16 August,2024 07:14 AM IST | Mumbai | Mohar Basu
Khel Khel Mein
The only certainty about Khel Khel Mein is that it entertains. Yet, upon closer examination, the film's flaws emerge, leaving one uncertain about what to make of it. The answer to this confusion largely depends on what prompted you to buy a ticket and watch the movie in a dark hall with strangers. Gauging the reactions of the first-day crowd, it seemed they came for the laughs. The voyeuristic thrill of seeing the secret lives of people exposed on the big screen kept them engaged. It's a bonus that there's a good heart tucked somewhere in the film.
Khel Khel Mein is an adaptation of the Italian movie, Perfect Strangers (2016). Set against the backdrop of a big, fat Indian wedding - an ideal setting to expose the dysfunctional lives of its characters, as demonstrated by the hit series Made in Heaven over its two seasons - the film opens a closet full of secrets. By the end of a long night of revelations, all that seemed perfect is in tatters.
Mudassar Aziz directs the film with a steady hand. The story is engaging, the screenplay crisp, and there are plenty of laughs and heartwarming moments. However, is it too much to ask for some nuance? It is designed as a laugh-out-loud vehicle, and being poignant does have a tendency to detract from a film's ability to play to the gallery. Aziz makes a clear choice.
The story revolves around seven people who have carefully crafted façades. Rishabh (Akshay Kumar) is a renowned plastic surgeon whose exterior masks a digital double life. His wife, Vartika (Vaani Kapoor), is trapped in a gilded cage. The vivacious Harpreet (Taapsee Pannu), married to the unassuming car dealer Harpreet (Ammy Virk), conceals a tempestuous spirit beneath her bubbly persona. The affluent Naina (Pragya Jaiswal) is a daddy's girl struggling to find her own identity, while her ambitious husband Samar (Aditya Seal) is willing to go to any lengths to climb the corporate ladder. The group is rounded off by the enigmatic sports coach Kabir (Fardeen Khan), who harbours a secret that could shatter his image. For one night, their phones - those intimate extensions of their lives - are laid bare for all to see. Secrets, lies, and betrayals are exposed, forcing them to confront the uncomfortable truths of their seemingly perfect existence. In this high-stakes game of deception, there are no winners, only survivors.
The cast is solid, helping the film sail through its saggy moments. Kumar is hilarious, reminding us that his comic timing is still impeccable. He shines in the mischievous moments, avoiding taking himself too seriously. He is truly at his best when unhinged. Pannu brings her A-game, maintaining the humour when needed but making herself so vulnerable in her performance that you resonate with her pain. While Virk, Jaiswal, Kapoor, and Seal are all terrific in their parts, it is Khan who excels, adding a touch of mysterious charm.
In the second hour, you begin to wonder why, despite so much working in its favour, the film still feels like a bit of a drag. Post-interval, the film has quite a few flabby sequences. Some plot points feel familiar and twists can be spotted from a mile away. Aziz hesitates to explore the heart of the stories, opting instead to end things neatly when the mess and flawed characters are what truly make it glorious. Aziz almost gets you to think about modern relationships. Is anyone truly happy? Are the Instagram-perfect couples genuinely together? Is no one tempted? Is emotional cheating infidelity? Should we stop expecting to end up with âThe One'? Instead of delving deeper, the film distracts with its jokes.
Another gripe with Aziz's film is the rehashed Diljit Dosanjh track, Do you know? You don't get Tanishk Bagchi to tamper with Dosanjh's tracks. Didn't you get the memo?
'YUCK ''WHATEVER '''GOOD ''''SUPER '''''AWESOME
