Saturday, June 13, 2015

Hamari Adhuri Kahani 

Complete Mess

A woman walking out on a man who has expressed his love for her, drags her suitcase and walks down the desert in Dubai, and one wonders, why didn’t she call a cab or take the metro? Hamari Adhuri Kahani is full of such insane scenes and the most florid lines heard in a movie since Kader Khan retired.

Mohit Suri had somehow inherited from his uncle Mahesh Bhatt the mantle of making love stories involving damaged or in some way abnormal people.  Strangely, even the ghastly Ashiqui 2 and Ek Villain did well, but Hamari Adhuri Kahani, written by Bhatt goes into the ‘so awful it has to be seen to believed’ category.

Not since the Southern melodramas of the eighties and nineties, has one seen a scene in which a woman runs across a rangoli that she has made, to rush to her room,clutch at her mangalsutra and cry, all because a good man told her he loves her, and she weeps because she is married to a horrible man she hasn’t seen in five years.

Vasudha (Vidya Balan) was forced to marry Hari (Rajkummar Rao), because of ‘sanskar’ and ‘parampara’ and he is a psycho who forces her to get a tattoo of his name on her arm, to seal the ‘saat janam’ deal. Her mother-in-law (Suhasini Mulay) tells her to throw away the mangalsutra and get a life after the husband disappears, but she is hung up on tradition. There is also a son, to whom she sends gifts and letters in the absent father’s name.
Rich hotelier Aarav (Emraan Hashmi), who owns 108 hotels but no home, falls in love with Vasudha because she reminds him of his mother (Amala Akkineni), in a case of the Oedipal Complex that should have taken him into a psychiatric ward. The mother also struggled to raise him after her husband abandoned them.  Vasudha’s mangalsutra is dropped only when Aarav takes her to meet his mother, who is looking after a comatose second husband, because love is a responsibility or some such. Vasudha promptly falls into Aarav’s arms now madly in love.  Huh?

Then Hari returns and crazier things happen. Everyone in the film is constantly on the verge of hysteria, one feels sorry for the cop (Narendra Jha) and Aarav’s devoted assistant (Prabal Panjabi), who at least have the sense to be outraged by the goings-on.

Vidya Balan is reduced to a crying machine; Emran Hashmi looks alternately bored and befuddled and Rajkummar Rao gets nothing to do.

Today, any film in which a woman calls herself a man’s ‘milqiyat’ deserves to be laughed off the screen.


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