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July 31, 2015 Friday     
Before the film’s release the makers proudly praised their product in the press and an interview was there in a reputed Bollywood website too with Mukesh Bhatt saying,
“Mahesh Bhatt has written a movie after 14 years while taking it up as a challenge.”
and the title of the article was,
"We are not into bull-shitting business, we are confident of Hamari Adhuri Kahani" - Mukesh Bhatt. (Here is the link)
So the buzz was really there but now after witnessing the absurdly written and unimpressively directed film based on a pretty weak script, what can be concluded about the wide gap between the above mentioned vision of the makers and the final product placed before the public deserving ‘a big thumbs down’?
The easiest and most logical explanation can be that it was a clear case of a blind over-confidence in an unconvincing product following a completely wrong vision by the entire team. But then, reconsidering the names of creators having such a huge filmmaking experience to their credit as Mukesh Bhatt and Mahesh Bhatt, it also seriously forces you to admit that perhaps the times have really changed and the veterans have probably lost the pulse of (new-age) public they once were very much aware of as seen in the cases of Subhash Ghai, Kundan Shah, N. Chandra, Ram Gopal Varma and more.
However giving the Bhatts an advantage of their recent success stories, majorly achieved due to their proven music sense and the low-cost model they have been working upon, its quite possible that they might not incur heavy losses in this poor HAMARI ADHURI KAHANI too as per business terms. But if one talks about direction, characterization, execution and the writing in particular using some honest words, then this is one of the worst offerings from the team in the recent times (post another pathetic dud MR. X).
Personally, I don’t even feel it was entirely written by Mahesh Bhatt (as publicized) since it has such silly, shabby and confusing story progressions that actually doesn’t fit in with the name of Bhatt as a writer. Yes, the film begins with some intense sequences having a clear MB stamp dealing with a father, son and the mother, but then gets scattered so childishly that one cannot believe it has been really penned down by the same person we know by the name of Mahesh Bhatt, who gave us films such as Saaransh, Janam, Arth, Daddy, Swayam, Sir, Naam, Tamanna, Zakham and many more specifically written around emotional outbursts in broken relationships. Hence as it seems, he possibly wrote few of the initial scenes of the script himself and then passed onto his team of (freshly appointed) assistants to continue with the rest on their own. In fact the same can be said about Mohit Suri (director) and Shagufta Rafiq (writer/dialogues) too keeping in mind the successes they have earlier been associated with before HAK.
(Spoilers Ahead)
To give you some specific reasons for my above assumptions, What can you say about a script telling you a story of a single mother of 7-8 years old kid, left alone by her missing husband (since 1 year after the marriage), getting involved in a fresh affair and leaving for Dubai to work, without taking along her only dependent kid for some undisclosed reason? In fact its so weird to even assume that a script revolving around a single mother, features the kid in only few of its opening sequences and then again towards the climax, not mentioning him even once in the middle section when the mother is stepping into a new phase of life with a rich hotelier. Now how could Mahesh Bhatt even approve it, making every single character in the script look like a dumb, stupid person knowing nothing about what ought to be his or her first priorities of life to be precise?
Moreover every key person in the story coming up with his own flashback after a while makes the narration heavy, boring and stale. Plus few absurd moments simply make you ask that, Is it the same film having those emotionally engaging promos promising a worth watching product from the Bhatts?
For instance post interval Vidya leaves the five star hotel in Dubai (for returning to India) and is shown moving on a deserted road with nothing visible on its both ends dragging her suitcase all alone, only to be chased by Emraan in a car! (Obviously she doesn’t hire a taxi as the scene would look more beautiful on screen, shot in a picturesque outdoor location!)
Later in another absurd sequence, the wealthy hotelier Emraan brings Vidya to meet his mother living in Shimla (a scene straight away reminding you of AN AFFAIR TO REMEMBER), who is actually looking after a friend/old person in coma since years bearing all the expenses and pain. A patient who supposedly got into coma in an accident happening at the time when both Emraan (as a child) and his mother were extremely poor and the lady used to work in a hotel to earn for their daily expenses!  
As Vidya’s missing husband (Rajkumar) returns (who is a terrorist as per the police records), he easily gets into his old house and hides as there is no police surveillance around the residence of a wanted terrorist. But above all, meeting his wife after many years, he is not even concerned to ask about his only son and then fast gets into a weird revenge mode (partially making you recall the basic plot of SLEEPING WITH THE ENEMY and numerous Hindi movies made on the its theme unofficially). Besides the script in its climax (issuing bizarre death sentences to its lead characters), once again refuses to give any importance to the ‘Parenting’ aspect of the storyline making you laugh instead of cry putting it bluntly.
Being an uninteresting drag throughout after making a fine start, HAMARI ADHURI KAHANI doesn’t impress with its soundtrack too with only the title song making a decent impact on the listeners due to its relatable lyrics (since everyone has some kind of Adhuri Kahani in his or her young past). Probably that’s the reason the Bhatts had to buy an extra Rahat Fateh Ali Khan track from his private album to add into the film deliberately. So no credits for that good song can be given to the Bhatts.
The script full of all seen before, heavy melodrama fails to take any advantage from its otherwise fine background score and cinematography, mainly due to many badly written dialogues ruining the entire scene like “Mere Ghar Ka Choolha……...”, “Arey, Yeh Banjaaran Kaun Hai?” and more. Also the lazy, illogical & half-baked characterization doesn’t allow the actors to reach their viewers hearts ever in the film’s 130 minutes of duration.
To give the two key performers their deserving due, Vidya Balan tries really hard right from her first scene itself, but her character developments mostly remain dumb and highly questionable hampering the overall impact of the intense act severely. Similarly Rajkumar Rao too tries to deliver his best in the short role but doesn’t get the much required support from his confusingly written role heading nowhere. And talking about Emraan, I honestly cannot recall when he acted differently in a film other than SHANGHAI directed by Dibaker Bannerji. As a result, once again he remains the same as seen in his earlier films making no visible effort to somehow do it differently. However it was indeed a pleasant surprise to see one of my favourite actresses Amla back on screen playing Emraan’s mother.
In all HAMARI ADHURI KAHANI doesn’t turn out to be anything even closer to the ones written by the exceptional filmmaker a couple of decades back. In other words, it can easily be rated as a badly conceived film that evidently couldn’t express the basic idea in the mind of its reputed writer, for which everyone stands equally responsible in its entire team, including the one and only Mahesh Bhatt.

