Kabhi Khushi Kabhie Gham...
File:KabhiKhushiKabhiGham Poster.jpg Theatrical release poster
Directed by	Karan Johar
Produced by	Yash Johar
Screenplay by	Karan Johar Sheena Parikh
Story by	Karan Johar
Starring	Amitabh Bachchan Jaya Bachchan Shahrukh Khan Kajol Hrithik Roshan Kareena Kapoor
Music by	Songs: Jatin Lalit Sandesh Shandilya Aadesh Shrivastava Background score: Babloo Chakravarty
Cinematography	Kiran Deohans
Editing by	Sanjay Sankla
Studio	Dharma Productions
Distributed by	Yash Raj Films
Release date(s)	December 14, 2001
Running time	211 mins
Country	‹See Tfd› India
Language	‹See Tfd› Hindi
Budget	40 crore (US$7.98 million)[1]
Box office	117.29 crore (US$23.4 million)[2]

Kabhi Khushi Kabhie Gham... (English: Sometimes there's happiness, sometimes there's sadness), also known as K3G, is a 2001 Indian family melodrama film written and directed by Karan Johar and produced by his father, Yash Johar, under the banner of Dharma Productions. Music was scored by Jatin Lalit, Sandesh Shandilya and Aadesh Shrivastava, with lyrics penned by Sameer and Anil Pandey, and background score composed by Babloo Chakravarty. The film features Amitabh Bachchan as Yashvardhan Raichand, Jaya Bachchan as Nandini Raichand, Shahrukh Khan as Rahul Raichand, Kajol as Anjali Sharma, Hrithik Roshan as Rohan Raichand and Kareena Kapoor as Pooja "Poo" Sharma, with Rani Mukerji appearing in an extended cameo appearance. The film tells the story of the Raichand family, which faces troubles and misunderstandings over Rahul Raichand's marriage to Anjali Sharma, a girl belonging to a lower socio-economic group than them.

Development of the film began in 1998, soon after the release of Karan's debut film, Kuch Kuch Hota Hai. Principal photography began on 16 October 2000 in Mumbai and continued in London and Egypt. Initially scheduled to release during the Diwali festivities of 2001, the film eventually released in India, United Kingdom and North America on 14 December. In 2003, it became the first Indian film to be given a theatrical release in Germany. Written specifically to evoke nostalgia among the expatriate Indian audiences, the film was criticized by certain academicians for the portrayal of British society as morally corrupt, while conveying an idealist image of India. Upon release, the film met with mixed reviews from film critics and received polarizing reactions to Karan Johar's "larger-than-life" directorial style.

Made on a budget of 40 crore (US$7.98 million), Kabhi Khushi Kabhie Gham... emerged as a major economic success, both domestically and internationally, with a lifetime gross of 117.29 crore (US$23.4 million). Outside India, the film was the highest grossing Indian film ever, until its record was broken by Johar's next directorial, Kabhi Alvida Naa Kehna (2006). The film debuted at the third place at the British box office and was a success at the American box office as well. Kabhi Khushi Kabhie Gham... won several awards at popular award ceremonies the following year, including five Filmfare Awards.

Plot[link]

Yashvardhan "Yash" Raichand (Amitabh Bachchan) is a rich businessman, living in New Delhi with his wife Nandini (Jaya Bachchan) and his two sons, Rahul and Rohan. The elder son, Rahul is adopted whilst Rohan is their biological son. As a result, Rahul feels indebted to his parents when he finds out (at the age of eight) about his adoption. As an adult, Rahul (Shahrukh Khan) falls in love with Anjali Sharma (Kajol), a girl belonging to a lower social standing than him, against the wishes of Yash, who wants him to marry Naina Kapoor (Rani Mukerji). Rahul, however rebels and marries Anjali. Horrified, Yash disowns Rahul as his son. Disheartened, Rahul leaves the house with his wife. Nandini sends Sayeeda (Farida Jalal), Rahul and Rohan's nanny, after Rahul to take care of him. Rahul eventually moves to London. Meanwhile, Rohan is sent to a boarding school, as per family tradition.

Ten years later, a grown-up Rohan (Hrithik Roshan) finds out the truth about Rahul's disappearance. He asks his parents to let him go to London to attend graduate school; but he does so in order to conspire with Anjali's sister, Pooja "Poo" Sharma (Kareena Kapoor) to bring his brother back home. Poo informs Rahul that Rohan is her friend's cousin who has shifted from India to London, to pursue his studies and needs a place to stay. Rahul reluctantly agrees to let him live with them. When Rahul eventually finds out about Rohan's identity, Rohan begs of him to return home. Rahul refuses, as he believes that Yash does not love him. Poo, however, believes that Rahul will go back home, so she encourages Rohan to invite his parents over to London and arrange for them to meet Rahul. Once in London, Nandini and Rahul share a happy reunion. But Rahul refuses to talk to his father. Meanwhile, Yash finds out about the conspiracy and is furious with Rohan. He and Nandini, however, return to India due to the sudden death of his mother (Achala Sachdev).

Rahul, who also joins Yash and Rohan during the funeral service, agrees to return home for one visit to meet his mother, on the insistence of Rohan and Poo. Once there, Yash expresses his guilt for disowning his elder son, and adds that Rahul was foolish enough for believing that his father did not love him. The film ends with an elaborate wedding ceremony of Rohan and Poo, in which the entire family participate.

