Poor Karan Johar.
His debut film as a writer-director was the spectacular Kuch Kuch Hota Hai, and how do you follow that up? His next film had to prove that KKHH wasn’t a fluke, and that he wasn’t a one-hit wonder. You can feel that pressure in every frame of his follow up film, Kabhi Khushi Khabhie Gham . . . (2001).
Yashovardhan Raichand (Amitabh Bachchan) and his wife Nandini (Jaya Bachchan) have two sons. The older son, Rahul (Shahrukh Khan) is adopted, but is still the heir apparent, raised to follow in the family traditions and eventually take over the family empire. Rahul is also particularly close to his mother, and she has an almost psychic sense of where he is and how he’s doing.
Yash is a stern but loving patriarch, with very traditional ideas about how his children lead their lives. As a result, he doesn’t feel any need to consult with Rahul about the marriage he has arranged for him to the lovely Naina (Rani Mukherjee). However, Rahul has already fallen in love with the eccentric, spunky, and hugely unsuitable Anjali (Kajol), niece of the family governess (Farida Jalal). While Naina encourages Rahul to follow his heart and “complete his love story”, Yash is less understanding; he calls Rahul into his office, and reminds him of family duty until he gives in.
Rahul goes to Anjali, apparently planning to end the relationship. When he finds her, however, she’s at her father’s funeral; Rahul sees that she needs him, and so he marries her instead. A furious Yash declares that “This proves you are not of my blood!” and after a tearful farewell to his mother, Rahul is exiled from the family.
The above story is told in flashback, as told to Rohan (Hrithik Roshan) by his grandmothers (played by Sushma Seth and Gorilla’s Lament favorite, Zohra Sehgal). Naturally Rohan vows to reunite the family. After a little investigation, he discovers that Rahul and Anjali have moved to London, so he uses the “family tradition” argument to convince his father to send him to London for his MBA.
(And I really have to talk about the University for a moment. Like every college campus in every Bollywood movie ever, it’s an absurd caricature, complete with cheerleaders for the rugby team and an attractive student body driving around the campus in their sports cars and never going to class. While the University is never explicitly named, a passing reference to “King’s College radio” confirms that this is the fabled “Oxford University in London” mentioned in so many Bollywood films. It’s nice to finally see it.)
Arriving in London, Rohan performs a quick dance number and then goes to school, where he runs into Pooja (Kareena Kapoor), Anjali’s younger sister (and Rohan’s childhood nemesis.) Pooja (or “Poo”, as she inexplicably prefers to be called) quickly agrees to help, takes Rohan home, and introduces him as the brother of a friend who needs a place to stay for a week. Rahul doesn’t recognize him (he has lost a lot of weight) and reluctantly agrees, so Rohan moves in, lays groundwork for a reconciliation, and makes everyone’s life better in the process.
There are clear structural parallels to Kuch Kuch Hota Hai here; both films open with a younger character learning (through an extended flashback) about a tragic separation, and then going to great lengths to effect a reunion. KKHH’s influence is much deeper than that, though. Not only do most of the same people appear in both films, not only do the romantic leads have the same character names, but Kabhi Khushi Khabhie Gham . . . is filled with little nods to KKHH, from a snatch of the title song to chunks of dialogue to the same boy mutely counting stars in front of a mystified Johny Lever. And while it’s fun to try and pick out all the references, after a while they start to come off as desperate, as if Karan Johar is at your elbow saying, “You liked Kuch Kuch, didn’t you? Well I made it, so like this movie too! Please!”
Neediness aside, this is still a well-written film with an excellent cast. Surprisingly, the fabled Shahrukh-Kajol chemistry doesn’t really seem to kick in until after her father dies. The film goes to great lengths to ensure that they “meet cute” and keep on meeting cute, so their early scenes come off as forced. Once the relationship is firmly established, the actors are able to relax and let their natural chemistry emerge. It’s a rare treat to get to see them playing a married couple; this will sound sappy, but it’s exactly the sort of lively and supportive marriage I always imagine their characters as having.
