Kabir Singh Review (SPOILERS): Fight For What You Know is True, Even When the World Says You Are Wrong

Well, shoot! I was all set to just repost my Arjun Reddy review with the names changed and call it a night, but by golly this version slightly changed things just enough that I can’t do that!

Whole plot in two paragraphs:

We start with our hero Shahid in the present day, a depressed drinking bitter surgeon who is desperate for sex, but foiled in his attempts. And then we flashback. The rest of the first half is in flashes backwards and forwards, but in the present not much happens besides him drinking himself to death and ignoring his friend who keeps trying to cheer him up, and his worried older brother who keeps ordering him to do better. In medical college, he had a nasty temper and was about to be expelled. But then he saw a young female student Kiara who had just joined and fell in love at first sight. He warned off everyone in school from her because she was “his” and started taking her around with him on his bike. On Holi, boys from another school broke in and put color on her, he was furious and beat them up and declared he loved her. She hurt her foot and couldn’t walk, he insisted on taking her into the boy’s hostel to stay with him, and she initiated a kiss and then sex. They and their friends found a house to stay at off campus for the rest of the year. At the end of the year, he left for more studies in Mussoorie and she stayed. For 3 years, they had a long distance relationship, her going to Mussoorie, him coming to visit her in Delhi. Finally, they are both back in Bombay, she has graduated and he has his masters degree. He goes to her family home to start the process of a proposal, and offends her father. The fight, she comes to his house and meets his grandmother, they make love, he tries again the next day and again it goes badly. He leaves her home, furious, she follows, he gives her an ultimatum that she has to call him within 6 hours or they are over. He goes home and drinks and drugs himself into an overdose, she arrives too late and is sent away. INTERVAL

Shahid wakes up and learns that Kiara is married. He immediately runs to her house and calls for her to come to him, but she sits with her back to him. Her family beats him up, but he comes back again, this time they call the police. His family bails him out of jail but then throws him out of the house. He stays with his friend for a while and finally gets a job as a surgeon and his own apartment. His life is what we saw in the opening, he drinks carefully all night and writes crazy things on his walls, and then goes to work and is a perfect kind respectful doctor to his patients and a brilliant surgeon. His friend convinces him that he has to get another girlfriend, so he tries with a new patient, an actress. She is beautiful and smart and they spend a lot of time together. But when they are finally going to have sex, she says she loves him and he rejects her immediately because he will never love again, doesn’t want that. That night, he drinks and drugs himself into a stupor and then gets a call from a nurse that they really need a surgeon even though it is his day off. He performs surgery drunk, and finally passes out. The patient lives, but the hospital reports him to the medical board. He tries to sober up, and fails, and then in the hearing admits it is all his fault and loses his license. He sells everything in his apartment, then starts living in a run down room in a bad neighborhood. His friend tracks him down there to tell him his grandmother has died. Shahid returns home for the funeral, finally, and thanks to his own pain and grief knows the exact right thing to say to his father to comfort him in his grief. Shahid is finally healed and leaves to go to the family vacation home in a hill station. But on the way out of town, he sees Kiara, pregnant, sitting in a park. He gets to the hill station and stays a few days but when his friends come to visit, decides he has to leave and go to Kiara. He finds her in the same park and tells her that none of it matters, he will accept her baby as his, he will talk to her husband, they belong together, everything else is meaningless. And Kiara tells her own story, she was so angry with him, but she couldn’t be married to someone else. She left her husband and left her home and has been living alone for 9 months waiting for him to find her. And yes, it is his baby. HAPPY ENDING

Image result for kabir singh poster

Watching this movie and knowing how it would end (because I’d seen Arjun Reddy), I could appreciate more the little seeds put in through out the film. In the Holi sequence, Shahid explains that there is only one person in this world who hurts when he hurts, and there is only one person who he feels hurt when she feels hurt. And at the end of the film we learn that while Shahid was killing himself with alcohol, Kiara was suffering through pregnancy. He vomits, she was vomiting. He lost weight, she gained. He is thrown out of his house, she was thrown out of her house. He found a job, she found a job. He had one faithful support (his friend), she had one faithful support (the old woman in her lodgings who cared for her). They were the same, beginning to end, and both their hurts were doubled because they were feeling the hurt of the other.

And even better, there are two conversations where he specifically talks about their child. The first, he tells his friend that they were meant to have a child, there is a child who should be in existence who belongs to them. Later, he asks his brother if his wife is pregnant, and his brother says they are “planning” and Shahid is dismissive, that a baby should come naturally and unplanned through love. Shahid can sense, somewhere out there, that there is a child that exists which is theirs, which came naturally from their love.

Remember, they already had 3 years of being constantly apart, sensing each other’s emotions and missing each other. This is a different kind of missing and no one is listening to Shahid about why it is different.

The point of the film is to trust your instincts, to believe in yourself and what you know above the common sense that everyone tells you. Shahid knows, for the whole movie, that he is meant to be with Kiara, that something has gone terribly terribly wrong. And for the whole movie, people keep telling him that nothing is wrong. That he just needs to learn to accept and move on like everyone else has. Like every other movie hero has.

This is a movie that is all about the hero, his name is even in the title, but only so we can better understand what these “hero”s do to their heroines. If Shahid had been less autocratic in his demands when he visited her family, she would not have been angry enough to marry. More importantly, if he had trusted her and believed in her as he should have, he would not have given up and walked away, left her to be married to a stranger she didn’t love, not fought for her or even looked for her.

Every other movie says that once the heroine is married off, she is dead to the hero and the narrative. Marriage is the end, she is a different person now, that woman he loved is gone. But that is just not how people work. Marriage is not a magic potion that makes you forget, that changes you. If the hero of those films is sad and sorry, than so is the heroine. It just easier to pretend she isn’t, easier to pretend that she adjusts, easier to pretend that she can forget.

This is a pretty song, and then he learns she was married off 6 months ago and goes on a little self pity party, has sex with a white lady, and moves on with his life. Never thinks about her trauma, never even tries to see her again, maybe find out if she is happy or sad in her marriage. Marriage=Death. Because ultimately, you always love the patriarchy more than your girlfriend.

One of the smartest changes in this remake was removing the many many MANY scenes of the hero’s best friend giving humorous dialogues on the state of the hero that were in the Telugu original. It made him seem like an authority, like he had clear sight. In the remake, we see that he is a fool, that they are all fools and only Shahid is wise. His friends tell him that she is married, she has forgotten him. He says that is not possible, how could a ceremony and a few days erase a relationship that lasted years? His friends say it is too messy now, too much of a scandal, move on. He says, what does that matter against our whole lives? His friends say, sleep with someone else, fall in love again. He says, how can I do that when I will never feel the same way again?

