In my Kalank review, I’ll focus on the film’s plot, which is about a minority Hindu community in Lahore, Pakistan. In Kalank, the Hindus are a minority threatened by Muslims, and a group of Muslims lead by the ominous Zafar stokes the Muslim’s rage. While this is a tense and affecting film, I found it a good watch, but I would still recommend that you avoid it unless you want to see a movie that’s completely devoid of plot.
Despite the likable cast and the pretty packaging, Kalank lacks nuance in the Hindu-Muslim equations. While there are several likable characters, the film does portray a ferocious Muslim who betrayed the Hindus. This is a disappointing lack of nuance. However, if you’re a fan of Abhishek Varman, you won’t be disappointed with this film.
The film begins with a surprisingly slow start. In the credits, the trademark of Dharma Productions isn’t displayed in the usual style. The film mentions three production houses, but the names of the actors aren’t shown. The script, story, and character development are all lacking. But, that’s another story for another day. Kalank is an admirable effort of collaboration from an entire cast.
The performances are strong. Madhuri Dixit and Kunal Khemu both give excellent performances, while Aditya Roy Kapur is rigid, but does help convey the uptight nature of the character. Overall, Kalank is a good watch and a good value. The main problem is that Kalank is too long. Even though it’s over-dramatic and too melodramatic for its own good, it’s worth seeing if you have the money.
I recommend watching the movie if you’re into love stories. It has a lot to offer, but the film’s plot is a little thin on soul. It fails in the writing department, length, and music. I recommend Kalank to people with an appetite for romance. The official trailer for the film is a must-see. It’s a great way to learn more about the movie. And you can even get a free song to listen to during the movie!
Despite the movie’s good intentions, Kalank is a relic of multi-plexBollywood. It feels a little arrogant and romanticizes itself in the name of nostalgia. As a result, it sabotages its own sense of poetry. It also feels as if Abhishek Varman focused his cameras on bootleg Partition-themed paintings and a shoddy sense of world-building. And its ending, while heartwarming, is a little disappointing.