Kabhi Khushi Kabhie Gham is a breathtaking
rollercoaster ride of emotion, comedy and drama woven
beautifully together through the threads of binding
relationships, that endure time, space, joy and
sadness.

The film begins with a brief word from the two
principle patriarchal characters of Yash and Nandini
Raichand (Amitabh and Jaya Bachchan) on the importance
of expressing a parent’s love for their child, which
aptly sets the tone for what’s to come. The viewer is
thrown immediately into the world of the Raichands as
we learn of their family situation and of how their
adopted son Rahul (Shah Rukh Khan) is no longer with
the family due to a fallout, which comes as hard and
fast as it hits their younger son, Rohan (Hrithik
Roshan). This allows for a flashback recount of the
story which leads to the current circumstances and
etches out clearly each character and their relation
to one other, as well as the roles defined within the
family and expectations that rise from them. This
takes the film into the interval, after which the crux
of the narrative is how the family are reunited, and
what repercussions the split in the family has had.

From its first to last frame Kabhi Khushi Kabhie Gham
is a masterpiece. It has every ingredient that has
made Indian cinema so great embedded within it,
rhythmically progressing the movie through its core
strength in narrative that is based in relationships
and the family. Karan Johar has not just made a film,
he has created a cult populist modern text rooted in
tradition that will be used as a yardstick to measure
good cinema by. Whereas previously a cluster of films
displaying great cinematic technique, sharp screenplay
execution, masterful direction, presentation and
storytelling have been referred to as examples of how
good cinema can be, Kabhi Khushi Kabhie Gham will now
sit adjacent to some of these (and precede others) as
a dictionary that defines complete filmmaking.

His homage to modern classic cinema is one that pays
respect, stirs memories and ensures it too will spawn
tributes as he tips his hat to the works of Sooraj
Barjatya, Yash Chopra and others, even raking up
nuances of his own previous characters’ as inside
giggle-raisers.

The background score of the movie flows in unison with
the heartbeat of the audience, escalating with
grandeur as their breaths quicken, and stealing slices
of silence when the anguish is numbingly quiet. Even
the colour scheme of the movie is in complete tune
with the film’s soul, with one particular sequence
highlighting to the hilt Karan’s artistic imagery,
shuffling between a bright and colourful song vibrant
with life and a hollow, empty resonating echo in a
mother’s eye as she hears and feels, but cannot see
her son. Cinematic experiences don’t come any better.
The lavish scale of the film is such that every penny
spent is seen on screen and the beautiful
cinematography captures the locales of Egypt and
London in a groundbreaking manner, without causing
distraction from the flow of the film. The camera uses
a frame rate and pace that cuts like a knife one
moment and is slowed down to savouring speed the next,
revealing one other technique that Karan has> successfully used to his advantage to be
able to
puppet the strings of his audience’s heart.

Performance wise the film belongs not to one actor or
actress but to the ensemble cast that is the family.
Each artiste has managed to master their role to such
a degree that you have to remind yourself that this is
a film and you are not watching a real family, and
also that you may have even seen some of these faces
before. Shah Rukh excels in what is possibly the most
difficult role to assay in the film. His histrionics
during the scene when we literally feel his heart
break for both disappointing the man he idolizes and
also because he realises he cannot be with the love of
his life is possibly his most violent, because he
massacres the viewer emotions in a swift sequence that
will not leave a dry eye in the house. His performance
is par excellence and to pick out which are the best
for any of the actors is too arduous a task. Amitabh
Bachchan gives his finest performance in recent times.
His presence not only commands respect but for the
three hours twenty seven minutes of the film he
becomes the father who wants the best for his family,
is clutching onto tradition while attempting to
maintain control and authority without allowing even
his gaze to be questioned. Every viewer will see
shades of their own parents in Yash and Nandini
Raichand, and will be able to understand, even if they
do not agree with, their every decision.

Kajol is a lit firecracker in the entire film that
makes bangs and wallops in bursts that light up the
heart and screen with no warning. Her screen antics
are such that in a one-woman-act she’ll make you howl
with laughter and dance with joy one second and bring
you to tears with a single look the next. It is
without a shadow of doubt I can say this is her finest
performance to date and one that will be etched in
viewer’s hearts forever. Kareena Kapoor will have you
in stitches by the loudness and classiness of her
British-raised character, allowing her to showcase her
comedic brilliance for the first time fully. Her sweet
yet exaggerated Pooja shrieks for rescuing but ends up
forcing you to pledge allegiance to her character that
will change the lingo of the moment for a while to
come, as well as give birth to a new icon among the
college crowds. Hrithik Roshan sizzles in an all-round
performance that gives him scope to stir emotions,
simply be cool, and play a doting brother and son like
never before. His dance moves in You Are My Soniya are
electrifying to his and Farah Khan’s credit and his
chemistry with Kareena is teasingly and explosively
volatile.

