Sometimes, the opening credits manage to capture a film’s essence and give a slice of its content/style/camera-work/sound effects et al. Not too long ago, some crisp video clips peppered with bright water colors had formed part of the opening credit sequence of Jaane Tu Ya Jaane Na. This had built on to the film’s youthful and effervescent look.
The opening credit sequences of Zoya Akthar’s Luck by Chance will be remembered too, for its unique montages that bespeak of “real” untold stories juxtaposed with the “reel” credits. For instance, there is a glimpse of a man piecing together the sequins in a dress that is to contribute to the bling, blang, and glamour quotient of the film dome.
And there are supporting actors wearing costumes that blend smoothly into a filmi backdrop but contrast in a real milieu. Needless to say, these opening clips set the lyrical mood of the movie and amaze you with a riveting portrayal of the film industry.
As the movie unravels, we see a naïve-looking Sona (Konkana Sen Sharma) who is a film aspirant, approach a producer. Maybe the rough and tumble of the film industry makes her stronger because a few rolls later, we see a self-assured Sona making her trips to the studios in the garb of a character artist. She partakes in a few scenes with the “important” actors (even Aamir Khan) but fails to make a foray as the leading actress in any movie.
Being promised of meatier roles by the producer, she bides her time for the “big break”. There is a parallel story of Vikram (Farhan Akthar) who like the zillion others has thronged to Mumbai in pursuit of celluloid money and fame. He bumps into Sona and the two strike an instant chord of friendship, followed by a subtle romance. An evening scene with the two of them chinking their glasses of wine and wallowing in each other’s dreams, will strike you as the most romantic moment in the film.
We soon meet another character, Rommy Rolly (Rishi Kapoor), a film producer/director who has created stars like Zaffar Khan (Hrithik Roshan). However, he has to now run hell-for-leather seeking dates for his half-accomplished movie with the actor. Zaffar leaves Rommy for a bigger banner/producer (read Karan Johar playing himself). And by a quirk of fate, Vikram lands up as a replacement hero in Rommy’s film.
He is favored by luck and also by Neera Mishra (Dimple Kapadia) who is a former actress and the mother of Vikram’s co-star, Nikki Mishra (Isha Sharvani). He manages to beguile both the ladies to shin his way up on the filmi career. Sona learns of his viles and distances herself from him. Her own “big break” seems elusive and she ends up donning a bahu avataar in a soap opera.
Meanwhile Vikram learns of some important lessons, coming from no one else but Shahrukh Khan (playing himself) about “being with people who knew you when you were a nobody”. Vikram has a change of heart and beseeches forgiveness of Sona, who by now realizes that he loves her only to fulfill his own selfish needs. She decides to part ways with Vikram forever and treads on a career path that may not pitchfork her into the filmland, but will proffer her the job satisfaction at least.
Here is a film that presents an oeuvre of the Akthar family (with Javed penning the crisp dialogues, Farhan essaying a near-perfect role, and Zoya executing the film with skills of a masterhand). Needless to say, Konkana, Rishi, and Dimple excel in the acting department while giving full justice to their respective roles. Dimple (cheekily called a crocodile wrapped in a chiffon sari in the movie) delights with her diva-like attitude, while also displaying her vulnerable side towards the end of the movie.
An unforgettable scene is where Farhan enters an audition room to find a serpentine queue of aspirants, and casts a gloomy look at his soiled shoes, while cringing uncomfortably at the thought of coming croppers.
The Moulin-Rouge look of the song, Baawre looks amazing and so do the other song sequences laced with foot-tapping music and glitzy shots. The only thing that you would want to pull up the director is for showing the innumerable allusions to the film industry, with almost everyone in the film connected to the industry in someway or the other.
Nevertheless, the movie succeeds in unlayering the several folds within the industry, and subtly commenting on them without delivering a homily or taking a dig at it. All in all, a good effort at film-making! And at the risk of sounding sexist, a movie made by a female director always has its heart in the right place and a feminist sensibility at work always conjures up extraordinary efforts! Three cheers to Zoya Akthar.