Mohit Suris Hamari Adhuri Kahani is plagued by excessive melodrama and an archaic story that might not resonate with the current crop of moviegoers
In a scene in Hamari Adhuri Kahani, a landmine explodes in a remote village. But instead of the bombing, the scene cuts into a shot of a flameless diya instantly reminding you of movies that had three different shots of the same temple with bells reverberating loudly in each cut. Like those outdated films that have now achieved cult status for their hilarity, Hamari Adhuri Kahani has ample of laugh out loud moments to keep you amused, but sadly, they arent intentional.
After two back-to-back blockbusters Mohit Suri returns with a film so heavy on melodrama, it induces more yawns than Emraan Hashmi's three stock expressions.
Vidya Balan plays Vasudha, a middle-aged woman trying to cope up with an uneasy marriage. Her husband, played effectively by Rajkummar Rao, is regressive-thinking and belongs to that breed of men who live with the belief that women are puppets meant solely to be controlled. How his mysterious disappearance leads a vulnerable Vidya to indulge in a relationship with a wealthy hotelier is what the film is essentially all about. Vasudhas mangalsutra is her moral epicenter, a recurring motif that she clutches to when in doubt.
While the film could have made a relevant point against the horrors of domestic violence, Mahesh Bhatts script is marred with several over-the-top sequences and dialogues that are more apt for a satire on a bad Indian marriage. Perhaps it could even be turned into a sketch with the potential of viral-video popularity.
While melodrama is the staple of Bollywood films and works well when done right (Dil Dhadakne Do being a recent example) it is hard to empathize with characters who talk like Pyaar ka koi ant nahi hota... Main ab lena nahi...bus dena chahta hoon... Not only does the director constantly struggle with the need to justify Emraan Hashmis irrevocable love for Vidya's character, but the duo lack complete chemistry and talk in a language associated with people whove nothing much to do about other than mumble gibberish poetry relating to eyes, stars, moons and the ultimate metaphor flowers.
Yes, Emraan misses Vidya when he is around flowers. Since hes constantly switching cities, hes usually flying and at one point, even misses a plane as hes seduced by the fragrance of a flowerbed nearby. Clearly, the films tagline is Feel the love. Sadly, nobody other than the members of the cast feel it. Prabal Punjabis character, whose only job is to remind Emraan to board flights, echoes the audiences sentiment when he repeatedly tells Emraan what the hell are you doing, Aarav?
Dum Laga Ke Haisha, Piku and even the more recent Tanu Weds Manu Returns have worked because they are set in a milieu that the audience can identify with. And converse in a colloquial banter that one instantly relates to.
Unfortunately, the pains of Hamari Adhuri Kahanis are so turbulent and its kaaynaath is so removed from reality that one needs to travel to outer space to decode the syntax of the films three characters.
While the film could have told the story of a woman reclaiming her own life, a man finding closure by loving unconditionally and a remorseful husband on the road to redemption, it reduces all these powerful themes by overdramatising the narrative, overcomplicating it with multiple subplots and dialogues that inspire humour instead of empathy.
Just when we thought that Hindi cinema was making great strides with smart, sharp storytelling, here comes HAK that is a major step down, one that arrogantly assumes that a bunch of good actors can pull off the most absurd lines as long as you throw in a few good songs in picturesque locales. Sorry Mohit, but Awaarapan still remains your finest work and Hamari, your weakest.