Cast[link]

• Amitabh Bachchan as Yashvardhan "Yash" Raichand, a New Delhi-based businessman. Fiercely dominating, he insists on controlling the life of his wife and sons. Amitabh Bachchan was Karan's first choice for the portrayal of Yash Raichand. Karan added, "As I wrote the film, I realised that Yashvardhan Raichand is the backbone of the film and I could only see one actor playing the role - Amitabh Bachchan." Bachchan, on his part agreed to do the film without a script narration.^[3] Karan mentioned that he was initially scared to direct a star of the stature of Bachchan, but the latter, "soon became an actor instead of a superstar".^[4]
• Jaya Bachchan as Nandini Raichand, Yash's wife. She shares a close bond with her sons, but remains in the shadow of her husband. According to Karan Johar, Jaya Bachchan was the most obvious choice for the character of Nandini, and added that her "acting prowess and stature" were the other reasons for him preferring to cast her.^[3] The film also marked the return of Amitabh and Jaya Bachchan together on screen after a gap of 18 years.^[5] Of her character, she said that Nandini was an extension of her own self. She elaborated, "My personal feelings towards Shah Rukh are similar to what I was supposed to portray in the film. There's something about him that makes me want to mother him." She added that she modeled her character on Karan's mother, Hiroo Johar, who "is a very emotional and sentimental person."^[6]
• Shahrukh Khan as Rahul Raichand, Yash and Nandini's adopted son. He feels indebted to his parents and tries to fulfill all their wishes. However, he falls in love with Anjali and invites the wrath of Yash. When Karan offered the role to Khan, he immediately agreed to do it and accommodated his dates, despite having several other commitments.^[3] Khan describes the character of Rahul by saying, "I love the vulnerability and the honesty in his eyes. He has the appeal of a boy next door. Besides, his intensity and ability to convey emotions without words is amazing."^[7]
• Kajol as Anjali Sharma Raichand, Rahul's love-interest and later, wife. She is a fun-loving Punjabi woman living in the Chandni Chowk area of Delhi. Belonging to a lower socio-economic group than the Raichand family, she is not accepted by Yash as his daughter-in-law. Karan was initially hesitant to cast Kajol in the film, as he felt that she would refuse the offer due to her recent marriage. Kajol, however was moved to tears during the script narration and agreed to do the film.^[3] In an interview to Filmfare, Kajol said, "One tiny fact that Karan forgot to mention during his narration was just how much Punjabi my character spoke in the film. I nearly died when I saw the lines of dialogue on the first day of shooting." However, she learnt the right pronunciation and diction with the help of Yash Johar and the crew members.^[8]
• Hrithik Roshan as Rohan Raichand, Yash and Nandini's biological son. He wants his elder brother, Rahul, to return home. Karan signed Roshan to play the character of Rohan after watching a rough-cut of the latter's debut film, Kaho Naa... Pyaar Hai.^[3] Roshan described his character as a "buffer" in a film that primarily focused on Amitabh Bachchan and Shahrukh Khan.^[9]
• Kareena Kapoor as Pooja "Poo" Sharma, Anjali's younger sister. She is a sophisticated girl, who helps Rohan in his plan to reunite Rahul with his parents. After spotting Kapoor at a party organized by Bombay Times, Karan decided to cast her immediately for the role of the glamorous diva, Poo.^[3] Kapoor described Kabhi Khushi Kabhie Gham... to be primarily Kajol's film and added that her character was that of a supporting one. In order to prepare for her role, she worked hard on her dancing skills, as she didn't want audiences to know that she couldn't dance well.^[10]
• Rani Mukerji as Naina Kapoor, a socialite girl who loves Rahul and wants to marry him, and Yashvardhan approves of her. Following the success of Karan's previous film, Kuch Kuch Hota Hai, which starred Khan, Kajol and Mukerji, he wanted their presence in this film too. He thus cast Mukerji in a guest appearance.^[3] Initially, Karan wanted her presence in the film to be a surprise, but an accidental slip by Sony Music in the promos, led to her discovery.^[4]
• Farida Jalal as Sayeeda / Daijan (DJ), Rahul and Rohan's nanny. On the insistence of Nandini, she follows Rahul and Anjali to London.
• Kavish Majmudar as the younger Rohan Raichand
• Malvika Raaj as the younger Pooja Sharma^[11]
• Simone Singh as Rukhsaar, Anjali's best friend
• Alok Nath as Anjali and Pooja's father
• Jugal Hansraj as Rohan's friend (special appearance)
• Aryan Khan (Shahrukh Khan's real-life son) as the younger Rahul (special appearance)

Achala Sachdev and Sushma Seth were cast as Yash and Nandini's mothers, respectively. The film also featured Johnny Lever as Haldiram (a shopkeeper in Chandni Chowk), Himani Shivpuri as Haldiram's wife, Jibraan Khan as Krish Raichand (Rahul and Anjali's son), Amar Talwar as Mr. Kapoor (Yash's friend and Naina's father). Ramona Sunavala, Jeroo Writer and Vikas Sethi feature as Poo's friends Sonya, Tanya and Robbie, respectively. Additionally, Ashutosh Singh features as Ashfaque, Rukshaar's husband. Shilpa Mehta, Shashikala and Parzan Dastur were cast as Ashfaque's mother, grandmother and nephew, respectively.

