Title: Humari Adhuri Kahani
Directed by: Mohit Suri
Produced by: Mahesh Bhatt & Mukesh Bhatt
Written by: Mahesh Bhatt & Shagufta Rafiq
- Emraan Hashmi as Aarav Ruparel
- Vidya Balan as Vasudha Prasad
- Rajkummar Rao as Hari
- Sara Khan as Naila
- Madhurima Tuli as Avni
- Suhasini Mulay as Hari’s mother
- Amala Akkineni as Rohini (mother of Aarav Ruparel)
- Namit Das as Saanjh Prasad (grown up)
- Prabal Panjabi as Apurva (Aarav’s friend and partner)
Music by: Raju Singh
Production Company: Vishesh Films
Distributed by: Fox Star Studios
Release Date: 12th June, 2015
Budget: Rs. 35 crore
Box Office: Rs. 37.26 crore
Review: I heard bad things about this movie, but still,when a movie boasts of a star cast consisting of Vidya Balan, Emraan Hashmi and Rajkumar Rao, it will definitely give you some expectations. Though the movie did not come up to my expectations, not even anywhere near it, but there certainly are things to watch out for in HAK. HAK is a movie in which the plot is forgotten and the flaws take the cake, though the actors have put in real effort to lift the weak storyline.
In the recent past, we have had movies like Piku and Tanu Weds Manu Returns, in both of which, the characters of Deepika Padukone and Kangana Ranaut (respectively) portray very strong female characters, as the modern woman is, but Mahesh Bhatt has created a very weak woman played by Vidya.
Flaws in Humari Adhuri Kahani:
The biggest flaw is the movie in itself. Anyone would expect a beautiful love story from Mohit Suri after Aashiqui 2 and Ek Villain, but HAK is just the reverse of what we expect. Though, Suri has been successful in creating a very emotional tale, but the plot won’t work in this era. There is a scene in which Balan packs her suitcase and just walks into a never ending desert. If only she had a bottle of water.
And in the scene where Hashmi dies, the diya goes off. Was I watching Kahani Ghar Ghar Ki or something?
If only we could un-see these particular scenes (and many more).
HAK has been carved out like an Indian TV soap. The over emphasis on Vasudha’s (Vidya) mangalsutra is a very weak and age old tool to take the movie ahead. When liberated women like Piku and Datto are being celebrated on the silver screen, a meek woman trying to save her already dead marriage is a big no-no issue. Even after Vasudha’s mother-in-law telling her to throw her mangalsutra, Vasudha considers it a sin, and says:
“Mujhse nahi hoga, main yeh nahi kar sakti.”
If using words like ‘milkiyat’ and ‘kaynat’ could fetch praise for a movie, then we are probably living in a wrong era. I don’t even know what milkiyat means, though kaynat means ‘universe’, and guessing by the dialogue said by Vidya Balan, I would probably think milkiyat to mean ‘property’. The words ‘sacha prem’ is used so many times in the movie that it makes you cringe. Not only these were the unbearable words, there were many such dialogues too. And cheesy dialogues will not work in this era, especially after listening to the dialogues of Tanu Weds Manu Returns.
The dialogues in HAK are so old-fashioned that…well, they are just too old-fashioned. Everyone knows that “Chand pe bhi daag hai”. And why on earth does Hari (Rajkumar Rao) have to remind Vasudha again and again that he is her husband. Does Vasudha suffer from a short term memory loss?
But, fortunately, HAK has a very very good cast to gain little profits for the producers.
Vidya Balan is as always flawless. It is her character that is flawed. But yet, Balan proves that she has not lost a pinch of her acting skills through Parineeta, Ishqiya, Paa, The Dirty Picture, Kahani and now HAK. The emotions in her eyes, self-pity on her face and tremble in her voice are all to look out for. Along with Emraan Hashmi, she pulls her role, which is flawed, quite well.
Emraan Hashmi, like Balan, is outstanding. He plays the character, Aarav with perfect ease, but like Vasudha, even Aarav is flawed, and hence, not giving Hashmi a chance to prove his acting quotient. And his chemistry with Balan sizzles the screen.
Rajkumar Rao does not contribute much to the story, time wise, but he has a major contribution to the plot. It is around his strong (surprisingly) character that the flawed character of Balan revolves.
Apart from the actors, the only team that has probably worked hard is the Music Team. As always, Suri’s talent in selecting good music for his films has worked, though not as good as Aashiqui 2 and Ek Villain, but we give him this. Arijit Singh and Shreya Ghoshal steal the show with HAK Title Track and Hasi (Female) respectively.
List of Songs:
1. “Hamari Adhuri Kahani”, Arijit Singh
2. “Humnava”, Papon
3. “Yeh Kaisi Jagah”, Deepali Sathe
4. “Hasi”, Ami Mishra
5. “Hasi (Female)”, Shreya Ghoshal
6. “Hamari Adhuri Kahani (Encore)”, Jeet Ganguly
7. “Zaroori Tha”, Rahat Fateh Ali Khan
But what touches your heart in the movie is the flawless (surprisingly, again) end. The movie ends on such a positive and of-this-era thought. It is something like Rajkumar Rao finds Balan in Kolkata and visits her, when she shouts at him and says:
“Maang meri, sindoor tumhare naam ka. Gala mera, mangalsutra tumhare naam ka…yaha tak ki, kok meri, bacha tumhare naam ka.”
And Balan again does something that she had started. She beautifully empowers women in the right way, which is good, but according to the plot is wrong, because all through the movie, Vasudha has been a weak woman, but it is Durga Pujo, and abrakadabra, Vasudha is strong.
All in all, though the movie will leave some people in tears, but not because of the story, because of the powerful performances. But how far can perfect performances take a feeble story. And, the movie is said to be more and more weak because it has been made some hundreds of years later. HAK is too 90ish. We live in times when love outside a marriage is her choice.
My Rating: 2.7/5 (1 each for Balan and Hashmi’s performances and 0.7 for the music).
Bibliography: All images above have been taken from Google. None of them are clicked/created by me.