Media Magick

Have you ever wondered how it would be to make films on history, misconceptions, realities behind the conspiracies, and associating all that with the youth of Pakistan? Well, unfortunately not many filmmakers followed the path that could bring in the change – and luckily Filmwala Pictures team (Nabeel Qureshi and Fizza Ali Meerza) took the much-needed step by bringing Khel Khel Mein to celluloid. After all, that’s how many countries have instilled many ideologies and beliefs in audiences’ minds. Let’s get a few things straight, Khel Khel Mein is not RDB (Rang De Basanti), many were of the view that the film will have similarities after watching the trailer. Khel Khel Mein is a different film wrapped with patriotism, disbelief, and theories that might have never been discussed or highlighted before in the world of Pakistani cinema. Will a movie like Khel Khel Mein be a savior or perhaps be the kick-starting point for yet another revival of Pakistani cinema? Let’s find out.

Khel Khel Mein is set in the modern-day where ‘mera jism meri marzi’, Abhinandan’s Tea is Fantastic, Arnab Goswami’s Pigeon theory, and many other statements are used in daily based conversations. Saad (Bilal Abbas Khan) is flunking for three semesters just to become a better actor and one day he meets Zara (Sajal Aly) who wants to showcase a drama on the history and misconceptions around 1971’s Dhaka Fall. How one thing leads to the other and how everything beautifully fits into its place is what Khel Khel Mein is about. The good thing is, there is no unnecessary romantic angle, no vulgar jokes, and no body-shaming but that doesn’t mean there are no downsides in the film.

The narration of the film is uneven, the first half is a little too stretched. Characters don’t have motives, they look stern (Javed Sheikh and Marina Khan) but no one gets the clue why? The idiotic, (making faces for no good reason) assistant to the Dean made no sense in any scene. Khel Khel Mein gets better in the second half, or let’s say the audience is bored to a level that they want to see something (read: anything) different, and thankfully they get to see more characters in the second half.

Besides Babu’s flashback, the only highlight of Khel Khel Mein that makes it worth a watch is the 8 – 10 minutes-long song in the climax – it lifts the film to multiple folds. Those who watched, appreciated, and went bonkers after watching Aja Nachle’s 20+ minute-long stage show (from the climax) or Bismil song from Haider will enjoy and clap for the choreography, music, vocals, and entire execution that is behind Khel Khel Mein’s last act. Is it copied? Ummm… nope, I cannot say that; but does it remind me of those; YES!

Trailer: Khel Khel Mein

Sajal Aly has proved her mettle in dramas already and even in MOM, she was wonderful. Sajal Aly gets her fair share of scene-stealing moments in Khel Khel Mein but her monologues go lengthier and become way too preachy. Bilal Abbas Khan is a celebrated name in the drama industry of Pakistan and in his second film he looks better than Thora Jee Le. Sheharyar Munawar in a brief cameo is effective, ditto for Manzar Sehbai.

The music of Khel Khel Mein helps the film to proceed. There are a few scenes that are shot blurry and hazy. Khel Khel Mein leaves its audience with many questions; the film would have a different impact if there would be a proper closure. What happened to the Grandfather? What was in the letter? What was Saad’s father response on his son’s achievement that he craved? How could a team win the show if the chief guest walks out of the act? etc. etc. etc. The good thing is, this is something different than usual films released in Pakistan.