Themes and analysis[link]

Film critics and academics have analyzed Kabhi Khushi Kabhie Gham... in several ways. In the book, Encyclopedia of Religion and Film, Eric Mazur described several "mythological subtexts" in the film. While mentioning the opening scene of the film, which features the Raichand family worshiping "Hindu deities during the annual Diwali holiday", he explained that the scene allowed the Hindu audiences to participate in the Darśana along with the characters.^[12]

Author Rajani Mazumdar compared Kabhi Khushi Kabhie Gham... to Hum Aapke Hain Koun..! (1994) and added that the film dealt with themes of family and moral values through a "spectacular stage that moves across global locations".^[13] She further stated that the buildup to the story was juxtaposed with the backdrop of two contrasting places – the Raichand home and the interiors of Chandni Chowk. While the Raichand house is described as "expensive, almost like a museum", Chandni Chowk is shown as a world of crowds, chaos and festivities. She also made a note of the use of frontal camera angles in order to ensure that the "spectators eye travels throughout the interior expanse".^[14]

Writer Sangita Gopal analyzed the "intensification of the aesthetic effects of Hindi cinema" in the narrative scheme of the film. During the confrontation scene between Yash and Rahul Raichand, a "thundering background score" coupled with "360° panning shots" were used to build up melodrama. She added that while such scenes simply began by reprising previous face-offs in several melodramatic Hindi films (such as Mohabbatein of 2000), they gradually shifted "to a more realist register as the framework moves from a sociology to a psychology of the family".^[15] Mazur mentioned the use of "dream sequences" in the film as a means of escapism. He referred to the song "Suraj Hua Maddham" as an extradiegetic sequence that allowed Rahul and Anjali to be physically intimate "in ways that they could not in the real world of the film." He added that the characters conveyed a plethora of emotions not through extensive dialogue but through the exchange of glances, which were demonstrated by extreme close-ups on their eyes.^[16]

Writing for the book Movie Blockbusters, Andrew Willis commented that the film was specifically written to appeal to the Indian diaspora. He explained that the film was aimed to invoke nostalgia among the large section of NRI's in Canada, United Kingdom and North America.^[17] In the second half of the film, Rahul and Anjali move to London, where they enjoy an affluent lifestyle, among several non-Indian neighbors and friends. However, there is a perpetual dissatisfaction among them, especially Anjali, in living away from home.^[18] Additionally, she dresses up in a traditional sari and performs the duties of a loyal housemaker. She also frets about her son and younger sister being "too influenced" by Western culture. The film, thus tries to form an emotional connection with the expatriate Indian audiences.^[19][20]

Certain academics, however, criticized the portrayal of Britishers as "morally corrupt". Several sequences convey a "culturally conservative" and "idealistic image" of India, while maintaining that the diaspora living in Britain lead a life of "involuntary exile". Western ideology, is however equated with economic success, with emphasis on Western consumerism such as Starbucks and Burger King, while being critical of the society at large.^[21] However, another academic observed that Rohan was the only character in the film who could navigate multiple cultural spaces with ease. He seems totally at ease both at his ancestral home in India and in London. Additionally, he strikes a chord with the diaspora by arranging for the local schoolchildren in London to sing "Jana Gana Mana", the Indian National Anthem.^[22] Though the tagline for the film is "It's all about loving your parents",^[23] some analysts noted that in the end the film was more about teaching fathers to trust and love their children.^[24]

Production[link]

Development[link]

After the success of Karan's debut film, Kuch Kuch Hota Hai (1998), he began work on a story dealing with the concept of "generations". The idea about the film, then, revolved around two daughters-in-law. However, on the advice of filmmaker Aditya Chopra, who thought that the male characters would be too weak, Karan decided to tweak the story-line to make it the story of two brothers.^[26]

The inspiration behind Kabhi Khushi Kabhie Gham... came from Yash Chopra's Kabhi Kabhie (1976). On being inspired by the classic, Karan quoted, "What appealed to me was the fact that the love story stretched out across generations. It began with youth and went on as the people grew older. You could say that Kabhi Kabhie is the starting point for my new film, that I am inspired by it. But the film, I am sure, will be very different. It will look different, feel different."^[27] Similarly, Karan added an extra "e" to the second Kabhi in the title of his film, due to numerological reasons.^[28] In an interview with The Times of India, Karan dispelled comparisons with Kuch Kuch Hota Hai and said that while his debut film was "frothy and bubble-gummish", this one was "more classy and sophisticated". He added that there would be "plenty of drama" in this film too, but handled more maturely.^[29]

Before principal photography could begin, Karan and the various costume designers of the film shopped in several locations of USA, London, Milan, and New Delhi to get the right look for each of the cast members.^[30] Additionally, Karan had only one expectation from the contracted actors; to "look good and do their job". He did not organize any rehearsals for them, except for a scene involving a climatic encounter between Amitabh Bachchan and Roshan.^[26]

Filming[link]

The first schedule of the film began in Mumbai on 16 October 2000, with the picturisation of the song "Bole Chudiyan" involving Roshan, Kapoor, Khan and Kajol. Amitabh and Jaya Bachchan joined the schedule on 20 October. Due to the immense stress caused by the presence of these actors, Karan fainted on the sets.^[31] However, he continued directing the rest of the song while lying in bed.^[32]

For the first half of Kabhi Khushi Kabhie Gham..., the production designers led by Sharmishta Roy recreated Chandni Chowk in the Film City studio of Mumbai. In order to lend authenticity, the team took several pictures of the original area and also shopped in the various alleys of Chandni Chowk.^[33] A palatial mansion was developed from scratch in the same studio to double as the home of the Raichand family.^[34] In order to lend authenticity to the house of the multi-multimillionaires, several expensive paintings were hung from the walls.^[35] A total of 18–19 elaborate sets were constructed by Roy, as Karan wanted the look of the film to be "larger-than-life".^[36]

The song "Deewana Hai Dekho" was filmed at the Great Court of the Blenheim Palace, thus becoming the first Indian film to have been shot there.^[37]

