Kalank is often mistaken as a Sanjay Leela Bhansali film. However, Bhansali did not direct it. The film’s actual director, Abhishek Varman, has proven to be a good disciple. He takes Bhansali’s signature tropes and reworks them into a tangled tale set in 1940s India.
Aesthetic Drama Meets Operatic Fantasy
Aesthetic visuals and heightened emotions drive Kalank. Beautiful people, draped in exquisite clothes, suffer under soft lighting—very reminiscent of Bhansali’s style.
Abhishek Varman creates an operatic fantasy filled with staggering sets, swirling fabric, and heartache. But let’s be clear: this film is not for everyone. To truly enjoy it, you must wholly suspend disbelief. You can’t question the lack of realism, narrative logic, or historical authenticity. This is a stylized world—you either surrender to it or not at all.
Visuals Crafted with Intent
Kalank was shot by Binod Pradhan, who also worked on Devdas. He crafts painting-like frames where every shadow and gust of wind is carefully designed for maximum visual impact.
Everything is color coordinated. Take note of the yellow hues during the kite-flying festival and the pink-dominated era scenes. The production design by Amrita Mahal Nakai is flamboyant, especially Bahaar Begum’s brothel, which might be the most opulent brothel scene in Hindi cinema since Devdas.
The costumes by Manish Malhotra and Maxima Basu Kalani are so luxurious that it becomes hard to tell who is rich and who is poor. Even the characters from the red-light area like Heera Mandi wear elaborately detailed kurtas. Bahaar Begum’s lehenga, in particular, is wardrobe-goal material. Meanwhile, Sanjay Dutt as Balraj boasts the finest shawl collection since Amitabh Bachchan in Kabhi Khushi Kabhie Gham.
Emotional Core Holds the First Half Strong
Thankfully, all this beauty is tethered to an emotional tapestry, especially in the first half. The film introduces a young, feisty girl named Roop, who is emotionally blackmailed into marriage. Her vibrant entry immediately recalls Aishwarya Rai Bachchan’s introduction as Nandini in Hum Dil De Chuke Sanam.
Roop arrives in Husnabad, a princely city, and manages to assert her independence within a strict, affluent household. She’s even allowed to visit Heera Mandi to learn music from Bahaar Begum.
Magical Moments in Heera Mandi
Roop’s entry into Heera Mandi and her first meeting with Zafar, set against Pritam’s song “Ghar More Pardesiya”, is choreographed so beautifully it sends shivers down the spine.
Abhishek Varman directs each scene like a theatrical performance. Roop is often photographed through large windows in her room—symbolizing her entrapment. Ironically, her only escape lies in Heera Mandi, a place where women are literally trapped.
Symbolism and Dialogues
There’s an emotional distance between Balraj and his son Dev. Whether they are at dinner or in the office, they are always unnaturally seated apart, representing the emotional chasm between them.
The characters deliver dialogues in a poetic tone, more sung than spoken. Surprisingly, this stylized approach works, because the emotions feel genuine.
Varun Dhawan’s Complex Role
Varun Dhawan takes on the most complex character—someone who must be both noble and vengeful. He’s required to walk shirtless showcasing his abs (without looking silly), engage in a bullfight (with subpar digital effects), and convincingly transform through love.
Varun successfully balances strength and vulnerability, making his arc one of the more believable aspects of the film.
Performances That Stand Out
Alia Bhatt is equally mesmerizing. She’s stunning, and there’s no trace of vanity in her performance. Watching her share the screen with Madhuri Dixit is a treat—both bring immense conviction to their roles, even when scenes border on the outlandish (like Roop turning into a journalist).
Sonakshi Sinha brings life to a character that could have been lost in clichés. She plays the sacrificing wife with just enough nuance to make it believable. Kunal Khemu shows he is an actor who deserves more significant roles, while Aditya Roy Kapur does his best with a rather flat role.
Strangely, Sanjay Dutt, who usually shines in powerful roles, seems stiff and uncomfortable as Balraj Chaudhry.
Lacking Bhansali’s Signature Madness
Despite the visual grandeur and evident hard work, Kalank doesn’t quite dazzle. Bhansali’s best films have a tinge of madness, an abandon in ambition that Kalank doesn’t quite reach.
In its final act, Kalank feels weighed down by its own grandeur. It lacks the lyricism or recklessness that could have elevated it to greatness. The film tries to play it safe and, as a result, ends up feeling like a restrained tribute rather than a bold reimagining.
Even Madhuri Dixit’s mujra (solo dance number), a potential showstopper, doesn’t reach the heights expected.