It is that last point which I find most fascinating. The opening of the film implies that Shahid has been sleeping with many women to try to forget Kiara. But later in the film, he has a conversation with his friend which reveals that opening sequence was the first time he was ready for sex. And he couldn’t do it. He almost did but then was interrupted. He couldn’t find another willing partner in the moment, the urge passed, and he moved on. He tries again with the actress, the “Chandramukhi” character. But while Chandramukhi cared for Devdas for years and he accepted her care, Shahid in this is more honorable. He is willing to have a friendship, trust, which will lead to sex once they know each other well. But when she admits love, he rejects her brutally. There is no stringing her along for years on end with a belief that he can ever love again, it is honest and quick. And right.

The film treats the actress well also. She is not judged for entering this relationship or offering casual sex. She even gets a lovely little song expressing her gentle falling in love. But she has no place in this narrative, and so the film leaves her behind.

Popular culture from really any country argues that men have sex without love, that men don’t care in the same way, that it doesn’t mean anything to them. But this film says “no”. Why do we believe that? And why do we believe that women can only have sex with love? Shahid isn’t sleeping around, hasn’t had sex with anyone else any more than Kiara has. And he will not have sex unless he knows the woman, unless he trusts her and she trusts him (even the woman at the opening sequence is one who approached him first and who he has been talking and texting with for weeks). And he will not have sex if he thinks it is unfair and emotionally damaging to either of them, will not have sex with a woman who loves him when he does not feel the same way. This is basic humanity, basic decency, and yet we are trained not to expect it. Even within the film, Shahid’s friends assume he just needs sex, not love, because he is a man and that is what men are like.

Which brings me back to Kiara. If we have been trained to believe that men only want sex and not love, we have also been trained to believe that woman only want love and not sex, and this film contradicts that also. In Shahid and Kiara, we have the “typical” bad boy hero and good girl heroine. But that is only if you look at the surface. Below it, we have two real people with their own inner lives and hopes and dreams that they do not show on the surface.

Late in the film, Shahid says that Kiara picked him. She was a beautiful girl, she never looked up and made eye contact with any boy. But she looked at him, she looked straight at him. I was thinking about that on this watch and waiting for it, and the film delivered. Kiara sees Shahid before he sees her. She is in the classroom watching when the principal yells at him for getting into a fight at a soccer match. Shahid stands his ground and refuses to apologize. And Kiara watches him, her eyes keep flicking to him and away. It is after that that she sees him in the common area and looks directly at him and holds his gaze for a moment. Their whole early romance is just in eye contact, he talks and she listens and watches. But with Kiara’s performance, that is enough. This is a girl who was trained always to be silent in front of men, to keep her eyes lowered, to not go too far or too fast. The mere fact that she is with him, that she does not object, that she looks at him directly, that is a sign of love.

From Shahid’s side, he is a “bad boy”. But he is also the top student in the school. And he has no other romance in his past. And he counts among his closest friends two female students who he treats as friends. This is not your typical hero who sees woman as objects to be acquired. He talks to Kiara, he spends time with her, and he learns to read her face and understand her.

It is up to the audience to put in that same work. To notice that Kiara is the one who initiates their first kiss. That she is the one who comes to visit him first after he leaves campus. That she fights with him and makes up with him and is a whole free healthy happy person of her own self who is choosing to be with him. She isn’t just the “good girl” her background and upbringing have trained her to be. And she is not someone who will ever be happy in an arranged marriage to an oafish clod. Shahid knows that, and the audience should know it too.

That ending is a bit of a slap in the face of the audience as well. We have been going along watching this film like the usual film. The hero will fall in love again and move on. Or else sink into misery. There is no third option. The heroine has ceased to exist as soon as her marriage vows were said. But, why do we think that? Why do we write these women off, in film after film after film? Why do we say “oh, they will adjust, they will be happy in marriage” when we have no evidence to show it? And, most of all, why do we forgive our heroes for doing the same thing? Why do we accept less, accept that “of course” he will have to move on and forget, that once she is married he must leave her behind and not search any more? That woman are a disposable part of the hero’s life?

That is the larger meaning of this movie. Don’t accept the lies, don’t adjust to what society says is right. Keep fighting for what you know in your heart to be true, because living a lie will kill you in the end and fighting for truth may bring you to a happy ending you never imagined possible.

Just a reminder, Akaash Vani broke those same barriers years ago but no one noticed it. And I like the end credits tag here better than Kabir Singh, where for no reason I can see they have her father show up and magically be okay with everything. Where as Akaash Vani straight up ended things with her parents and let her move on with people who didn’t see her as disposable at the alter of their honor.
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51 thoughts on “Kabir Singh Review (SPOILERS): Fight For What You Know is True, Even When the World Says You Are Wrong

  1. Shahid Kapoor has turned into a wonderful actor because I have never found anyone as detestable and disgusting as Kabir in recent times. The way Kabir treats his female help, his violence (literally slapping Kiara), him telling other female doctors how to dress or what to wear as makeup, and most of all, the way it perpetuates the same nonsense that multiple American and Indian cinema, TV shows, and young adult novels have shown for years – that if a girl stays patient and waits, the bad guy will come around and be good again. The violence is just a part of his struggle and his obsession comes from his love for me and only me, and despite all of his actions showing the contrary, on the inside he is a gentle person with a good heart; just look at how he treats his grandmother. It literally felt like I am watching and listening to every Zarina Wahab interview about Aditya Pancholi. Oh, and I think Shahid’s friends are equally horrible; oh you are a destructive, angry, jerk with a substance use disorder, so you should marry my sister. She is infatuated with you and her love and patience will make things better. Also, to me, Kabir not having sex with Nikita doesn’t make him decent. He was fine having sex with her until she expressed real emotion. Then he is almost angry at her for being in love. UGH! I literally hate everything about this movie! Young women need to know that this is NOT love and guys who behave this way are NOT okay. Also, on a very personal note the scene between Shahid and Arjan Bhawja as you so aptly put it, he “asks his brother if his wife is pregnant, and his brother says they are ‘planning’ and Shahid is dismissive, that a baby should come naturally and unplanned through love. Shahid can sense, somewhere out there, that there is a child that exists which is theirs, which came naturally from their love” made me want to hurl insults, scream, and cry all at once as someone who is in a very loving relationship, and going through years of fertility treatments to conceive a child. I really appreciate how you see everything with an open mind and look beyond the surface, but sorry Margaret, for once, I completely and 100% disagree with the entire review. However, I guess given how strong of a reaction I have had to this film, maybe that means it is a great film.

