Naa Kaho Movie
There are times when a captivating story gets
ruined due to a bungling screenplay. KUCH NAA
KAHO is a shining example of a good story that
takes off well, gathers momentum after a point,
keeps your attention arrested, but starts
limping towards the finale.
Raj [Abhishek Bachchan] lives in New York with
his mother, Dr. Malhotra [Suhasini Mulay]. There
is one issue they can't see eye to eye on: His
mother wants him to settle down… Raj won't hear
of an arranged marriage.
When Raj visits India for his cousin's wedding,
his maternal uncle [Satish Shah] emotionally
blackmails him into agreeing to meet some
eligible girls. To make matters worse, the
person his uncle chooses as the matchmaker and
go-between for these meetings is the same person
Raj has already antagonised earlier.
That person is Namrata [Aishwarya Rai], an
employee of Raj's uncle. After a series of
meetings with potential brides, it becomes
apparent to Namrata that finding a match for
this particular suitor is not only a nightmare,
but an exercise in futility.
Gradually, Raj is attracted to Namrata, but
there's a hitch…
KUCH NAA KAHO marks the directorial debut of
Rohan Sippy, son of the celebrated Ramesh Sippy.
In view of the fact, you analyse the flick – the
plusses and minuses – with a magnifying glass.
KUCH NAA KAHO has a lot to offer in terms of
performances, a twist in the story
[pre-interval], an emotion-charged second half
[that should appeal to womenfolk] and good
But it falters terribly in the screenplay
department – the lifeline of any film.
To begin with, the film starts off pretty well
[special mention must be made of the innovative
and stylish titles!], although the goings-on
move at a lethargic pace. In terms of story,
there's not much happening till fifteen minutes
before the interval.
Besides, the first half is extremely lengthy,
making you wonder whether the editor had either
fallen in love with the product or didn't know
what to edit and what to retain.
Ideally, the first half needs to be trimmed by
at least 20 minutes. Also, preferably, the
interval point should've been when Aishwarya's
past is revealed to the viewer. That would've
had a stronger impact!
The film gathers pace and gets more interesting
in the second half. The light moments in the
school are thoroughly enjoyable and the
sequences between the Punjabi family [Jaspal
Bhatti, Himani Shivpuri] and their kid are sure
to appeal to one and all.
Actually, the second half continues to impress
you with the change of events, but the moment
Arbaaz Khan lands up in the pre-climax, the
screenplay flounders. The writing leaves a lot
to be desired at this stage. A few questions
continue to haunt you even after the show has
* Despite knowing that Arbaaz had left Aishwarya
for another woman, why does Ash [projected as a
woman of today!] behave like a meek person when
he returns after seven long years? If she could
silence him in the end, why couldn't she show
him the door when he first came knocking?
* Despite realising that Abhishek and Ash had
come close, why does Arbaaz force himself on
her? And why does he suddenly prefer to make an
exit after Ash's outburst?
Had it not been for the deficiencies in the
screenplay, KUCH NAA KAHO would've been a far
superior product. There's no denying that
debutante Rohan Sippy knows his job. He has
handled a few emotional moments with expertise
and has also drawn competent performances,
besides making every frame look colourful and
visually enticing. Even his choice of the
subject is good, but he is handicapped by a
Shankar-Ehsaan-Loy's music is soft and pleasant
sounding, but it lacks chartbusting hits that
are so vital in a love story. Cinematography is
eye-catching. Dialogues are alright.
Abhishek Bachchan looks awkward in a few initial
sequences, but looks at ease in others.
Appearance-wise, the inconsistencies are far too
evident at places. Perhaps, this could be
attributed to the fact that the film has taken
quite some time to reach the theatres. Yet, he
radiates confidence in the latter reels while
handling the delicate emotional sequences.
Aishwarya Rai is just about passable. Arbaaz
Khan does make his presence felt, although his
role needed to be better developed.
Master Parth Dave is simply outstanding,
expressing a gamut of expressions effortlessly.
Satish Shah, Jaspal Bhatti, Himani Shivpuri,
Tanaaz Currim and Suhasini Mule provide able
On the whole, KUCH NAA KAHO is appealing, but in
parts. At the box-office, the film will find the
going tough despite the presence of popular
stars and excellent publicity to back it up.