Kabhi Alvida Naa Kehna (Never Say Good Bye), August 2006, 197 min, Dharma Production
Disturbing, Devastating yet Irresistible
If you enjoyed Adrian Lyne’s “Unfaithful” or Ricardo de Montreuil’s “La Mujer de mi Hermano” (My Brother’s Wife), then you will appreciate Kabhi Alvida Naa Kehna (Never Say Goodbye). Director Karan Johar tells the tale of human drama superbly with brilliant and persuasive storytelling of stolen glances, telling smiles and shuddering stares. To say this film is thought provoking and serious is actually an understatement. This provocative drama will be remembered as the affair that ended all affairs.
This is a film about lives of ordinary metro-sexual middle-class America, comfortable financially and on upward climb of the American dream. Director Johar has mastered depicting the typical scene all too common in metropolitan USA where the dream is flourishing but marriage is decapitated.
Meet Dev and Rhea Saran of Connecticut. They have attained complacency in their marriage; too old to change, too important to dwell on it and too little time for therapy. So, what does Dev do…pin his hopes and dreams on borrowed time and stolen moment.
Meet the Talwars of Upper Manhattan. Maya, a school teacher, isn’t looking for an affair when she collides with Dev Saran at the train station. Maya is searching for salvation from her own self. She is unable to grasp self betrayal that is destroying relationships around her—compromising her own needs, her own dreams to accommodate. As law of attraction would have it, she finds herself in Dev; oddly enough, he becomes her conscious. “Are you happy?” he asks. 
Hauntingly directed, “Never Say Goodbye” is a cautionary tale of a journey into the seemingly insignificant choices we make and the weight of their consequences. Emotionally caustic, what makes this film controversial is its realistic depiction of relationships and the powerful dialogue that not only stings but leaves an everlasting scar. The director takes our emotions hostage, forcing us to engage with each character’s pungent emotions in every scene: the confusion, the self doubt, the insecurity, the guilt, the frustration, the sadness ….as if it is a warning signal. Suddenly, it occurs to you that you know somebody who is going through the same scenario. It is almost like watching him or her on screen. This is when you begin to toss and turn as if you just developed constipation. How many of us have been at a wedding knowing this marriage is already over and done with. How many of us listen to a friend talking to her husband with indifference and apathy and wonder when is he going to walk out of her life? The depth of character development, shadowed by the impossibility of placing blame, leaves us with sense of values shaken, at the very least, questioning our values rationally conjectured through the changing morals of today’s society. Yes, Johar with his mastery in storytelling had managed to make us think about our marital relationships, transcending boarders, nationalities or ever cultures. This is not the typical Bollywood movie but again typical is not what Karan Johar is known for.
Casting
Dev Saran (Shahrukh Khan), fallen football (soccer) player, is married to sultry Rhea (Preity Zinta), DIVA fashion magazine executive. Depressed and desensitized school teacher Maya (Rani Mukherjee) is married to her childhood friend Rishi Talwar (Abhishek Bachchan), a dashing owner of a PR firm, Kamikaze. Samar “Sexy Sam” (Amitabh Bachchan) is Rishi’s father who leaves for the next hump, and Kamal (Kirron Kher) plays Dev’s mother who seem to manage a catering company.
Maya is full of self-doubt and her inability to trust herself is what makes her untrustworthy. Sure, Dev is the perfect distraction with full of promise that comes with “I understand you babe” assurance. Sure enough, he becomes her salvation. Ironic because he is a basket case himself on his way to self-destruction. Their infidelity begins, not with grinding bodies, but the emotional kind with endless stares and casual chats, sharing the depth of their pain and touching the center of their sorrow; the kind of intimacy that is reserved for a spouse. Rani literally writes Maya’s story across her face in an exhilarating and sometimes unsettlingly realistic performance. Her portrayal of Maya with a tangible display of visible emotion is superb. Those eyes, tell a story all by themselves, like a lost puppy in the Big Apple. Her glances are like heavy artillery that will disarm any man.