    Liked by 4 people

    • Yep, strong reactions are good!

      Here’s something to think about. If we are talking about brainwashing and social change, it happens in small invisible moments. When we watch a movie like Sanju and barely notice the one scene where Vicky Kaushal’s girlfriend is dismissed as money mad, that is conditioning us more and more to think of women as disposable, to sort them into categories of “good” and “bad”. So I like it that this film is causing strong reactions, that people are seeing and talking about it instead of just subconsciously accepting.

      On Fri, Jun 21, 2019 at 9:36 AM dontcallitbollywood wrote:

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      • I had a very strong and similar reaction to Ranbhir excusing having sex with his best friend’s girlfriend and taking no responsibility and in fact turning it around and basicially telling Vicky he did Vicky a favor because the girl was just a gold digger.

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        • Yeah, I hated that scene. But did you notice how most other people didn’t seem to notice it? That’s what I don’t like. This movie, at least people are talking.

          On Fri, Jun 21, 2019 at 9:51 AM dontcallitbollywood wrote:

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          • Agree that most people did not react strongly to the scene in Sanju and I too like that people have strong reactions to Kabir Singh and are talking about it. However, I think both movies are deeply flawed and take opposite ways to get the audience to come to the same conclusion – beneath all the flaws, he really is just a good guy who loves and hurts deeply. While Sanju whitewashes the hero’s actions and perpetuates misogyny subtly, Kabir Singh romanticizes the hero’s abusive, angry, destructive behavior. To me, the movies are two sides of the same coin.

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          • I should have picked another movie besides Sanju to use as an example, but my mind was blanking! I was looking for something like when the hero is saving money for his sister’s marriage. It’s two lines of dialogue in a movie about something else entirely, but it helps to create a world in which we accept that the most important thing you can do for a sister is to save for her marriage. It’s so unimportant that no review mentions it or audience member consciously remembers it (maybe that’s why I can’t think of an example), but that’s what makes it so insidious. Versus this film, which is in your face about everything.

            On Fri, Jun 21, 2019 at 10:15 AM dontcallitbollywood wrote:

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          • Absolutely, it is a straight in-your-face movie. The director is neither accusing nor excusing the protagonists’s behaviour which makes the movie really interesting for me. The only thing that is important to him that both love each other – whaterver kind of love it is – and that they have to come together to live this love again.
            Still I think that it is a movie which reinforces comfortable opinions about the relation between men and women. I feel that the balance is far too heavy on the man’s side.

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    • Hi, filmikudhi. Just wanted to say thanks for sharing your personal, painful experience. I’m sorry you are going through that, and wish you and your partner all the best. It was a learning moment for me, and a reminder to be grateful for my daughter.

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  2. Sure, there are many films where the misogyny is so subtle (saving money for sister’s marriage; a woman’s virginity is her virtue; a virtuous Indian wife stays at home and takes care of the parents and children; women who go out to parties and drink alcohol are bad etc.), that it gets at best overlooked, and at worst accepted and even justified as “well that is Indian tradition.” But at the end of the day, it is still misogyny. This film might put it all out there, but it still glorifies and excuses it, which is also still misogyny. It doesn’t end with Kiara being single and raising a child by herself because she realizes that a child growing up around a person who abuses alcohol and drugs and has anger management issues is probably not the best for the child. Or Kiara marrying a guy that is psychologically sound and makes her happy (Kalki’s character in YDHD). Or even Kiara just single and unhappy trying to figure out what to do next with her life knowing no other romance might be as “intense.” The message at the end is still that it doesn’t matter how toxic the relationship is, they’re in love, and love – even destructive, abusive, obsessive love – trumps all wrong.

    Anyways, I know we are never going to agree with each other on this, but I appreciate having a forum like DCIB where people can have respectful disagreements, and I enjoyed having this discussion with you.

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  3. My thoughts are: if we analyze either movie scene by scene, we can probably come up with scenes that we thought glorified toxic masculinity, violence, or misogyny, and different people might vote for different scenes. It’s easy to live in the West and appreciate this movie as a psychological character study, but I think if you live in India (or other traditional societies) you have a real concern that the audience will interpret every scene as condoning or glorifying the actions, by mere dint of the “hero” enacting that scene society will use confirmation bias to support their own beliefs. I can therefore see why just about every female online reviewer in India is having a disgusted and possibly fearful reaction to the film. (e.g. Apparently some men in some audiences were cheering the hero when he slapped women.)
    Compare it to a movie about a serial killer. Most people are not serial killers. So even if the movie is told from the killer’s perspective, even if it celebrates their actions at times, we might be worried that a couple of sick people might be influenced, but we aren’t worried that the worst instincts of our surrounding society at large are being reinforced.
    FWIW I had a disgusted reaction to the vicky/GF/sanju scenes in Sanju.
    When I watched Arjun Reddy, I really liked how raw and messy it was, how “ballsy first time director” it felt (like Pulp Fiction did with Tarentino), I liked the “unreliable narrator” aspect of the best friend’s comments, and I liked that the gf was as mysterious to us as to the “hero”. I don’t want invisible women in every film, but making her an enigma fully put me in the state of “this is his psychological journey, and we are living it with him”. Like with Pulp Fiction, I felt we were watching something powerfully different, and getting the unique vision of a new artist. And I fully trusted that with time his movies would get better and more streamlined. I don’t want too much polish though! 😉

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    • In my theater, it was the line at the end “the baby will call me Papa” that got cheers. Which is interesting, it’s the same movie, but in my theater it was his moment of overcoming all his stupid macho thinking and accepting the situation that got cheers, while in other theaters it was the lowest moment of macho thinking that got cheers.

      Years ago I got to listen in on a conversation from a film teacher about showing Taxi Driver. She didn’t think anything of it, it’s clearly a movie with an anti-hero, but then she had one student who saw the film as a hero’s journey and it disturbed her and made her question everything about how she saw films and what films should be. This is reminding me of that, the director could theoretically explain his thinking, that this is not supposed to be a “hero” and so on and so forth, but does that matter if the audience still sees it as a hero?