Speaking of Shahrukh, it’s Hrithik who takes on the usual SRK role in KKKG, worming his way into a family and making everyone’s lives better in the process. He plays the part well, demonstrating a great deal of charm, heart, and a notable rapport with Shahrukh (who is clearly enjoying playing on the other side of the fence for once.)
This is only the second Kareena Kapoor film I’ve seen, and . . . well, I liked her in Asoka. I found Pooja very annoying, as she seemed to be defined more by her snobby attitude and skimpy wardrobe than by anything else. I still don’t know what Rohan saw in her (apart from the obvious).
All too often in Bollywood films, the stern patriarch remains set in his ways until the plot demands otherwise, at which point he has a miraculous change of heart. That’s not the case in this film. Yash and Nandini are fully realized characters rather than stick figures, and they have their own emotional arc, with Nandini emotionally drifting away, and Yash too proud to make the changes he really needs to make in order to keep her. The parts are well written, and we are given two lovely performances from a pair of veteran actors.
KKKG feels like an attempt to make another KKHH, and on that level it fails. Kuch Kuch Hota Hai feels effortless, as if a reverse Murphy’s Law is in effect; everything that could possibly go right with the film, does. Kabhi Khushi Khabhie Gham . . . , on the other hand, is clearly working at it, and perhaps a little too hard.
Still, there’s a world of difference between “Not another Kuch Kuch Hota Hai” and “A bad movie.” Karan Johar has an amazing natural grasp of character, which is almost unmatched in Bollywood, Hollywood, or any other film industry you care to mention. That ability is clearly displayed in KKKG as well. The conflict here is between good people who love each other dearly; watching the film, I understood and liked all the characters (except maybe Pooja.) It’s that grasp of character which made KKHH a success, rather than the specific trappings. And happily, it seems Johar realized this as well, since his next film, Kal Ho Naa Ho, keeps the same focus on character without trying to ape previous successes.
KKKG is not a completely successful film, but it does manage to prove that yes, Karan Johar really is that good.
His debut film as a writer-director was the spectacular Kuch Kuch Hota Hai, and how do you follow that up? His next film had to prove that KKHH wasn’t a fluke, and that he wasn’t a one-hit wonder. You can feel that pressure in every frame of his follow up film, Kabhi Khushi Khabhie Gham . . . (2001).
Yashovardhan Raichand (Amitabh Bachchan) and his wife Nandini (Jaya Bachchan) have two sons. The older son, Rahul (Shahrukh Khan) is adopted, but is still the heir apparent, raised to follow in the family traditions and eventually take over the family empire. Rahul is also particularly close to his mother, and she has an almost psychic sense of where he is and how he’s doing.
Yash is a stern but loving patriarch, with very traditional ideas about how his children lead their lives. As a result, he doesn’t feel any need to consult with Rahul about the marriage he has arranged for him to the lovely Naina (Rani Mukherjee). However, Rahul has already fallen in love with the eccentric, spunky, and hugely unsuitable Anjali (Kajol), niece of the family governess (Farida Jalal). While Naina encourages Rahul to follow his heart and “complete his love story”, Yash is less understanding; he calls Rahul into his office, and reminds him of family duty until he gives in.
Rahul goes to Anjali, apparently planning to end the relationship. When he finds her, however, she’s at her father’s funeral; Rahul sees that she needs him, and so he marries her instead. A furious Yash declares that “This proves you are not of my blood!” and after a tearful farewell to his mother, Rahul is exiled from the family.
The above story is told in flashback, as told to Rohan (Hrithik Roshan) by his grandmothers (played by Sushma Seth and Gorilla’s Lament favorite, Zohra Sehgal). Naturally Rohan vows to reunite the family. After a little investigation, he discovers that Rahul and Anjali have moved to London, so he uses the “family tradition” argument to convince his father to send him to London for his MBA.
