Radhika G Films and Newtech Media Entertainment’s Hamare Baarah (UA) is the story of a Muslim girl who files a case in the court to direct her stepmother to abort the child in her (stepmother’s) womb as the gynaecologist has opined that the delivery could take away her life.
Manzoor Ali Khan Sanjari (Annu Kapoor) has lost his first wife during childbirth but that does not prevent him from forcing his second wife — who is many years younger to him — to get pregnant in spite of the gynaecologist’s warning that she too might die during childbirth. Sanjari already has 11 kids and is keen to complete a dozen, if not more. His twelfth child would be his second wife’s sixth progeny. When daughter Alfia’s (Aditi Bhatpahri) appeals to her parents fall on deaf ears, she knocks the doors of the court to save the life of her stepmother.
Rajan Agarwal has written a bold story about how orthodox Muslim men think of procreating ad nauseum even if that means risking the lives of their wives. His screenplay, however, is too long-winding and even boring. Although the point the story makes is laudable, the manner in which it is sought to be conveyed lacks proper direction and class. The drama often meanders, thereby diluting the impact of the strong story. The courtroom drama should’ve been a high point of the proceedings but it is appealing in parts only. The track of arguments in court about the second wife’s beauty and youthfulness looks too contrived. Further, the court’s judgement is not fulfilling enough for the viewers as they come to expect much more. Of course, a few scenes in the court are exciting. A few more scenes — those in which lawyer Aafrin Liyaqat (Ashwini Kalsekar) confronts her loser-husband, and the scene in which Manzoor Ali Khan Sanjari’s eldest son, Shahnawaz (Paritosh Tripathi), revolts against the father — are appealing too. However, these scenes are not enough to create a terrific impact on the audience. Dialogues (by Kamal Chandra and Piyush Singh; additional dialogues by Sufi Khan) are good at places but the need of the drama was plenty of firebrand and clapworthy dialogues.
Annu Kapoor does a good job as Manzoor Ali Khan Sanjari. Paritosh Tripathi gets limited scope in the role of his son, Shahnawaz. He stands out in the scene of revolt against his father. Rahul Bagga is alright as Shoib. Parth Samthaan is endearing as Danish. Aditi Bhatpahri is fairly nice as Alfia. Ashwini Kalsekar delivers a firebrand performance as advocate Aafrin Liyaqat. Manoj Joshi is quite good as advocate Zafar Memon. Harish Chhabra lends nice support as Aafrin’s husband, Siraj Liyaqat. Abhimanyu Singh is effective as the Muslim leader. Ishlin Prasad is okay as Shaheen. Ankita Dwivedi makes her presence felt as Rukhsar. Aditi Dhiman makes her mark as Zareen. Shagun Mishra is alright as Zoya. Kritika Khandvi is average as Sayra. Farhana Fatema has her moments as Dr. Vandana. Udayvir Singh Yadav leaves a mark as the judge. Others lend ordinary support.
Kamal Chandra’s direction is weak. The narration is sketchy and lacks depth. Music (Annu Kapoor, Sandeep Batra and Bishakh Jyoti) is appealing. Lyrics (Kamal Kapoor ‘Shabnam’, Sufi Khan, Annu Kapoor, Ozil Dalal, Azeem Shirazi and Dr. Babban Jee) are nice. Shabina Khan’s choreography is okay. Bishakh Jyoti’s background music is fair. Sethu Sriram’s cinematography is quite good. Ashok Lal Yadav’s action and stunt scenes are functional. Production designing (by Murlidhar J. Sawant and Ratan Suryawanshi) is alright. Sanjay Sharma’s editing needed to be sharper.
On the whole, Hamare Baarah may be well-intentioned but its box-office prospects are very bleak. The controversies surrounding the film, resulting in court intervention, could’ve worked in its favour as curiosity for the film has increased thereafter, but even that won’t happen as the very lengthy film lacks merits to attract the public.
Released on 21-6-’24 at Sterling (daily 1 show) and other cinemas of Bombay thru PEN Marudhar Cine Entertainment. Publicity: very good. Opening: dull. …….Also released all over. Opening was poor at most places.
