SYNOPSIS
An agent from the Indian intelligence agency, R&AW, is tasked with identifying a mole involved in selling defense secrets. Throughout this mission, she navigates the complex challenge of balancing her dual identity as a spy and a lover facing a personal loss.
PLOT
Set at a time when certain extremist elements in Bangladesh were reportedly aligning with Pakistan’s ISI to establish a terrorist network along India’s eastern border, the movie follows a team of Indian intelligence agents, led by Krishna Mehra (Tabu), working undercover in Dhaka, Bangladesh. They aim to destabilize the then-hardline Bangladeshi government, aided by a local agent (Bangladeshi actor Azmeri Haque Badhon).
However, the mission encounters a suspected compromise from Ravi (Ali Fazal), an Indian intelligence officer. He works for American interests, mollycoddling Pakistan’s agenda in the intricate geopolitical landscape of Afghanistan.
REVIEW
The title, meaning ‘secret’ in Urdu, alludes to the secrets we carry in the crevices of our hearts and the lids we put on our true identity. The first 70 minutes of this 157-minute Hindi thriller primarily establishes character backgrounds and interpersonal relationships. In the opening act set in 2004, the Defence Minister of Bangladesh, Saqlain Mirza (Shataf Figar), in a lavish party he hosts, sticks a fork in the neck of Heena Rehman (Azmeri Haque Badhon), a volunteer spy for India’s Research and Analysis Wing (RAW). Following the demise of Heena, also known by her code name ‘Octopus,’ a narrator romanticizes her features, highlighting a birthmark on her throat, leading to one of the most intriguing dramatic transitions of the year:
“In fact, there was another mole in our lives.”
In 2001, Heena offered to help the workaholic RAW agent Krishna Mehra (Tabu). In 2004, Mehra spearheaded a mission to uncover the mole that warned Mirza about Heena. Indian bureaucrat Ravi Mohan (Ali Fazal) is suspected of selling classified documents, and his bubbly housewife, Charu (Wamiqa Gabbi), is presumed to be his courier. By tracking Ravi’s activities, Jeev discovers that Ravi is working for the CIA. The US intelligence agency aims to prevent India’s involvement in Bangladesh’s politics so that ISI, Pakistan’s intelligence agency, continues its cooperation in capturing Osama bin Laden.
Meanwhile, it is revealed that Krishna (KM), who collaborated with Heena for three years, fell in love with her. KM, a divorced middle-aged woman struggling with her sexuality, faces challenges in communicating with her distant teenage son due to her workaholism.
Time elapses, with little unfolding in the first half. After that, Mehra’s mission turns pivotal, initiating a new surveillance operation that spotlights once-side characters, such as Ravi’s mother, Lalita (Navnindra Behl), and her spiritual guide, Yaara ji (Rahul Ram).
ACTING
Fueled by the poetic allure of his female protagonists, the writer-composer-director crafts a poignant character study of three emotionally conflicted women entangled in the complexities of espionage. Renowned for portraying strong female characters in a man’s world since “Omkara,” Vishal ensures that these three women captivate us while the fourth leaves us emotionally stirred.
Tabu delivers a phenomenal performance as a lover, mother, and spy torn between relentless job and family obligations.
Even in seemingly trivial scenes, Tabu maintains a poised demeanor, showcasing her versatility under Vishal’s direction. But now he finds a new muse in Bangladeshi actress Badhon. Azmeri Haque Badhon emerges as the film’s showstopper, brilliantly lighting up the screen with her effortless charm, occasionally overshadowing even Tabu.
Wamiqa Gabbi’s portrayal of Ravi’s conscientious wife adds an enchanting layer to the narrative. Gabbi shines as a loving yet sassy wife and mother embarking on a perilous journey to reunite with her son. Navnindra Behl, the seasoned theater actor, is the surprise package in the spy universe of Khufiya. As the only fully realized character of the movie, she makes you chuckle and fill with dread, as most of us personally know older women who are products of centuries of patriarchy and skewed spirituality. Ali Fazal delivers a compelling performance as an overindulgent traitor. Superficially a cunning double agent, Ravi internally grapples with the curse of being a mama’s boy.
MUSIC
Collaborating with poet and lyricist Gulzar, Bharadwaj once again weaves magic, whether through the melancholy tones of Rekha Bharadwaj in “Mat Aana” or the lively and folk-infused ‘Mann na rangaav’ by Rahul Ram. Only Gulzar could pen lines like ‘Kachchi neend jagana ho to mat aana.’ Only Vishal could describe a woman as veiled like sin, conspicuous like retribution, and unpredictable like fate. Even the term ‘mole’ in the film carries a double meaning, adding complexity to the story.
FINAL VERDICT
Your response to “Khufiya” hinges on the importance you assign to the twists and developments that propel the plot from one half to the next. In this critical middle segment, the character-driven film highlights the surprising impact of seemingly insignificant individuals. While “Khufiya” doesn’t deconstruct the spy thriller, it does challenge conventional perceptions, portraying spies as often solitary figures who work for big organizations that could discard them abruptly.
The narrative needs more direction towards the end, resulting in an underwhelming outcome. Nevertheless, “Khufiya” stands out as a film that avoids feeling formulaic, deviating from generic predictability.
Final Words
I leave the audience to ponder Ravi’s POV, who believes he is not a mole but a true patriot. He thinks his helping the US throw the Taliban out of Afghanistan will benefit his homeland and beyond India in the long run – his method aside, does the intention not kind of make sense, though?