Cast: Vidya Balan, Emraan Hashmi, Rajkumar Rao, Amala,Suhasini Mulay, Madhurima Tulli
Director: Mohit Suri
Rating: * 1/2
After their last disaster (Ghanchakkar)together, one would have expected Emraan Hashmi and Vidya Balan to tread more carefully where a project together was concerned. Granted , an extra-marital love story must have seemed like a juicy lure coupled with Mahesh Bhatt’s penning it, hit director Mohit Suri at the helm, some soulful songs and Ekta Kapoor’s Balaji producing it. But known names in a project don’t always translate into a hit movie. And ‘Hamari Adhuri Kahani’ is a case in point.
It’s a disaster from the word go. The story is simply put- WILD. A girl Vasudha (Vidya Balan) brought up in a highly conservative traditional Hindu family wants to fall in love and tells her father (Yatin Karyekar) so – but he has already fixed up her marriage to Hari (Raj Kumar Rao) who has a similar self-righteous upbringing so there’s no shaking the nuptials off. So off she goes aiming for the traditional homemaker role but her husband of a few months suddenly vanishes in the jungles of Orissa while escorting a few Americans there. 5 years later Vasudha has a job as a florist in a star hotel and catches the glad-eye of the lonesome, dashing, big shot entrepreneur and owner of 108 hotels worldwide, Aarav (Emraan Hashmi). Impressed by her floral arrangements and conscientiousness in rushing to his room to save his ass during a fire-drill, he sets her up for a fall (in love kind) at his Dubai hotel. A sudden unexpected visit to the Police station reveals that Hari is a terrorist and a fugitive from justice, and Inspector Patil expects her to inform him the minute her husband contacts her. Vasudha decides to scoot to Dubai for some much needed relief and promptly falls in love with an over attentive Aarav. After a bout of revelations the two are all set to legalise their relationship when a decrepit hairy Hari steps right back into the frame.
I won’t get into any more details of that ridiculous story but needless to say there’s very little you can connect with here. Even the emotions come across as fake. There’s a hotel singer (Amala), Aarav’s mother who plays the piano and sings to her paralysed semi-comatose lover, an angst ridden widow(Suhasini Mulay) who is constantly egging her daughter Vasudha, to throw away her mangal sutra and live a life free of all societal encumberments and Aarav’s friend and partner, who stations himself as Aarav’s confidant and conscience. At times the sub-text is even suggestive of a gay attraction between the two.
Scenes and sequences have been concocted without even a basic understanding of how impractical and incredulous they would seem to the viewing public. After expressing her love and quite physically too, Vasudha is struck by a bout of guilt triggered by the name inked on the inside of her wrist and she walks out into the desert trolley bag in hand. And you are left totally confounded.
This film has a semi-autobiographical slant to the story penned by Mahesh Bhatt himself and is powered by some of the most irrational intransigent dialogue ever written(by Shagufta Rafique).
There are weighty issues out here and it’s not just the narrative that I am talking about. Mohit Suri’s workmanlike direction misses the wood for the trees and the ‘thanda’ chemistry between Vidya Balan and Emraan Hashmi makes this desert bound drama lose it’s grip in the quick sand of forced unflattering togetherness. Indifference is all encompassing. And no amount of puerile theatrics can get you interested. It’s a pity though. The story had it’s fair share of possibilities but the slap-dash formulaic treatment just doesn’t allow for any breathing space. And the convoluted sub-plots just make it seem like overreaching without anything substantial to hold on to. Go for it only if you want to be seen throwing your money away!