Kalank (“Stigma“) is a middling extravaganza, neither as good nor as bad as it could have been. Lavish sets, impressive dance numbers, and a gorgeous cast make it an enjoyable enough one-time watch, so long as you keep your attention at surface level.
Set just before Partition, the story follows Roop (Alia Bhatt), a young woman forced to integrate into a wealthy Hindu family living near Muslim-majority Lahore under unusual circumstances. Her acquaintance Satya (Sonakshi Sinha) proposes a business arrangement: in exchange for funding dowries for Roop’s younger sisters, Roop will move in to Satya’s home and grow closer to Satya’s husband, Dev (Aditya Roy Kapur). Satya is dying from cancer, and she hopes Dev will marry Roop after Satya’s death. Roop insists that she’ll only enter the home as Dev’s co-wife — a prudent move since Satya otherwise wouldn’t be around to make sure her wishes are carried out after death.
The second marriage proceeds and Roop moves into the Chaudhry family mansion with Satya, Dev, and Dev’s stiff father, Balraj (Sanjay Dutt). It would have been interesting to watch Roop and Satya negotiate their evolving roles in the household (as Bhatt’s character Sehmat did in Raazi) and learn more about nature of their tense preexisting relationship, but filmmaker Abhishek Varman sidelines Satya. Her illness progresses off-screen, and she and Roop have few interactions after their initial one. It’s unfortunate how small Sinha’s role in Kalank is given her prominence in the film’s marketing and the quality of her performance in her few scenes.
Dev tells Roop that he agreed to the marriage to make Satya happy, and that while he will never be mean to Roop, neither he will ever love her. Perhaps it’s because of the limitations of Dev’s nature, but Kapur’s one-note performance in the role is not one of his best.
In order to escape her stifling home life, Roop undertakes vocal music tuition from the famed courtesan Bahaar Begum (Madhuri Dixit) in a working-class Muslim neighborhood. There Roop meets Gendry, er, Zafar (Varun Dhawan): a hunky blacksmith who’s the unacknowledged bastard son of — you guessed it — Roop’s father-in-law, Balraj. Zafar neglects to mention that to Roop so that he can use her to take revenge against the family that abandoned him.
Varman lays the melodrama on thick, with lots of longing looks, near-kisses, and simmering tensions between family members. It’s fun, if that’s the kind of story you’re in the mood for. The melodrama is enhanced by song numbers that are grand in scale and a delight to watch, especially when Madhuri Dixit takes the floor. The sets have a depth of field, and every rooftop and alleyway is populated with extras. Some settings do feel over-the-top for their location. Bahaar Begum’s brothel is apparently so successful that she can afford to stack chandeliers atop one another, and Blacksmith Alley’s festival budget tops the production costs of most Bollywood films.
Then again, I don’t think authenticity was Varman’s goal with Kalank — especially not with Karan Johar financing the film. Everything is big and glamorous, regardless of whether it makes sense. I’m not sure if the costumes are true to the time period, but they look fabulous. The cast members — particularly Dixit, Sinha, and Bhatt — look stunning under Devdas cinematographer Binod Pradhan’s lens.
Kalank gets its worst bang for its buck on an awful CGI bull-riding sequence involving Zafar that includes maybe one shot of an actual bull. I’m not sure why this made the final cut of the film, except that they must have spent a lot of money on it.
Kalank‘s larger-than-life relationship drama is set within a complicated political environment. While Roop is falling in love with Zafar behind her husband’s back, neoliberal Dev uses his newspaper to promote the economic benefits of bringing a steel mill to Lahore — a move that would decimate the local, Muslim-run blacksmith industry. Dev — who is also anti-Partition — thinks he’s just seeing the big picture, envisioning an India made prosperous by innovation. Never mind that only his family’s prosperity is assured by such advances, at the expense of a struggling lower class.
Dev’s main antagonist is Zafar’s friend Abdul Khan (Kunal Khemu, who’s excellent in Kalank), a politician responding to his base’s growing discontent. His own politics become more religiously divisive over time in part because of the mood of the neighborhood but also due to Zafar’s aggrieved goading. There’s an inevitability to the violent climax, and Khan admits he couldn’t stop it if he wanted to (not that he wants to, by that point).
Kalank‘s epilogue — featuring Bhatt in a weird direct-to-camera speech — suggests that all this trouble could’ve been avoided if we just set aside our differences and chose to get along. But could it? The plot makes a compelling case for the Muslims in the film to favor Partition by whatever means necessary. Things were already tough — huge festival budgets and extravagant brothel chandeliers notwithstanding — and likely to get worse, all so that the (Hindu) rich can get richer and the (Muslim) poor poorer. I’m not saying this applies to actual history, but in the terms the movie sets for itself, the angry mob’s response makes sense.
That said, it stinks to see another mainstream film depict Muslims as violent, except for those noble enough to sacrifice themselves to save innocent Hindus. And it stinks that this is another movie that wants us to sympathize most with characters who are wealthy enough to escape difficult situations without regard for the mess they leave behind.
In order to enjoy Kalank, one must ignore the politics undergirding it and allow oneself to revel in the superficial beauty of it all. I was able to do that while I was in the theater. Only afterward did the film’s unfortunate aspects start to weigh on me.
- Kalank at Wikipedia
- Kalank at IMDb
- My review of Raazi
I can’t wait to watch this film simply because of how bad some of the reviews have been (Bollywood Hungama said some of the dialogues are so filmy that they end up being laughable), but having said that, it sucks that Sonakshi has put her faith and talent in a film that bombed yet again and it is a shame that she’s been sidelined so badly in favour of Karan’s darlings Varun and Alia. =/
I’m eager to hear what you think of it, Marina. Even though the film does wrong by Sonakshi, her performance reminds you of just how good she can be. Hopefully other directors will take notice and give her a film that takes full advantage of her talents.
Thank you for your review. It, among quite a few other reviews that I have laid my eyes on, confirms that this alleged film is not worth the time or the money, especially considering other entertainment options.
There seems to be a changing-of-the-guard sort of situation in Bollywood over the last twelve months. The commercial failures of Messrs. Khans (Zero, Race 3 and Thugs …) and two established production houses (Dharma’s Kalank) and (Yash Raj’s Thugs …) is in direct contrast to Excel’s work with Mesdames Akhtar and Kagti (Gully … and Gold, respectively) and Mr. R. Screwala’s RSVP factory, with Uri … and Kedarnath among 3 of four others.
I doubt whether Dharma’s latest clunker will survive the release of the latest Avengers film.
Thanks for the kind words, TY. I suspect Kalank will be Thanos’s final victim.
As for your point about the changing of the guard, I think you’re absolutely right. I often wonder what old-guard powerhouses like the Khans, Dharma, and YRF have to offer Indian film fans under the age of 30. It feels like complacency has kept them from adapting to appeal to a changing demographic, and the companies you mention jumped in to fill the void.
Thank you for your kind words.
Having recently witnessed Thanos’s latest celluloid calisthenics, I suspect the mauve one is not going to stop with Kalank and metaphorically purge Bollywood friendly film theaters of Blank, Setters, Student of the Year 2, De De Pyaar De, India’s Most Wanted, PM Narendra Modi, Bharat or anything else that is released over the next month. Maybe Thanos will announce his retirement before The Zoya Factor. The only thing that comes close to survival is India’s Most Wanted, but Mr. A. Kapoor’s next one probably needs benevolent supernatural protection.
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