Take the self-loathing, sarcastic Dev Saran (played disturbingly by Shahrukh Khan), who has an axe to grind with everyone making him unlikely candidate for an affair. He can’t seem to snap out of his anger of his ending career as a football (soccer) player and the loss of star’s seductive lifestyle. He is like an angry wild cat: unfulfilled, unhappy and desperately needing therapy. His encounter with Maya seems random and uneventful at the beginning but something about that scene sits in your psyche: the gesture, her glance, his gaze and the intimate nature of the dialogue. Who has this kind of conversation especially in New York City? What bench was that anyway? While you feel the intense chemistry, there is no explosive emotional scenes to follow (we wish). Johar is treading thin here; he does not want his audience to feel like the characters are in lust. In a brilliant centerpiece, so effectively and carefully does Johar tell a love story, not an affair. He elects to ignore the elements of sexual chemistry and the notion of impulsive passion. If you were eagerly waiting for Samantha Jones’ Sex and the City scene, you will be disappointed. Rather, he makes us follow Dev and Maya all over Manhattan: from Central Park, to trendy Meat-packing district to what looks to me like Midtown, dragging our emotions with it along the predictable road to disaster. The director takes his time to build the attraction between Maya and Dev stressing the ordinariness of the relationship which strangely makes the motivation for affair seem mysteriously tantalizing. It is particularly tormenting for those of us who are used to reasoning an affair: sexual fetish, fantasy, boredom, over-indulgent, money, disturbing psycho-sexuality….something! The audience is reduced into guessing clue to this rendezvous. The truth is, at the end I was so emotionally exhausted I did not care what the deal was. I just wanted the them to have the affair and get me out of my misery.
To say this role is a departure for Shahrukh Khan is beyond simplification. In his long and memorable filmtography, Shahrukh’s roles have always reflected a sense of raw masculine energy, rugged elegance, unwavering confidence and/or a polished style we’ve come to expect. His successful departure from this stereotype in this role provides the perfect element of dimension to a character we might otherwise overlook. Ironically, it’s he who proves to be the film’s heart and soul; his complex personality grounds both the movie and its two intertwined stories. Shahrukh’s attraction to the role would be obvious: the very textured, the intimate and realistic script, the topic itself if not interesting, it is disturbing. Disturbing indeed, his portrayal of Dev escalating toward infidelity might well go down as one of the most terrifyingly believable scene in Hindi film history. No doubt this movie did not go well neither with the audience in India nor his fans. By succeeding in making us uncomfortable, he mastered his trade as an actor and has done his job superbly. However, as a hero, he did shake our very foundation. How do you bear watching this larger-than-life hero commit adultery?
A refreshing character in this film is Rishi, played so wonderfully by Abhishek Bachchan. He seems so natural in this character where no dialogue is forced or overacted. You can’t help but love and respect the way he played this character. His natural charm, looks and an endearing sense of humor attracts anyone irresistibly….except Maya that is. I just so adore the kitchen scene when Maya asks for his pants; that was a Kodak moment. Another remarkable and memorable moment in this film is Abhishek’s Oscar performance of the shuddering, raging howl of a breakdown, stunning the movie into silence. The body language enough makes you shudder. Sure enough he won Best Supporting role in 2006 Global Indian Film Awards, 2007 Stardust Awards as well as Filmfare Awards.
I can’t help but notice how well this role suited Preity Zinta surprisingly I might add. Truth be told, while she is a wonderful actress, this role is far removed from eye-fluttering, flirtatious role she is used to playing. With dazzling grace, iron strength but visible vulnerability, it is truly a delight to watch her on screen. I like how she carried herself with dignity until the end. She feels like a New York executive, with arrogance that comes from confidence and full knowledge of self where “I” comes first. For a society literally high on sex and high on designer heels taking a queue from Sex and the City, no doubt you will cheer for Rhea Saran, the independent, intelligent, confident metro woman living life seemingly in her own terms. “If your husbands leave you, trust me you’re better off”, she says to her colleagues. To be number one is her very goal; being number two is not an option. You notice in her character’s typical crass disdain of her husband’s feelings. “No one want to see you”, she tells him. “The truth is I am the man in this house” she says. If this doesn’t break a rocky marriage, I don’t know what will quite frankly. “I am the man whom you have not become”, she tells Dev, an emasculating line that’s meant to provoke debate. It does not take Dr. Laura Schlessinger to predict where this marriage is likely to go. You notice the marriage was over long before the affair began.