The second half of the film was shot in the city of London. Karan chose to set the film there due to his fondness for the city. He added, "I could have based my plot in New York City or anywhere else. But London is kind of close to my heart. I like to weave my films around London." Shooting locations include the Wales Millennium Centre, Bluewater Complex, Kent, Blenheim Palace, St Paul's Cathedral and the banks of River Thames.^[38] The crew faced enormous difficulties while filming an emotional scene between Jaya Bachchan and Khan at the Bluewater Complex, as a massive crowd had gathered there to watch them at work. The situation, eventually, got worse and the complex officials asked them to wrap up the shoot within two hours.^[39]

Another song sequence ("Suraj Hua Maddham") involving Khan and Kajol was shot with the backdrop of the Pyramids of Giza in the city of Cairo in Egypt, again a first for an Indian film.^[40] Due to the extreme heat, the crew could shoot only between 7 and 9 am in the morning. As a result, the song took several days to film.^[41] Kajol, however, suffered from a minor injury while filming for the song, as she suffered from a bad fall.^[42]

Music[link]

The music of the film was composed by Jatin Lalit, Sandesh Shandilya and Aadesh Shrivastava. Lyrics were provided by Sameer, except for "Suraj Hua Maddham" which was penned by Anil Pandey. A total of 11 tracks are present in the album, which was released by Sony Music on 16 October 2001.^[43][44][45] Explaining the album, Karan Johar said, "I wanted music that had all kinds of tunes - pop, romantic, bhangra - but one sound. It had to be larger than life." He added that Jatin-Lalit came up with three "haunting melodies", while Shandilya and Shrivastava came up with the pop and bhangra songs, respectively.^[46] A legal suit was filed against Johar for using the song "It's Raining Men" in the film without obtaining prior permission.^[47]

Upon release, the soundtrack of Kabhi Khushi Kabhie Gham... emerged as a major success by selling 25 lakh units within 30 days.^[48] Additionally, it became the largest selling album of the year in India.^[49] Writing for Rediff, Sukanya Varma praised most of the compositions, while being critical of the song "Say Shava Shava", due to the "overdose of Punjabi emotions". She summed up by saying, "The music of K3G has a presence. Hate it or love it, you certainly won't ignore it."^[50] Planet Bollywood gave it 8 of 10 stars, calling "Suraj Hua Maddham" the best song, and the best reason to buy the album.^[51] In 2002, Sony released another album titled Klub K3G, featuring remixes by the Indian electronic music producer, Akshai Sarin, Harshdeep Sidhu, Prempal Hans and others.^[52]

Release and reception[link]

Initially scheduled for a theatrical release during the Diwali celebrations of 2001, Kabhi Khushi Kabhie Gham... released a month later on 14 December.^[53] Due to the long duration of the film, theaters screened three shows daily, instead of four. Additionally, due to a massive rush in advance bookings, several theaters increased their ticket rates.^[54]

The use of the "Jana Gana Mana" during the film met with criticism from certain section of the audiences and politicians of the Bharatiya Janata Party, for being "out-of-context" and "insulting the national pride".^[55] Subsequently, a writ was issued against Dharma Productions in the Allahabad High Court by a petitioner based in Uttar Pradesh.^[56] However, the court did not entertain the complainant's petition.^[57]

Critical reaction[link]

India[link]

Among the cast members, Kajol was higly appreciated for her performance. A review carried by The Hindu noted that she "steals the thunder from under very high noses". ^[58]

In India, Kabhi Khushi Kabhie Gham... met with polarized reactions from film critics. While certain critics praised the visual richness and the performances of the cast, certain others were negative about the lengthy run time and nitpicked on script strengths and inconsistencies. Khalid Mohamed of The Times of India applauded the film and reviewed, "K3G is the complete commercial banquet delivered with fabulous finesse by Karan Johar. So, go indulge yourself. Cry your heart out and surprisingly, you'll feel life's finally alive and kicking in Mumbai's dream world."^[59] Taran Adarsh of Bollywood Hungama gave the film 4.5 of 5 stars. He praised the emotional sequences, as well as the choreography (Farah Khan), the production design (Sharmishta Roy), the costumes (Manish Malhotra, Shabina Khan, Rocky S.) and the cinematography (Kiran Deohans). He added that Karan Johar was the real star, for creating many memorable sequences. In summary he said, "Its massive star cast, historic opening and extra-ordinary merits will unquestionably make it one of the biggest grosser of all times. For the drought-stricken film industry, the film will prove to be khushi, more khushi and only khushi."^[60] Rakesh Budhu of Planet Bollywood gave the film 8 of 10 stars, saying "Dharma Productions has kept its promise in giving us a lovable film to remember in coming times." He pointed out several flaws in the script, but added that the positive aspects of the film managed to outweigh the negative ones. He quoted, "K3G is one heck of an entertainer and was worth the wait".^[61] In the film review section of his book Bollywood: An Insider's Guide, Fuad Omar showered overwhelming praise on the film and called it a "masterpiece from the first frame to the last". In summary he said, "Overall Kabhi Khushi Kabhie Gham... is without a doubt the most enthralling, entertaining, emotional and complete vision and definition of Hindi cinema I have ever seen. It is simply the perfect Hindi film."^[62]

