I admit it. I love hopeless acts of romantic nobility and self
sacrifice; no matter how hackneyed the story may be, I’m always at least
a little moved by the sight of someone giving up their love for the
best of reasons. I suspect that India agrees with me, since Bollywood
scripts will often go to tortuous lengths in order to give the hero and
heroine an excuse for self sacrifice, and then even more tortuous
lengths to get the hero back together again. The films are
melodramatic and often a little silly, and they still get to me every
time. All of which leads me to Kal Ho Naa Ho (2003).
Naina Kapur (Preity Zinta) is a disgruntled New Yorker. Her mother Jennifer (Jaya Bachchan) is desperately scrambling to keep the family restaurant afloat. Her disabled younger brother Shiv (Athit Naik) is obsessed with basketball, but can only watch from the sidelines as the neighborhood kids play. Her grandmother Lajjo (Sushma Seth) is consumed with bitterness over her son’s suicide, and takes every chance she can to let her daughter-in-law Jennifer and adopted granddaughter Gia (Jhanak Shukla) know that she blames them personally. Naina’s best friend Sweetu (Delnaaz Paul) is desperate to land a man, but unwilling to put in any effort in order to do so. About the only person Naina approves of is Rohit (Saif Ali Khan) a good natured would-be Romeo who attends the same MBA class.
Though she’s reluctant to admit it, Naina isn’t happy. One night, she even lets her careful facade crack just long enough to join with her family in praying for “an angel” to come and make their lives better. And naturally, when the angel does come, he’s played by Shahrukh Khan.
Aman isn’t really an angel, of course, just a new neighbor. He is the answer to the Kapurs’ prayer, though; he quickly inserts himself into their lives, and before long things begin to get better. Naturally Naina can’t stand him at first, but slowly begins to loosen up and become human, and perhaps just as naturally, the new Naina catches Rohit’s eye, and a love triangle quickly develops: Rohit loves Naina, Naina loves Aman, and Aman . . . Aman is hiding something. Opportunities for self sacrifice abound.
Unlike other Bollywood movies with the same formula though, KHNH is vaguely plausible; there’s a real reason for the sacrifice made, rather than just another case of “My sister kind of likes you as well - why don’t you marry her instead!” Also unlike similar movies, the sacrifice made here is for keeps; there are no divinely inspired dogs to come along at the last minute, save the day and ensure a happy ending, and no overheard conversations in which the Truth Is Revealed, leading to more self-sacrifice. Instead, Aman, Rohit, and Naina have to resolve their own situation honestly, and they do so with maturity, grace, and love.
Bollywood often reminds me of Shakespeare. KHNH doesn’t, though; it reminds me of E.M. Forster instead. The characters here are sometimes damaged and petty and small-minded and entirely too cranky for their own good, but the movie still loves them, even while it pokes fun at them. This isn’t a movie about romance, it’s a movie about love in all its forms; you can see the love in every frame of the film. Sometimes it stagnates and strangles, and sometimes it bursts through the screen in uncontrollable joy, but it’s always there. the effect is dizzying at times.
Having said all that, if you are at all SRK intolerant, this isn’t the movie for you. Shahrukh is working in Shahrukh overdrive here; all of Shahrukh’s familiar mannerisms are on display here, and he cries more than in any other movie I’ve ever seen him in (which is saying a lot.) Also, Aman is even more saintly than the usual SRK character, and I can’t quite believe that no one had ever considered selling Indian food in the restaurant before Aman suggested it. On the other hand, all of the SRK virtues are also magnified, and in the space of a five second cameo the old Shahrukh-Kajol chemistry shines through as strongly as ever.
Over the course of the film, Naina evolves from a tightly wound bundle of neuroses into . . . well, into a Preity Zinta character. Still, even at her spunkiest, the melancholy of the earlier scenes is still there, leading to a very nuanced performance. As every other reviewer on the planet has pointed out, Saif Ali’s work here is strongly reminiscent of his work in Dil Chahta Hai; still, in KHNH he has more to do. Rohit could have been a thankless role, but in Saif Ali’s hands, Rohit is a character worth rooting for, even when in competition with the saintly Aman. The supporting cast is also good, in particular Jaya Bachchan’s Jennifer and the ever fabulous Reema Lagoo as Aman’s mother.
The dance numbers were generally good, with all the hallmarks of Farah Khan’s choreography. I especially enjoyed the number at the engagement party, which featured the aforementioned Kajol cameo and a slightly longer appearance by Rani Mukherjee. I wasn’t quite so taken by the songs themselves, as they were all a little too western for my tastes; that’s just me, though. And my favorite song was actually lifted directly from Lagaan, with much of the choreography intact.