On the upside, apparently this role was given to Rani Mukerji originally. Although hindsight is 20/20, I can’t see Rani playing the role of high-power fashion executive. By the same token, I can’t see Kajol who initially was offered the role of Maya Talwar, playing this role. Rani brings certain vulnerability and softness yet elegance to the character. Her warmth and sensuality on screen is like a magnet even as the secrets and lies unfold before her with dreary inevitability.
What would this movie be without Sexy Sam? We would have had an emotional breakdown otherwise. At least Sam managed to lesson the seriousness and intensity of the theme. Who better to play this role than Amitabh Bachchan, a superb actor and most elegant to date. The dance sequences are priceless.
Memorable Scene.
While there are so many scenes that haunted me, I can’t get over Dev’s only passionate scene in this film leading up to the hotel. Although beautifully filmed, the hotel scene was remarkably devoid of emotion and detached from any feelings. I felt like someone fast forwarded it to the end of the scene. I wanted his face lighting up to see her as if someone turned the switch on. I wanted their limbs twisted like a vine, embracing each other. I longed them to find refuge in each other’s embrace. How about a flame of desire that ignites without any reservation, any guilt, any grief, sorrow or despair? As writer Amy Tan once described it, “Leap like wolf mates reunited, searching for that which identifies us as belonging to each other; the scent of our skin; the taste of our tongues, the smoothness of our hair… the slopes and creases we know so well yet feels so new. He is wild and I am tender, nuzzling and nipping, both of us tumbling until we lose all memory of who we were before this moment, because at this moment, we are one.” If not my expectation, this was my wish for them, to let their love and passion be the guide of infinite possibilities.
While seeing shirtless Shahrukh might have been worth the wait, this scene left me hopeless. All I am saying is if you are to risk your marriage, make it worthwhile, make it count and most of all do it with all your being as if every breath depends on it. I still believe the best and most passionate affair scene of Shahrukh was with Maya from his 1993 film Maya Memsaab, an adaptation of Gustave Flaubert’s novel, Madame Bovary. You hear the intoxication in their breath, see the flame in their eyes, and feel the electric leaping from him to her. It was raw, real, unrefined and evocative with sweat animal impulses where nothing exits but the two. Now that is an affair of the century right with Bernardo Bertolucci’s Last Tango in Paris, not because of the nude scene (although the flashed bare backside did not hurt) but the audience is confronted with unexpected passionate sensuality and moreover the realism required to perform it actually gets you into a shock.
Fashion Statement
If you were wondering how in God’s name everyone managed to look slick in Karan Johar’s Kabhi Alvida Naa Kehna, the answer lies in the power of Manish Malhotra. He gives metro-glamour a new look and inspiration with his classic fashion statement. For mental-case Dev, Manish managed to make him look like a typical New Yorker with grungy gabardine jackets, blazers with tees and jackets in black and military green suitable to his mood. Meanwhile, for the sexy PR consultant Rishi, Abhishek had lots of wild and vivid colored collars which makes him look retro and unbelievably young and handsome although I particularly like the simple Jeans look. I don’t know if I am all about high-flipped collars with matching colorful shirts. I have to admit, Mr. Bachchan’s costumes are the coolest and most interesting. The white leather jacket with fur was something. Now, that is a father-in-law you want to have: hip, happening and busy in every sense of the word. Don’t even talk to me about the leather suit and red blazer. Go Rock Star!
While, Preity Zeita was all about classic glamour look, Rani was all about Chantilly lace, black corset, and colorful saris. I don’t know about you, Rani’s dominatrix outfit with matching whip was the prize winner. Now, we are talking about the shy, quiet, classy Rani; you’ve got to watch it to believe it. My suspicion is Aditya Chopra’s marriage crumbled once he saw her in this Domme outfit. True, his marriage was on the rocks, but the purple ribbon laced corset was the string that broke the camel’s back. Is this leather or vinyl? Never mind. Well, if all goes well, we can all agree that Rani will not have a father-in-law like Sexy Sam, not in this lifetime anyway. Enough with the naughtiness, I have to say, she pulled it off very well. This has to be most memorable scene of the movie. Wouldn’t you want to know where she got it, just out of curiosity? When you reach India on that vacation trip, visit Manish Malhotra’s Pali Hill in Bombay and grab the Sari (not the WIC wear) or catch one his year-round fashion shows.
