This week saw the release of the Emraan Hashmi Vidya Balan starrer Hamari Adhuri Kahani. The trailer created quite the buzz and the seemingly womencentric film with powerhouse Vidya Balan in the central role was intriguing. Here is the complete Badnaam Review of the Hamari Adhuri Kahaani
Vidya Balan plays Vasudha, a woman who is married off to a young age by a conservative father to an equally conservative husband, Hari.
Not much is known about the husband, played by Raj Kumar Rao, apart from the fact that he once had his name tattooed on his wife’s name.
Apparently, Vasudha’s husband disappears for a good five years, and she brings up their son singlehandedly, working as a florist.
It is during her stint as a florist that she meets Tony Stark channelling Aarav Rupare, who just hires her as his florist in Dubai and then falls in love with her.
The plot thickens when the elusive husband returns, literally on the eve of Vasudha and Aarav’s wedding.
Plot and Script Review
HAK tries to be too many things in a short time. It begins as a love story, and turns into a love triangle, and then somewhere veers towards a social message and the movie ends with Vidya Balan giving a holier than thou bhashan to her regressive husband.
And as expected, HAK suffers from the condition of having too many cooks spoiling the broth. Because the plot has so many concepts, the script is riddled with plotholes bigger than a cricket ball.
How did a young Aarav survive with his mother after his mother’s lover is left a mangled piece of flesh on the roadside?
If he did take up a job at that time, what stopped him from taking a job earlier, so his mother is not humiliated? How does a criminal convicted of killing foreigners have a court case that doesn’t have a single media person out on a rainy day? Was that sequence just made to create a pangsy sequence between Emraan and Vidya?
And let’s not even begin to discuss about in camera confessions from Bastar being used in a Mumbai Court. If the script writer had spent the same amount of time that the dress designer spent on ensuring Vidya ma’am’s hair are perfectly coiffured and raggard at the same time, we could have had a better movie in our hands.
HAK is Brand Bollywood at its worst. There’s no doubt that Vidya is one of the best actors in the business, but both Emraan and Rajkumar have delivered when it mattered most.
Though the movie is a tragedy, the most tragedic sequence is where Vidya’s character turns up in Aarav’s hotel, after a night of not taking his calls, only to tell him that her husband is innocent and he should save him.
Of course, Vidya comes up trumps in this scene, but what confuses is why does the camera almost grudgingly pans toward Emraan’s face when he is all ready to burst with the angst of a lover who’s been told by the love of his life to save someone she holds dearest, maybe dearer than him.
But the sheer ineptness of direction makes Emraan’s character a farce. The audience is left wondering whether he’s channeling Christian Grey, or did he just catch movies like Rangeela and Hum Dil De Chuke Sanam on DVD, or did he just get too carried off with his Iron Man look.
Seriously, the moment we are told he’s going to terrorist la la land, we almost waited for him to be kidnapped and then break out of the underground cave by saying, “Ab meri baari”
Also in top class is Rajkumar Rao, who has the most intense scene with Vidya towards the climax, and the confused almost scared look that he gives his emancipated wife is something that acting legends are made of.
And what is more confusing is the Vidya Balan treatment. It’s as if Mohit Suri was commissioned to hide the beauty that is Vidya.
This is not a deglam look, because after all, the character is working in the hospitality business, so she does use makeup.
But we wonder why Vidya is hid between colourless long dresses, shapeless kurtas and pyjamas. Even the now default Kolkata scene with Balan doesn’t show her in a saree.
And note to everyone in Bollywood, there is simply zero chemistry between Emraan and Vidya.