Hisaab Barabar Movie Review: R. Madhavan’s Comedy-Drama Falls Flat.Filmygod

R. Madhavan’s Hisaab Barabar starts off with a sleepy, small-town charm that feels reminiscent of early 2010s sitcoms we used to watch on Sony’s SAB TV. The film is directed by Ashwni Dhir, who is known for creating light-hearted comedies like Lapataganj and Chidiya Ghar. At first, the characters bring a refreshing liveliness to the screen, especially Madhavan’s character, Radhe Shyam. He’s a dedicated ticket collector with a love for numbers and a strong sense of financial balance. Radhe had dreams of becoming a chartered accountant, but life took a turn when his father passed away, forcing him to take on the job instead.

Radhe is the kind of hero you’d expect to see in a sitcom – clever and resourceful, always finding interesting solutions to tricky problems. However, as the film unfolds, the charm begins to fade. What initially feels simple and sweet soon turns into a monotonous cycle of repetitive scenarios. The lively spirit that captures your attention in the beginning doesn’t last long, leaving the audience feeling a bit drained.

The writing in Hisaab Barabar feels like it’s still stuck in a television mindset. Ashwni Dhir seems to rely heavily on familiar jokes and scenarios that don’t translate well to the big screen. The dialogue often comes off as preachy rather than engaging. For instance, when Neil Nitin Mukesh’s character, Mickey Mehta, is introduced, we hear a rather heavy-handed remark from another character: “Jiske paas paisa nahi hota uski koi izzat nahi karta, jiske paas paisa hota hai, wo kisi ki izzat nahi karta.” This translates to “Those who don’t have money don’t get anyone’s respect; those who have money don’t give others any respect.” This sets a rather bleak tone for the narrative.

Mickey, played by Mukesh, is a wealthy business tycoon who owns a bank. His character is meant to embody the contrasts of wealth and respect, but instead, he comes off as a caricature. The film attempts to explore themes of morality and ethics in the world of finance, but it often feels like it’s skimming the surface rather than diving deep into these issues. Instead of creating a nuanced character, Mickey becomes a one-dimensional figure, leaving little room for the audience to connect with him.

As the story progresses, we see Radhe trying to navigate his life while dealing with Mickey’s shady business practices. The film tries to weave in conflict and drama, but it often feels forced. The pacing is uneven, and the narrative lacks the punch that would keep viewers invested. There are moments that could have been funny or poignant, but they fall flat due to the lack of depth in writing and character development.

One of the film’s biggest shortcomings is its failure to balance comedy and drama effectively. While it aims to be a comedy-drama, the comedic elements often feel out of place or poorly timed. The humor seems to rely on clichés and predictable punchlines, which can leave the audience feeling underwhelmed. The attempts at humor often overshadow the more serious themes the film tries to address, making it hard to take any of it seriously.

Visually, Hisaab Barabar doesn’t offer much to write home about either. The cinematography feels basic, lacking the vibrant energy that could have complemented the story’s setting. The small-town charm is present, but it doesn’t translate into a visually engaging experience. The film feels like it’s missing a creative touch that could have elevated it beyond its mundane execution.

In terms of performances, R. Madhavan does his best to bring Radhe to life, but even his charisma can’t save the film from its shortcomings. Neil Nitin Mukesh delivers a decent performance as Mickey, but again, the character lacks complexity, which limits his ability to shine. The supporting cast adds some flavor, but they are often underutilized, leaving them with little impact on the overall narrative.

As the film reaches its conclusion, it tries to tie up the loose ends, but the resolutions feel rushed and unsatisfying. The audience is left with a sense of confusion rather than clarity, as the film fails to deliver a cohesive message. What could have been a thought-provoking exploration of financial ethics and personal integrity instead becomes a muddled mess of ideas.

In summary, Hisaab Barabar is a film that starts with promise but ultimately falls flat. R. Madhavan’s character, while charming at first, becomes dull in the face of repetitive scenarios and predictable writing. The film’s attempts at humor and drama don’t mesh well, leaving viewers feeling disconnected from the story. With a lack of depth in character development and a failure to explore its themes fully, Hisaab Barabar doesn’t quite add up to an enjoyable cinematic experience.