The response was very good, and selecting the top ten reviews was an interesting job.
On August 21, we featured Amodini Sharma's review. On August 22, we featured Abhishek Asthana's review. On August 23, we featured Sumier Phalake's review. On August 24, we featured Kiran Kamath's review. On August 25, we featured Arun Ganesh's review. On August 28, we featured Tasneem Karbani's review. On August 29, we featured Madhusudan Hegde's review. On August 30, we featured Shahid Khan's review. On August 31, we featured Vidya Pradhan's review.
Today, we feature Preran Kurnool's review.
Silsila Yeh Chahat Ka Na Maine Bujhne Diya
Now, one would be happy at such a situation. But wait! The ladka (Shah Rukh Khan as Dev Saran) and ladki (Rani Mukerji as Maya) are already married to another ladki (Preity Zinta as Rhea) and ladka(Abhishek Bachchan as Rishi) respectively. Then, why do Dev and Maya fall in love? There has to be a reason right? Wrong!
According to Mr Karan Johar, it is okay to fall in love outside marriage if you are destined to, whatever that means. Never mind if your spouse is extremely considerate, great in bed, not gay, and willing to pardon you if you are not all that and still live with you.
Except for a lame Maya lamenting before her marriage to an even more lamenting Dev about how dosti mohabbat ki jagah le leti hai aur mohabbat ke liye jagah nahin rehti, one is never given any reason as to why Dev and Maya fall in love with each other. The audience finally sympathises more with Rhea and Rishi than with the lead pair.
Johar's story is more like what would have happened if Simran and Rahul had parted ways at the airport in Dilwale Dulhania Le Jayenge and got married to different people. Just cripple Rahul slightly, and make him a bitter man and turn Simran's hubby into a not-so-bad person. Then, make Rahul and Simran fall in love all over again and you have KANK! Voila! Am I a genius or what?
Main Silsila Banana Chahta Hoon
If Johar had concentrated more on developing the romance between Dev and Maya instead of extending the clichéd climax and deleting some corny Amitabh Bachchan scenes, the film would have still worked. Kal Ho Naa Ho had a far better balancing act, courtesy director Nikhil Advani?
Not that KANK does not have its redeeming points. Some comedy sequences are very well handled. Also, the scene in which Rhea and Maya cross the street, while Dev is expecting to meet Maya, is brilliantly executed. The first half of the movie is watchable but things fall apart in the second half, and how!
Nach Baliye
Another strong point of Johar's movies comes undone. None of the songs have any imaginative choreography and if you have seen Kabhi Khushi Kabhie Gham, and KHNH, you have seen them all. Choreographer Farah Khan disappoints big time. Most of the song sequences seem forced and out-of-sync.
Main actor badnaam
Abhishek and Preity walk away with the honours. They bring much believability to their ill-sketched characters.
SRK is his usual self-arching eyebrows, flailing arms, and sobby persona. Rani rises above Maya, to lend dignity to an ill-conceived and ill-executed role. Amitabh and Kiron Kher are their usual selves, doing just what is required of them.
Sa re ga ma pa
The music is hummable but nothing that you have not heard before.
Dekho maine dekha hai
Brilliant! The richness of the people in the movie is enhanced by its cinematography. Although I have not been to Manhattan, this movie has fueled my desire to make that visit although why this movie is set in New York, when it could have used any place from Mumbai to Shanghai is beyond me.
Jhoot bole, kawwa kaate
Surprisingly, the editing of the first part is much better than that in K3G and KHNH. Hope it had extended all the way till the climax.
Yaaro sun lo zara, apna yeh kehna
It is wonderful to see Johar make a departure from his candy-floss movies but I wish he does his homework better next time. But despite all its flaws, KANK is still watchable for some memorable scenes and performances.
Preran Kurnool, 32, is obsessed about Hindi movies, and lives in Chennai.
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