Shahrukh Summer: Kuch Kuch Hota Hai, Lovers and Soulmates, and the Importance of the Gazebo Scene

Niki suggested that instead of trying to cover everything in KKHH in one huge post, I break it down into certain themes or elements. I like that! And the first theme that I find interesting is tied up in everyone’s favorite scene, the Gazebo moment.

I just mentioned in my sex power romance post on Shahrukh how he uses sex as a character tool for the first time in this movie, most obviously in the Gazebo scene. He is actively seducing Kajol there and fully aware of what he is doing. Both as an actor, creating this tauntingly sexual moment onscreen without ever crossing the lines of the censors, and as a character gently teasing the woman he loves with sexual promises without ever crossing a line that would scare her off. This scene is sexy all on its own, but its real power comes in context because of how the film has slowly built up the Kajol-SRK relationship in a unique way, a friendship between a boy and a girl, a love story even, that is NOT sexual. And then, later, as a romance between a man and a woman who just met and are slowly navigating their attraction for each other. The Gazebo scene is when those two relationships finally merge, two people who already love each other but are just now falling in love.

Something I find fascinating to consider both in films and in real life is the difference between a soulmate and a lover. In my own experience, “soulmate” is a rare and wonderful relationship that can come up between two people in any relationship to each other. I’ve known parent-child soulmate pairs, sibling soulmates, and best friend soulmates. That one person who just “gets” you, who understands you more than anyone else, who you have to talk to everyday or you start to lose track of who you really are. Your other half without whom you always feel a little bit incomplete.

And on the other hand, there is your romantic partner. They make you feel sexy, happy, confident, wonderful. And as you come together and spend your lives together, you grow closer and closer with every passing year, you know each other inside and out, you rely on each other, you become accustomed to each other so that it seems impossible to survive apart.

And that brings me to Kuch Kuch Hota Hai. What Karan is setting out to explore in this film is what happens when you have two opposite sex soulmates who do not become lovers until years later. There are plenty of movies that deal with the soulmate/romantic love question. The couple who meet and spark and immediately are like two halves of the same whole. But what about a couple that are only friends, only soulmates, and not romantically in love at all? How and why and when do they navigate that transition?

JHMS is a different take on this same idea. They are soulmates who are attracted to each other, but are denying both the attraction and the soulmate bond, until both elements increasingly bloom forth and inform each other.

Looked at purely from the perspective of the Kajol-Shahrukh relationship, Rani is a device to make clear the difference between soulmates and romantic loves. Shahrukh and Rani are in love, wonderful love. They meet and spark and challenge each other and get to know each other better and have little moments of euphoria and sexual attraction and excitement. Beyond that, they are a good pair. They like each other, they understand each other, they confide in each other.

Kajol and Shahrukh in the flashback sequences don’t have any of that. It’s not just that Shahrukh doesn’t love Kajol, it’s that Kajol’s “love” for Shahrukh isn’t really romantic love. The title song is brilliant in how it shows that, even as she decides she “loves” him, Kajol still doesn’t fully feel romantic love for him. She is dancing alone in a field, joyful with her decision and new awareness of her feelings. But she doesn’t dream of him embracing her, kissing her, the closest moment they have is him tickling her. It’s a strangely childish, asexual version of love.

And the song when Kajol learns Shahrukh loves Rani and will marry her does a similar job. Kajol’s misery is contrasted with their joyful united love. It’s not that her heart is broken, it is that she is excluded. Shahrukh and Rani are in their own little bubble now, and Kajol is left outside in the cold alone. It is not about her being jealous, or dreaming of what she could have had with Shahrukh, it is about her feeling cold and lonely, wrapping herself in heavy sweaters because it is all she has now.

And that’s where the brilliant train station good-bye scene comes in. Kajol and Shahrukh both play it so well. It’s not about them realizing they are in love, he makes no move to hold her, there is no “almost kiss” moment. Instead it is literally about “what will I do without you? How can I live?” When he chases the train down, it doesn’t feel like he has any goal in mind, like there is an attempt to catch the train or make one more plea, it feels like he is pulled towards her, any surface anger and frustration and logic is overcome by the need he feels for her. That is what Rani sees. Not that Kajol and Shahrukh are in love, but that they cannot live without each other. And by marrying him, Rani has forced them to separate.