Song picturisations are a dream in themselves. Be it
the spiritual ethos of Suraj Hua Maddham or the
playful Yeh Ladka Hai Allah each song in itself is a
visual delight. Amitabh Bachchan looks fantastic in
his song Shaava Shaava and dances on air with a bevvy
of beauties in another perfectly framed moment on
celluloid.

Director Karan Johar and Associate Director Nikhil
Advani have woven together a journey of emotions,
technical brilliance and mesmerizing screen moments
that will live in the audience’s memory for years to
come. Each scene has so much detail that on repeat
viewing one can find the definition of each character
and ambience of every location from the framing and
background alone, such is the attention to minute
details.

Overall Kabhi Khushi Kabhie Gham is without a doubt
the most enthralling, entertaining, emotional and
complete vision and definition of Indian cinema I have
ever seen. It is simply the perfect Hindi film that
will appeal to anyone and everyone, and will hold
special place in the hearts of the Asians in the UK
and overseas who will relate wholly with the boy who
brings home a girl to his family immediately edging
away from their expectations, the cracks in the family
that will haunt and taunt until they are once more
enjoined and intertwined and the father-son
relationship that has been captured in volumes like
never before on 70mm.

This film proves we are not always in control of our
emotions…because Karan Johar is controlling them
everytime he steps behind the camera. Just as life is
a complete experience full of sadness and joy, the
aptly titled film completes Indian cinema and rewrites
the book of filmmaking. Kabhi Khushi Kabhie Gham is a
film you cannot miss, and Karan Johar is a man you
cannot ignore, because legends can never be ignored.

COME ON BRUVE WHO YOU FOOLING THIS AINT NO REVIEW.....MAN ITS CLEAR ALL YOU DISCUSSING IS HOW THIS FILM IS A MASTERPIECE....THERE NO MENTION OF STAND OUT SCENES....FLAWS IN THE MOVIE (WHICH EVERY MOVIE HAS) NO DISCUSSION OF OTHER VITAL STARS LIKE THE ONE THIS BOARD HATES JOHNNY LEVER, ANUPAM KHER, JAYA BACHAN, RANI MUKHERJI AND NOT TO FORGET THE SUPRISE STAR WHO IS HE IS IS SALMAN ALL THESE QUESTIONS AND MANY MORE REMAINED UNANSWERED IN YOUR SO CALLED REVIEW OF K3G....

this review is from asian express.
go and buy it urself if u dont believe me
naz

US ZULMIES AINT LIKE THOSE STUPID FOOLS ON THE BOARDS AT PLANET BOLLYWOOD U CAN FOOL THEM BUT NOT US YAAR......BY THE WAY KOMAL NATHA CHATS SHIT ANYWAY.....HE SAID INDIAN WAS BETTER THAN ASOKA ....PREDICTED EK RISHTAA TO BE THE BIGGEST FLOP EVER THE GUYS A WOMAN SOUNDING LOSER...OR IS HE A HIJRA

SORRY NAZ.....but we dont belive this to be a proper review..i thought it was you claiming it was your review soory yaar

this review aint komal nahta. it is faud omar of asian express.
naz

yeah i got that its just i thought it was omal nathas as he has mentioned similar points which are in the review to the media...anyways i do hope this movie is not half as bad as mohabbatein turned out to be.....considering all the pre-release hype....AANKHEN MIGHT JUST TURN OUT TO BE THE BLOCKBUSTER..

well i would belive the review prince.... as the grand scale that the film is on it is most unlikely to garner negative reviews.... i am looking forward to seeing the film and i dont even think that we should compare the film with mohabeetein mohabb had too many stories going on at the same time and they all became boring but here there is one story abt the family.. mohabeetein ddint have kajol, jaya bacchan and kareena kapoor or hrithik for that matetr..... who appeal to a large audience.. take it from me this film will be a massive hit in india and abroad.....

the film may well be a the gretest ever no doubt......however it is obvious the review has been made of information alreay avilable on the movie it is not structured like a proper film review.....and a proper reviewer will always find flaws in specific scenes and mention stuff like powerful dialogues emotional scenes other artistes like anupam kher...summary of the fist half and second climax....scenes whic may evoke laughter.....cute moments all of which seem to be missing....Come on this all hype ive seen it for weeks on the net on several sites.....Just wait and watch the proper reviews later this week and compare.....and you should see what i mean...a critic must look at a movie critically not hype the movie and give it credit where it deserves and criticism where it dosent..

