Of late, Bollywood has been really fumbling it when it comes to well-intentioned films about issues plaguing society and the country in general. Well, Bollywood has been faltering in every department lately, period. But it feels bad when you can see the meaningful message that the movie was trying to send across to its audience, which was then marred due to the flawed execution. Dispatch is one such example where a story about how journalists’ right to tell the truth is being violently suppressed was ruined by its need to be risque and over-explanatory. Indian 2 wanted to talk about the difference between online and on-ground patriotism, but it failed to leave a mark because of some of its absurd creative choices. Projects like Bhakshak, LSD 2, Sirf Ek Bandaa Kaafi Hai, and Bheed were so sure that the topic that they were dealing with was potent enough that they didn’t need to focus on the craft at all. And while Jawan, Farrey, and even 12th Fail were well-made films, their solutions for complex problems were kind of juvenile. Hisaab Barabar is yet another entry into this particular subgenre of flicks that is both relevant and faulty.
Ashwni Dhir’s Hisaab Barabar, which he has co-written with Ritesh Shastri, tells the story of Radhe Mohan, a senior ticket collector of Indian Railways who is known for being a law-abiding professional as well as a great mathematician who educates kids for free at the train station. He is a single father who is raising his son, Manu, with some help from his overly nosy neighbor, Mona Lisa Yadav, and her husband, Dimpu. One day, while looking through his bank account, Radhe notices a minor discrepancy and decides to head over to the nearby branch of DO Bank and file a complaint. Surprisingly enough, the bank brushes the whole matter under the rug by giving Radhe a television set that costs way more than the money that’s missing from his account. But as he begins noticing that there are many other customers of DO Bank whose accounts show similar inconsistencies, he realizes that they’ve ignored it because they either don’t care or they are too busy to look into it. So, Radhe takes it upon himself to solve this major scam that’s unfolding underneath everyone’s noses and faces the might of the CEO of DO Bank, Mickey, and the legions of politicians, law enforcers, and thugs who are ready to bend the law to appease Mickey.
The genesis of the central conflict of Hisaab Barabar is actually good and accurately reflects the state of the country. We have witnessed so many financial crimes, and many of us have been victims of them as well. Dhir and Shastri show us that the general populace has been made complacent with their own hard-earned money because they’re too busy making ends meet. Meanwhile, those who are making the rules that keep us busy are bleeding us little by little. In addition to that, the writers highlight the fact that there’s no room for people who have the privilege to use their brains for the betterment of society because the common folk see them as an inconvenience, and those who are in positions of power can simply erase their existence (or threaten them, and their sense of rebellion will automatically disappear). The issues with the film arise when Dhir and Shastri try to arrive at a solution. I’m not saying that there’s anything wrong with having the common people rise out of their slumber and bring down the mustache-twirling villain. But there must be some build-up to it. The entirety of the third act is just so convenient that it feels like a whole other movie. Why is this build-up missing, though? Because of the unnecessary amount of focus on the romantic subplot and the repetitive scenes that are used to underscore Mickey’s wickedness.
Hisaab Barabar suffers from what I call the “Oh, there’s still an hour left in this movie?” disorder. Yes, it’s a pacing issue, but it is a very special kind of pacing issue. In this case, there’s no consistent feeling that the movie is too fast or too slow. For the most part, it actually seems like the whole thing is moving steadily towards its conclusion, and you think that the climax is just on the horizon. So, you patiently wait, and then you wait some more. After a few minutes, though, the realization sets in that the film is overstaying its welcome, and you glance at the progress bar only to see that the entire second half of the narrative is yet to unfold. I have yet to figure out why or how this phenomenon happens. It’s like Dhir knew where his movie should ideally end, but then he felt quirky and messed it up. On top of that, visually speaking, the film looks horrible. The lighting, coloring, editing, VFX, and CGI would suffice for a low-budget soap opera, but seeing this in a movie that has actors like Madhavan, Neil Nitin Mukesh, and Kirti Kulhari is inexcusable. And then there are the songs, which simply exacerbate the tonal issues and confuse you about the seriousness of the entire affair.
The performances in Hisaab Barabar are bad, to be honest. Madhavan has been working in the Hindi and Tamil film industries for such a long time, and that’s why it’s baffling that he hasn’t evolved as an actor. He always resorts to a select few set of expressions and vocal inflections and calls it a day. He doesn’t seem to care if his character is going to be memorable or impactful. He does his thing and, I guess, hopes for the best. This trick definitely worked when he was younger, but as he is starting to take on older, more “complex” roles, his inadequacies are beginning to show. Neil Nitin Mukesh never seemed like the type of actor who could pull off over-the-top and unhinged characters. He has tried and failed several times over the past 2 decades, but it’s truly impressive that he refuses to stick to roles that allow him to be reserved and lowkey and continues to swing for the fences. Good for him! Kirti Kulhari is really bland. Shaunak Duggal is okay. Rashmi Desai and Devang Tanna’s cameos are alright. Manu Rishi Chadha, Ishtiyak Khan, Faisal Rashid, Rajesh Jais, and Jitender Hooda, who usually end up being the highlights of the films they are in, are severely underutilized. I just hope everyone got paid well enough to justify showing up on set.
As much as I lament the current state of “well-intentioned” movies, I also find it hilarious that they are getting made at all. Most of them are backed by producers who are probably more evil than their fictional counterparts and have been involved in some kind of fraud or criminal activity at some point in their lives. Even if a film has a relatively honest financier, you’ll see its cast or crew fraternizing with the worst of the worst. And, by some miracle, if the producer, the cast, and the crew are morally upright and law-abiding citizens, their politics are usually limited to the boundaries of the film they’re currently associated with. It seems like some kind of a mandatory assignment for them that they have to complete before they close the curtains on their career. You won’t see them using their privilege and reach to educate their fans and followers about how the system is rigged, how the government is looting them, and how capitalism will eventually lead to the downfall of society. So, if the people making these kinds of movies don’t care about the themes they are apparently promoting, why should I? Anyway, give Hisaab Barabar a watch if you want to and let me know your thoughts on it through the comments section below.
Related
This post was originally published on here