Rani does not send Little Anjali off looking for Kajol because she died, she sends Little Anjali off because it is what she would have done herself. That moment at the train station, for Rani, is not about realizing Shahrukh loves someone else, it is realizing that Kajol and Shahrukh cannot and should not be permanently separated. She still marries Shahrukh, they are happy together, but she knows that someday she must reunite Shahrukh and Kajol if her husband is ever to be fully happy.

And that brings us to the second half and the courtship sequence. Starting with their reunion. When Kajol and Shahrukh first meet each other again, he doesn’t stare at her long hair or her sari or her make-up. She doesn’t reach to kiss him. It isn’t a moment of “oh wow, I am seeing you in a new light and now I am in love”. It is a moment of “I suddenly feel alive again for the first time in years and I am overwhelmed by the sensation”. It is the completion of that moment on the train platform, the moment when the world narrowed down to just those two people who needed only each other feeling their bond snap. And now suddenly feeling that bond lock back into place between them.

Only after that initial shock, do they have the conversation where Shahrukh points out her sari, and Kajol expresses sympathy about Rani’s death. They are beginning a mating dance that they never played out before, he is acknowledging that he know sees her as a woman, and she is acknowledging that he is now free to love again. And then their relationship goes through the standard beats of courtship, flirting on the basketball court which indicates his interest in her as a woman and awakens her sense of desire of him as a man, talking and getting to know each other, offering her his jacket, everything you would expect, culminating with the gazebo moment.

See how this song draws a clear line between their past and present selves? The present couple are band new, just falling in love. The past couple know each other inside and out already.

This whole second half, to me, is saying “we have a bond that was there and is there and will never change, but I want to add on a new relationship, start from scratch as potential romantic partners”. What makes the gazebo scene powerful is that it brings that unbreakable bond into their romance.

Look at the opening, before they start dancing. It’s almost wordless (except for Kajol’s whispered “no music”). Shahrukh just has to kneel and gesture and Kajol gestures back, and they both know. And by this point in the film, the audience doesn’t find this remarkable or magical.

Compare it with, for instance, in the first half when Shahrukh tells Rani that his mother told him you bow before three women, the Goddess, your mother, and your wife, and later silently bows to her and lets her know he is serious about her. For that, he had to explain the meaning to her (and the audience) clearly, and even set up the second bow by reminding her again. And she didn’t have a response, didn’t know how to indicate that she felt the same way. It’s tingly and romantic because he is making a grand gesture and sweeping her off her feet and there is the friction of difference between them, will she understand? Will she respond in kind?

But between Kajol and Shahrukh, there is no need for explanation, no friction, no unknowingness. She immediately knows what he means and responds in kind when he starts wordlessly gesturing. And then he plays his fingers on the air, and she hears music. It’s a moment of magical realism in a movie that has no other magic, but it does not stand out as such to the audience. We don’t see it as magic, we don’t question it. Kajol and Shahrukh would naturally hear the same music in the air, it’s a continuation of all those moments in the film when their eyes met and it was as though it was only the two of them alone together in their own world.

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And then, finally, they clasp hands. The most meaningful moment of the dance is that first moment when Shahrukh holds out his hand and Kajol drops hers into it. These are two halves finally coming together, something that is so right it inspires an exhale of relief from the audience as we watch it.

The dance together is a dance between soulmates and sexual partners, both at the same time. It is a discovery that these two realities can co-exist, the merging of their long time aching need for each other with this newly discovered fluttery feeling of love. When Shahrukh pulls her to him, it is romantic and sexual, but when they dance perfectly in rhythm in the rain to music only they can hear, it is soulmates. When he teases her with his finger, it is romantic. But when she spins away and stares in shock at what she is feeling and he waits behind her with a sympathetic face, it is because he knows her better than anyone else and can feel what she is feeling.

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The rest of the film struggles to find a resolution beyond this moment, because what resolution can there be? There is nothing to say, there is no need to say or do anything. The connection between Shahrukh and Kajol flows back and forth without need for words. He knows she is engaged and will not be able to live with herself if she breaks the engagement. She knows he knows and will never move to break the engagement because it would not be honorable. But at the same time, having rediscovered their bond and integrated love and romance into it, separation is impossible. If their connection were merely romantic, it would end with high drama between them, speeches and ultimatums. But while the romance is what is breaking their heart, the soulmate connection is what is letting them understand the heartbreak at a depth too far for words.

