Nflicks Pvt. Ltd., Mithya Talkies and Priyanshi Films’ RK/RKay is based on a unique concept.
RK (Rajat Kapoor) is a film writer-director. He has penned a story in which Mahboob, Gulabo and K.N. Singh play the principal characters. RK (Rajat Kapoor) himself plays Mahboob while the character of his beloved, Gulabo, is played by Neha (Mallika Sherawat). Ranvir (Ranvir Shorey) enacts the role of villain K.N. Singh. The film is being produced by Goel (Manu Rishi Chaddha). Its shooting is completed and editing begins in right earnest to ready the film for an early release. However, to everyone’s horror, editor Sagar (Abhijeet Deshpande) informs them that the hero, Mahboob, has run away. In other words, Mahboob becomes invisible in the entire film. Writer-director RK is at his wits’ end, trying to figure out a way to fix the problem which probably has no precedent.
Then, one day, RK’s assistant, Namit (Chandrachoor Rai), receives a phone call from Mahboob. The two meet, and Namit brings Mahboob to RK who has a tough time explaining to Mahboob that he is a figment of his (RK’s) imagination, a character rather than a real human being. While RK is trying to get Mahboob to shoot for the film again, Mahboob has made himself so comfortable in RK’s house and with RK’s wife, Seema (Kubra Sait), that he doesn’t mind not shooting. Even as RK is trying to resolve this problem, another character, K.N. Singh, disappears. What happens ultimately?
Rajat Kapoor has written a unique story which offers good scope for comic moments. Of course, by its very nature, the story idea is bizarre and, therefore, will be understood only by a thin section of the audience. However, having said that, it must be added that the screenplay in the initial reels is extremely funny and has many anecdotes which tickle the audience’s funny bone. For example, the police station sequences, the editing room chatter, the conversation between Mahboob and Seema, the arguments between RK and Mahboob, etc. are quite funny. But the drama appears stretched after a point of time, especially once the novel concept is established. Of course, the intelligent screenplay and the unusual dialogues between RK (the real human being) and Mahboob (a character created by writer RK) do entertain the viewers thereafter but, as mentioned above, nothing impresses as much as the uniqueness of the plot. Also, since the concept is so different, it will be understood by only the elite audience, and appreciated by the ultra-elite only. Rajat Kapoor’s dialogues are supremely brilliant.
Rajat Kapoor is extraordinary in both the roles, RK and Mahboob. He plays both of them with aplomb. Mallika Sherawat gets limited scope but she does a fine job as Neha/Gulabo. She is especially fantastic on the film’s sets and in the make-up room and studio. Ranvir Shorey does a splendid job as K.N. Singh. Kubra Sait leaves a fine mark as RK’s wife, Seema. Manu Rishi Chaddha deserves distinction marks as Goel. Chandrachoor Rai is pretty endearing in the role of assistant director Namit. Saadhika Syal is natural as assistant director Rakhi. Abhijeet Deshpande stands his own as editor Sagar. Shrikant Yadav makes his presence amply felt as the police inspector. Abhishek Sharma and Grace Girdhar have their moments as RK’s kids, Vivan and Rabia. Vaishali Malhara has screen presence in the role of the tarot card reader and the audition actor. Namit Das is entertaining as the waiter. Waris Ahmed Zaidi (as assistant director Waris), Ismail Khan (as Neha’s attendant), Chirag Vyas (as Neha’s manager), Antara Bahuguna Ghosh (as Neha’s hairdresser), Hanumanta Yalka (as the ticket collector), Puneet Channa (as the film laboratory guy), Rishikesh Kumar (as the general provision store owner), Tara Sharma Saluja (as the party guest), Maya Sarao, Kallirroi Tziafeta, Aanchal Chauhan, Shipra Singh Rana, Aarti Aney (all five as the audition actors), Aadar Malik, Sanam Kumar, Charles Aphrem, Piyush Rai (all four as the goons), Brijesh Karanwal, Shashi Ranjan and the others lend decent support.
Rajat Kapoor’s direction is sensitive, as was the need of the subject. Sagar Desai’s music and Hussain Haidry’s lyrics are in synch with the mood of the film. Rafey Mahmood’s cinematography is of a good standard. Meenal Agarwal’s production designing is alright. Suresh Pai’s editing is quite sharp.
On the whole, RK/RKay is an intelligently written and well-made film with some good humour and excellent performances. Unfortunately, it stands dim chances at the ticket counters because it has very limited box-office appeal and also because awareness about the film is almost nil.
Released on 22-7-’22 at Inox (daily 1 show) and other cinemas of Bombay by Nflicks thru Luminosity Distribution. Publicity: poor. Opening: weak. …….Also released all over.