Good actors don’t only perform; they internalize the situation according to the story and react in a truth sense.
This very notion is the foundation of ‘Aktor: Take One’, currently screening at QFX and theaters across the country. The film opens in a bustling Kathmandu restaurant, where a writer is anxiously waiting for a director to pitch his script. When the busy director (Nischal Basnet) finally arrives – hurried and impatient –he grants the writer only ten minutes to pitch his story.
What follows is the tale of Kushal Khadka (Pradeep Khadka), a man who doesn’t just aspire to be an actor – he dreams of being a superstar. As his story unfolds, the initially uninterested director finds himself captivated by Kushal’s relentless pursuit of fame.
At first glance, the film’s premise is compelling. The influx of new filmmakers into Nepali cinema often brings innovative storytelling, and director Rajan Bhusal’s ambition is commendable, in that sense. But a great idea alone does not make a great film – it must be nurtured into a gripping narrative. Here, ‘Aktor: Take One’ fails.
The film revolves around Kushal, a man of towering ambition and unshakable self-confidence. However, the supporting characters feel more like accessories to his journey than fully realized individuals. This weakens the film’s emotional core.
Kushal’s quest for stardom takes a dark turn when he unknowingly becomes entangled in a gold smuggling operation disguised as a film production. Director Vivek Sharma (Divya Dev) casts him in the lead role, but before the film reaches toward end, the authorities crack down on the smuggling ring, landing Vivek in prison and shattering Kushal’s dream to be an Aktor. Yet, his hunger for fame remains unquenched. Even from behind bars, Vivek persuades Kushal that the film can still be completed. What unfolds next is a desperate, high-stakes attempt to bring the project back to life.
Despite the twists and turns, Kushal fails to be more than believable and lacks emotional bonding with the audience. After going behind the bar, he loses everything – his car, his apartment and his credibility – but viewers don’t feel sorry for him. His struggles feel distant, his pain unconvincing to the viewers.
As part of the new plan to complete the picture, Kushal has to infiltrate the mansion of Dheeraj Jung (Raj Ballav Koirala), and to get closer, he woos Dheeraj’s daughter, Prerana (Divya Rayamajhi). But their romance seems very unnatural – as he does not need to work hard, she falls for him instantly after a simple guitar performance. This forced development makes the story weak as it fails to create tension.
Yet another unbelievable situation is that he is cheating his real girlfriend, Prakriti (Anna Sharma) and faking love with Prerana. The Aktor does not have to struggle as the situation automatically favors him, which makes the story more ‘unbelievable’.
Much like Kushal’s fabricated film shoot, ‘Actor: Take One’ feels caught between two worlds – neither a gripping crime thriller, nor a convincing love story – or an inspiring journey of artistic struggle. In the end, it fails to leave a lasting mark, much like its leading Aktor’s performance.
A truly immersive film demands that its characters fight for their triumphs, facing trials. But ‘Aktor: Take One’ misses this essential factor, while turning a protagonist into antagonist, with a series of superficial situations.
The first half of the film is slower in pace. Had the tension erupted immediately after the police seized the gold, the film could have evolved into an experimental, gripping thriller. Instead, the suspense limps into the second half, by which time the emotional disconnect is too wide to bridge.
Further adding to the film’s credibility issues is its portrayal of law enforcement. In reality, a gold smuggling operation of this scale would be handled by the Central Investigation Bureau (CIB) or the Kathmandu Valley Crime Investigation Office. Instead, the film relies on a single police inspector, making the investigation seem implausibly simplistic. This lack of research weakens the film’s authenticity, and weak plot of the story.
For many, the biggest catch of ‘Aktor: Take One’ is the return of veteran actor Raj Ballav Koirala. Yet, his character lacks the depth and misses to create impact. Viewers expecting a powerful comeback may find themselves wondering, if this was the right film for his return after so many years.
One of the film’s most ‘unintentionally humorous’ moments occurs when a wounded Kushal takes refuge in the home of Prerana and Prakriti. Despite interacting with him at close range, neither woman recognizes him – despite only half of his face is bandaged. While watching the movie in the theater, audiences were heard whispering, “How can't you recognize your own boyfriend? We could tell just by his scent!” Moments like these take the credibility of the film.
Visually, ‘Actor: Take One’ is polished, showcasing grand mansions, sleek cars, and a well-matched background score. Yet, style cannot compensate for the lack of content. The screenplay remains the film’s weakest link.
Pradeep Khadka’s performance fails to rise above mediocrity. Instead of evolving as an actor, this might be his most lackluster portrayal yet. Anna Sharma, who once charmed audiences in Jerry, is given little to work with. However, newcomer Divya Rayamajhi delivers a spectacle debut, while Anoj Pandey shines as Inspector Shiva Koirala, infusing his role with genuine energy.
Throughout the film, Kushal repeats, “I didn’t come to be an actor; I came to be a superstar.” By the time the movie ends, audience fails to feel his line, suggesting that even though he may have become a celebrity, he hasn't yet mastered the craft of acting.
In the final scene, the film’s director claims, “To make a good film, you need a strong script.” With a sequel already announced, one can only hope that the filmmakers take their own advice to heart.
Much like Kushal’s fabricated film shoot, ‘Actor: Take One’ feels caught between two worlds – neither a gripping crime thriller, nor a convincing love story – or an inspiring journey of artistic struggle. In the end, it fails to leave a lasting mark, much like its leading Aktor’s performance.
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