And so it ends not with Kajol giving a speech or Shahrukh whisking her away, but with Kajol being locked in place, unable to move to a future without Shahrukh and Shahrukh being unable to walk away from her. This is the same position they held years earlier on the train platform, Kajol forcing herself to leave but unable to step away from the door where she locks eyes with Shahrukh and Shahrukh unable to move from the end of the train platform. That time Rani knew she had Shahrukh’s love, knew that what he and Kajol felt for each other was not the same as what she and Shahrukh had. And so she stood by and watched, planning to someday reunite them as friends and keep Shahrukh’s romantic love for herself. But this time, Salman knows he has lost entirely. Kajol is now twice Shahrukh’s, as he is twice hers, both a soulmate and a lover.

Or you can disagree with my theories! Say that Rani was Shahrukh’s true love and Kajol was the second choice, that Kajol always already felt romantic love for him, that it was just a college friendship from Shahrukh’s side that was re-sparked on a second meeting.

But if you agree with me a little bit, here is a question I debate through all of this: if Rani had lived, and Kajol married Salman, could there ever be a world where the two couples became friends and honored the SRKajol connection? Or would Kajol and Shahrukh have to stay apart in order to remain faithful to their respective spouses? Was romantic love always an inevitable part of their connection?

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28 thoughts on “Shahrukh Summer: Kuch Kuch Hota Hai, Lovers and Soulmates, and the Importance of the Gazebo Scene

  1. The gazebo scene is one of the most romantic scenes ever filmed on celluloid. Maybe even the top one.

    I think Rahul and Anjali would have always ended up together even if Rani’s character was alive if only Anjali didn’t leave from school. They were all just coming of age and Rahul hooked up with the first girl that gave him butterflies. He didn’t even have time to really think of anything before Anjali ran away. If she had stuck around and endured Rahul and Tina’s relationship, they would have eventually broken up. They were in that time of life when people are just finding themselves and figuring out who they want to be – so much changes in those few years in your 20s – looks, style, thoughts and feelings. Anjali would have always gone through that transformation where she became more womanly and started dressing in a more feminine way. She would have matured in other aspects too and if she was in front of Rahul’s face the entire time, there was no way he wasn’t going to eventually choose her. Tina just didn’t belong and maybe if they spent more time together she would have realized herself that she was the third wheel, not Anjali.

    Liked by 1 person

    • Interesting! Your theory is reminding me of Niram, and Jaane Tu…Ya Jaane Na, which both have the plot of boy-girl best friends who don’t understand the depth of their feelings and think the fluttery crush feeling they have for other people is love. Only in those movies the best friend stuck around long enough for things to shake out as they are suppose to.

      I could also see Kajol leaving, Shahrukh and Rani marrying and her not dying and Kajol re-entering his life again years later and causing complications. Either his marriage could end over it, or he and Rani would just come to an unspoken understanding that she would always take second place to Kajol in terms of emotional closeness.

      This isn’t to say that I don’t think Shahrukh and Rani had a decent chance without Kajol being involved. Yes, they were young and moved fast, but they seemed like decent people who would have worked at their marriage and stayed close and happy. If only Kajol hadn’t been there as Shahrukh’s true soulmate.

      But mostly I am fascinated at the idea that everything went wrong when Kajol decided to leave, not when Rani died or any of the other moments! What do you think would have happened if she had spoken first and told Shahrukh she loved him before he had a chance to tell her he loved Rani?

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      • If Anjali had spoken first, I don’t think he would have chosen her at that point. He just didn’t see her like that yet. It would have been a shock for him but I don’t think it would have gone anywhere. The weird thing is that I think Kajol would have been so embarrassed at being turned down that she would have left the school anyway. So whether she spoke first or he spoke first, the result would have been the same.
        The only thing that could have helped the situation was time. He had to see her as a more mature woman that he would be attracted to and not just as a buddy like any other male friend. They were always going to end up together one day but it would have been quicker if she just kept her mouth shut and remained in the school. He would have been seeing the changes in front of his face as they happened as she grew up.
        Rani really had an easy win because she was the short skirt clad, make-up and flat-ironed hair sporting, bhajan singing new girl. Kajol was just the annoying old friend who makes him look bad by being better than him in sports and keeps fighting with him and wears miserable clothes and ugly hair bands. That would not be the case with an older more feminine version of Kajol. A woman he’s physically attracted to AND also his best friend who he can play basketball with? Bye Rani.