[B]SOUNDS WICKED MAN!!!!!!!!!!!!

I'll just wait for the film to release and will judge it (with other members of the public) if its good or bad. I think many of us have learned our lessons of over-hyped films and thier conseqeunces.

The review of the film in Asian Express seems too closed only describing things we know about from the making of, interviews and promos, and has mistakes like 70mm?? No Hindi film has been shot in that format for many years!!!!



Edited By Shahran Sunny Audit on Dec. 09 2001 at 19:28

Thanx at last some one who understamds what i meant ....I was not dissing the film as i am unable to judge something i have not seen.....Just laughin at how that could be a review for any film seems more to do with hype and who can get the film reviewed first

indiafm review is up, he's given it 4.5 stars.

looking promising

now this ius what i meant contrast this with ther so called review....the following is a review of the film regardless of whether i personally agree with it or not.....

Kabhi Khushi Kabhie Gham

By Taran Adarsh

The year 2001 has proved to be disastrous for the film industry!

Earthquake, threats from the underworld, the biggest of films falling like a pack of cards, the Overseas market going bust, the war… directly or indirectly took a heavy toll on the film industry.

The million dollar question is, will KABHI KHUSHI KABHIE GHAM bail out the film industry that finds itself in dire straits? Will it prove the saviour for an industry that's thirsting for a hit?

Dharma Productions' KABHI KHUSHI KABHIE GHAM, written-directed by Karan Johar, is one film that strikes the right balance between form and content. The final outcome – A winner all the way!

Yashovardhan Raichand (Amitabh Bachchan) and his wife Nandini (Jaya Bachchan) have raised their sons Rahul (Shah Rukh Khan) and Rohan (Hrithik Roshan) showering them with love and affection. Yash has tried to pass on to his sons the values, the heritage and the rich traditions of his family, which he cherishes and holds in great regard.

On the other hand, Nandini has different dreams and aspirations for her two sons. But she shares a special bond with Rahul, the eldest son, who's an adopted child.

Rahul's adoption has always been kept a secret. But ever since Rahul himself found that out at the tender age of 8 years, it has been the reason for his unending devotion and gratitude for his parents – especially his father. His father's every word, every wish becomes an unwritten commandment for him. One that he would never break, but unfortunately he does.

Because Rahul falls in love!

Rahul falls in love with Anjali (Kajol), a bubbly girl from Delhi's Chandni Chowk, who dotes on her younger sister Pooja (Kareena Kapoor) and cares madly about her ailing father Bauji (Alok Nath). A simple girl who Rahul marries and brings home. A girl that makes a proud stubborn man forget that he is a father and reminds a son that he is adopted.

Rahul decides to leave the mother who taught and encouraged him to fall in love and whose every waking moment henceforth will be spent waiting eagerly for her elder son to return home.

But Rohan makes a promise to re-unite the family.

Assembling a mammoth star cast like this must've been a Herculean task. But justifying each of the characters merits the highest praise. With KABHI KHUSHI KABHIE GHAM, Karan Johar proves that KUCH KUCH HOTA HAI was no flash in the pan. With KABHI KHUSHI KABHIE GHAM, the young director confirms the fact that he is the brightest in film firmament.

The premise of KABHI KHUSHI KABHIE GHAM is simple, but it is the storytelling that deserves the highest marks. Actually, the very start of the film makes you sit up and look forward to this thoroughly entertaining ride that lasts 3.30 hours.

Handled with utmost sensitivity, the subject slips between emotional sequences to dramatic confrontations to light moments [aplenty in the second half!] with utmost ease. There are several sequences that leave an indelible impression and remain etched in your memory even after the show has ended. Some instances:

In the first half –

1. SRK's introduction [at the end of the title track], with Jaya Bachchan staring anxiously at the entrance.
2. The emotional scene between SRK and Rani Mukerji, soon after Amitabh announces their marriage.
3. In the Chandni Chowk mela, SRK making Kajol wear the bangles, while admitting his love for her.
4. Alok Nath's demise on a rainy day and SRK marrying Kajol soon thereafter.
5. The confrontation sequence between Amitabh and SRK when the former states that by marrying Kajol, he has proved that he is an adopted son.
6. Jaya Bachchan giving kangans to her newly-wed bahu Kajol, after both SRK and Kajol have been turned away by Amitabh, and then asking the couple to leave the house.