      On Fri, Jun 21, 2019 at 3:42 PM dontcallitbollywood wrote:

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      • There’s yet another level here. The USA has a certification board for movies, but India has a Censor board, one that can require edits or even prevent a film from releasing. So from a “confirmation bias” perspective, a viewer could see the censor board as condoning the bad behavior of the “hero”, i.e. if the censors allowed it then it must be ok. And another viewer might ask why the censors aren’t protecting society from a portrayal of toxic masculinity. (The parody that is oft repeated about the indian censor board is that they will censor a sex scene but let a rape scene stay in the movie.) Whereas we don’t ask ourselves those questions here in the usa (except maybe why is sex rated R but violence PG).

        Re your story about Taxi Driver, I know Indian men who see the indian movie Queen as a cautionary tale for women, i.e. women will become unsuitable for marriage (because to them that’s the worst thing that could happen to a woman) if they try to self-actualize, or reject a suitor, or travel abroad alone.

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        • And in that particular area, there is also the question of if this film is trying to force people to acknowledge their habit of always seeing the protagonist as a “hero” instead of as equally flawed to anyone else. If that is the case, is it worth doing? If along the way you risk having the audience truly perceive him as heroic and believe his actions to be correct? Or is it better to stay with what is familiar and show the hero only doing correct things?

          Badlapur is the movie I am thinking of, that one was very clear that it meant to turn the hero into a villain and the villain into a hero and force us to question our assumptions about film structure. This movie may have the same intention, or not, it’s not clear to me. But even if it does, is that a worthy intention?

          I’m sleepy, not sure I am making sense.

          On Fri, Jun 21, 2019 at 4:12 PM dontcallitbollywood wrote:

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  4. I hated the Arjun Reddy character, but I couldn’t take my eyes off Vijay Deverakonda. His performance was mesmerizing and brutally honest. At the end, when he lifts pregnant Shalini from her park bench and takes her away, Deverakonda lets us know that Reddy hasn’t changed. He may have found his lost love but he’s still the angry, profligate, and frustratingly riveting overlord he always was. The same negative forces that drove a drunken, drugged-up doctor in the beginning haven’t disappeared. And yet, we cheer for him.The magic of Deverakonda’s portrayal is partially due to his ability to make us both like and dislike Reddy; to denounce his excesses while admiring his truths.This dichotomy is difficult for an actor to pull off. Deverakonda handles it brilliantly. The many awards he received were well deserved, and I’m sorry to see that he hasn’t lived up to his promise.

    By comparison, his co-star’s performance is spiritless. I found Shalini a pale and uninteresting foil. (Could it be the director wanted her to be?) When she finally sleeps with Deverakonda, she gives the impression it’s because she’s been overwhelmed by him, not because she chose to.

    According to some DCIB comments, Kabir Singh in the hands of the more seasoned Shahid Kapoor is mean and hateful. Your review redeems him, or at least mines a nugget of gold at the center of ugly, black coal. I like the work Kapoor has done. But think I’ll keep my memory of Deverakonda’s Arjun Reddy pure, and pass on the “remake”.

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    • You might still want to watch Kabir Singh, more for Kiara. Her performance is very different, and more lively, than Shalini’s was.

      On Fri, Jun 21, 2019 at 4:36 PM dontcallitbollywood wrote:

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    • I felt likewise about Arjun Reddy and how he got portrayed by Vijay. I wasn’t bored one minute.
      My thoughts about the End scene and Arjun not having changed are the same as yours…if his future wife will keep the low profile she showed throughout the film, may be he will love her…he also loved the dog, didn’t he?
      I think the movie just showed and didn’t want to judge…it is a movie good for discussion, because you don’t get confronted with a director’s judgement, you have to build your own. And it’s not only about the ‘hero’s’ character (clearly a person with antisocial personality disorder, I think), it’s also about all those who enabled Arjun’s behaviour and did not rebel against…so much fear sourrounding him…and so much misguided admiration.
      I won’t watch Kabir Singh…it seems that it differs only in the performances, not in the making.
      And if it is indeed a movie about love than neither Arjun’s nor the young woman’s one is healthy.

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    • In Arjun Reddy, there are more scenes with the maid. At one point I think her brother/manager/something comes in and complains to the protagonist. And he points out that she is a terrible maid, she is skating by on minimal work for a lot of money and that is why she puts up with him. And he also fights against the idea that he and the maid need this other man to come in and talk for her instead of just talking between themselves, another moment when the protagonist is frustrated with traditional gender roles.

      I think this version just gave us a few scenes with the maid, and maybe it wasn’t as clear that she was actually doing a terrible job, which is why he got frustrated and (more importantly) why she put up with it because she liked having this easy job for a lot of money.

      On Sun, Jun 23, 2019 at 6:15 AM dontcallitbollywood wrote:

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      • Well, that’s what Arjun says…it hasn’t to be true from her side…and after having been chased through the streets by an angry man known for his violent behaviour I surely would not try to confront him alone. The protagonist indeed instilled fear, he knew that his outbursts would generate either silence or the wished behaviour. The movie clearly showed that he wasn’t stopped by nobody, only by himself (except the five years suspension from working as a doctor) and getting thrown out (temporarly, I bet) from his home. And what did he do? He pittied himself…

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  5. I hope this entire post is sarcastic or else you should stop blogging about film because you clearly don’t have a clue 🙂

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  6. I really enjoyed this film and I think Shahid Kapoor and Kiara Advani were both incredible. I definitely agree with many of the critiques of Kapoor’s character, while also seeing value in and agreeing with a lot of Maragaret’s take, too. I don’t really have much to contribute to those aspects at this time.

    What did stand out to me was the way the film handled addiction. Kapoor did an incredible job at playing an alcoholic and drug addict. Even before he was in clearly alcoholic territory, he had all the classic attributes of an alcoholic: namely, he was exceedingly self-centered. In my mind, that is not always the same as selfish. I think he genuinely did care about others, but his poor impulse control led him to actions that satisfied his immediate needs, without taking into account how that would affect others. He didn’t stop to think how getting into a fight at the game in the first scene would affect his teammates. He didn’t consider whether or not Kiara was actually interested in him when he “claimed” her. (Of course, it turns out she was but that didn’t seem to matter one way or the other at first.) I could go on. And this self-centeredness naturally continues into his actual drinking and using.