        Liked by 1 person

        • I don’t know, in my own head canon I can’t see Kajol going through those changes at school. She had to get away from the pressure of the school world before she could grow up.

          Now that I think about it, she never went through a sexy college girl look, her look in the second half is far different from Rani’s and the other “sexy” girls in college. She went from sports wear straight to grown up saris of the kind it would look odd to see in college. But maybe if Shahrukh had come home with her vacation some time and seen her in her home clothes, or if she had come home with him.

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  2. Watching that video clip makes me sad to see Salman’s aging. I don’t mind an older SRK at all but I really can’t get on board with the older Salman. I had forgotten how much I liked the 90s Salman.

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    • I had a similar reaction. I don’t mind older Salman, especially when he is styled correctly, but I forgot how shockingly handsome he was in the 90s.

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  3. I think in a world outside of a Karan Johar movie they could have stayed friends. Rahul and Tina would have been fine raising little Anjali together. Big Anjali would have gone on to have other relationships and eventually have found someone to love who loved her back. Rahul and Anjali could have reunited without sparks flying, even if she still did have a bit of a thing for him. The husband, though, might be jealous of their closeness and that could cause issues. Tina would have been okay with it and would keep her own friendship with Anjali too.

    In Karan’s movies first love and love by destiny tends to be idealized, and it can’t easily coexist with friendship between the same people. In life it’s not that black and white of course. I like your way of describing soulmates – I think of them as kindred spirits – as an idea that applies across different relationships, and seeing romantic attachment as the transition that drives the second half.

    Have to agree that the gazebo feels like a straight up sexy switch adult seduction scene after the puppy love of the first half (and a lot of his earlier movies). It’s where you see desire come out physically instead of just speeches and soulful looks.

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    • Hmm. The only thing that makes it hard for me to believe that Shahrukh and Kajol could have stayed just friends is that Kajol was still hung up on him all those years later, despite being engaged to Salman. And that I find believable even outside of a Karan Johar world, it was such a painful strange first love experience that it would be hard to get past and let go of it. Maybe if they had met again and she’d been able to get closure on those feelings? See him in her new mature life, maybe even talk through how she had felt back then and get his response? And then she could have moved on with Salman or someone else having finally resolved her first love.

      On Tue, Jul 30, 2019 at 12:31 AM dontcallitbollywood wrote:

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      • Yes, she made a drastic change in her life because of this relationship, so it’s natural she’s hung up on the idea of it – frozen in time the last time she saw Rahul. But who you are in college is not necessarily who you are eight years later. That goes for both of them. So many high school and college romances don’t last exactly because people change so much as they move into adulthood and start making the choices that set their path in life. When you haven’t had contact with someone since that early formative period it’s easy to to get stuck in the idea of who you both were then, but when you come back together as adults you see the parts you remember and the parts that have evolved, and it’s possible to re-establish the relationship on new terms. This is the part that I think gets lost in the world of Karan Johar movies, first love freezes characters in time, it’s the only true love and the only happy ending. But if Tina had lived and Rahul had met Anjali years later as a happily married father, he could have reconnected with her as a friend and Anjali could have seen how different and more mature she herself was, to the point of being able to enjoy both Rahul and Tina as friends and people without suffering because they were happy together. I have a few friends who had Ross and Rachel-style drama through high school or college who are now as adults happily with other people and able to be friends.

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        • On the flipside, my uncle was widowed and then reconnected with his high school girlfriend and has now been with her for over a decade. So there can also be those couples who sort of come back around again.

          Anyway, I see what you are saying. I’m working on tomorrow’s post now, leaping off from the costumes into character discussion. I think what I see in the film is that Kajol and Shahrukh were one of those couples that were a miss-match when they were young (she was too immature, he was too try-hard) but aged into being kind of perfect, thus getting together in adulthood. But that could cut both ways, if they got together with Rani alive as adults then Kajol could finally understand how very wrong they were together in college and that it would never have worked out and she didn’t have a great tragedy after all. And then let go of that mental block and find someone who fits her as an adult.

