Laughable At Best
Meet Vasudha ( Vidya Balan), young mom of little boy, making a hard living in the hospitality business; Hari (Rajkummar Rao), her husband, burdened with a dark past and Arav (Emraan Hashmi), handsome tycoon, thirsting for romance. This is the premise of the supposedly promising love story ‘Hamari Adhuri Kahani’ by director Mohit Suri; instead the audience gets zilch.
Vasudha meets Aarav, the globetrotting hotelier who falls for her. After a few songs and some emotional blackmailing by Aarav’s mother, Vasudha overcomes her reservations about having a relationship with a man while being married to another. Of course, things fall apart when Hari returns after being on the run from the law. He is far more hateful and insulting towards his wife than before. His return puts Vasudha in a dilemma and throws her life out of gear once again.
‘Hamari Adhuri Kahani’ 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 projecting one sentiment that feels real. Can it be put down to the terrible writing?
Jerky, stagey sequences are piled upon each other. Characters are arrayed against static backdrops and made to spout the kind of dialogue that reminds you of creaky yesteryear movies best forgotten.
This is the kind of part – a woman ricocheting between a brutish husband, a noble lover and a son –that Vidya Balan could have aced. She tries hard, her eyes swimming frequently. but drowns somewhere in the terrible script. Hari (Rajkummar Rao) could have made something of this unfortunate predicament, trying to grapple with a situation not of his making, but he is given the worst strand, which takes him to Maoist-insurgency laden jungles and incarcerates him in cells.
No wonder the poor man is left mumbling and stumbling, breaking off occasionally to threaten Vidya Balan with this priceless line: ‘pati hoon main tera’ - just in case she’s forgotten the fact.
Emraan Hashmi, whom one find underrated because he could do more, is saddled with sharp suits, first class flights and faithful assistants but not much more. He also gets many lines to render which he blurts out dutifully. He tears out of his about-to-leave flight, skidding to a halt in a flower shop, saying: ‘yeh phool mujshe kuch keh rahe hain’ or words to that effect.
Given his early track-record of creating engaging drama, Mohit Suri should have made a full meal of the fil, but his material defeats him: it is not only half done, it’s also not well begun. Better luck next time, Mohit!