Revolution Evolution

Ok people. Here’s a warning that a lot of you have been asking me for, for a while, so here goes:

***Warning: KANK Spoilers Ahead***

What goes to make a Karan Johar film, a Karan Johar film? There’s the colors, the emotions, the song, the dance, the ‘cool’ factor, or rather the “wannabe cool” factor. (You know .. the one that Dil Chahta Hai achieved with flying colors, and the one that K3G and KHNH tried so hard but didn’t get even close to).

From the directorial point of view, there’s a few things that Karan seems to adore:

(1) The whoosh, fade through white touch, between different camera angle shots.

(2) Those profound lines that don’t mean too much, but carry gravitational intensity – a la “Mera pehla pyaar adhoora reh gaya, Riffat bi”.

(3) The delicate usage of the instrumental versions of songs in the background score.

But given the safe-house chocolateyness that made Karan Johar films so rainbowish, he re-surfaces with KANK.

To those who haven’t seen it, Don’t view KANK with the hype-tinted glasses that the world does. Don’t view KANK with the expectations of a Karan Johar film, with the anticipation associated with India’s largest casting coup. KANK’s biggest fear factor is the wave of enthusiasm that might cause it to be swept away by many, and not viewed as the emotional juggernaut that it truly is.

I would have to admit that KANK is, by far, one of Karan’s most “real” movies. Real because the characters are weak. Not in portrayal, but in essence; in character itself. In the past, he has always tried to portray people as larger than life – overtly gregarious, overtly rich, overtly happy – but this time, he makes an effort to make them seem rather … susceptible – to the innate power of circumstance.

The first scene that struck me was Shah Rukh’s accident – the starkness of it all. The vertically receding angle, his expression. Nicely done. Although I felt that the immediate contrast of how he has turned ‘mean’ because of his injury was sudden, but you know how Karan likes it in your face (pun severely intended).

Amitabh was the legend that he has always been – a tad bit over the top, but I can’t imagine anyone else in his age group, pulling off Sexy Sam, with the panache that he did. His relationship with Abhishek, was perhaps one of the most subtle father-son portrayals I have seen, which was brilliant. Rani was truly eye-caressing. Preity was barely tolerable.

I’m glad that the characters were centralized. They made the film what it is. Its usually a Dharma habit to throw in a bunch of nonsensical characters for comic appeal – like I was expecting a gay Sardar to bounce onto the screen, or a giggly gaggle of aunties straight out of Geriatric Park – but Karan was on a different track.

It is the “weakness” of his characters that comes across as surprising. You would notice that for the first time, a major film has highlighted more on the negatives of characters, than their positives.

Shah Rukh’s anger.

Preity’s resilience.

Rani’s pessimism.

Abhishek’s insecurity.

It is only once you sink your teeth into the meatiness of these characters, that you begin to experience where the film is coming from. Karan chooses the backdrop of New York City (and at times Philly), which has come to be recognized as a city that makes you ensconced by the most temporary of things.

But the key factor is that Abhishek stole Shah Rukh’s Thunder to the capital T, with sullen simplicity, and sheer “coolness”. Its probably because King Khan has got a personality that insists upon itself now. Could this be the beginning of the end of SRK? Who knows.

I loved the lack of resolution. The reality of the reactions. The fact that Amitabh’s death scene didn’t take an hour. The constant ricocheting of the film’s center of gravity, without losing soul. And what I truly, truly adored was the incoherence of who truly deserves the audiences’ sympathy or empathy at the end. In the turmoil of emotions that makes KANK, there is no guilty or innocent, no right or wrong.

Perhaps this is where critics were coming from, when they compared KANK to Closer. I see it now. Closer never resolved. And although KANK closes with the seemingly typical “Bollywood” resolution – the bittersweetness is what makes it different.

Do I think KANK is a phenomenon? Definitely not. But it has enough fire power to be an outstanding success, and enough mettle and diversity to be classified as a trendsetter.

Moments:

(1) The rain sequence where Rani litters, and Shah Rukh protests, outlining the role reversal. Reminded me of the scene where Kajol and Shah Rukh try to do their high school special hand-shake when they meet again in K2H2.

(2) The Amitabh-Abhishek jiggy in “Rock N Roll Soniye”

(3) The “Hi Rhea!” sequence where both Rani and Preity walk towards Shah Rukh. Brilliantly handled.

(4) One word: Kajol.

(5) The "I like Blue" sequence. Touching.

The picturization of Tumhi Dekho Naa, taking so much from the picturization of Pachai Nirame from Alai Payuthey - or rather for all you non-South Indians - the title track of Saathiya - was fairly decent, but the concept wasn't subtle enough like the rest of the film. Rani lived her role, except in the scene where Amitabh finds out and Rani is fumbling in the kitchen - that was awfully amateur. Shah Rukh and Rani kissing for the first time was missing passion the way Jain food misses spice - although their simple love scene later was elegantly done.

More Weak points? Right from the length to overcooking, too many for me to start with, and I think that everyone and their mother have covered most of them. The reason I’m not delving into them is because people need to view KANK for what it is – a film about the pursuit of selfish happiness, by a bunch of realistic, selfish and emotionally fragile 21st century-ites. The reason I’m not delving into them is because I could never say how anyone could’ve done it better or worse.

KANK stays within the confines of Bollywood, as much as it oversteps the lines, and that’s where it saves itself. I wouldn't be as kiss-ass as Taran Adarsh to say that KANK is 'bold'. I think films like Satya, Company and Page 3 are bold because they face stark reality, head-on - KANK explores the ongoing and eternal battle between the institution of marriage and the unpredictability of emotions - a challenge well-taken, but hardly bold. I don't think there is boldness in staring at yourself in the mirror and thinking twice about whether you're really living for yourself or someone else, asking yourself what you truly want, and whether you're truly happy. And that's what KANK does - it hands you that mirror.

In other news, ER - Nikhila was an absolute, ABSOLUTE doll! What a stunner! In that simple short’n’sweet role, she caught more Awwws than any other sequence in the movie. Bollywood calling!