          On Tue, Jul 30, 2019 at 5:54 PM dontcallitbollywood wrote:

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  4. This scene is indeed my number one most romantic-sexy scene of all time. Totally charged with sexual tension yet Shahrukh kneeling to start the dance sequence – surely it echoes a proposal, the beginning of something deeper and long-term in their lives.

    Liked by 1 person

    • The kneeling reminds me of when he kneels at the end of JHMS. It feels like the proposal gesture, but with the sincere emotion behind it, not just the tradition. Men are supposed to kneel because they are begging for something, they feel powerless in front of the woman, not just because you kneel when you propose. That’s what the kneeling at the start of this and JHMS feels like. His emotions and the gesture they bring out come from a sincere place, in both moments he is so overwhelmed by his love for this woman that he has to kneel in front of her.

      And that’s for commenting! I am worried I am almost alone in loving this movie 🙂

      On Tue, Jul 30, 2019 at 10:28 AM dontcallitbollywood wrote:

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          • I totally went back and watched some of the scenes last night :). I saw this one so early on and then not again for a long time. I’m just now realizing this might be even more important to the peak SRK king of romance persona than K3G or Kal Ho Na Ho. Right up there with DDLJ, but maybe a tad sexier.

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          • Yup! DDLJ made him and broke records, but Kuch Kuch broke records too. In terms of popularity, Kuch Kuch and DDLJ and K3G stand alone in the Shahrukh filmography, broke records and kept them broken for years. DDLJ was the moment when everyone went “Hey, this guys kind of cool!” But Kuch Kuch was when everyone went “oh yeah, Shahrukh, he’s clearly the best and will stay the best”.

            On Tue, Jul 30, 2019 at 5:16 PM dontcallitbollywood wrote:

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  5. This scene is definitely one of the sexiest of all time but your post made me realize why it hits home so very deeply. And that is the emotional connect that not only Rahul and Anjali are making but also the one we are making with them, or with the idea of them. Or with the idea of romantic love and soulmates coming together. So thank you for providing another opportunity to watch it yet again!

    Couple of points: First, Rahul doesn’t know Anjali is engaged until the next day when Aman tells him. Not sure that changes anything in the scene itself or in Rahul’s reaction to Anjali in it but thought it was worth a mention.

    Second, I think it was you in another post some time ago who talked about the way Rahul grabs her sari, and how in another movie that would feel threatening and potentially the first step to sexual assault, but his dropping it the way he does makes it clear he isn’t crossing any boundaries. I think it was in the same post where you talk about the bathing scene in Dil Se, how he opens the door and sees her in the bath and, instead of coming into the room, he looks straight at her face and slowly closes the door. Do you remember that discussion? I always think of it when I see either of these scenes but for the life of me I can’t recall what the whole post was!

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    • Oh shoot, I had more thoughts on the engagement knowledge part! Oh well, I’ll put them here instead of in the post.

      The knowledge of her engagement is the one small crack in their connection, the one thing about Kajol that Shahrukh does not know. When Kajol sees her engagement ring and runs away, Shahrukh looks vaguely puzzled. Because he knows her inside and out and that is not the reaction he expected (he knew she was afraid of her feelings but not to the point of running away). Until that moment, Kajol had forgotten her engagement so entirely that she was reacting as though it did not exist, and that is why they were completely in sync all this time. Shahrukh finds out almost immediately, he goes looking for Kajol and finds her with Salman and learns they are engaged. And suddenly he and Kajol are back in sync, both gently sad for the thing that now can never be. The moment of opening was when Shahrukh did NOT know, and when Kajol had forced herself to forget. At that time, they could have confessed their love in a little bubble and taken that with them into the world. Once Shahrukh knows, he stops romancing her, stops being with her entirely. And there is also a bit of a “geni back in the bottle” problem. If Shahrukh had known all along, he never would have romanced her at all and they would have stayed just friends. But now they can’t go back to being friends, so they have lost friendship and romance together.