Rating : 1 / 5 (And that too just for the film’s initial 10 minutes & the title track.)
Tags : Hamari Adhuri Kahani Review By Bobby Sing, HAK Film Review by Bobby Sing, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
 
 
13 June 2015 / bobbysing /
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Continuing his struggle to make a major breakthrough as an actor-producer (and director too), Ganesh Acharya comes up with another below average, inspired project HEY BRO directed by Ajay Chandhok that fails to make any sort of impact on the viewers be it story, execution, music or performances.
In fact the films raises a valid question that who actually approves a decent amount of money to be spent on such LOUD products served as comedies to torture the helpless viewers becoming a constant, unavoidable feature of our Hindi film industry. Moreover its really surprising to see the film made on an ages old concept of separated twin brothers (not resembling each other), inspired from the English flick TWINS (1988) which was also seen in HUMSE BADHKAR KAUN released in 1998.
The amateurish writing rarely offers any good funny scenes in this 113 minutes film and the songs too range from poor to average including the most publicized “Birju” featuring cameos of Amitabh Bachchan, Hrithik Roshan, Ajay Devgn, Akshay Kumar, Ranveer Singh and Prabhu Deva. Adding to the uninteresting proceedings even Govinda (in a scene) and Mahie Gill (in an item song) fail to deliver anything engaging along with the other key performers playing their respective characters.
In short this seems to be made with a vision still hanging somewhere in the 90s that doesn’t work at all despite the help offered by many big names of the industry so generously.