Overall
“Never Say Goodbye” turns out to be a treat for literate moviegoers juggling the ethics of infidelity on one hand and the right of choice on the other. In the US, we celebrate individualism more than any other societies and so we believe that we are entitled to make choices that maximize our personal happiness. When a marriage becomes unsatisfying, difficult or burdensome, it can be dissolved easily relatively anyway. Ironically, for a country that really believes in love-based marriage, we suck at it. The incisive portrait of marriage today is “The Marriage-Go-Round,” as author Andrew J. Cherlin’s puts it. On the other side, for traditional societies like India where divorce is highly stigmatized socially, this film brings the social issue into surface. A social order where personal choices take secondary to family preference, the film is hard to swallow. Leave it to Johar to play it cleverly with a social message. On one had, he upholds the notion that love is worth fighting for and never to be compromised. On the other hand, if you are in a “loveless” marriage, be prepared to pay the emotional and physiological price to attain your soul mate. Love it or hate it, if this is not most believable and powerful movie ever made about modern marriage, it may have been the most natural film ever made and hence most liberating. Grab your cosmos or pink martini and let’s discuss passionately.
Film Track
Soundtrack to the film was performed by the musical trio, Shankar-Ehsaan-Loy with lyrics written by Javed Akhtar (with English Substitles).
Mitwa (My Believed) by Shafqat Amanat Ali, Shankar Mahadevan & Caralisa is a song of infidelity. Johar substitutes visual image for what seems to be a dangerous and sensitive narrative. This is Dev’s songs where he looks at deep within himself and realizes that he is willing to disappoint others to be true to himself. He is willing to be accused of betrayal rather than betray his own soul. “Oh heart, whisper to my ear which way are you headed” he says to himself. Dev’s laugh in this scene was priceless.
Where’s The Party Tonight by Shaan, Vasundhara Das, Loy Mendonsa & Shankar Mahadevan is truly Rishi and Rhea’s song. It is contemporary with high energy, conveying the life of the bold and the beautiful contrasted against the unfaithful. High energy fully charged and hip, the beat is enough to make you get up and dance. Leave it to DJ cameo John Abraham to heat up the room. So, party with those who work hard and play hard. In contract, with its simmering scene that never gets heated, dark interiors but photogenic cast, this video makes cheating in every light flattering and everyone beautiful. With elegant images and close-ups, it gives a lasting image to the expression, “Dance with me all night”.
Tumhi Dekho Naa (When did We Reach Here) sang by Sonu Nigam & Alka Yagnik, this song to me is about beauty even when it is not pretty. This may sound simple but simply is never easy. This is the first time both Dev and Maya recognize the beauty in each other and the beauty they bring to each other despite the circumstances. Dev is not only willing to receive it (amen to that), but is also open to renew and rejuvenate her. While the song is slow, it give us the opportunity to see the magic of Rani’s Saree selections (counted seven) that will make you wish you were the actress (don’t even mention her partner). It amazes me how she makes a sari look sensual and sexy (especially backless ones). Amen to designer Manish Malhotra. P.S., What happens to all these saris once movie is made?
Rock N Roll Soniye sang by Shankar Mahadevan, Shaan & Mahalaxmi Iyer is Talwar Sr.’s song with all its sexual innuendo it can afford. He brings a breath of fresh air, a remedy in a constipated environment. Don’t forget to notice his unbelievable party outfit. Go Sexy Sam.
Kabhi Alvida Naa Kehna (Never Say Goodbye) by Sonu Nigam & Alka Yagnik is about punishment and redemption to me anyway. Unforgiving, the guilty party has deserted and has become an outcast. Yes, the guilty fornicator forfeits the rights for love and is caste in the shadow of loneliness and isolation. Philly is totally the place for punishment and repentance (for three years!). Johar, even the Old Testament God is more forgiving.
Farewell Trance by Shweta Pandit & Caralisa.
Official Site: http://www3.dharma-production.com/KANK/launch.html
Disclaimer: I am not affiliated with any studio. This commentary is simply a labor of love for Hindi cinema. Copyrights to images, soundtrack and music videos are owned by the respective publishers while copyright to this commentary on my blog page is owned by me. Videos published here are with the intention to encourage the larger audience to watch the film and give Hindi-impaired enthusiasts the chance to understand the lyrics without it would have been not only unbearable to watch but also missed opportunity to appreciate the utter beauty of poetry in Hindi songs. Unfortunately, nearly all publishers and studios do not post their videos with English subtitles not to mention they don’t allow embedding their videos (don’t believe in viral marketing, scary but true). So, removing this video serves no purpose.