      On Tue, Jul 30, 2019 at 10:49 AM dontcallitbollywood wrote:

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  6. I think the telling moment is when they do connect at camp that evening, Shah Rukh says, “You weren’t there when I needed you most” ( when Tina died) What should have happened is Kajol should have gone to him at his worst moment and then after he’d grieved they would have found each other. If Tina had lived, they would have had a good and happy marriage. Kajol on the other hand doesn’t seem to have gotten over him so they cannot be friends. Weird thought: maybe Rani got pregnant knowing it could/would kill her so as 1) to get out of the way ( in a totally selfless in a non realistic way) or 2) she knew she wanted him to have their kid and she knew he’d be okay cause he’d find Kajol. Mpollak711

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    • I forgot that line. The other thing about it is that it reveals Shahrukh has been missing her all along. Before the film posited that Little Anjali’s questions reminded him of Kajol (although the fact that it was so easy to get him to remember Kajol was also telling). But that line says that every time things got really bad in his life, he needed her. She wasn’t just a college friend he forgot about until just now, she was someone he has been wanting all along.

      I totally think part of Rani’s reasoning was that Kajol was there. I mean, she wrote the letter! I would go more on the option 2, that she decided to move forward with the pregnancy knowing that she would die, but also knowing that her husband could find love again. Or in the happiest version, she wanted the baby no matter what and felt guilty about leaving Shahrukh behind until she remembered that Anjali was there and that let her make the choice feeling guilt free and and happy about what would happen with her family.

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  7. I forgot how much I loved this film so I am grateful that you brought it back to the surface. And I had forgotten the newly wordless (wordless on Shahrukh’s part) expression of this special kind of mature/sexual/love that is so much deeper informed by their younger relationship.

    There’s a part of me that is still surprised by Kajol’s immediate running away when she “remembers” she’s engaged. She now knows Shahrukh has feelings for her, and in her heart she’s never let him go. Also the ring blooper where it’s on the other hand…lol

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    • I guess that’s why they had to craft that careful mistaken identity bit? Plus keep the engagement as time bomb ready to explode. Kajol sees the engagement ring, the sudden memory overwhelms her and she runs away in shock. But after a minute to pull herself together, she is ready to admit her love. Which is when Salman shows up and it all goes wrong. I guess after that it is just reliant on them not having talked about the engagement? Shahrukh assumes Kajol loves Salman in some way just like he loved Rani because he doesn’t know Salman badgered her and she put off the wedding and all those things we the audience know. And Kajol can’t be sure if Shahrukh would have done any of that if he knew she was engaged, if maybe he was just flirting and testing the waters but isn’t ready for a real “break off your engagement” level commitment.

      And I also forgot how much I loved this film! This week is just like sinking into a wonderful warm bath of happiness.

      Liked by 1 person

  8. I LOVE KKHH!!! I can probably re watch it anytime.. any day! And the Gazebo scene is probably one of the most romantic scenes captured in a movie.. it’s sensual.. romantic and beautiful but not in the usual way as you so poetically explained it.. it’s a coming together of two different relationships between the same two people.

    Also.. I don’t like people (Karan included) trivializing the story today.. of course there are some small problems like maybe (daughter) Anjali was too young for the story.. but those comments don’t consider that I and the other audience of that movie was probably about the same age when we saw the movie too. So we probably shouldn’t have seen the movie? One of my childhood fav scenes has been the one where SRK shouts at his daughter Anjali and then immediately feels bad 😂
    It’s relatable.. cute and it had that heart in the story that made me connect and see myself and my dad arguing the same way probably.. which is important for me in a movie!

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    • I’m so surprised by how KKHH has gotten left behind today, because my feeling was the same as yours. It’s a movie everyone I knew loved as a child and then grew into loving it as an adult in a different way. It isn’t the kind of movie Karan would make now, but that doesn’t mean it was bad for what it was back then.

      On Wed, Jul 31, 2019 at 6:00 AM dontcallitbollywood wrote:

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  9. Yay you got to Kuch Kuch! Was surprised to see you hadn’t reviewed it since it’s such an integral part of SRK’s work. This has so many memories for me, will probably comment on the other posts which I haven’t got to reading yet (been super busy, only now catching up!).
    It’s funny how I noticed ring-related errors only now despite having seen this scene a few times before (who notices props when you have full-on seduction going on, lol!). As someone pointed out, it’s not only on her right hand (probably why Rahul never guesses she’s engaged, so maybe it makes sense!), but it’s a different ring in the beginning of the scene… when she puts her hand on her face, it’s a big chunky thing 🙂

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    • Yes! You had better get busy! I need thoughts on Shahrukh’s hair, clothes, and in which films is he the best partner 🙂

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