Kal Ho Naa Ho is a very modern film, with slick editing, a witty script, and an unusually sophisticated resolution to the characters’ dilemma, but at heart it’s just another old-fashioned Bollywood love triangle. And I wouldn’t have it any other way.
Naina Kapur (Preity Zinta) is a disgruntled New Yorker. Her mother Jennifer (Jaya Bachchan) is desperately scrambling to keep the family restaurant afloat. Her disabled younger brother Shiv (Athit Naik) is obsessed with basketball, but can only watch from the sidelines as the neighborhood kids play. Her grandmother Lajjo (Sushma Seth) is consumed with bitterness over her son’s suicide, and takes every chance she can to let her daughter-in-law Jennifer and adopted granddaughter Gia (Jhanak Shukla) know that she blames them personally. Naina’s best friend Sweetu (Delnaaz Paul) is desperate to land a man, but unwilling to put in any effort in order to do so. About the only person Naina approves of is Rohit (Saif Ali Khan) a good natured would-be Romeo who attends the same MBA class.
Though she’s reluctant to admit it, Naina isn’t happy. One night, she even lets her careful facade crack just long enough to join with her family in praying for “an angel” to come and make their lives better. And naturally, when the angel does come, he’s played by Shahrukh Khan.
Aman isn’t really an angel, of course, just a new neighbor. He is the answer to the Kapurs’ prayer, though; he quickly inserts himself into their lives, and before long things begin to get better. Naturally Naina can’t stand him at first, but slowly begins to loosen up and become human, and perhaps just as naturally, the new Naina catches Rohit’s eye, and a love triangle quickly develops: Rohit loves Naina, Naina loves Aman, and Aman . . . Aman is hiding something. Opportunities for self sacrifice abound.
Unlike other Bollywood movies with the same formula though, KHNH is vaguely plausible; there’s a real reason for the sacrifice made, rather than just another case of “My sister kind of likes you as well - why don’t you marry her instead!” Also unlike similar movies, the sacrifice made here is for keeps; there are no divinely inspired dogs to come along at the last minute, save the day and ensure a happy ending, and no overheard conversations in which the Truth Is Revealed, leading to more self-sacrifice. Instead, Aman, Rohit, and Naina have to resolve their own situation honestly, and they do so with maturity, grace, and love.
Bollywood often reminds me of Shakespeare. KHNH doesn’t, though; it reminds me of E.M. Forster instead. The characters here are sometimes damaged and petty and small-minded and entirely too cranky for their own good, but the movie still loves them, even while it pokes fun at them. This isn’t a movie about romance, it’s a movie about love in all its forms; you can see the love in every frame of the film. Sometimes it stagnates and strangles, and sometimes it bursts through the screen in uncontrollable joy, but it’s always there. the effect is dizzying at times.
Having said all that, if you are at all SRK intolerant, this isn’t the movie for you. Shahrukh is working in Shahrukh overdrive here; all of Shahrukh’s familiar mannerisms are on display here, and he cries more than in any other movie I’ve ever seen him in (which is saying a lot.) Also, Aman is even more saintly than the usual SRK character, and I can’t quite believe that no one had ever considered selling Indian food in the restaurant before Aman suggested it. On the other hand, all of the SRK virtues are also magnified, and in the space of a five second cameo the old Shahrukh-Kajol chemistry shines through as strongly as ever.
Over the course of the film, Naina evolves from a tightly wound bundle of neuroses into . . . well, into a Preity Zinta character. Still, even at her spunkiest, the melancholy of the earlier scenes is still there, leading to a very nuanced performance. As every other reviewer on the planet has pointed out, Saif Ali’s work here is strongly reminiscent of his work in Dil Chahta Hai; still, in KHNH he has more to do. Rohit could have been a thankless role, but in Saif Ali’s hands, Rohit is a character worth rooting for, even when in competition with the saintly Aman. The supporting cast is also good, in particular Jaya Bachchan’s Jennifer and the ever fabulous Reema Lagoo as Aman’s mother.
The dance numbers were generally good, with all the hallmarks of Farah Khan’s choreography. I especially enjoyed the number at the engagement party, which featured the aforementioned Kajol cameo and a slightly longer appearance by Rani Mukherjee. I wasn’t quite so taken by the songs themselves, as they were all a little too western for my tastes; that’s just me, though. And my favorite song was actually lifted directly from Lagaan, with much of the choreography intact.
Kal Ho Naa Ho is a very modern film, with slick editing, a witty script, and an unusually sophisticated resolution to the characters’ dilemma, but at heart it’s just another old-fashioned Bollywood love triangle. And I wouldn’t have it any other way.
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