    I think one of the things I found troubling was that I felt like there was an implication that once he was reunited with Kiara, his alcoholism was suddenly a non-issue. He is cured and life is now wonderful! And sure, plenty of non-alcoholics go through a spell of heavy drinking after a break-up and are able to stop again once they have set their mind to it. But given personal experience and the sort of person Kapoor was before he even met Advani, I don’t think he falls into that category at all. So I was little surprised that there was no hint even that this was something that would need to be addressed in the future. If he is an alcoholic, as he himself says in the scene with the judge, reuniting with the love of his life is not going to fix that issue. He will find something else, good or bad, to drink about eventually. So while the ending was very sweet and I did tear up a bit, I was also left with a slight sense of forboding that I can’t quite shake.

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    • Thank you! Really interesting thoughts on addiction. And I think that might have been one sacrifice made in the re-edit. The original version, Arjun Reddy, has him go back home after the death of his grandmother (which in both films is clearly a turning point in his addiction, along with realizing he can’t control his addiction and taking responsibility at the hearing), and then he sees the heroine in the park but doesn’t talk to her, and leaves the country. He spends some time traveling in Europe, clean and sober and healing, and only after he is happy and healed does he randomly run into an old friend which makes him realize he still loves Preeti and wants her. He fixes himself first, separate from his love for her, and then returns to his love once he is healed.

      For the film overall, I think changing it to be a quick trip out of town and back again is stronger, the overall narrative is the love story so why waste time seeing him travel around? But the original version did give the addiction story a cleaner ending. It wasn’t getting his girl back that cured him, he hit rock bottom and wanted to get clean, failed, realized he was an addict and took responsibility but was unable to stop drinking, his grandmother died and he reunited with his family which shocked him into finally being able to stop, and then he had weeks of traveling (rehab, essentially) staying sober and learning how to live a sober life. And only then did the film swing back and have him reunite with the heroine. He was going to be sober for himself and his family, or at least try, whether or not he got the heroine back. It’s another inversion of Devdas, Dev kept trying to stay sober but couldn’t, gave up on that just like he gave up on his love story. Kabir/Arjun succeeds in his sobriety because he fights for it, just like he succeeds in his love story. And the film does not simplify the addiction down to just getting his love back, it was about his job and his family and his own personality.

      In my own mind, I am going to pretend a similar journey for the Hindi version. We still have the clarity that sobriety came from taking responsibility at work, and then the death of his grandmother, nothing to do with Kiara. It’s just that he is BARELY sober when they reunite so it is kind of hard to believe it will last. But even if it was only like two days sober out of town, I will say that he did a very quick personal inventory and re-awakening to healthy emotions, and is fully clean and sober when he returns to Kiara. The actually reunion scene plays out identically and we have the same kind of elements that indicate he is clean and sober, clean clothes and face, calm way of talking to her, listening to the other person, not giving in to anger, and so on. So I’ll stick with my version 🙂

      Oh, and I love your description of him as self-centered but not uncaring! That’s it exactly. Their relationship was always tumultuous partly because she had to shout before he would consider her needs. Their reunion shows that he is willing to listen to her now, and think about her needs over his own. Other movies have shown protagonists who were literally incapable of understanding or caring how someone else feels. I think we can see that this character cares and understands the feelings of others, just needs to keep being reminded of them. In his work in particular, he knows it is his job to take care of patients and he is wonderful and considerate and empathetic to them. He can do it, he has that part inside of himself, he just doesn’t bother with friends and family because he knows they will forgive him. And again, we see that changing even outside of the romance, he is kind and caring to his family at the funeral in a way he has never been before, he is making an effort.

      One other change from the original to the remake, you know the opening and closing scene of them naked on a beach under a sheet? In the original, they wake up and the baby is crawling on them and they laugh and talk. So it is a “real” moment, maybe 6 months after the rest of the film (based on baby age) and they are still having a happy healthy sober marriage. Again, it’s a nice change artistically to make that a little bit more fuzzy and poetic, but it loses the sense of “okay, it’s 6 months later, he’s stayed sober and they are back to the healthy relationship they had before the break-up, no more drama”.

      On Tue, Jun 25, 2019 at 10:00 AM dontcallitbollywood wrote:

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      • Well, I’ve seen Kabir Singh today and I have a lot of thoughts so I’ll probably spam your blog later.

        Just wanted to address two things right now: I REALLY liked that Kabir went to his old family home instead of randomly flying to Italy like Arjun Reddy did. It felt almost like, now, having seen rock bottom, he wanted to try and go back an earlier self that hadn’t screwed up his life so badly, and the scene of him eating alone at the table was much more in keeping with the tone of the film than his being on the shores of Cinqueterre or whatever it was 😉

        Secondly, I spent most of the movie (BOTH movies, really) thinking that Kabir/Arjun were going to die fairly young after what they put their bodies through (the alcoholism, the smoking – beedies aren’t even filtered – the unspecified amount of coke!) I mean, the dude can be clean and sober for aeons and he’s still done a ton of damage. Not to mention the potential for hepatitis and blood-borne diseases given the running around barefoot chasing Preeti/the maid etc.

        And speaking of that, I was shocked by how often Kabir beat up people barehanded because man, he’s a surgeon. And they’re almost as careful with their hands as pianists!

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        • Yaaaay, THOUGHTS!!!!!

          I really liked that he went to his family home too, I didn’t have the idea you did (although I like it!), but just in terms of balance between the two leads. We needed them both to be in equal misery the whole time, Arjun going off and fooling around for ages in beautiful Europe while Preethi was still crying every night in India just didn’t sit right. This way, they were still equally miserable, he had like 2 days of peaceful thought to feel miserable and guilty and then immediately went and gave them both their happy ending.

          You know the director is a doctor? Those points hadn’t occurred to me, but they must have occurred to him. He has Kabir/Arjun fairly early be asked “why do you smoke if you are in med school?” and he laughs it off as something he is aware of the risks but does it anyway. I think we are supposed to see him as someone who seeks out danger. Love balances him not because it “cures” him but because it gives him a way to feel that high without harming himself. Maybe that’s why it had to be a long distance relationship? Keep the thrill and excitement alive? And then his recovery at the end was about giving up all those addictions, all that need for excitement. Even with his family, before he was always knee-jerk confrontational, only at the end is he calm and relaxed with them.

          From Preethi’s side, I saw it as her wanting someone who was fearless in the face of danger like that since her father had raised her to fear everything. During their 9 months apart she learned to finally overcome all fears, even without him beside her, and can now choose to be with him because she wants to be with him, not because she needs to be with him.

