15 august 2024 : The review of Akshay Kumar’s “Khel Khel Mein” delves into themes of marital relationships, infidelity, and the hidden truths that accompany them. While the film shares its title with a well-known comedy from the 1970s, its narrative diverges significantly in mood and substance. This Indian adaptation of the 2016 Italian film “Perfect Strangers” is set against the backdrop of an extravagant Indian wedding, where the initial glamour of the event gradually unravels into a night filled with shocking revelations.
The theme of denial is prevalent among those who engage in deceit, as illustrated by the character of Rishabh, portrayed by Akshay Kumar. He insists to his wife, Vartika (Vaani Kapoor), that his constant phone usage is purely professional, all the while casting glances at an alluring, scantily-clad woman.
In this context, cell phones serve as a pivotal tool for exposing the true identities of the seven adults gathered around the table, who are engaged in a revealing game of truth and dare. Alongside Rishabh and Vartika, who are contemplating their childless marriage, the group includes two additional couples and a single individual without a partner.
Harpreet (Ammy Virk) and Harpreet, also known as Happy (Taapsee Pannu), navigate their own set of challenges; he is a Honda car dealer, while she is a beleaguered housewife. Similarly, Naina (Pragya Jaiswal), the affluent daughter of a wealthy father, and her husband Samar (Aditya Seal) are striving to ascend the corporate ladder with some assistance. Additionally, sports coach Kabir (Fardeen Khan) conceals a significant secret, resorting to the human tendency to deceive and take shortcuts.
Despite the culturally specific scenarios and attire, one cannot shake the impression that this narrative is an adaptation, particularly in a society where open discussions are not shunned. Each incoming text or call reveals the recipient’s anxiety about the impending content, yet the resulting consequences offer a sense of liberation rarely depicted in films of this genre.
The ensemble cast excels, which is undoubtedly the film’s strongest aspect. Akshay Kumar has consistently portrayed unsavory characters effectively, and in this instance, he exemplifies the archetype of a charming rogue. The revelation that disrupts his already tenuous relationship also highlights his comfort in this role. In contrast to his often self-righteous portrayals in patriotic films, here he embraces a more playful persona, skillfully balancing sophistication with a lighthearted demeanor.
Among the supporting cast, Pragya Jaiswal shines, frequently using the term ‘Baby’ as a term of endearment for her husband, embodying the archetype of a woman who would lavish extravagant gifts on a bride whose name she cannot recall. Ammy Virk, previously seen in ‘Bad Newz,’ portrays a character who masks his vulnerabilities by ostentatiously supporting his wife. Meanwhile, Taapsee Pannu delivers another poignant performance, following her role in ‘Haseen Dilruba,’ effectively conveying Happy’s emotional struggles.
The film’s extended duration leads to moments of sluggishness, particularly in the latter half. Additionally, certain plot twists fail to captivate the audience. To maintain a lighthearted tone, some characters are afforded redemption arcs, which ultimately detracts from the film’s impact. A stronger emphasis on the notion that some individuals are incapable of change, akin to leopards and their spots, would have transformed it into a more compelling experience.
