<p>Yashvardhan “Yash” Raichand is a wealthy businessman in Delhi who lives with his wife Nandini, their sons Rahul and Rohan, and other extended family members. Rahul, their elder son, is adopted—a fact he discovers at the age of eight. Although Nandini loves him deeply, Rahul grows up with a strong sense of duty to his parents and strives to meet their expectations. As an adult, Rahul falls in love with Anjali Sharma, a lively young woman from Chandni Chowk. Yash disapproves of the relationship due to class differences and wants Rahul to marry Naina Kapoor, a family friend who quietly has feelings for him. Understanding Rahul’s love for Anjali, Naina steps aside. Rahul considers ending the relationship but marries Anjali after her father’s sudden death. In response, Yash disowns Rahul, prompting him to leave for London with Anjali and her younger sister, Pooja. Nandini, heartbroken, sends the family’s nanny, Sayeeda, to accompany them. Soon after, Rohan is sent to boarding school. Ten years later, Rohan returns home after completing his education. He learns of Rahul’s estrangement from a conversation between his grandmothers and resolves to reunite the family. He requests permission to pursue an MBA in London, using it as a pretext to find Rahul. Upon arrival, he reconnects with Pooja, now a university student. Together, they devise a plan to bring Rahul and Anjali back to India. To conceal his identity, Pooja introduces Rohan to Rahul as “Yash,” her friend’s cousin visiting from India looking for an Indian family where he could reside as a tenant. Although hesitant, Rahul allows him to stay after he felt a connection with him. Rohan bonds with his nephew Krish and develops a romantic connection with Pooja. Despite several close calls, Rahul remains unaware of Rohan’s true identity. Eventually, Rohan reveals the truth and urges Rahul to return home. Rahul refuses, believing he has been permanently rejected by Yash. Hoping to change his mind, Pooja encourages Rohan to invite their parents to London. Nandini and Yash arrive; while Nandini reunites emotionally with Rahul, he avoids his father. Yash learns of Rohan’s deception and becomes angry. The family returns to India following the death of Yash’s mother. Rahul attends the funeral and, at the urging of Rohan and Pooja, agrees to return briefly for Nandini’s sake. In Delhi, the family prepares to formally welcome Anjali, and Rohan and Pooja’s engagement is announced. During the ceremony, Yash publicly expresses regret for disowning Rahul and admits that, despite his strict nature, he always loved him. The two reconcile in an emotional reunion. The film ends with a celebratory wedding for Rohan and Pooja, marking the restoration of the Raichand family’s unity. “At a certain age, boys are very demonstrative about their love towards their fathers. They hug and kiss them. But after that, they withdraw, become less demonstrative. My film is about relationships, about sons going up to their fathers and saying they love them.” Following the commercial success of his directorial debut (1998), began developing a new project centered on themes of family, tradition, and generational dynamics. The initial concept revolved around two daughters-in-law within a joint family, but on the advice of his cousin and filmmaker , Johar restructured the narrative to focus on the relationship between two brothers, believing this would allow for stronger male protagonists. Johar cited ‘s (1976) as a key inspiration, particularly its exploration of romantic and familial relationships across generations. Although he acknowledged the influence of that film, Johar stated that would differ significantly in its tone and aesthetic. The title of the film was stylized with an additional “e” in the second “Kabhi”, based on numerological considerations. In interviews, Johar emphasized the emotional and relational core of the story, stating: “My film is about relationships, about sons going up to their fathers and saying they love them.” He characterized the project as a more mature and sophisticated counterpart to his earlier work, describing as “frothy and bubble-gummish” in contrast. The film aimed to balance heightened emotional drama with opulent visuals and cross-generational appeal. Prior to principal photography, Johar collaborated with costume designers , , and to curate distinct wardrobes for each character. The team sourced clothing and accessories from multiple cities including , , , and various locations in the United States. Johar did not hold extensive cast rehearsals, with the exception of an emotionally pivotal scene between and . Other key crew members included choreographer , production designer , and cinematographer Kiran Deohans. commenced on 16 October 2000 in , beginning with the song sequence “Bole Chudiyan”, which featured , , , and . and joined the production a few days later. During the initial days of filming, Johar experienced exhaustion and briefly fainted on set but continued directing while resting off-camera. To recreate the setting for the film’s first half, production designer led the construction of detailed sets at . The team used reference photographs and materials sourced from the original location to enhance authenticity. Roy later received the for her work, which included constructing 18 to 19 sets, including the interior of the Raichand mansion, which was built from scratch and adorned with imported artwork and luxury décor to convey the family’s affluence. The second half of the film was set and shot in the United Kingdom, with Johar selecting for its personal significance. Filming took place at several notable sites including the in , in , , , and the . Exterior shots of the Raichand estate were filmed at . During the shoot at Bluewater, a large crowd gathered to watch a scene featuring and , which led to production delays and prompted mall authorities to request that filming be completed within two hours. The romantic song “Suraj