100 Essential Indian Films by Rohit K. Dasgupta & Sangeeta Datta

Author:Rohit K. Dasgupta & Sangeeta Datta [Dasgupta, Rohit K. & Datta, Sangeeta]
Language: eng
Format: epub
Publisher: Rowman & Littlefield Publishers
Published: 2018-09-18T16:00:00+00:00

• K •

KABHI KHUSHI KABHIE GHAM . . . / SOMETIMES HAPPINESS, SOMETIMES SORROW (2001)

Director: Karan Johar

Story/Screenplay: Karan Johar, Sheena Parikh

Producer: Yash Johar Films

Cinematography: Kiran Deohans

Editing: Sanjay Sankla

Music: Jatin, Lalit, Sandesh Shandilya

Cast: Amitabh Bachchan, Jaya Bachchan, Shahrukh Khan, Kajol, Hrithik Roshan, Kareena Kapoor

Language: Hindi

Specs: 210 minutes; color

Availability: DVD (Yash Raj)

Kabhi Khushi Kabhie Gham . . . (Sometimes Happiness, Sometimes Sorrow), also known as K3G, is Karan Johar’s hugely successful second film. It was a huge box office success not only in India but also globally, becoming the first Indian film to have a theatrical release in Germany. Made on a huge budget of $5.9 million, it grossed more than $20 million at the box office. Like his earlier film, Kuch Kuch Hota Hai (Something Happens), K3G boasted a stellar cast of top actors from Bombay, opulent sets, and a family-oriented story line that catered chiefly to the masses.

The film’s tagline “It is all about loving your parents,” signals the plot of the movie. Yashvardhan Raichand (Bachchan), a business tycoon and the patriarch of the family, is set in his traditional ways. He is opposed to his older son Rahul (Khan) wanting to marry Anjali (Kajol), who is not from the same class background. He instead wants him to marry Naina, played in a brilliant cameo appearance by Rani Mukherji. Things go badly in a confrontation, and Yashvardhan reminds Rahul that he is adopted and has shown he can never live up to the Raichand family name. He asks Rahul to leave the house when he comes home after marrying Anjali. A few years later, we see the younger son Rohan (Roshan) vowing to reunite his broken family. He travels to London where, with the help of Anjali’s sister Pooja (Kapoor), they plot how to reconcile Rahul and Yashvardhan. Finally, after a series of tense dramatic sequences, we see the family reconciling at the funeral of Yashvardhan’s mother.

The film set a precedent of sorts. Conjuring a dream world of opulence and plenitude, Bakshi says it managed to seduce aspirant lower classes and the masses to create a world that is identifiable yet a hyperbolic representation of the one inhabited by India’s new upper-middle and higher class. The film also partnered with several merchandise companies offering K3G merchandise, a formula that Johar’s subsequent films all tried to follow.1

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