Contrary to the positive reviews, Anjum N., writing for Rediff, said that despite an extraordinary cast and a big budget, "Karan Johar disappoints." He praised Amitabh and Jaya Bachchan's performance and noted Hrithik Roshan for holding his own against the veteran actors. However, in summary he called the film "a bad remix of Mohabbatein and Kuch Kuch Hota Hai".^[63] Writing for The Hindu, Ziya Salam praised Kajol's performance and Karan's ability to "keep the viewer occupied". She commented, "Watch Kabhi Khushi Kabhie Gham... not because of the hype which preceded its release but because in these meagre times not many have come up with better fare. The film at least partially redeems the hope surrounding it. Again, just like its name. Some joy, some disappointment."^[58] Namarata Joshi of Outlook gave a mixed review and said that while the film "makes you laugh and cry alternately", the shenanigans were never-the-less "fake and affected" and "monochromatic despite the profusion of colours".^[64]

Overseas[link]

Overseas too, the reviews were mostly mixed, with several critics praising the technical production details of the film, while being somewhat less enthusiastic about the story line. Shamaila Khan of BBC gave the film 9 of 10 stars and praised the performances of Khan, Kajol and Kapoor. She summed up by saying, "(K3G is) a well made film, with some magical moments (hilarious and weepy) and possibly the world's best looking family!"^[65] Derek Elley of Variety said that it "is a highly enjoyable, often dazzlingly staged vehicle dragged down by a sluggish final half-hour". He also praised the cinematography, and the picturisation of the song, "Say Shava Shava".^[66] Corey K. Creekmur, of the University of Iowa, said that there were may ignored or illogical plot points and inconsistencies between the moral messages meant to be portrayed and the manner in which they came off on screen. Overall, he called the film a letdown.^[24]

Box Office[link]

Upon release, Kabhi Khushi Kabhie Gham... smashed all opening records. The film opened to around 6 crore nett collections on its first weekend in India, with the first week total at around 13 crore nett. The domestic opening week collections were 70% higher than the previous record and never before had opening records been eclipsed by such large margins. It also set new records for the second and third week nett, by collecting 10.50 crore nett and 8 crore nett respectively.^[67] The film went on to become the second highest grosser of 2001 domestically, netting 47 crore (US$9.38 million) in India.^[68]

The film was released in around 125 prints in the overseas markets, grossing a total of $8 million at the end of its theatrical run there.^[67][69] It performed very well in the United Kingdom, with a gross of $689,000 in its opening weekend. It thus debuted at the third position at the British box-office.^[70] The total earnings of the film reached over $3.2 million in the UK.^[69] The film also had the biggest opening ever for a Bollywood film in North America, with a gross of $1.1 million in 73 screens.^[1] However, according to a report by Rediff, the numbers were so high that the official reporting agency did not believe it, and asked for evidence that could not be furnished until after the reporting deadline had passed. If reported on time, the film would have opened at the number 10 spot in the North American box-office.^[70] However, according to figures from Box Office Mojo, the film debuted at the 32nd place at the American box office during the week of 4 January 2002.^[71] It eventually gathered a total of $2.9 million there.^[69] Additionally, in 2003 the film was the first Indian film to be given a theatrical release in Germany.^[72]

Kabhi Khushi Kabhie Gham... made a lifetime gross of 117.29 crore (US$23.4 million).^[2] Internationally, the film was the highest grossing Indian film ever, until its record was broken by Johar's next directorial, Kabhi Alvida Naa Kehna (2006). When adjusted for inflation, the film is the fifth highest grosser worldwide, with an adjusted gross of 224 crore (US$44.69 million).^[73] Box Office India called it "one of the true worldwide blockbusters of Hindi cinema".^[67]

Accolades[link]

Kabhi Khushi Kabhie Gham... received fifteen nominations at the Filmfare Awards, but ultimately won only five awards, while most of the major awards were won by Lagaan and Dil Chahta Hai.^[74] In an interview with Filmfare, Karan Johar said that he wasn't dejected to have not won too many awards at the ceremony, as he felt that Lagaan was "a classic" and deserved to win.^[39]

The film, however, won several awards at the International Indian Film Academy Awards (IIFA),^[75][76] and a few at the Zee Cine Awards and Screen Awards ceremonies, among others. Among the cast members, Kajol and Jaya Bachchan won several awards in the Best Actress and Best Supporting Actress category, respectively. At the 13th annual Valenciennes International Film Festival, the film won five major awards, including three Best Film awards and Best Actress for Kajol.^[77]

Other media[link]

During the production and filming process, a book entitled The Making of Kabhi Khushi Kabhie Gham was written by Niranjan Iyengar. It features materials and interviews concerning the producer, director, photographer, art director, cast and crew that Iyengar gathered over an 18 month period during the production of the film. The book was released a few days prior to the theatrical release of the film.^{[78][79][80][81]}

Kabhi Khushi Kabhie Gham... has been released on VHS and DVD (one and two disc version) formats, beginning 2002, and in the Blu-ray format beginning 2010.^[82] The two disc DVD version of the film contains a 45 minute documentary entitled The Making of Kabhi Khushi Kabhie Gham along with deleted scenes, a theatrical trailer, and several television promos.^[83]

References[link]

Footnotes

Bibliography

External links[link]

• Official website
• Kabhi Khushi Kabhie Gham... site at Dharma Productions
• Kabhi Khushi Kabhie Gham... site at Yash Raj Films
• Kabhi Khushi Kabhie Gham... at the Internet Movie Database
• Kabhi Khushi Kabhie Gham... at Box Office Mojo
• Kabhi Khushi Kabhie Gham... at the TCM Movie Database
• Kabhi Khushi Kabhie Gham... at AllRovi
• Kabhi Khushi Kabhie Gham... at Bollywood Hungama
• Kabhi Khushi Kabhie Gham... at Rediff

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with the hexadecimal value 0A.