Hua Maddham”, featuring Khan and , was filmed at the in , . Due to lighting limitations, filming was restricted to early morning hours and extended over several days. During the shoot, Kajol sustained a minor injury after a fall. British journalist Fuad Omar extensively covered the film’s London production in regional media and later compiled his accounts in the book , offering insights into the film’s international schedule and cultural resonance. has been the subject of academic and critical analysis for its portrayal of family structures, diaspora identity, visual spectacle, and cultural values. Scholars have explored how the film synthesizes traditional melodrama with global aesthetics to engage both domestic and audiences. In the , Eric Mazur identifies mythological subtexts in the film, particularly in its depiction of rituals. He notes that the opening sequence, in which the Raichand family worships , offers the audience a shared experience of (divine viewing), linking spectators with on-screen devotion. Mazur also highlights the use of , sequences such as the song “Suraj Hua Maddham”, which he argues enables the characters to express physical intimacy and emotional longing in ways constrained by the film’s narrative world. These moments, he asserts, rely more on non-verbal cues—particularly of glances and eyes—than on dialogue. Rajani Mazumdar draws comparisons between and earlier family-centered Hindi films such as (1994), noting the continuation of themes of familial loyalty and moral values. She observes that the film stages its melodrama across two contrasting spatial registers: the opulent Raichand mansion, described as “museum-like”, and the bustling, celebratory interiors of . This spatial contrast, combined with frontal camera compositions, enhances the visual richness of the film and underscores emotional oppositions within the narrative. Sangita Gopal situates the film within the broader tradition of Hindi cinematic melodrama, particularly through its heightened aesthetic techniques. She examines scenes such as the confrontation between Yash and Rahul Raichand, which employ a dramatic background score and 360-degree panning shots to intensify emotion. Gopal argues that while these stylistic devices recall classical melodrama, the film gradually transitions toward a more psychological exploration of family conflict, shifting the emphasis from social structure to interpersonal dynamics. The film’s portrayal of diasporic life has also drawn sustained critical attention. Writing in , Andrew Willis suggests that the narrative was deliberately crafted to appeal to the , particularly in the United Kingdom, North America, and . He interprets the second half of the film, set in London, as a nostalgic reflection on cultural displacement, with characters navigating emotional disconnection amid material prosperity. Anjali, in particular, is portrayed as deeply rooted in Indian traditions—wearing , performing domestic rituals, and expressing concern about the Westernization of her son and younger sister. Building on this perspective, scholars such as Lars Eckstein argue that the film advances a culturally conservative view of India, contrasting it with the perceived emptiness of Western consumer culture. References to global brands such as Starbucks and Burger King are cited to emphasize the commodification of lifestyle abroad. Eckstein characterizes the Raichands’ life in the United Kingdom as an “involuntary exile”, with their eventual return to India depicted as a form of emotional and cultural reconciliation. Corey Creekmur explores the film’s tagline—”It’s all about loving your parents”—in relation to its internal family dynamics. While the narrative celebrates filial devotion, Creekmur contends that it simultaneously challenges patriarchal rigidity. He identifies Rohan as a pivotal character who seamlessly bridges traditional Indian values and Western cosmopolitanism. According to Creekmur, the film ultimately advocates for emotional openness between fathers and children, while portraying mothers, grandmothers, and aunts as consistently nurturing and supportive, even when constrained by patriarchal expectations. The soundtrack for was composed by , , and , with lyrics by . The song “Suraj Hua Maddham” featured lyrics by Anil Pandey. The album comprises 11 tracks and was released on 26 October 2001 by . The for the film was composed by Babloo Chakravarty. was initially planned for release during the season of 2001 but was ultimately released theatrically on 14 December 2001. Owing to the film’s extended runtime, theatres typically screened three shows per day instead of the usual four. In response to high demand during the advance booking period, several cinemas raised their ticket prices. The film’s use of ” “, India’s national anthem composed by , drew criticism from some audience members and political figures, particularly members of the . They argued that its placement within the narrative was inappropriate and disrespectful to national pride. A writ petition was filed against Dharma Productions in the by a resident of ; however, the court dismissed the complaint. Upon its release, received a range of responses from Indian film critics, with praise directed at its production values and performances, and criticism aimed at its length and screenplay. of gave the film a five-star rating, calling it “the complete commercial banquet delivered with fabulous finesse.” of rated it 4.5 out of 5 stars and lauded the emotional sequences, production design, choreography, and cinematography, crediting as the driving creative force. Rakesh Budhu of gave the film 8 out of 10, acknowledging its narrative flaws but calling it “one heck of an entertainer.” Fuad Omar, writing in , described the film as “a masterpiece from the first frame to the last,” calling it “the most enthralling, entertaining, emotional and complete vision and definition of Hindi cinema I have ever seen.” Other