If you like Joel Zwick’s My Big Fat Greek Wedding (2002), you will appreciate this movie. While Big Fat Greek Wedding is between two Americans of different sub-culture, Pardes is a story about Indians from two different cultures. There have been countless films about immigrants and collision of races, cultures, and classes. Movies that come to mind in recent past are Crash and Traffic, multi-character dramas about the illegal immigrant experience in Los Angeles. On a lighter note, there is Mira Nair’s film Namesake (2006) about a tale of a first generation son of traditional Indian immigrant parents. Remember the Oscar-nominated Dirty Pretty Things (2003) by Steven Knight? This was a thriller about a gruesome London underworld preying on the fear and desperation of immigrants. How about Guru (2002)? Directed by Daisy von Scherler Mayer about Ramu (Jimi Mistry), a UK dance instructor who migrates to the US to become a film star but ended up becoming a sex guru for the rich and famous. While we are not short of immigrant films, none has ever captured the generational cultural gap so sensibly as Pardes.
Beyond his devastatingly good looks and the fact he speaks Hindi as a foreign language, Apurva actually embodies nothing of India. More importantly, he has no interest in what is Indian. Ghai spends a considerable time in formulating this. This portrayal is a hard pill to swallow for Indian immigrants and no doubt the movie must have polarized audiences more than any other film in recent years. How Indian (or any other nationality for that matter) are you expected to be if you were born and raised abroad be Dubai, Australia, UK or US? This is a question every first-generation immigrant struggles with. Ghai’s screenplay with acute attention to every nuance and dialogue, significantly deepens the nature of migration and its impact on generational families.
Everything about her- full lips, high cheek bones, flashing whiskey eyes, and unbelievable body flushes with sensuality. For some reason, she reminds of Sophia Lo
ren. Although Juhi Chawla and Madhuri Dixit were considered for the role of Ganga, Mahima Chaudhry finally got the part and amen to that. Despite the fact that I am a fan of both Madhuri and Juhi, a new fresh face opposite of Shahrukh Khan did a lot of good for this movie. Indeed what a screen presence! We definitely are not disappointed.
Kareena Kapoor is equally terrific as the tough fallen Princess of Kalinga. Kareena does an astonishing job of portraying the sexually insatiable Princess at many stages of dress. She is saucy and heedless at first, headstrong when she needed to be, as well as but smart, and able to learn. Her stunning portrayal of Kaurwaki, emanating both the poise and valor of her character makes her irresistibly watchable. As the protective sister and fierce worrier, she’s a lioness who’ll strike dead any potential predator who may cause harm. I absolutely adored of Kareena in this film. There are many unforgettable close-ups scenes revealing her facial expressions and body language giving the character life. The portrayal of a strong leader without an alliance with a man is indeed a rare but refreshing scene in Hindi Cinema. Her journey from fright and despair to resistance is played with considerable skill. Sivan mercilessly concentrates on her condemnation and agony with all the fervor of a fanatic. But his film would be nothing without the charismatic and emotional performance of Kareena. In fact, Sivan’s entire cast does an admirable job of bringing ancient history alive onscreen.
resemble conventional music video. Although the lyrics are memorable, what is more captivating is the dance choreography, thanks to Brinda, Geeta Kapoor and renowned 
The story is about a man’s journey to save his marriage, as it’s tearing at the seams. Arranged marriage by her dying father, his young wife Taani, played by new comer 20-year old Anushka Sharma, reveals to him that she has no love to give, even before the honeymoon begins. Here is the usual love story with unusual dilemma; a loveless marriage. Believe me, there is no money, no glitter, and no glamour either. So, how in God’s name does a man make his woman love him, SLOWLY, SLOWLY! This is where the story gets interesting. Rather than submerging himself in alcohol or therapy, Surinder “Suri” Sahni, played cleverly by Shahrukh Khan, decides to seduce his wife by becoming “the ideal lover”, straight out of Robert Green’s best seller “Seduction”. He transforms himself into a hip flirtatious, flamboyant carefree Raj to win her love.
EYE ON BOLLYWOOD 