The fact that Kisna is a man truly in love manifests itself only when Katherine and he are being chased by relentless hordes of mustachioed farmhands on horseback, armed to the hilt. Kisna turns around and looks at the charging natives, and then back toward his fair woman. The fugitive pair is in a stolen chariot, and our hero has to be thrown into the tug of battle. With a slight sigh of helplessness, he does what only the besotted would do: he hands the reigns over, and lets the woman drive.
Kisna is a really big film, the kind that hasn't been seen in Bollywood since Lagaan or Asoka , and one can arguably say that it has better period detailing than both those films. It is calculated to appeal to audiences abroad, which it should do with ease. A lot of the movie seems tailored to fit into a Western perspective of India -- at times it is explanatory to the level of seeming tiresome to crowds thronging multiplexes.
The story is refreshingly different, and wills you into a suspension of disbelief as Hindi cinema invariably sets out to do. It's a fairy tale, and you need to accept it as that.
But Kisna is visually stunning, right from the Lord Of The Rings- style credits, and quite an enjoyable fare.
