All movie reviews of:Khoya Khoya Chand

The film is set between 1953 and 1965. Junior artiste Nikhat (Soha Ali Khan) goes through multiple casting couches from the age of 14 till she catches the attention of top star Prem Kumar (Rajat Kapoor) who gets her a big break. He also patronizes Zafar (Shiney Ahuja), a writer from an aristocrat family that has fallen on bad days thanks to his debauched father, whom Zafar could not forgive even on the latter's deathbed.

Zafar 'repairs' a script that Prem Kumar is sure will be a disaster and becomes Prem's favourite, and this film (with Nikhat) proves a hit, bringing out the worst in top heroine Ratna (Sonya Jehan) who becomes terribly insecure. But due to constant interaction Nikhat and Zafar come close and get into a relationship. Considering Nikhat like his property, Prem is livid and drops them both from his new film. But the director quits Prem's film, signs Nikhat and Zafar and delivers a hit.

After that comes turbulence. Zafar wants to film his life's traumatic story and turn director. His marriage to Nikhat has been called off due to the latter's commitments and she opts out of his film too. Zafar signs Ratna but the film bombs. Nikhat goes back to Prem and a film is signed. But she starts drinking. A whole lot of confusing reels later, she dies – of a hole in the heart! But not before Zafar directs his own triangular love saga with (once again) Prem Kumar and Nikhat in their real-life roles, and exorcises the ghost of his father haunting him for not having forgiven him. And the show goes on…

Every story should have a purpose (not necessarily a message) and direction. But Sudhir Mishra's story and script seem directionless and pointless. What is he trying to project in this film? Is this just an indulgent tribute to cinema of the past? If that's so, the detailing is authentic and the caricature characters are well-etched (especially the Punjabi producer stereotype and the Bengali director). The sets, the costumes, make-ups, sets and the sets shown within and of course the songs (great job by Shantanu Moitra but hardly exploited in the film) and background score (Shantanu again) are well-researched and apt. And yes, the lyrics (Swanand Kirkire) are outstanding.

But as a human drama, as a look at the lives of junior artistes, top stars and the workings of the film world, this film works only partly. You can, for example, empathize with Nikhat throwing stones at the cad producer to whom she lost her virginity at 14, but the Zafar-father angle sucks and is overdrawn. The twists and turns in who has broken off and patched up or is sleeping with whom become confusing and frankly, by that time, you do not care.

The attempt to make Nikhat have shades of Meena Kumari (alcoholism, fragmented multiple relationships), Madhubala (a hole in the heart and a sob story) and a traumatic past fails, partly because Soha Ali Khan lacks the maturity to bring in the nuances but mainly because of the poor script that fails to evoke sympathy for its protagonists.

If Mishra's script (barring some excellent spoken lines and parts of the first half of the film) is disappointing, his directorial expertise is erratic and there are few punches. The editing (Archit D.Rastogi and Ruchi Narain) vacillates between jerky (suggesting over-shooting) and soporific and the second half is tedious where one keeps expecting the film to end for a full twenty minutes before it does.

Another handicap is the miscasting. Once again, the role of Nikhat needed a more experienced artiste even if Soha tries her best and does justice to several sequences. Shiney is dull (pun intended) and beyond a point (say the first 30 minutes) his monotone, single junkie-like expression and non-performance begin to grate. Rajat Kapur hams, as he is meant to. But he can in no way epitomize a top star. Sonya surprisingly makes a mark, Sourabh Shukla hams too, and the rest of the cast is strictly average.

But Vinay Pathak is wasted, just like the time we spend going to the movie hall, watching the film and coming home, when we could spent it in more fruitful ways, like revisiting classics like Kaagaz Ke Phool (also based on the film industry) or any great films of the past.

Rating:**

Special: Shiney & Soha in Khoya Khoya Chand

Set in the '60s film industry, Khoya Khoya Chand trails the lives of a reigning actress Nikhat (Soha Ali Khan), an exploitative superstar (Rajat Kapoor) and a struggling writer-director Zaffer (Shiney Ahuja). Heard it before? Sure, it's the classic triangle, also seen in Baz Luhrman's Moulin Rouge. Except here, foes become friends and friends foes, without so much as a shrug. Cold, cold professionalism brings distanced lovers together as they enact a romantic scene, and sworn enemies unite over a commonly interested project. Dhanda and love are two asides not be mixed, and this world is certainly not for the faint-hearted (You'll recognize the pun, if you see the movie. Someone in the film has a hole in the heart).

