RK/RKAY

RK/RKAY ★★★½

75/100

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Imagine what if Charlie Kaufman comes with a story which is also cowritten by Yorgos Lanthimos, such a visual treat that would be! Though I know it's too much and somehow doesn't make any sense at all but still Rajat Kapoor's RK/RKAY is felt like watching a feature length version of NIMIC under the storyline of SYNECDOCHE, NEWYORK along with all indianalized characters, well that's how I can define it's story and way of storytelling as well as Rajat Kapoor' brilliant direction at the possibly best way as much as I can, but also what's not-to-be-forgetable here I.e offcourse RK's(Rajat Kapoor) magical touch along with literally flawless performance in his double roles, a chef's kiss on the top of everything.


Now it's a kind of film where another film is going on among itself simultaneously i.e "film into a film" approach. And though it sounds an interesting style but it's undoubtedly a tough format which needs sly, witty and rather quirky writting style to make a proper impact on it's audiences, that's satisfying here..as Rajat Kapoor is very much passionate in his work as a indie filmmaker. Now the story of the film is powerful dealt with heavy weighted themes with kinda confusing and peculiar storytelling though it's not too much hard to understand what it wants to say as it gives us enough cues that by maintaining subtlety indicates what's there in the undertone of this film which has been worked as a mere work of frictional comedy from it's surface. Actually in short RK/RKAY tells a story of life and purpose of life and meaning of life and also discuss about necessity of "freedom" in a lifeline as well too by help of a quite tricky screenplay which deals with a story of a filmmaker who has made a film but in terminal stage of editing shockingly his lead character has been vanished from each of allready shot scenes...somehow comes into reality and not ready to go back in to world of friction where he has been nothing but a puppet of film maker's hand. It's not come in to that region of movies which has given enough effort to explain everything what happens in the movie nor under the category of that types of movies too which has tried to justify everything by making his lead character "mental" at the end. Rather than Kapoor sews a very much odd unexplainable storyline and decides not to give justification about anything, even not a palpable indication of it's themes too. That's now very much unique in perspective of most of Bollywood films as there's a ongoing trend in present times to spoonfed everything to it's viewers that seems irritating af.


There was a quick discussion in near end where the "producer of the film" which has been shot in this film has told to another departed character from the under production film's recordings. That was a hindu Mythological story about Markandeya Rishi(a monk from Satya yuga) taken reference from "Bhagavata Purana". According to Hindus "Narayana" or "Shree Bishnu" is atmost famous as well as most worshipful god among all those thirty three and half Crores god and goddess who has been there in their culture and mythology. The real mythology says Markandeya prayed to the sage Narayana to show him his illusory power or Maya since sages Nara-Narayana are incarnation of Supreme Lord Narayana. To fulfill his wish, Lord Vishnu appeared in the form of a child floating on a leaf, and declared to the sage that he was Time and Death. Sage Markandeya entered into his mouth and saved himself from the surging water. Inside the boy's stomach Markandeya discovered all the worlds, the seven regions and the seven oceans. The mountains and the kingdoms were all there. So were all living beings. Markandeya did not know what to make of all this. He started to pray to Lord Vishnu. No sooner had he started, than he came out of the boy's mouth. Lord Vishnu now appeared before him and blessed him. In short Rishi Markandeya hasn't even a little knowledge that what's there behind life, birth, death, time and everything. As soon as he realised he's a mere noone in respect to all illusions and "maya" of lord Narayana, he prayed for blessing and prayed to go back wherever he belongs! This story has lots of direct as well as indirect connections with the film's plot. Here filmmaker may has been compared to some kind of almighty Lord who has power to change the destiny of any of his written characters. If he decides someone to live then he lives, and if he decides someone to die then he/she dies...moreover if he decides someone to love another one...then she/he will love! And the characters of his story has been compared to all human beings living in the world just like some puppets of God's hands. But there comes a difference which makes this film's story even more relevant and powerful...God is the one who's making and deciding everything what happens in his world, and in a very similar way filmmaker has power to create or destroy his characters' lives...as that way a filmmaker's also a puppet of God's hands. But question is, can we the humans are enough superior of being compared to the almighty entity like GOD? So in this case, "what did RK with his characters" cannot be even comparable with what GOD has done with humans!


It's something more than God-human relationship, more accurately it bascically explores the theme of FREEDOM..As freedom is the thing which makes someone lord and also makes someone slave. The people who has power to control or oppress people they are lord and the people who has been oppressed and walks in the way what has been defined by someone else are the slaves. And with these two characters I.e RK and his character Meheboob I think "master-slave" definition fits perfectly well over "God's control over humans" theme. People belongs to higher part of society always has oppressed others without not even thinking that they are also the dolls of someone more powerful's hands. RK is a filmmaker whoose films have always played well in box office though in ethical sense their stories aren't well so. He's not also quite interactive with his family too. His relationship with his wife is just okay okay. He has written two characters Meheboob and Gulabo by giving two ideal characteristics of lovers. His portrayal of an ideal husband, Meheboob when comes to real then generally his own wife has been impressed by vulnerable nature of RK's replica Meheboob. And Rk himself too has been slowly slipped away from reality to friction when he feels an tremendous existencial crysis as his doppleganger more accurately his own creation of ideal version of himself replaces himself. After slowly observing everyone appreciate one of his written character over his ownself, it's natural for Rk to feel affection of ideal version of a wife I.e Gulabo...who loves him and understands him in best possible way as overall her character is a figment of his own made up fantasy. And on the top of everything else there's ig nothing more suitable than Sagar desai's phenomenal background score with this mashup of multiple themes. Lastly again Kapoor hits a Sixer and it's a long six, quite longer than his previous one!
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🔙Badluck Banging or Loony Porn(2021)...

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