reviewers offered more mixed or negative assessments. Anjum N. of criticized the film as a “bad remix of (2000) and ,” though he praised the performances of and , and . of praised ’s performance and Johar’s ability to engage viewers, stating that the film offered “some joy, some disappointment.” of found the emotions exaggerated, calling the film “monochromatic despite the profusion of colours.” Internationally, the film was generally well received. On the website , of 12 critics’ reviews are positive, with an average rating of 7.8/10. Shamaila Khan of the gave it 9 out of 10 stars, praising the performances of , , and , and describing the film as “well made, with some magical moments (hilarious and weepy) and possibly the world’s best-looking family.” of called it “highly enjoyable” and praised its set pieces and visual style, though he noted the narrative lost momentum in the final half-hour. opened to record-breaking collections in India. It earned approximately ₹70 million net during its opening weekend, and ₹140 million in its first week. These figures were about 70% higher than the previous box-office record at the time. The film continued its strong performance into subsequent weeks, grossing ₹105 million in its second week and ₹80 million in its third. It eventually netted ₹550 million domestically, becoming the second highest-grossing Hindi film of 2001, and earned “Blockbuster” status. Internationally, the film was released in approximately 125 prints and earned a total of US$8.9 million at the overseas box office. It performed exceptionally well in the United Kingdom, grossing US$689,000 in its opening weekend and ranking third at the British box office. It went on to earn over US$3.2 million in the UK. In North America, it grossed US$1.1 million in its opening weekend across 73 screens, the highest opening ever for a Bollywood film at that time. Due to delayed box-office reporting, its actual debut position on the American charts was affected, though recorded it at number 32 for the week ending 4 January 2002. Its final gross in the United States was US$2.9 million. In 2003, became the first Indian film to receive a theatrical release in Germany. The film’s global gross totaled approximately ₹1.36 billion (US$29 million), making it the highest-grossing Indian film overseas at the time. Its record stood until surpassed by Johar’s subsequent directorial, (2006). When adjusted for inflation, the film remains one of the highest-grossing Indian films worldwide. received significant recognition at Indian and international award ceremonies. At the , it led the nominations with 16 nods and won five awards. In a subsequent interview, director Karan Johar expressed satisfaction with the outcome, stating that although the film did not win the top prizes, he considered “a classic” and deserving of its wins. The film was also successful at the (IIFA), where it received seven awards. It earned additional honors at the and . Internationally, it won five awards at the 13th Valenciennes International Film Festival in France, including three for Best Film and Best Actress for Kajol. Since its release, has come to be regarded as a landmark film in Hindi cinema, noted for its combination of emotional melodrama, lavish production values, and cross-generational storytelling. Retrospective analyses have highlighted its influence on diaspora narratives, family-oriented themes, and the globalization of Bollywood cinema. In a 2024 feature, described the film as “one of Bollywood’s most iconic family dramas,” citing its ensemble cast, memorable dialogues, and enduring music. characterized it as a “feel-good movie” that “instantly uplifts my mood,” noting its continued popularity more than two decades after release. Critics and scholars have observed that the film played a key role in shaping mainstream Hindi cinema’s engagement with themes of class, familial expectation, and identity in post-liberalization India. Its stylized portrayal of London and Delhi as symbolic cultural spaces has been widely discussed in academic literature, particularly in relation to diasporic longing, aspirational consumption, and patriarchal conflict. has also had a lasting impact on popular culture. The character of Poo, portrayed by , emerged as a generational , celebrated across platforms for her confidence, style, and comedic timing. In 2021, referred to Poo as “Bollywood’s original icon,” while likened her to Western figures such as and Cher Horowitz, citing her influence on early-2000s fashion in Indian cinema. The film’s long-term popularity has been reinforced through frequent television broadcasts, international syndication, and sustained viewership on streaming platforms. In 2020, included the film in its curated list of underappreciated global titles available on , calling it a “Bollywood extravaganza” that deserved wider international recognition. In a 2021 interview, director reflected on the film’s continued resonance, expressing surprise at the affection it still receives from audiences worldwide. He noted that while the film was rooted in traditional values, its emotional universality contributed to its lasting relevance. Prior to its theatrical release, the film’s music, overseas distribution, and telecast rights were collectively sold for approximately ₹350 million (US$7.42 million). This included ₹250 million for the overseas rights, which were acquired by . During the film’s production, screenwriter and journalist authored , a companion book based on 18 months of on-set observations and interviews with the film’s cast and crew. The book was published shortly before the film’s release and documented various aspects of the production process. was released on and formats beginning in 2002, with a two-disc DVD edition including a 45-minute documentary, , , and promotional content. The film was later issued on in 2010. As of 2025, the film is available for streaming on major digital platforms, including and .</p>