KYON KIï¿½ is special!
- It teams Salman Khan and director Priyadarshan together for the first time.
- It also pairs Salman and Kareena for the first time.
- It is inspired by a classic Hollywood flick and it would really be interesting to see how the makers have Indianized the story.
- Most importantly, it comes at a time when Salman's career is at all all-time high, with a number of hits under his belt, the recent one being NO ENTRY.
All these factors put together only enhance your expectations from the movie. Unfortunately, KYON KIï¿½ disappoints.
The problems with KYON KIï¿½ are manifold. If the story fails to involve you [it's outright predictable], even the grip, so vital in a love story that promises loads of drama, is clearly missing.
With three accomplished names [Salman, Kareena, Priyan] teaming up for the first time, you expect fireworks, but what you get in return is old wine packaged in a new bottle.
Priyadarshan has missed the bus this time!
Anand [Salman Khan] is in love with Maya [Rimmi Sen]. Maya too loves him, but is always out to play a prank on him. Anand and Maya are planning to marry, but Maya's prankish nature results in a freak accident in which Anand throws her in a swimming pool on their engagement day, not knowing that she can't swim. Maya diesï¿½
A devastated Anand is convinced that it was he who killed Maya. Unable to overcome the shock, Anand loses his mental balance and is hospitalized.
Strict and old-fashioned Dr. Khurana [Om Puri] strongly believes that brutal force and oppression are the only way to tackle insane patients. Initially, even Dr. Tanvi [Kareena Kapoor], his daughter, feels the same, but she has a change of heart later.
Dr. Sunil [Jackie Shroff] develops a special bond for Anand. He also gets to know that Anand's family was instrumental in making him a doctor.
Anand revolts against the strict hospital regime and rebels against the system. Dr. Tanvi takes up Anand's case and treats him with utmost compassion. Anand gets completely cured, but during the course of this treatment, Tanvi loses her heart to Anand.
But the father is against the matchï¿½
Remake of Priyadarshan's Malayalam film THALAVATTAM, which was loosely based on ONE FLEW OVER THE CUCKOO'S NEST , KYON KIï¿½ is one of the most predictable stories to hit the screens in the recent times. Starting with sequences in the hospital and going into a flashback [Salman-Rimmi's love story], to Kareena learning the truth and the Salman-Kareena love story subsequently, the story is such that it doesn't need much to guess what's in store next.
The screenplay of KYON KIï¿½ is a major stumbling block. The narrative is devoid of anything exciting. Perhaps, Priyan wanted to strike a fine balance between pleasing the elite and the aam junta, but neither does the drama have the stamina to strike a chord nor does the emotional quotient tug at your heartstrings. The formula may've worked in the 1970s and 1980s, but it's a complete misfit today.
The hospital sequences at the start of the film actually put you off completely. The way the nurses and hospital security thrash mentally challenged people black and blue is highly objectionable. How could such brutality on patients be depicted on screen in the first place?
Another glaring flaw is that the moment Salman regains his memory, he starts singing and dancing with the doc [Kareena] who treated and cured him. Hello, but wasn't the untimely death of his fiancï¿½e [Rimmi] a major setback for Salman which made him lose his mental balance? Can anyone overcome such a major crisis in a jiffy?
Even the Suniel Shetty track -- Om Puri fixing Kareena's marriage with Suniel -- is least convincing. The Manoj Joshi outburst also looks completely forced. Ditto for the end, which is very depressing.
Priyadarshan's direction is an absolute letdown. It just doesn't look like you're watching a Priyan film, for there's not one scene that has the unmistakable stamp of a genius. Also, the director is letdown, and terribly at that, by a lifeless screenplay.
Himesh Reshammiya's music is okay. A few numbers are seeped in melody, but a hit score is clearly missing. 'Dil Keh Raha Hai' and the title track can be singled out, but the remaining tracks are passable. Cinematography [Thiru] is eye-catching, especially the locations of Romania. Dialogues [Sanjay Chhel] are quite nice at places. Editing is loose, with the second half going on and on endlessly.
Salman Khan delivers an honest performance right through. He may not be as convincing as Sanjeev Kumar in KHILONA, but it's a pleasure to watch Salman shed all inhibitions and come up with a near-perfect performance. Kareena Kapoor is natural to the core. Clad in cotton saris with minimal makeup, the actor shines even in a non-glam role.
Rimmi Sen doesn't really get scope to display histrionics. She is strictly okay. Jackie Shroff gets ample footage and he is likeable as well. Suniel Shetty is wasted in an inconsequential role.
Om Puri plays the Hindi film villain of the 1960s, shouting and screaming throughout the film. Asrani is alright. Manoj Joshi is loud.
On the whole, KYON KIï¿½ lacks the power and punch generally associated with a Priyadarshan film. At the box-office, it's a complete letdown.