          Liked by 1 person

      • Thanks for that clarification on how it was portrayed in Arjun Reddy. I agree, I think by the time Shahid reunited with Kiara he had definitely grown quite a bit. I mean, that scene with his father at his grandmother’s funeral was a perfect example. He had learned that simply seeing to his own needs and desires rather than considering how it may affect others was not always the best way to go and was able to convince his father of the same. And it was evident again with how he spoke to Kiara at the end.

        I also agree the film definitely did not need to see Shahid traveling around Europe and like that he went back to his family home. I think this shows he actually spent some time thinking and processing in solitude and not going for the “geographic cure” as it is often referred to in addiction circles (i.e. “Oh it’s not me or my drinking that’s the problem, it’s just this city. If I move away I’ll be fine.”)

        So while I agree that there is a ray of hope in Shahid’s change of character, I still remain skeptical that it is likely to be long-lasting without additional work on his part. But perhaps he is one of those rare few that can go through an addiction like that and then just stop permanently with no problems. But generally speaking, without treatment or therapy or something it is very easy for an alcoholic to forget how bad things were after some time has passed and convince themselves that just having a a glass or two of wine with dinner is fine and the next thing they know they are off the deep end.

        I understand why they didn’t necessarily put more about his potential recovery process into the in the narrative. I think it would’ve come off as potentially preachy and clumsy. But I do think they could have easily added a brief clip in the credits of him walking up to the door of a therapist’s office, or into a rehab center, or a recovery group of some kind. Not having that in there certainly didn’t ruin the movie for me at all, it just made it slightly more difficult for me to believe that things would truly end happily ever after. But I’m still rooting for them in any case!

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  7. It’s written that Kabir Singh has crossed 100 crore in five days…

    Is there a pattern? A superstar’s movie ‘fails’, the next big movie coming up succeeds in an astonishing way…
    Race 3 – Sanju…. TOH – 2.0 …. Zero – Simmba …. Bharat – Kabir Singh

    Liked by 1 person

    • Oh yes. That makes complete sense. The movie that is supposed to be “big” empties out the theaters screens and the release schedule. It fails, and the next film out gains an edge because it can pick up the screens and audience left over from the big film failing.

      I also think though that the “big” movie producers are just bad at making these predictions. There’ve been a lot of “surprise” hits lately, and the big movies have been routinely flopping.

      On Wed, Jun 26, 2019 at 10:06 AM dontcallitbollywood wrote:

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  8. I’m writing this from Hyderabad. I had been thinking about going to see this while here, but I’ll give it a miss. I’ll be skipping Arjun Reddy too. I do have a weakness for misogynistic brilliant troubled addicted geniuses–House, MD, Sherlock. But I can go back to those if I need a fix.

    Love, destiny, obsession, abuse, and death have been mixed up in human stories for millennia, and I doubt that Kabir Singh is any more egregious than Rama/Sita, Tristan/Isolde, Romeo/Juliet, Apollo/Daphne. I think a very important lesson for men and women to learn is that is true love is not incompatible, at all, with hurting someone. I grew up with an abusive stepfather and there is no question that he truly loved my mom, me, and my sister. (Thankfully we got out of there when I was 14.) He was just unable to express his love in anything approaching a healthy way. It all came out as control and violence built on a foundation of fear and insecurity within him.

    That also means that true love is not, by itself, a good reason to be in a relationship. This is one reason I have a deliciously conflicted relationship with Chalte Chalte. Raj and Priya love each other absolutely, but should they be together? Probably not. (Without, as Margaret has said, high quality couple’s counseling.)

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    • What is “true” love? Personally I don’t like those kind of qualification. If one would ask Arjun Reddy and Preeti, they would both affirm that their love is true. However – and I second what you wrote, procrastinatrix – out of “true” love, so much sorrow and harm exists and is done. One also can love a dog “truly”, as long as the dog doesn’t rebel.
      I would be very astonished if Arjun Reddy sees himself as mysoginistic…to the contrary he would tell that he cares for the woman he loves, that he is honest in what he says so that the partner exactly knows what to do (and what not to do). I think that it is a lack of what is the feminine part in a person – empathy. The more this part is repressed in a person (male/female), the more love gets adverse…and the person that socially is seen as more potent will get the role of the “determinator”.

      Yeah, Sherlock can be mysoginistic as he has Watson as the empathetic one at his side ;)…
      As for Chalte Chalte, I have hopes that they don’t need counseling as Raj definitely allows his feminine side to exist and I think he is willing to learn…that’s why Priya came back.

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    • As I saw the film, it wasn’t necessarily valorizing the love story, more just saying “this is what is, these are the people and this is the story”. Although in the Indian context there is also the question (to which I don’t have a good answer) of if it is better to be in an abusive relationship of your own choosing, or an unloving but not abusive relationship forced upon you by your parents. I also feel like that is part of what the film was struggling with, Preethi is making a possibly bad choice, but it is her choice.

      On Thu, Jun 27, 2019 at 12:31 AM dontcallitbollywood wrote:

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      • Aghhh that last sentence. So true and so relatable. I can think of any number of decisions I’ve made that may or may not have been bad ones, but the empowering part behind them was that they were choices *I* made.

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      • Well, my colleagues and I ended up seeing Kabir Singh after all. They weren’t really into seeing any Telugu movies, and KS was the only slightly interesting Hindi movie playing. Article 15 comes out tomorrow, but we can’t go tomorrow night.

        As it turns out, my reading of the movie is closer to yours. I don’t find their relationship to be abusive. Shah Rukh’s Devdas was much more abusive to both Paro and Chandramukhi than Kabir ever was to Preethi. He does slap her, and I’m not excusing it but it is after he begs her to stand up for their love, and she instead betrays their love because she can’t stand up to her family.

        I also thought, no wonder she is drawn to a domineering person, just look at her Dad, her fiance, and all the annoying neighbors. And her mom is so mean!

        I also think he’s a much better person than, say House or Sherlock. He’s smarter than almost everyone, but he doesn’t think he’s better than everyone else like they do. He’s just not capable of faking. Doesn’t excuse his behavior–especially the knife scene at the beginning–but he’s not the monster that negative reviews are painting him as.

        For what it’s worth, the audience did not cheer for his angry outbursts. The two exceptions were when he beats up the football player at the beginning, and when he chases the maid after she breaks the glass. Even I couldn’t help laughing in that scene because the actress played it for laughs.

        So, I wouldn’t call Kabir and Preethi’s relationship a healthy one, though they both grow as people over the course of the movie, so there may be hope. Finally, I wish they hadn’t made the baby his. I thought much more time had passed during the whole druggie/alcohol thing than 8 months. But maybe in India that wouldn’t work.

