A plot borrowed from Kramer Vs. Kramer. A poster borrowed from Sleepless in Seattle. Music borrowed from, among other things, Deep Purple’s Child in Time, George Michael’s Last Christmas and Bruccia La Terra from The Godfather. Incidentally, one of the movie’s subplots involves a talented, original music director (who “composed” all of the aforementioned songs) trying to survive in an industry dominated by plagiarism. Much melodrama all around.
Despite all this, Akele Hum Akele Tum does get one thing right: a long, unbroken four-minute sequence in a courtroom where Aamir talks about how he considers himself responsible for the breakdown of his marriage, and how he has rebuilt his life with his son since then. It starts off slowly and, miraculously, remains low-key throughout. Aamir builds up emotional steam as he goes along, but never descends to general ranting and raving.