In computing, a newline,^[1] also known as a line break or end-of-line (EOL) marker, is a special character or sequence of characters signifying the end of a line of text. The name comes from the fact that the next character after the newline will appear on a new line—that is, on the next line below the text immediately preceding the newline. The actual codes representing a newline vary across operating systems, which can be a problem when exchanging text files between systems with different newline representations.

There is also some confusion whether newlines terminate or separate lines. If a newline is considered a separator, there will be no newline after the last line of a file. The general convention on most systems is to add a newline even after the last line, i.e. to treat newline as a line terminator. Some programs have problems processing the last line of a file if it is not newline terminated. Conversely, programs that expect newline to be used as a separator will interpret a final newline as starting a new (empty) line.

In text intended primarily to be read by humans using software which implements the word wrap feature, a newline character typically only needs to be stored if a line break is required independent of whether the next word would fit on the same line, such as between paragraphs and in vertical lists. See hard return and soft return.

Representations[link]

Software applications and operating systems usually represent a newline with one or two control characters:

• Systems based on ASCII or a compatible character set use either LF (Line feed, '\n', 0x0A, 10 in decimal) or CR (Carriage return, '\r', 0x0D, 13 in decimal) individually, or CR followed by LF (CR+LF, '\r\n', 0x0D0A). These characters are based on printer commands: The line feed indicated that one line of paper should feed out of the printer thus instructed the printer to advance the paper one line, and a carriage return indicated that the printer carriage should return to the beginning of the current line. Some rare systems, such as QNX before version 4, used the ASCII RS (record separator, 0x1E, 30 in decimal) character as the newline character.
  • LF:    Multics, Unix and Unix-like systems (GNU/Linux, Mac OS X, FreeBSD, AIX, Xenix, etc.), BeOS, Amiga, RISC OS and others.
  • CR+LF: Microsoft Windows, DEC TOPS-10, RT-11 and most other early non-Unix and non-IBM OSes, CP/M, MP/M, DOS (MS-DOS, PC-DOS, etc.), Atari TOS, OS/2, Symbian OS, Palm OS
  • LF+CR: Acorn BBC and RISC OS spooled text output.
  • CR:    Commodore 8-bit machines, Acorn BBC, TRS-80, Apple II family, Mac OS up to version 9 and OS-9
  • RS:    QNX pre-POSIX implementation.
• EBCDIC systems—mainly IBM mainframe systems, including z/OS (OS/390) and i5/OS (OS/400)—use NEL (Next Line, 0x15) as the newline character. Note that EBCDIC also has control characters called CR and LF, but the numerical value of LF (0x25) differs from the one used by ASCII (0x0A). Additionally, there are some EBCDIC variants that also use NEL but assign a different numeric code to the character.
• Operating systems for the CDC 6000 series defined a newline as two or more zero-valued six-bit characters at the end of a 60-bit word. Some configurations also defined a zero-valued character as a colon character, with the result that multiple colons could be interpreted as a newline depending on position.
• ZX80 and ZX81, home computers from Sinclair Research Ltd used a specific non-ASCII character set with code NEWLINE (0x76, 118 decimal) as the newline character.
• OpenVMS uses a record-based file system, which stores text files as one record per line. In most file formats, no line terminators are actually stored, but the Record Management Services facility can transparently add a terminator to each line when it is retrieved by an application. The records themselves could contain the same line terminator characters, which could either be considered a feature or a nuisance depending on the application.
• Fixed line length was used by some early mainframe operating systems. In such a system, an implicit end-of-line was assumed every 80 characters, for example. No newline character was stored. If a file was imported from the outside world, lines shorter than the line length had to be padded with spaces, while lines longer than the line length had to be truncated. This mimicked the use of punched cards, on which each line was stored on a separate card, usually with 80 columns on each card. Many of these systems added an carriage control character to the start of the next record, this could indicate if the next record was a continuation of the line started by the previous record, or a new line, or should overprint the previous line (similar to a CR). Often this was a normal printing character such as '#' that thus could not be used as the first character in a line. Some early line printers interpreted these characters directly in the records sent to them.

Most textual Internet protocols (including HTTP, SMTP, FTP, IRC and many others) mandate the use of ASCII CR+LF (0x0D 0x0A) on the protocol level, but recommend that tolerant applications recognize lone LF as well. In practice, there are many applications that erroneously use the C newline character '\n' instead (see section Newline in programming languages below). This leads to problems when trying to communicate with systems adhering to a stricter interpretation of the standards; one such system is the qmail MTA that actively refuses to accept messages from systems that send bare LF instead of the required CR+LF.^[2]

FTP has a feature to transform newlines between CR+LF and LF only when transferring text files. This must not be used on binary files. Usually binary files and text files are recognised by checking their filename extension.

Unicode[link]

The Unicode standard defines a large number of characters that conforming applications should recognize as line terminators:^[3]

 LF:    Line Feed, U+000A
 VT:    Vertical Tab, U+000B
 FF:    Form Feed, U+000C
 CR:    Carriage Return, U+000D
 CR+LF: CR (U+000D) followed by LF (U+000A)
 NEL:   Next Line, U+0085
 LS:    Line Separator, U+2028
 PS:    Paragraph Separator, U+2029

This may seem overly complicated compared to an approach such as converting all line terminators to a single character, for example LF. However, Unicode was designed to preserve all information when converting a text file from any existing encoding to Unicode and back. Therefore, Unicode should contain characters included in existing encodings. NEL is included in ISO-8859-1^{[citation needed]} and EBCDIC (0x15). The approach taken in the Unicode standard allows round-trip transformation to be information-preserving while still enabling applications to recognize all possible types of line terminators.