In the second half –

1. Kareena's introduction and the subsequent sequences with her friends and college mates.
2. The rendition of the national anthem by SRK and Kajol's kid in London.
3. The telephonic chat between Jaya Bachchan and Kajol just before the karwa chouth sequence.
4. The shoe lace sequence between Hrithik Roshan and Farida Jalal.
5. The emotion-charged sequence between the two brothers – SRK and Hrithik – when SRK learns of Hrithik's true identity.
6. The scene towards the pre-climax, shot in a shopping mall, when Jaya Bachchan and SRK meet after a gap of nine years.
7. In the same shopping mall, Kajol coming face to face with Amitabh.
8. Jaya Bachchan's 'pati parmeshwar' scene with Amitabh – giving vent to her pent up feelings.
9. The confrontation sequence between Amitabh and Hrithik Roshan towards the climax.
10. The very last scene, when Amitabh re-unites with his estranged son, SRK, and asks for forgiveness.

These are just a handful of sequences that display the masterly touch of a craftsman – Karan Johar – whose labour is visible in every frame. He is the actual hero of the film. The USP of the film, besides the star cast of course, are the emotional moments and scenes soaked with values, which are undoubtedly heart rending. Moreover, the director has very well justified all the six principal performers. The first half has its moments of glory, although the pace drops slightly, but it is the second half that keeps you spellbound.

Besides the above-mentioned well-written and brilliantly executed sequences, the film is also embellished with stunning choreography (Farah Khan), opulent sets (Sharmishta Roy), trendy outfits (Manish Malhotra, Shabina Khan, Rocky S.) and outstanding visuals (Kiran Deohans).

Musically (Jatin-Lalit and Sandesh Shandilya), the score ranges from the upbeat ('You are My Soniya') to the mesmerising (the title track) to the soulful ('Suraj Hua Maddham') to the catchy ('Bole Chudiya'), offering a wide variety to the viewers. The 'Shava Shava' track (Adesh Shrivastava) will be loved by the masses, more so when Amitabh breaks into the 'Aati Kya Khandala' jig immediately after this song.

And now to the performances!

It's indeed difficult to pinpoint the best performer of the lot. Footage-wise, SRK dominates the first half, while Hrithik dominates the post-interval portions. Amongst leading ladies, Kajol towers in the first half, while Kareena displays histrionics in the second half.

Amitabh Bachchan delivers yet another power-packed performance, although his role is similar to the ones in MOHABBATEIN and EK RISHTAA. The sequence in the end, when he re-unites with SRK, is simply fabulous. Only a seasoned actor could've enacted this lengthy, difficult scene.

Jaya Bachchan delivers a performance that will win her laurels and accolades. She contributes enormously to the emotional moments in the film. Her 'pati parmeshwar' sequence is simply awe-inspiring.

Shah Rukh Khan sparkles yet again. His character is such, you can't help but fall in love with this selfless man. And the actor performs it with amazing poise, class, honesty and maturity. His re-union with his mother and the father subsequently will prompt people to shed bucket-full of tears.

Kajol is first-rate in the role of a typical Chandni Chowk lass. Her Punjabi dialect will win her immense praise. The sequence when she seeks Amitabh's aashirwad, without him knowing about it [in the shopping mall], is terrific.

Hrithik Roshan looks dashing and handles the delicate moments with admirable ease, proving yet again that he is not merely a excellent dancer and a great looker, but a superb performer as well. The confrontation with Amitabh in the concluding reels is ample proof to substantiate this statement.

Kareena Kapoor is one of the main the highlights of the film. She provides the much-needed fun and entertainment in the second half; her performance will be loved by the youth. Playing a cosmetic beauty to the hilt, she is simply adorable.

Rani Mukerji leaves a mark in a small, but significant role. Farida Jalal, Achla Sachdev, Sushma Seth, Himani Shivpuri and Johny Lever lend admirable support.

On the whole, KABHI KHUSHI KABHIE GHAM will re-write box-office history. Its massive star cast, historic opening and extra-ordinary merits will unquestionably make it one of the biggest grosser of all times. For the drought-stricken film industry, the film will prove to be khushi, more khushi and only khushi.

Rating:- * * * * ½.

What the hell is a four and a half rating? I thought Taran rated out of four! So I guess this movie gets over 100%, huh? Honestly, this is so typical - I knew he'd give the film a perfect review...