        Oh, actually one more thing. I guess now we know Shahid dresses right, at least in this movie…

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        • About the slap, if I am remembering right she slaps him first. When they are having their first fight, about her wanting to stay 2 more days, he snaps at her when he is dropping her at the train station and she slaps him. The film doesn’t make a big deal about it and it doesn’t really register, which I think is appropriate. Because of the gender power dynamic, it is much less of a big deal when she slaps him than the other way around. But it also kind of establishes the volital nature of their relationship, a couple that might resort to slapping when they can’t communicate.

          There is that confusing nature of love where it is both the person you love, and all the influences in your life that lead you to love this person. If I think about what we know of Preethi’s family, and then the first time she sees Shahid (standing up to the principal of his school, fearlessly), it kind of makes sense. She is drawn to someone whose personality is even stronger than her father’s. But in a romantic relationship, instead of being cowed down, she stands up for herself more than with her father, and finds someone who cares (to some degree) about her wishes.

          I also thought he was a better person than similar characters. I thought making him a doctor was so important, because we could see he sincerely cared about his patients. He also had a lot of friends, and seemed to enjoy spending time with them and vice versa.

          I’m torn on whether I want the baby to be his or not. I like the kind of poetry of all of this happening while the pregnancy is going on, the idea of this great cosmic change occurring just out of view. But on the other hand, I would also really like the film to go all the way and force their hero to accept another man’s biological child as his own because he loves the mother. Or even better, have her not know who the biological father is and force him to accept that uncertainty.

          And are we sure that was his and not a Stunt Penis?

          On Thu, Jun 27, 2019 at 2:13 PM dontcallitbollywood wrote:

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          • And yes, she slaps him first, and then again in the park. I also think him owning up to being an alcoholic in the hearing is the movie’s way of reprimanding the audience a little for finding his self destruction funny. He is just as good with those small sincere moments as he is with the crazy-eyes stuff.

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          • Oh good, I remembered right about the slaps. And each time he accepts/forgives immediately in a way that feels to me like “Yes, I was out of line, and I know you are frustrated and this is the only way you have to express yourself because you have a hard time with words and I have a hard time with listening, and I understand the message you are giving me”.

            Shahid is SO GOOD in this! Have you seen Udta Punjab and Kaminey? He plays similar characters in there, which made me appreciate this performance even better. Because he isn’t just doing “addict” in each of those movies. He is playing a particular character who is also an addict but in a way that is unique to who they are. He has a similar journey in Udta Punjab but it is played differently because the character is different. Another small moment I noticed in this movie is when he relapses. He’s in the bathroom, opens the cupboard, then closes it, then opens it again and we see there was a bottle inside. Just the way Shahid does the gesture of opening and closing and reopening is perfect and tells us his whole mental journey.

            On Thu, Jun 27, 2019 at 2:40 PM dontcallitbollywood wrote:

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          • Yeah that moment with the medicine cabinet was so good. I saw UP, haven’t seen Kaminey. I thought he was good in UP but retreading some Haider ground. For better or worse I think he really got the character of Kabir, and his performance felt different. As you say, this is a nice bookend with his incredibly restrained performance in Padmaavat.

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          • Do you remember the big drama over the making of the film? Some producer announced a remake with Arjun Kapoor in the lead. The director was called up for a comment and he was shocked because he had already started planning the remake with Shahid and then learned that the remake rights had landed with a producer instead of him. The thrust of his comments were “I am horrified at the betrayal of Shahid, my creative partner who thought he would be in the remake”. And then there were stories of the Arjun team trying to convince the director to work with them, they would give him whatever he wanted, and his response was that he couldn’t make the film without Shahid. All of this was like 2 years ago or more, so it sounds like Shahid and the director worked together on the character concept for at least a year before anyone else was even cast, and the director so respected him that he didn’t want to work with anyone else in the lead.

            On Thu, Jun 27, 2019 at 3:02 PM dontcallitbollywood wrote:

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          • Now that you mention it, but I was too much of a newbie for it to mean much. Wow. Arjun is a cutie, but no way does he have the chops for this role. Though when he is carrying extra weight, he looks much more like an addict. I kept thinking, how does Shahid find time to work out between surgery and being passed out in his own vomit?

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          • 2 years ago it seemed like maybe he did, but yeah, that would have been a big mistake!!!! And I decided that Shahid was all muscle in this film because he worked off all the fat with nervous energy and vomiting. Or something. He was an orthopedic surgeon, maybe work was like working out?

            On Fri, Jun 28, 2019 at 8:23 PM dontcallitbollywood wrote:

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  9. Wow, so many strong feelings. And kind of a Rorschach where we’re all watching through our personal experience and coming away with different readings.

    I read filmikhudi’s comment and I can’t disagree with any of those points. That is in fact despicable behavior and should not be glorified, and the friend and brother are enablers, and she isn’t making healthy decision when she chooses to stay with him. I just don’t think the film glorifies him, or even that it’s a romance exactly. It feels like a character study of a deeply flawed, addictive person. The film humanizes him, but I didn’t feel tricked into sympathizing with him or manipulated in any way.

    Actually, when we got to the scene where he blacks out ahead of his hearing, I realized, oh, this is Denzel Washington’s character from Flight, with a different movie built around him. That scene is exactly the same, and the hearing is very similar too, with the same outcome.

    The central question of that movie, and this is how I ended up seeing Kabir Singh too, is what do you do with someone who is extremely good and competent at a very difficult job that involves taking the lives of others in his hands, yet in his personal life is a complete disaster? In both movies the character feels a deep sense of responsibility to those in his care, and his care is above and beyond what most people are capable of, and yet, as Shahid says in the hearing, he betrays their trust. And in his personal life his behavior is extremely problematic. Yet both sides exist, it is difficult to pass judgment that says just this is a good guy or this is a bad guy.

    The romance is a different element that didn’t exist in Flight. I agree with Romana, this seems, especially in the beginning, like a different piece of his addictive personality. He channels the addictive impulses into the relationship, until it breaks, and then turns to alcohol and drugs. (Also agree that happy ending is hard to believe without him getting real help, especially with a child to raise.) Kiara does choose him, she makes her own decisions, she forces him to accept her choices even when they’re not what he wants. She forces him to accept her as herself, not just a passive vessel for his controlling desire. Does this seem like a good choice? Not especially, not to me. But I felt like I was able to watch her and understand her without it being framed necessarily as the right and healthy thing to do. There are all kinds of somewhat dysfunctional people in somewhat messed up relationships. This seemed like a movie about one of those, and it felt real in that sense.

