'Aankhon ki Gustaakhiyan' Review: Shanaya Kapoor, Vikrant Massey's film loses sight of script

Khaleej Times

19 hours ago

There are different ways of making a love story. You can either choose a fun, frothy tale, perfect for a date night. Or you can go the other extreme with a tragedy that makes you shed tears for the trials and travails of the leads. Or you can make an epic saga with deep sweeping emotions that linger long after you leave the theatres. And then there is another variety - a movie that takes itself way too seriously, thinking it's great, deep, romantic, lingering etc etc when in reality it's an exercise in lack of self-awareness. This week's release Aankhon ki Gustaakhiyan belongs to the last category.
The film spotlights an odd pair. She (Shanaya Kapoor), the latest product of nepotism. He (Vikrant Massey), the quintessential 'outsider' who has finally found his spot in Bollywood boulevard after years of brilliant performances. Together, they weave… nothing.
Let's address the obvious first: the main buzz around this film stems from the debut of yet another starkid. Given the endless debates about nepotism in Bollywood, Shanaya's launch inevitably comes with its share of curiosity and scrutiny. So let's tackle that elephant in the room right away. Shanaya has a pleasant screen presence and potential. She comes across as confident, is well-styled and navigates her role, fairly well. Perhaps if the plot, screenplay and direction had more meat, we could judge her more accurately.
And that brings us to the plot. Aankhon ki Gustaakhiyan has the most bizarre storylines I have seen in recent times. Now, there is nothing wrong with strange plots, after all, it's the treatment that makes you buy into it. There are two inspirations behind this project. The title is an ode to the melodious song from the Sanjay Leela Bhansai classic Hum Dil De Chuke Sanam and the story is an adaptation of the delightful Ruskin Bond fable (duly credited, thankfully!) The Eyes Have it in which the protagonist hides his partial blindness from a pretty girl he encounters in a train only to realise she is blind herself.
The film takes this thin storyline to craft a narrative that is frankly, implausible. Shanaya plays Saba Shergill, an aspiring actor who feigns blindness and takes a train trip to Mussoorie, ostensibly to get away from the city and 'practise' for an audition. In other words, she is like the female Ayushmann Khurrana from Andhadhun who wants to 'feel' the role she hopes to bag.
During the journey, she meets Jahaan, a visually impaired man who is suffering from musician's block. Then begins some really questionable behaviour by Saba which should serve as a warning signal to all Indian girls. She travels with a blindfold (question: couldn't she have started play-acting after reaching her destination?) She makes a nuisance of herself to Jahaan, seeks his support at every turn (when he is a total stranger), pleads with him to let her stay in his hotel (when she has no clue of who or what he is!) and then requests him to let her sleep on his bed. I can't think of one modern sensible Indian girl who would get into such silly risks to get some real-life training for a role!
Luckily for Saba, Jahaan is a decent guy though he hides his condition from her. The first half follows the duo as they fall in love with each other with Saba inexplicably continuing her blindfolded act even when they get intimate and Jahaan evading her questions about his life or intentions. When the moment for the big reveal comes, predictably, Jahaan, fuelled by his own fears, scoots. The action then shifts to 'somewhere in Europe' (that's what the text on screen mentions; I guess the makers didn't get permission to name the location they shot in) where Saba is now an accomplished theatre actor, performing a play with her new boyfriend Abhinav (Zain Khan Durrani). Needless to say, Jahaan re-enters her life, and then it's all about how they see (pun unintended) and find each other.
The message director Santosh Singh wants to convey is clear: this love is not about physicality but the soul where looks don't matter. In a day and age of instant hookups and quick breakups, that's a noble thought. However, it takes forever to reach the conclusion and you really don't feel anything for the characters whose motivations remain unclear. Just what is it that makes Saba and Jahaan fall for each other? What is the context for their behaviour? Why not just be honest with each other when there was no need to hide facts? Why doesn't Saba recognise Jahaan's voice when she meets him years later? Why include an utterly silly 'date rape drug' angle to finally get some harsh truths out?
The script, credited to Mansi Bagla, Niranjan Iyengar, and Santosh Singh, aims for a 'conversational' tone, with the leads engaging in long, introspective chats meant to reveal their inner worlds and draw us into their emotional orbit. It's clear that the film aspires to be spontaneous, romantic and philosophical even while tapping into the longing, wistfulness, and quiet ache that unresolved love can stir. Think the ' Before' trilogy, which captured this mood with poetic precision. Unfortunately, the flat writing lacks the rhythm needed to make the conversations touch your heart or senses. You watch their shenanigans played out in picture-postcard locations without feeling anything for them.
Part of the problem is also the utter lack of chemistry between Vikrant and Shanaya. Vikrant is an accomplished actor but he looks out of sorts in a romantic, candy floss-ish drama. He tries to bring depth to a role that doesn't have any. Shanaya has made the effort and it shows. Once again, like most glamorous Bollywood leading ladies, her perfectly made up face and coiffured hair robs her Saba of any authenticity. I was too busy admiring her stunning wardrobe and lip colour to be affected by her performance. Every other supporting actor, be it Abhinav or a know-it-all aunt Noor, flits in and out without making any impact.
Rating: 2 stars