It's Sudhir Mishra, an antithesis of his ruthlessness in Hazaaron Khwaishein Aisi. His love here is a mix of the tender and the brutal; it's charismatic, cunning and cruel at the same time. His understanding of romance in KKC, reminds one of Mike Nichols's films (Who's Afraid of Virginia Woolf, Closer etc), though not as blatantly cynical. The less-than-perfect take on love, usually put on the tallest pedestal in our films, is a refreshing take. But truth always hurts, and the love between seemingly white-and-black characters that reveal their grey side, could be difficult to digest for an audience fed on a diet of syrupy romances.

A film that takes you back in time is a challenge, not as much in storytelling, but more in elements like casting, research, authenticity, sets, costumes and the like. As far as casting is concerned, it's near perfect. Shiney sparkles in this complex and frankly confusing character of Zaffer whom you want to root for desperately, even if for Nikhat's sake. Rajat's arrogant and despicable Prem Kumar is adeptly portrayed by Kapoor. But the film belongs to Soha – she's one of the few heroines today who can carry off such a delicate look. Looking fragile, as if she were made of glass, Soha Ali Khan is exemplary as the superstar Nikhat who's paid a huge price—that of her childhood—to get at where she is. Nikhat's nervous, lip-biting demeanor is portrayed brilliantly by Khan, who was honestly made for this role. Her life's unfair share of sadness doesn't go away, but accumulates bit by bit, and makes us weep for her. It's a gritty tale of a heroine's survival in a male-dominated film industry, and the picture ain't pretty. Chemistry between all characters is crackling, which is great to watch.

Thankfully, KKC is not a caricature of that era, except perhaps that strange song welcoming 1965. Technically, the film is a marvel. The research seems impeccable, and the costumes, sets, ambience are all effortlessly authentic. The sound designing is great, as are the cinematography (thought too mobile at times) and sets. Editing is masterful, and often employs the technique of not letting a scene reach its obvious conclusion, and cutting the shot just before that. Dialogue is interesting – when the about-to-be-married Kumar talks of his lust for Nikhat, he says 'Is it only me who's like this, or is everyone the same? And everyone does wish to do what I am doing; it's just that I can.' But sometimes the conversation cuts away too soon from a topic, and becomes more like a statement rather than a talk.

Mishra's attempt at going mainstream is evident in many ways – backing by Adlabs, full-on publicity in keeping with the times, known names as cast, and a slight dumbing down. For example, the character of Khosla, a beer-bellied, Punjabi producer, played by Saurabh Shukla, is extremely interesting, accurate even, but very obviously over-the-top. He's gregarious and emotional, but chillingly business-minded, and speaks his Punjabi abuses really loudly, to add humour. It works even, and does elicit a knowing laugh and a smirk, but the effort's too visible.

Other than that, Mishra's mastery at extracting unbelievable performances exists, and he gets the maximum out of his already talented cast. Vinay Pathak is seen in a serious role after a long time and he does very well; as does Sushmita Mukherjee as Nikhat's protective guardian. Sonya Jehan (she made her debut with Taj Mahal) gives a fabulous performance as the arrogant star Ratan Bala, who now faces Prem favouring Nikhat instead of her. Music, usually a huge part in Mishra's films is appealing here, but nothing like Is Raat Ki Subah Nahin and Hazaaaron.

Mishra, in an interview, had stated that his film is about passion – and it's clear why. Because the word passion manifests itself in many ways throughout the film – from lust and ambition, to dedication and revenge. But still, it doesn't move you as much as it should. Partly because the simple story is suffocated with too many layers. The film-within-film format, while immersing, is tiresome, when we are talking of at least four films simultaneously.

Also, you don't see why this film had to be set in the '60s in the first place; everything that the film speaks about and against is evident even today. The hollowness of love and emotions in the face of ambition, ugly exploitation in the face of glamour, are all conflicts that have stood through the decades. Was the film trying to recreate a real-life romance that took place in the industry around that time? We'll never know. Mishra has refuted any such claims. So except for the sake of spending big bucks and making a film shining with dazzling production value, there's really no evident point of going back.

Though being marketed as a mainstream film, Khoya Khoya Chand is still gourmet, not fast food. Decide whether you'd like to see the film as per your taste.

Verdict 2-1/2 stars out of 5