Hamare Baarah Story :-
Hamare Baarah a young woman finds herself in court, facing off against her own father, in a battle to support her stepmother’s decision to terminate a dangerously risky pregnancy. Will justice prevail?
Hamare Baarah Release Date, Trailer, Songs, Cast
| Release Date | 21 June 2024 |
| Language | Hindi |
| Genre | Drama |
| Duration | 2h 28min |
| Cast | Annu Kapoor, Rahul Bagga, Manoj Joshi, Ashwini Kalsekar, Parth Samthaan, Shaan Saxena, Aditi Bhatpahri, Paritosh Tripathi, Ishlin Prasad, Harish Chhabra |
| Director | Kamal Chandra |
| Writer | Rajan Agarwal |
| Cinematography | Sethu Sriram |
| Producer | Ravi S Gupta, Birendra Bhagat, Sanjay Nagpal, Sheo Balak Singh |
| Production | Radhika G Film, Newtech Media Entertainment |
| Certificate | U/A |
Hamare Baarah Review :-
Mansoor Ali Khan Sanjiri (Annu Kapoor), a devout 60-year-old Muslim with strong beliefs on how women and children should live, finds himself in a dilemma. He has married multiple times and fathered eleven children, with a twelfth on the way—a pregnancy that poses grave risks to his young wife Rukshar (Ishlin Prasad).
However, Khan Saab staunchly opposes considering abortion, viewing children as divine blessings and deeming termination under any circumstance as sacrilege. Despite the dissent from his entire family, except for his older son Shahnawaz (Paritosh Tripathi), none have dared challenge his authoritarian rule. Until one day, his daughter Alfia (Aditi Bhatpahri) summons the courage to seek help from the fiery lawyer Afreen (Ashwini Kalsekar), aiming to secure a court order allowing Rukshar to abort the pregnancy.
The first half of the film meticulously introduces its characters and delves into the complex dynamics within the Sanjiri household. Director Kamal Chandra and writer Rajan Agarwal maintain focus amidst numerous intertwined characters. Khan Saab’s orthodox and contentious beliefs propel the narrative forward, leading to a climactic turning point by the intermission. However, the film transitions into a boisterous courtroom drama in the second half, where some sequences risk becoming repetitive and losing impact.
The story unequivocally portrays Khan Saab as the antagonist, persisting in imposing his beliefs on his resistant family. He is depicted as a misguided figure driven by rigid convictions justified by religion. Annu Kapoor portrays this role with a commanding but occasionally overwhelming tone, enhanced by his authentic Urdu dialect. Female characters, aside from Alfia (Aditi Bhatpahri) who stands out with her performance, often appear as powerless figures. The courtroom scenes, while occasionally tense, lean towards theatrics rather than nuanced storytelling. Ashwini Kalsekar shines as the forthright prosecutor Aafreen, yet Manoj Joshi’s portrayal sometimes borders on caricature, lacking realism.
The subplot involving Alfia’s romance with journalist Danish (Parth Samthan) feels extraneous, much like the forgettable music score by Annu Kapoor. The film occasionally lets its religious undertones overshadow its broader message, which revolves around women’s empowerment and confronting toxic patriarchy. Despite its core theme, the narrative occasionally leans towards advocacy rather than pure entertainment.
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