Platform: Zee5
Genre: Drama
Director: Ashwni Dhir
In Ashwni Dhir’s latest directorial venture, Hisaab Barabar, the central theme revolves around a common man taking on an unjust system—an age-old concept that rarely fails to resonate with audiences. However, despite R Madhavan’s earnest portrayal of the protagonist, the film struggles to deliver a compelling narrative, falling short of its potential.
At the core of Hisaab Barabar is Radhe Mohan Sharma, an Indian Railways ticket examiner played by Madhavan. Sharma, a diligent single father, has an obsessive passion for numbers, a trait that propels him into a battle against a corrupt private bank. When he discovers a minor discrepancy of 27 rupees and 50 paise missing from his account, his seemingly simple quest for an explanation unravels into a larger conflict with Mickey Mehta (Neil Nitin Mukesh), the unscrupulous owner of the bank.
The film’s premise—an ordinary man’s war against the system—holds promise. However, the execution fails to capitalize on this potential. The narrative unfolds along predictably conventional lines, lacking the depth or unpredictability needed to keep viewers engaged. Sharma’s relentless pursuit of justice feels formulaic, with few surprises in store for the audience.
The film drifts between moments of mild humor and heavy-handed seriousness, ultimately struggling to find a rhythm that resonates. Radhe Mohan’s character, while driven by a strong moral compass, never evolves beyond his defining trait of being a number cruncher. As a result, despite Madhavan’s best efforts, the character lacks emotional depth, making it difficult for viewers to fully invest in his journey.
Kirti Kulhari, who plays a key role as a passenger with a connection to Sharma’s past, faces a similar issue. Although her character seems poised to offer emotional or narrative weight, she too remains underdeveloped. Her motivations and character arc are not explored sufficiently, leaving her character largely reactive to the actions of the lead. Kulhari’s performance, however, remains solid despite the constraints of the role.
On the opposite side of the spectrum, Neil Nitin Mukesh stands out as the greedy and manipulative bank owner, Mickey Mehta. His portrayal is flamboyant, and while the character’s exaggerated traits occasionally make him a more engaging figure, the lack of real conflict or challenge between him and Sharma detracts from the stakes of the story.
The film’s attempt at social commentary—highlighting the exploitation of middle-class bank customers—is timely, but the execution falls flat. Hisaab Barabar struggles to balance its critique of corruption with its dramatic elements, leading to a somewhat disjointed viewing experience. Despite a few relatable moments and its intentions to provoke thought, the film ultimately lacks the punch required to leave a lasting impact.
The central message, which advocates for the power of patience and perseverance in the face of overwhelming odds, is clear. However, it is delivered with such predictability that it fails to inspire or engage. The film does not venture beyond its safe, established formula of the David versus Goliath struggle, which leaves little room for the audience to feel any real stakes or tension.
Ultimately, Hisaab Barabar is a missed opportunity. While the film’s premise and Madhavan’s performance offer glimpses of what could have been, its lack of narrative depth, underdeveloped characters, and uneven execution prevent it from making any significant impact. What starts as a promising drama about an ordinary man against a corrupt system ends up as a forgettable, by-the-numbers affair.