Hamari Adhuri Kahani Reviews
It purports to be an unusual triangle, and perhaps on paper, it may have come off as one. But this is a shockingly empty film, with the entire cast desperately ‘acting away’, and not one sentiment that feels real. Given his early track-record of creating engaging drama, Mohit Suri should have made a full meal of the film, but his material defeats him: it is not only half done, it’s also not well begun.
...a film where three fine actors all play idiots. The film is a dreadful drag, with godawful dialogue.
...is mostly dependent on its lead actors and they’ve done a satisfactory job. It’s one of those films which reveals its latent potential and then fails to capitalise on it. Hamari Adhuri Kahani is watchable, but it is not likely to ignite a passionate fire in your heart.
The film is largely a run-down version of the other films that have drawn from the lives of the Bhatts, but it in the last five minutes, director Mohit Suri surprises you with a coherent and dramatic conclusion that strings together stray pieces of the story to form a clear, pretty picture. Too bad the only good part lasts for not more than three minutes, but for its worth, it does give a fitting closure to what seems unfinished business, as the title suggests.
Director Mohit Suri's Hamari Adhuri Kahani is an anachronistic, tragic romance that touches an emotional chord, yet, makes you dismiss it as a regressive piece of art. The direction appears confused, with a present-day setting, while the treatment of the plot and characters belong to a bygone era.
HAK's moments come from its lead cast who pitch in their best for the most part. The music is a soothing balm. Suri should know that even cinema Goliaths cannot rise above the written word.
The message to Suri is simple. Lose the metaphors. Kill the background score. Go easy on the explanations. Cut your script by half. And most importantly, trust your audience’s intelligence and their ability to digest modern notions of emancipation and gender equality without building a ridiculously elaborate case for it.
What was Vidya Balan thinking when she agreed to play a distressed, self-sacrificial, traditional wife making the most foolish choices for herself? How is it possible to waste Rajkummar Rao's talents? Why does Emraan Hashmi, who here is a rich hotelier and ahem India's most eligible bachelor, look so jaded and blank? Where is this gorgeous lily field in Bastar, Chattisgarh?
...is un-settlingly boring and far from anything that can be termed as timeless romance.
...is definitely very 'adhuri' on entertainment value and can be skipped.
...supposedly based on the lives of Mahesh Bhatt’s parents, offers the most harrowing times at the cinema. We don’t know for sure what exactly happened to the people in real life, whether they actually suffered so much, but with this film, the audience certainly has. It is the kind of cinema that might prompt a teetotaler to go out and have a peg – a Patiala preferably.
Love triangles are not terribly original. And bad dialogue never helped any film. HAK is guilty on both counts. The only reason one would get through the two hours of this film is on the efforts of the actors or by praising the idea of themes dealing with love and the fallible nature of people. Not too much on offer for a big ticket movie.
At the heart of the plot is a good story, but in presenting it on celluloid Mohit Suri bungles. The plot is forgotten and all the flaws take the cake. There are instances which leave you wondering how a director can take an actor of Vidya Balan's stature and make her do the things he did. I mean, there are some really silly situations and weak emotional moments which fall flat. Vidya tries real hard, but even she cannot resurrect the situation which is so poorly written.
'Hamari...' is a ham-fest that wallows in the kind of melodrama that Hindi cinema left behind a while ago, only shot with such lens flare much wow. It is difficult to see actors of Balan and Rao's stature plod through a script that's this clichéd and take it seriously, resulting in career-worst performances from both of them.
With a protagonist so out of sync with the time and age she lives in, dialogues (Shagufta Rafiq), which seemed to belong to some other bygone era and somehow strayed into 2015, forced intensity and a story defying logic, this film is a disappointment.
There are bad films. Then there are bad films masquerading as works of art. Hamari Adhuri Kahani exposes Mohit Suri to be a shallow and superficial director who scratches the glossy surface of living-room relationships to reveal more of the creator’s own spiritual emptiness rather than the angst of his troubled characters.
Audience Reviews for Hamari Adhuri Kahani
Hamari Adhuri Kahani is a romantic drama film directed by Mohit Suri and produced by Mahesh Bhatt. It is said that this film is inspired from the story of Mahesh Bhatt’s parents and stepmother. As the name says, it is about a love story not getting to its desired destination. Although almost all the reviews for this movie are very disappointing, I watched the movie with altogether a different lens. I understand that films are a media of entertainment. I also believe that entertainment can have different meanings and dimensions to different people, which could be romance, humour, story, screenplay, message, social cause, execution of the plot etc. I found this movie to be very high on the quotient of one of the most beautiful emotion i.e. love. Love is one theme which has driven many stories of great films, be it romantic love, or the love of parent-children, siblings, family members, friends etc. Any thought of love uplifts the vibration of the universe. It is being said that love is the energizing elixir of the universe, the cause and effect of all harmonies. Hamari Adhuri Kahani has a very simple plot, which explores the romance and the commitment attached to it. Nothing could be more beautiful than love since love is the essence. The fragrance of love is mesmerizing. On the other hand, nothing could be worse than being apart for people who are in love. This movie does talk of love, where people in love are ready to even move away from their love for its own sake. Yes, it is true that this movie has hardly any scene which would make you sit and laugh, but intense emotions are handled and presented very beautifully.