Recognizing and using the newline codes greater than 0x7F is not often done. They are multiple bytes in UTF-8 and the code for NEL has been used as the ellipsis ('…') character in Windows-1252. For instance:

• YAML^[4] no longer recognizes them as special in order to be compatible with JSON.
• ECMAScript^[5] accepts LS and PS as line breaks, but considers U+0085 (NEL) white space, not a line break.
• Microsoft Windows 2000 does not treat any of NEL, LS or PS as line-break in the default text editor Notepad
• In Linux, a popular editor "gedit" treats LS and PS as newlines but does not for NEL.

History[link]

ASCII was developed simultaneously by the ISO and the ASA, the predecessor organization to ANSI. During the period of 1963–1968, the ISO draft standards supported the use of either CR+LF or LF alone as a newline, while the ASA drafts supported only CR+LF.

The sequence CR+LF was in common use on many early computer systems that had adopted Teletype machines, typically a Teletype Model 33 ASR, as a console device, because this sequence was required to position those printers at the start of a new line. On these systems, text was often routinely composed to be compatible with these printers, since the concept of device drivers hiding such hardware details from the application was not yet well developed; applications had to talk directly to the Teletype machine and follow its conventions.

Most minicomputer systems from DEC used this convention. CP/M used it as well, to print on the same terminals that minicomputers used. From there MS-DOS (1981) adopted CP/M's CR+LF in order to be compatible, and this convention was inherited by Microsoft's later Windows operating system.

The separation of the two functions concealed the fact that the print head could not return from the far right to the beginning of the next line in one-character time. That is why the sequence was always sent with the CR first. In fact, it was often necessary to send extra characters (extraneous CRs or NULs, which are ignored) to give the print head time to move to the left margin. Even many early video displays required multiple character times to scroll the display.

The Multics operating system began development in 1964 and used LF alone as its newline. Multics used a device driver to translate this character to whatever sequence a printer needed (including extra padding characters), and the single byte was much more convenient for programming. The seemingly more obvious choice of CR was not used, as a plain CR provided the useful function of overprinting one line with another, and thus it was useful to not translate it. Unix followed the Multics practice, and later systems followed Unix.

In programming languages[link]

To facilitate the creation of portable programs, programming languages provide some abstractions to deal with the different types of newline sequences used in different environments.

The C programming language provides the escape sequences '\n' (newline) and '\r' (carriage return). However, these are not required to be equivalent to the ASCII LF and CR control characters. The C standard only guarantees two things:

1. Each of these escape sequences maps to a unique implementation-defined number that can be stored in a single char value.
2. When writing a file in text mode, '\n' is transparently translated to the native newline sequence used by the system, which may be longer than one character. When reading in text mode, the native newline sequence is translated back to '\n'. In binary mode, no translation is performed, and the internal representation produced by '\n' is output directly.

On Unix platforms, where C originated, the native newline sequence is ASCII LF (0x0A), so '\n' was simply defined to be that value. With the internal and external representation being identical, the translation performed in text mode is a no-op, and text mode and binary mode behave the same. This has caused many programmers who developed their software on Unix systems simply to ignore the distinction completely, resulting in code that is not portable to different platforms.

The C library function fgets() is best avoided in binary mode because any file not written with the UNIX newline convention will be misread. Also, in text mode, any file not written with the system's native newline sequence (such as a file created on a UNIX system, then copied to a Windows system) will be misread as well.

Another common problem is the use of '\n' when communicating using an Internet protocol that mandates the use of ASCII CR+LF for ending lines. Writing '\n' to a text mode stream works correctly on Windows systems, but produces only LF on Unix, and something completely different on more exotic systems. Using "\r\n" in binary mode is slightly better.

Many languages, such as C++, Perl,^[6] and Haskell provide the same interpretation of '\n' as C.

Java, PHP,^[7] and Python^[8] provide the '\r\n' sequence (for ASCII CR+LF). In contrast to C, these are guaranteed to represent the values U+000A and U+000D, respectively.

The Java I/O libraries do not transparently translate these into platform-dependent newline sequences on input or output. Instead, they provide functions for writing a full line that automatically add the native newline sequence, and functions for reading lines that accept any of CR, LF, or CR+LF as a line terminator (see BufferedReader.readLine()). The System.getProperty() method can be used to retrieve the underlying line separator.

Example:

  String eol = System.getProperty( "line.separator" );
  String lineColor = "Color: Red" + eol;

Python permits "Universal Newline Support" when opening a file for reading, when importing modules, and when executing a file.^[9]

Some languages have created special variables, constants, and subroutines to facilitate newlines during program execution.

Common problems[link]

The different newline conventions often cause text files that have been transferred between systems of different types to be displayed incorrectly. For example, files originating on Unix or Apple Macintosh systems may appear as a single long line on some Windows programs. Conversely, when viewing a file originating from a Windows computer on a Unix system, the extra CR may be displayed as ^M at the end of each line or as a second line break.

The problem can be hard to spot if some programs handle the foreign newlines properly while others do not. For example, a compiler may fail with obscure syntax errors even though the source file looks correct when displayed on the console or in an editor. On a Unix system, the command cat -v myfile.txt will send the file to stdout (normally the terminal) and make the ^M visible, which can be useful for debugging. Modern text editors generally recognize all flavours of CR / LF newlines and allow the user to convert between the different standards. Web browsers are usually also capable of displaying text files and websites which use different types of newlines.