Rating : 0.5 / 5 (Just for the friendly effort seen in the song ‘Birju”)
Tags : Hey Bro Review by Bobby Sing, Inspired films, Copied Films, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
 
 
23 March 2015 / bobbysing /
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If one has a serious claim to make in front of the entire world that it was an Indian scientist actually responsible for the first ever flight in the air with a plane (years before the Wright Brothers), then what path the director is expected to follow?
Obviously he has to make it as believable as possible with all logical reasoning, historical references, evident proofs and a powerful screenplay/execution that convinces the viewers to believe in every proceeding on the screen arousing a proud collective patriotic feeling in the end among his audiences.
But sadly that is not the vision followed in HAWAIZAADA directed by Vibhu Virender Puri (his debut in feature films), who amateurishly walks on an entirely unexpected, silly and illogical path to portray his important point and then completely falls flat unable to convince the viewers from any angle of his unfortunately. In other words, instead of presenting a logical take, Vibhu comes up with an entirely fantasy version of the claim, with a dream like execution having a clear, visible, heavy hangover Sanjay Leela Bhansali. And as I believe a Bhansali influence is surely capable of ruining more films than making them to be honest.
Commencing on a confusing note in its first scene itself, HAWAIZAADA keeps stressing more on colourful frames, heavy costumes, unrequired props, mindless romance and mediocre songs with a questionable comic touch that turns out to be weird throughout till the end. The script carelessly moves into various unclear directions, coming back to the main topic at intervals that eventually leads to a loss on interest and one starts questioning that what are they upto with such a messed up narration simply heading nowhere. The unnecessary stuffed melodrama, comedy and songs hardly give you anything to praise in its boringly long duration and that further forces you think that how could this even excite the makers reading it on the paper too.
Interestingly the biggest culprit of the screenplay/film remains its soulless romance and soundtrack that hampers its overall impact pretty badly and the film pathetically drags both in its first and second half featuring all unimpressive characters and their interactions. Its cinematographer, choreographer, editor and background score composer actually follow the vision of their director perfectly who probably wished to make a musical-fantasy-costume-drama instead of a realistic, believable historical film making a big claim in front of the entire world. The film’s average soundtrack is hugely worked upon with innovative arrangements and variety but doesn’t have that required melody to pull you in. For instance there is a traditional folk kind of song conceived with all western instruments and Ayushmann himself composes a Ghalib ghazal “Dil-e-Naadan” that has huge similarities with the one sung by Somesh Mathur in his album on Ghalib released many years back.
In the performance section, we have many honest efforts being made here assuming its probably a path breaking film about an astonishing fact never talked about before. Ayushmann Khurrana puts in the best with his utmost sincerity and so does Mithun Chakraborty as the main scientist, but they both get hugely betrayed by the poor writing and confused direction. Pallavi Sharda does nothing great to draw your attention and the same can be said about the rest of the cast too ranging from average to bad. Still among these uninspiring acts, a child artist Naman Jain does deliver an enjoyable natural performance in his few scenes.
Summing up, HAWAIZAADA remains a big opportunity wasted both in terms of cinema and as a document that could have been a solid support to the fact that an airplane was first invented in India before the Wright Brothers (and I was personally looking for the same in the film). It neither presents that amazing chapter of history with some logical justifications nor is able to convince the viewer through its messy execution wandering in various directions. In fact it seems that both the writers and their director were more interested in showing the romance, songs and drama instead of the invention being tried by the two men. As a result it comes out to be a childish fantasy take on the subject ruining a solid premise and after watching it I really doubt anyone would readily believe in the presented fact that it was an Indian scientist who did that significant invention first before the westerners.
In real terms, that is the damage this film has probably done to the debatable truth….unfortunately.
Rating : 1.5 / 5 (Including additional 0.5 just for its basic subject chosen.)

(NOTE : For record, the film is based on the life of scientist Shivkar Bapuji Talpade (of Maharashtra) who is credited for inventing the first air plane years before the Wright Brothers.)

Tags : Hawaizaada Review By Bobby Sing, Hawaizaada Film Review by Bobby Sing, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, Real Life Inspired Films, Supposedly based on Indian History
 
 
02 February 2015 / bobbysing /
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