The impact of Khoya Khoya Chand lies in its sincerity and authenticity. Director Sudhir Mishra has endeavoured to keep the look and feel of the film close to the reality of the 50’s and 60’s. Aesthetically, the film is a treat. The vintage visuals and lilting music alone are sufficient to captivate the romantically inclined viewer.
The plot revolves around Nikhat, an upcoming actress who only wants life to be "pehle se behter" but is bewildered by its vicissitudes as she learns the hard way about the casting couch and the not-so-glorious uncertainties of life in show business. Her romance with the budding scriptwriter-director Zafar promises to rescue her from despair but eventually causes her ruin as circumstances, ego clashes and failure at the box office come in the way of their union.
The movie explores complex human relationships with a sincerity that reassures the discerning, serious viewer. While relatively free of cliches (there are no goody-goody damsels or evil villains) the film does have vaguely defined characters like that of Nikhat’s mentor (Sushmita Mukherjee) who has little more to do than fuss over her "little baby". Zafar’s characterization also comes across as being rather inconsistent; strong and silent in the first half, weak and fickle in the second.
The director has extracted wonderful performances from all his actors. Shiney Ahuja is mesmerizing as the moody, intellectual, often mercurial, Zafar. His impeccable dialogue delivery and expressive eyes are his assets. Soha Ali Khan makes a sincere effort to bring Nikhat to life but is rather amateurish, as though the role were too complex for her. Her dialogue delivery needs polish, her expression conveys less than is intended, and her dance lacks fluidity. Rajat Kapoor is impressive as the veteran major domo of Hindi filmdom of the 50s who knows exactly what he is doing. Sushmita Mukherjee is wasted in her little cameo, but her talent nevertheless shines through. Vinay Pathak as Zafar’s friend Shyamol stays totally in character throughout the movie and manages to win the viewer’s sympathy.
One of the major plus points of the fim is its dialogue - crisp, fresh and inspired.
Among the negatives are the inconsistent pace, the needless lingering over insignificant scenes (Nikhat’s coming to see Zafar after his return from London), and the step-motherly treatment of the ending which could have done with more care. The inconsistent use of the "sutradhar" technique is also slightly jarring.
Overall, though, the movie is worth a look for its aesthetic appeal, the top-class performances and the director’s unwillingness to compromise and play to the gallery.