    So…I liked it, in case that wasn’t clear. Shahid’s performance was very very good. Kiara was convincing. The scenes with his father and brother were great, they made my friend cry. (She totally called that it was going to be his baby, same friend who realized in the wedding scene in Zero that Anushka was pregnant, she has a knack for spotting pregnant twists.) And I agree with Margaret that at the end his decision, based on seeing her and knowing that she’s miserable, that he wants to be with her even if she’s been married off and pregnant with someone else’s child, and their scene in the park, fits as a resolution to the conflict between their two characters.

    I felt it was really well made and I was totally caught up in watching Shahid play this role.

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    • I’m gonna quote my Arjun Reddy review here (which seems terribly tacky, but it directly addresses your comment, and why reinvent the wheel?):

      “Right from the start, we know he is a brilliant and caring doctor. We see him being drunk, angry, desperate for sex. And then he goes to work and is considerate and caring to his patient, respected by his staff (even though they know of his anger and drinking problems), and generally shines his brightest there. We also learn that he is using work as an escape and an excuse. He is performing even more surgeries than he is supposed to, he has medical knowledge and notes written all over his apartment, behind and around the alcohol bottles. Even in the flashback, this is true, he is obsessed with Shalini at first sight, but that does not stop him from studying for his Masters and topping it. Throughout their 4 year relationship, he continues to excel at his profession. And the breakdown comes when his addiction and his profession are in conflict. He is called in on his day off because there is no other surgeon available and his staff knows he can save this patient’s life. He does, by sitting propped up in a chair and directing the nurses in the operation, before finally passing out just as the patient is saved. This is a really interesting medical conflict, because the argument that is mentioned in passing, and which is shown to some degree by what else we see of this hospital, is that it is truly the hospital’s fault (possibly related, the director has a medical degree himself and would have seen this kind of conflict first hand). They wanted him to over work, to keep their figures and statistics up. And they were the ones who did not have another surgeon on call on his day off. I think there is a nod here towards the conflict between this dedicated doctor who just wants to help his patients, and the for profit hospitals of India (and, really, America as well, it’s just less obvious here). Our hero is so far gone by this point, just recovered from the overdose during the surgery, that for a while he just goes along with what everyone else says, his brother who hires a lawyer to help him and so on. And he is going to get off. But ultimately, in a sequence that is a complete rip off of *Flight* but I will allow it, he has one more relapse the night before his testimony, passes out, his friend gets him some cocaine so he can testify (again, all of this was in *Flight*), and then during the trial, at the last minute, he just can’t do it. He has hit his breaking point and has to admit that he is an addict and, although he never actually caused harm to a patient, he could have, and does not deserve his license (again, just like *Flight*). This isn’t the moment that “cures” him, because addiction isn’t that simple. But it is the moment that helps him get to rock bottom, which is where he needs to reach before he can start climbing back up again. He has to lose everything, including his medical license, before he can finally admit he needs to change, he needs help.”

      On Thu, Jun 27, 2019 at 11:20 PM dontcallitbollywood wrote:

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      • Yep, pretty much! Glad I wasn’t the only one who made that connection. It made me feel like he grabbed that central conflict, related it to his own profession, and then built a new story around it. Kabir Singh spends less time showing Kabir in his professional context and more time on family and romance so it doesn’t come through as clearly, but I think it’s still the central conflict of the film-between Kabir and himself, not Kabir and Preeti. Preeti is a complicating factor and a catalyst, but as you said he has to come to terms with himself and his own worst impulses before he can reconcile with her.

        I also think both movies touch on the idea that the bad side of the character, the arrogance and heedlessness, are possibly part of why they excel at their profession. I appreciate that neither film spends much time there because it would feel like making excuses for terrible behavior, but there’s a hint that the same drive that pushes someone to be the best pilot or the best doctor can in the personal context be destructive.

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        • I find it really interesting that this film was made by a doctor, because to me it felt like it dealt with being a doctor in a different way than we usually see in Indian film. It’s not just a good job with interesting work along the same lines of being in marketing or an engineer, it’s a real passion. Arjun/Kabir comes from a very wealthy family, for him to go into medicine was really a choice, not just “good degree for a middle class boy” kind of thing. We see his passion and talent, and the respect he gets from his coworkers for it, and also the true care he has for his patients in a way that I can’t remember seeing before from “doctor” movies, that combination of passion and skill along with compassion.

          I think what this film added that Flight didn’t have necessarily was that complete laser like focus which is good in a doctor but bad in a person. Kabir is passionate about medicine, when he is in the operating room that is all that exists, or when he is home writing out his theories and studies. And that same focus when brought into a romantic relationship is unhealthy. And is really unhealthy when brought into addiction. I can believe that he fell so far so fast because it seemed like he really worked at it. In the same way he worked at medical studies, or wooing Kiara, he invented new ways to drink alcohol and take drugs and made it his whole life.

          On Fri, Jun 28, 2019 at 7:43 AM dontcallitbollywood wrote:

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          • Yes, exactly. It’s laid out right there at the start in his speech to the dean.

            I also find it interesting that it’s made by a doctor in that there is probably a non-trivial number of high performing surgeons who are in fact problematic and dysfunctional and maybe even addictive in their private lives. But you don’t see that side much in Indian films that I’ve noticed, maybe I haven’t watched enough. More common in American TV and film – The Knick is one of my recent favorites, but Grey’s Anatomy, ER, all of them have some version of the bad boy surgeon who is a really good doctor.

            In Kabir Singh, though, I really felt the movie doesn’t use this to excuse his behavior. That speech to the dean is a moment when you see Kabir’s power in the school, but it’s not a good look. He is violent and impulsive, and he’s self-destructing because he can’t admit to being wrong.

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          • My understanding is that medicine is a high addiction profession. An Indian medical association filed a protest against the film, but I suspect it is just showing reality. Doctor’s write themselves their own prescriptions, hospitals look the other way and fudge records for their high performing/high profit staff, and the nurses and others protect you if you ultimately are not harming the patients.

            Oh oh! I found an article on it: https://www.addictioncenter.com/addiction/medical-professionals/

            Here’s the hopeful part, medical professionals have a high rate of total recovery from addiction.

            On Fri, Jun 28, 2019 at 8:53 AM dontcallitbollywood wrote:

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