(And I really have to talk about the University for a moment. Like every college campus in every Bollywood movie ever, it’s an absurd caricature, complete with cheerleaders for the rugby team and an attractive student body driving around the campus in their sports cars and never going to class. While the University is never explicitly named, a passing reference to “King’s College radio” confirms that this is the fabled “Oxford University in London” mentioned in so many Bollywood films. It’s nice to finally see it.)
Arriving in London, Rohan performs a quick dance number and then goes to school, where he runs into Pooja (Kareena Kapoor), Anjali’s younger sister (and Rohan’s childhood nemesis.) Pooja (or “Poo”, as she inexplicably prefers to be called) quickly agrees to help, takes Rohan home, and introduces him as the brother of a friend who needs a place to stay for a week. Rahul doesn’t recognize him (he has lost a lot of weight) and reluctantly agrees, so Rohan moves in, lays groundwork for a reconciliation, and makes everyone’s life better in the process.
There are clear structural parallels to Kuch Kuch Hota Hai here; both films open with a younger character learning (through an extended flashback) about a tragic separation, and then going to great lengths to effect a reunion. KKHH’s influence is much deeper than that, though. Not only do most of the same people appear in both films, not only do the romantic leads have the same character names, but Kabhi Khushi Khabhie Gham . . . is filled with little nods to KKHH, from a snatch of the title song to chunks of dialogue to the same boy mutely counting stars in front of a mystified Johny Lever. And while it’s fun to try and pick out all the references, after a while they start to come off as desperate, as if Karan Johar is at your elbow saying, “You liked Kuch Kuch, didn’t you? Well I made it, so like this movie too! Please!”
Neediness aside, this is still a well-written film with an excellent cast. Surprisingly, the fabled Shahrukh-Kajol chemistry doesn’t really seem to kick in until after her father dies. The film goes to great lengths to ensure that they “meet cute” and keep on meeting cute, so their early scenes come off as forced. Once the relationship is firmly established, the actors are able to relax and let their natural chemistry emerge. It’s a rare treat to get to see them playing a married couple; this will sound sappy, but it’s exactly the sort of lively and supportive marriage I always imagine their characters as having.
Speaking of Shahrukh, it’s Hrithik who takes on the usual SRK role in KKKG, worming his way into a family and making everyone’s lives better in the process. He plays the part well, demonstrating a great deal of charm, heart, and a notable rapport with Shahrukh (who is clearly enjoying playing on the other side of the fence for once.)
This is only the second Kareena Kapoor film I’ve seen, and . . . well, I liked her in Asoka. I found Pooja very annoying, as she seemed to be defined more by her snobby attitude and skimpy wardrobe than by anything else. I still don’t know what Rohan saw in her (apart from the obvious).
All too often in Bollywood films, the stern patriarch remains set in his ways until the plot demands otherwise, at which point he has a miraculous change of heart. That’s not the case in this film. Yash and Nandini are fully realized characters rather than stick figures, and they have their own emotional arc, with Nandini emotionally drifting away, and Yash too proud to make the changes he really needs to make in order to keep her. The parts are well written, and we are given two lovely performances from a pair of veteran actors.
KKKG feels like an attempt to make another KKHH, and on that level it fails. Kuch Kuch Hota Hai feels effortless, as if a reverse Murphy’s Law is in effect; everything that could possibly go right with the film, does. Kabhi Khushi Khabhie Gham . . . , on the other hand, is clearly working at it, and perhaps a little too hard.
Still, there’s a world of difference between “Not another Kuch Kuch Hota Hai” and “A bad movie.” Karan Johar has an amazing natural grasp of character, which is almost unmatched in Bollywood, Hollywood, or any other film industry you care to mention. That ability is clearly displayed in KKKG as well. The conflict here is between good people who love each other dearly; watching the film, I understood and liked all the characters (except maybe Pooja.) It’s that grasp of character which made KKHH a success, rather than the specific trappings. And happily, it seems Johar realized this as well, since his next film, Kal Ho Naa Ho, keeps the same focus on character without trying to ape previous successes.
KKKG is not a completely successful film, but it does manage to prove that yes, Karan Johar really is that good.
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