety Zinta finally steps into the limelight as Naina with a wonderful performance that reveals her true potential. Watching her onscreen transformation is as unexpected as it is alluring. Saif Ali Khan essentially echoes his character from DIL CHAHTA HAI, but the magic has not worn off. He has a knack for playing the straight man with unfulfilled, and still unkonwn, desires. Supporting performances are from the usual Johar suspects and are accordingly wonderful.
Shankar-Ehsaan-Loy finally enter the Johar ring with this entry and certainly hold their own. The title song is my choice for song of the year - a gently sung ballad about living life to the fullest, complimented by wonderful lyrics from Javed Akhtar and great singing by Sonu Nigam. The other romantic song, "Kuch To Hua Hai" is a very contemporary song with an international flavor that manages to please with an unusual beat and interesting composition. "It's The Time To Disco" is the loser of this disc, although its film picturization is likable enough, and the much hyped "Pretty Woman" (yes, based on the classic American song) is surprisingly upbeat and entertaining. The obligatory BSMDGC (Big Set, Many Dancers, Good Choreography) dance number is "Maahi Ve", a very catchy tune that bears some resemblance to the hit "Shava Shava" from KABHI KHUSHI KABHIE GHAM. Farah Khan's onscreen choreography for the song does not disappoint, and the art direction is simply marvelous.
This film marks a new standard for Hindi film editing, and shows just how much Bollywood has learned from its L.A. counterpart. We have quick cuts, new wipes, and even splitscreens...all used wisely and not for cheap effect. The editing really brings the first half of the film to life, giving every song a "get up and dance" feeling that never hurts.
Above all, this is Nikhil Advani's film. Remarkably, this novice helmer shows no signs of being a rookie. In true Johar style, he handles all the film's emotional scenes, a perennial marker for directorial excellence, with confidence and talent. Having served before as assistant director to Karan Johar and Aditya Chopra, Advani pulls out all the stops here, giving us epic, dramatic camera direction, eliciting great performances, and near-perfect pacing.
Sure, a good 10 minutes shaved off the finished product would be in the film's favor, but it is a minor qubble in a sea of compliments.
This is ultimately a story about hope and love - the hope to keep moving and beliving, the love to keep surviving. It is a story about the choices we make for love and the effects those choices have on our loved ones. It is about living life to the fullest and seizing the day, for Kal Ho Naa Ho?