The opening scene is that of Vasudha (Vidya Balan) travelling to Bastar (Chhattisgarh) by bus, and after stepping out she heads towards the forest. Her body language does reflect lot of pain. She is so frail that she falls flat on the road. Next shots show grey haired Hari (Rajkummar Rao) sitting with a psychiatrist and explaining to him that how Vasudha had come to meet him during wee hours of the day. Their conversation reveals that Vasudha had left Hari 21 years ago. Hari is being brought home by her daughter-in-law Avni (Madhurima Tuli) where he ends up in a scuffle with his son Saanjh. When Hari blabbers something about Vasudha, Saanjh literally throws him out of house. Hari steals Vasudha’s ashes and leaves a diary for Saanjh. That is when the story starts unfolding.
Hari is missing since last 5 years and Saanjh was hardly 1 year old then. Vasudha is a florist working in a luxury hotel Ruparel. Emraan Hashmi (Aarav Ruparel), owner of 108 such properties arrive at Mumbai and that is where, he gets to meet Vasudha. Aarav had a troubled childhood, lived in utter poverty and grew up to be a multibillionaire with his sheer hard work. Aarav falls in love with Vasudha whom he found traditional, authentic, loyal. Vasudha after much deliberation decides to accept Aarav’s job offer for Dubai.
What happens thereafter? What happens to Aarav and Vasudha’s love? Does Vasudha accept Aarav’s love? Does Hari come back ever? If yes, what happens then? How the story shapes up further? Was Vasudha able to accept her love for Aarav? Whom did she choose: Her love Aarav or her husband Hari? What was the Bastar connection in Vasudha’s life? Why did she choose to travel to Bastar?
Vidya has very well played her traditional, docile, mangalsutra-wearing Vasusha, who in spite of working in luxury hotel as a florist still loves the traditional space she is in. Rajkummar Rao has played Hari very nicely, who believes that he owns Vasudha forever. Emraan Hashmi has also played his character, projected the pain very well.
If one watches this movie with logic, certain scenes might raise questions viz. Vasudha’s leaving her son in boarding school to join Dubai hotel, Hari’s diary from his point of view, but mentions very little of him etc.
If one watches this movie with heart, there are so many scenes which would touch. How fragrance of love changes one’s life for good; how one is ready to love himself / herself less for the sake of living the dreams of love; how a distraught Vasudha requests to be taught to love, to live; how Aarav proposes to Vasudha with a mix of expressions on his face – anxiety, love. One would feel the pain of the characters.
Music is another strong point of this movie.
There was a film called Ishqedarriyan (2015) that released few weeks ago and silently moved out of the theaters when everybody (including its cast and crew) chose not to watch it. Mohit Suri's latest makes sure that its story reached the Bollywood audience. So we have this.
An orthodox and abusive sadist of a man (Rao) marries a tubby, young woman (Balan), injures her both mentally and physically, plants his seed, and a year later, goes on an unexpected outing, leaving her to stay on her own with her newborn. Five years later, a success- oriented and priggish businessman (Hashmi), who otherwise has a good heart, meets this destitute woman and showers his love upon her, also hiring her has his florist like he is going to build a country out of flowers. In other words, the film is about a man (the good guy) who sincerely loves the wife of another fellow (the bad guy), and after an episode of dramaturgy, goes on to unite the original couple. How convenient.
Now we know what the story is, and lovers may be able to relate and rejoice with it, but the loose screenplay and terrible writing spoils what could have been a genuine representation of true love, or whatever that means. Fortunately, it is better than Ishqedarriyan.
Direction is also to be blamed where three top actors of the industry are simply wasted. Hashmi, in an out-of-the-typecast role, bluffs while his co-actor Rao puts up an average act of being a monster. Balan just gets away with her dismal performance. I sat up on my seat when I saw nose-jobbed Amala Akkineni (of Pushpak fame) in a cameo. Tonite I am going to wonder what drove her to do the bit.
Although, I must say I am impressed with some of the dialogs which were quite romantic and generally true. Otherwise, the film is filled with people talking nonsense, shedding tears like their eye sockets are connected to the Niagara Falls. How a selfish man suddenly turns generous is what largely affects the dramatic closure of the story. All said and done, this tragedy is not heart-breaking, but heart-aching.
BOTTOM LINE: Hamari Adhuri Kahani has a story that has all the ingredients mixed and placed in the mold. The makers just forgot to bake it.
RATING: 3 stars out of 10. Should skip.
Can be watched with a typical Indian family? YES
"Har khoobsurat cheez main daag hota hai. Har khoobsurat films ka critics reviews bhi ha-mesa ac-ha nehi hota."
This film has many flaws. I am not able to write a detailed review about this entire movie, but I'll just say, 'If you believe in true love, go watch this one'. The story may not be that good, but the emotional attachment I have from this movie is exceptional. I am not an Emraan Hashmi fan or a big adorer of romantic movies. I am a big thriller-crime lover, but I don't know why I love this film a lot. The music is quite well and goes well with the movie. The cinematography is amazing. Everyone acted their part quite well, but you'll fall in love with Emraan Hashmi.
So please don't listen to the bad reviews and stuff. Watch this movie.
Moviewise - 3/5 Emotionally - 5/5