Khoya Khoya Chand

Rarely I find such an interesting plot, rarely so many things which were best left unsaid, rarely a music so befitting, rarely so strongly woman-centric theme in an Indian film. I would say it as the modern Umraao Jaan, the only, and the big, difference being the tone of the film. While Umraao Jaan was steeped in melancholy despair and conveys that a woman's lot is a helpless one, Khoya Khoya Chand takes up the gauntlet, and makes Soha Ali Khan's character a towering one, a character which always knew how to be spotless above the world, though the world may be the melting pot from where she, the muse, has emerged.

One of the better films of Indian cinema, it's surprising and yet anticipated that how much less popular it could be. While you are busy in six-abs and blue thematic films and autistic children, Sudhir Mishra has come quietly, delivered an ace, made a bow, and left the scene (I guess the film would have already exited from many cities). Where does the film score? An art which seldom the filmmakers of India practise - emotions. They are better to be left to the viewer and not be said, then you get some great cinema. While Shiney Ahuja has always fought the devils in his mind, that his mother and he being shortchanged by his father, he has still not fought him enough to not be the same devil - as everyone has done, he also only tries to use Soha, a stepping stone for his success. It's a different matter that he has still devils left to fight, a heart to bleed - he has still not become 'one of the industry'.

Maybe the best film ever on the subject of relationships in film industry - how they operate, what compulsions lead to breaking up and getting lost in places where you yourself are disgusted to find yourself one day, and how money and success can turn the best of men's heads - a film which provokes you to think so much, about so many things. All the characters in the film are played with aplomb. Shiney Ahuja's dialogue delivery is as poor as ever, yet it doesn't disturb you unduly. The screenplay could have been much better; there was no need to bring in the reference to Shiney's past life over and over again. But considering the quality of other Indian films made, I would happily overlook that - when even a Soniya Jehan and a Sushmita Mukherjee can so fit in their roles, then why should I crib?

A brilliant film to watch, if for nothing else than for its riveting story. Go, watch it!