At a dramatic moment in the film, Aditya Roy Kapur's Dev remarks that if someone’s wife is in love with another man, then what is the point of the marriage at all. At the heart of the story, the film focuses on how eternal love goes beyond the norms and rules of society, the trappings of religion, and all other physical and man-made boundaries. REVIEW: As the name suggests, 'Kalank' is a story that questions the high morals of society, especially when it comes to love and family ties. While their back stories and heart-breaking love saga unfolds, the history of India takes an epic turn, from where there is no coming back STORY: A complex love story set during India’s Partition era, where the young Roop (Alia Bhatt) is torn between respect for husband Dev (Aditya Roy Kapur) and her newfound love for Zafar (Varun Dhawan). And Sanjay Dutt, despite a limited screen time, still makes his presence felt all the same.Īll-in-all, watch it for the performances and the opulence.Ī VISUALLY STUNNING FILM TOPPED WITH GREAT PERFORMANCES Aditya Roy Kapur and Sonakshi Sinha look like a made-for-each-other couple and form the voice of reason, of sanity in the film. Varun Dhawan has got perhaps the most challenging role of his life and makes sure he delivers his best. You watch the film as much for Alia as for Madhuri. Alia Bhatt has gone toe-to-toe with the veteran and hasn't let herself get flustered in front of acting royalty. Madhuri Dixit looks ethereal and conveys everything with minimalistic expressions, saying more with her eyes than with dialogue. The entire cast has thrown itself wholeheartedly into the project. The film ends in a maelstrom of hatred which threatens to destroy everyone and everything. As a result, his reactions to situations turn increasingly violent. He feels the Hindu industrialists don't want Muslim artisans to progress. Zafar's best friend Abdul (Kunal Kemmu) represents the separatists who feel that Muslims can only be safe in a state where they'll be in a majority. It's set in an era where the demand for Partition was at its peak. The film just doesn't revolve around angst-filled individuals and their troubled lives. He can't consummate his marriage with his second wife as he doesn't love her. He has sort of rejected his father, and his ideology. Dev, for instance, can't forgive his father Balraj Chaudhary (Sanjay Dutt) for certain mistakes the latter made while he was young. His angst is mirrored in the life of others around him. For him, sex matters more than love because it's straightforward and uncomplicated. Zafar is a scarred individual because he's an illegitimate son. Themes of illegitimacy abound in this love story. Though Zafar isn't all he seems and maybe using her for reasons of his own. They slowly fall for each other, leading to emotional turmoil.
There, she meets Zafar (Varun Dhawan), a blacksmith, and sparks fly. She manipulates a kind-hearted Satya into getting her permission to learn classical singing from famed courtesan Bahar Begum, who resides in the infamous Heera Mandi. She gets married to Dev but soon finds herself to be a lonely bahu with nothing to do. She remembers an impoverished music teacher of her acquaintance who has three daughters and requests that his elder daughter Roop (Alia Bhatt) comes and live with them so that both she and her husband can know each other better. She wants her husband Dev Chaudhary (Aditya Roy Kapur) to be well-settled before she passes away.
Satya Chaudhary (Sonakshi Sinha) is dying of cancer and doesn’t have much time to live. Then, in the latter part of the film, when a train crowded with refugees leaves the station, the cancer of Partition manifests itself ever so briefly, taking away the false veneer of a dreamscape filled with beautiful locations and beautiful people, shaking us rudely out of our enchantment. The Raavan dahan sequence looks like a top Broadway production. You feel as if a dream is floating by in front of your eyes. The lake connecting to it seems like something out of Venice. The grand sets of Bahar Begum's (Madhuri Dixit) haveli are something straight out of the famous Versailles Palace in France. You marvel at the attention to detail as the fictional Husnabad comes alive in front of your eyes. The opulence of the film almost blinds you. Karan Johar is known for his larger-than-life films but this one, produced by him and directed by Abhishek Varman, beats them all by a mile.
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