The File Transfer Protocol can automatically convert newlines in files being transferred between systems with different newline representations when the transfer is done in "ASCII mode". However, transferring binary files in this mode usually has disastrous results: Any occurrence of the newline byte sequence—which does not have line terminator semantics in this context, but is just part of a normal sequence of bytes—will be translated to whatever newline representation the other system uses, effectively corrupting the file. FTP clients often employ some heuristics (for example, inspection of filename extensions) to automatically select either binary or ASCII mode, but in the end it is up to the user to make sure his or her files are transferred in the correct mode. If there is any doubt as to the correct mode, binary mode should be used, as then no files will be altered by FTP, though they may display incorrectly.

Conversion utilities[link]

This article contains instructions, advice, or how-to content. The purpose of Wikipedia is to present facts, not to train. Please help improve this article either by rewriting the how-to content or by moving it to Wikiversity or Wikibooks. (June 2010)

Text editors are often used for converting a text file between different newline formats; most modern editors can read and write files using at least the different ASCII CR/LF conventions. The standard Windows editor Notepad is not one of them (although Wordpad and the MS-DOS Editor are).

Editors are often unsuitable for converting larger files. For larger files (on Windows NT/2000/XP) the following command is often used:

TYPE unix_file | FIND "" /V > dos_file

On many Unix systems, the dos2unix (sometimes named fromdos or d2u) and unix2dos (sometimes named todos or u2d) utilities are used to translate between ASCII CR+LF (DOS/Windows) and LF (Unix) newlines. Different versions of these commands vary slightly in their syntax. However, the tr command is available on virtually every Unix-like system and is used to perform arbitrary replacement operations on single characters. A DOS/Windows text file can be converted to Unix format by simply removing all ASCII CR characters with

tr -d '\r' < inputfile > outputfile

or, if the text has only CR newlines, by converting all CR newlines to LF with

tr '\r' '\n' < inputfile > outputfile

The same tasks are sometimes performed with awk, sed, Tr_(Unix) or in Perl if the platform has a Perl interpreter:

awk '{sub("$","\r\n"); printf("%s",$0);}' inputfile > outputfile  # UNIX to DOS  (adding CRs on Linux and BSD based OS that haven't GNU extensions)
awk '{gsub("\r",""); print;}' inputfile > outputfile              # DOS to UNIX  (removing CRs on Linux and BSD based OS that haven't GNU extensions)
sed -e 's/$/\r/' inputfile > outputfile              # UNIX to DOS  (adding CRs on Linux based OS that use GNU extensions)
sed -e 's/\r$//' inputfile > outputfile              # DOS  to UNIX (removing CRs on Linux based OS that use GNU extensions)
cat inputfile | tr -d "\r" > outputfile              # DOS  to UNIX (removing CRs using tr(1). Not Unicode compliant.)
perl -pe 's/\r?\n|\r/\r\n/g' inputfile > outputfile  # Convert to DOS
perl -pe 's/\r?\n|\r/\n/g'   inputfile > outputfile  # Convert to UNIX
perl -pe 's/\r?\n|\r/\r/g'   inputfile > outputfile  # Convert to old Mac

To identify what type of line breaks a text file contains, the file command can be used. Moreover, the editor Vim can be convenient to make a file compatible with the Windows notepad text editor. For example:

[prompt] > file myfile.txt
myfile.txt: ASCII English text
[prompt] > vim myfile.txt
  within vim :set fileformat=dos
             :wq
[prompt] > file myfile.txt
myfile.txt: ASCII English text, with CRLF line terminators

The following grep commands echo the filename (in this case myfile.txt) to the command line if the file is of the specified style:

grep -PL $'\r\n' myfile.txt # show UNIX style file (LF terminated)
grep -Pl $'\r\n' myfile.txt # show DOS style file (CRLF terminated)

For Debian-based systems, these commands are used:

egrep -L $'\r\n' myfile.txt # show UNIX style file (LF terminated)
egrep -l $'\r\n' myfile.txt # show DOS style file (CRLF terminated)

The above grep commands work under Unix systems or in Cygwin under Windows. Note that these commands make some assumptions about the kinds of files that exist on the system (specifically it's assuming only UNIX and DOS-style files—no Mac OS 9-style files).

This technique is often combined with find to list files recursively. For instance, the following command checks all "regular files" (e.g. it will exclude directories, symbolic links, etc.) to find all UNIX-style files in a directory tree, starting from the current directory (.), and saves the results in file unix_files.txt, overwriting it if the file already exists:

find . -type f -exec grep -PL '\r\n' {} \; > unix_files.txt

This example will find C files and convert them to LF style line endings:

find -name '*.[ch]' -exec fromdos {} \;

The file command also detects the type of EOL used:

file myfile.txt
> myfile.txt: ASCII text, with CRLF line terminators

Other tools permit the user to visualise the EOL characters:

od -a myfile.txt
cat -e myfile.txt
hexdump -c myfile.txt

dos2unix, unix2dos, mac2unix, unix2mac, mac2dos, dos2mac can perform conversions. The flip^[10] command is often used.

See also[link]

• ASA carriage control characters
• C0 and C1 control codes
• Page break
• Line starve

References[link]

External links[link]

• The Unicode reference, see paragraph 5.8 in Chapter 5 of the Unicode 4.0 standard (PDF)
• "The End-of-Line Story"
• The [NEL] Newline Character
• The End of Line Puzzle
• Tofrodos - software for Unix that converts to and from DOS newlines
• ToFroWin: a Windows shell extension that is able to convert multiple files from DOS to UNIX (and vice-versa) line endings right from the context menu.
• "Understanding Newlines" on O'Reilly-Net - an article by Xavier Noria.