Hope Aur Hum (2018)

Watch Hope Aur Hum 2018 Full Hindi Movie Free Online

Director: Sudip Bandyopadhyay

Starring: Naseeruddin Shah, Beena Banerjee, Neha Chauhan, Naveen Kasturia, Sonali Kulkarni

Genre: Comedy, Drama, Family

Released on: 11 May 2018

Writer: Sudip Bandopadhyay, Neha Pawar

IMDB Rating: 8.4/10 (19 Votes)

Duration: 96 min

Synopsis: A father obsessed with an old school copying machine wreaks havoc on the family, causing a change in their relationships. Explores the life of each family member and how their lives are intertwined with each other.
Story
An ageing widower can’t let go of his antiquated photocopy machine, which occupies too much space and breaks down constantly, leading to friction in his family.

Review
Letting go is tough, be it with people or with things. For Nagesh Shrivastav (Naseeruddin Shah), it is almost unthinkable when it is time to discard his faithful old photocopy machine that has served him well for decades. Mr Sonnichsen, as he calls the machine, is the only link to his glorious past as a copier for ministers and bureaucrats. His eldest son Neeraj (Aamir Bashir), who is forever chasing the elusive promotion at work, almost understands why, but for Neeraj’s wife, practicality supersedes nostalgia. The machine occupies space that their daughter could use as a study room. The only one who really understands Nagesh’s predicament is his youngest grandkid Anu (Kabir Sajid), a cricket-loving and commentary-spouting kid who is forever onto the next mischief. When Nagesh’s younger son Nitin (Naveen Kasturia) who works in Dubai, shows up with a state-of-the-art photocopier, Nagesh has to come to terms with retiring the machine, which has almost become a friend.

Several sub-stories run through 'Hope Aur Hum', almost all of which deal with themes of old versus new, letting destiny take its own course and even the more serious ones that deal with guilt and death. The entire segment where little Anu fights an inner battle about an act of his that could have serious repercussions is shown beautifully by the filmmaker and the young actor Kabir. Another place where the film scores well is the casting, which helps make it even more believable and the characters relatable. The dialogues, too, crack you up every now and then, which help because the film dabbles often with philosophical subjects. While the philosophising doesn’t get too heavy, towards the end one feels there could have been a better, more layered payoff rather than the simple one that is served. The film is more interesting in parts, while the whole feels a bit disjointed. A tighter script could have helped, but for now the little gags in the film work just fine.

Hope Aur Hum rating: 1.5 stars

Old age, old machine, old times, old haveli, old gramophone, old jazz record, and one really old box. Hope Aur Hum doesn’t believe in subtlety when it comes to drumming home its message of old giving way to the new, saddling Naseeruddin Shah with the burden of making audiences hope that, surely, there is something better around the corner.

But being much too obvious and doing injustice to Shah as well as Bashir, another great actor gone to waste here, isn’t even the worst of Hope Aur Hum’s crimes. That would be its insistence on straying off on tangents to yawn-worthy non-plots, one of which involves a Dubai-returned rich man looking for his phone for nearly 15 minutes of screen time. The talented child actor Kabir (Secret Superstar) has another plot that adds nothing to the central premise, but he at least is more delightful while at it.

In the Srivastava household around which Hope Aur Hum revolves, Kabir’s Anu and Shah’s Dadu form the two most interesting bookends. A finer film could have churned an entire story out of them, and some of their scenes will remind you of the endearing award-winning animation Up!. Anu’s Naani’s home, in a sprawling, decrepit haveli in the countryside, also has a charm about it and the hint of a mystery that yet another fine film could have spun into a tale of growing up during one lazy summer.

But, first-time director Bandyopadhyay doesn’t know when he has a nice thing going. So we have Anu and Dadu, Anu and Naani (played by the much-missed Beena Banerjee), Anu and cricket, Anu’s chacha’s missing phone, and even Anu’s chacha’s missing girlfriend. She, thankfully, remains largely missing.

And we haven’t even mentioned yet the highlight of Hope Aur Hum, the one thing Bandyopadhyay, by his own confession, recognised. That would be a vintage photocopying machine, made by German firm Soennecken, that Dadu loves and cares for. He sees it as his last companion, the last vestige of his former life in a fast-changing world. Bandyopadhyay, a fine arts student and an ad filmmaker, has talked about how he remembered one such 100-year-old machine from his childhood, and how he and his art director spent “blood, sweat and tears” and much imagination recreating it for Hope Aur Hum.

In its burnished-wood splendour, its big and scratched lens, its giant plates, its bellows that hang out at the back, and in the faded prints it belches out with much effort, ‘Mr Soennecken’, as Dadu calls it, is the character with the most heft and history in Hope Aur Hum.

Don’t ask what happens to it.

Rating: **

“Everything happens when it is destined to happen,” this dialogue and its essence is often repeated in this film while discussing the problem of old age, be it a man or machine. Debutant Director Sudip Bandopadhyay’s Hope Aur Hum is a slice-of-life film that drills the theme of destiny and change, in practically every scene of the film.

It is a competently told, plain and simple tale of ordinary people in ordinary circumstances.

It is a film about fate in an age that does not believe in fate. The innocuous title even reflects the film’s vision.

The characters have no motives and any criticism of this film on the basis of its realism misses the point and this is the film’s major weakness. Also the pace of the narrative is frustrating. It makes you restless as the plot is timid, outdated, forced and trudges on the middle path.

Acting is learnt, not taught: Naseeruddin Shah

Set in the suburb of a city, the film portrays the life of the Srivastava family, who are cramped up in a small-compact one storied house. Space is definitely a constraint. The house is occupied by the widower Nagesh (Naseeruddin Shah) and his married son Neeraj (Aamir Bashir) who lives along with his family. To add to the mess, we have Neeraj’s younger, unmarried brother Nitin (Naveen Kasturia) who visits them from Dubai. Apart from gifts for the family, he lands up with his baggage of issues; he misplaces his phone and desperately tries to locate it.

As the film opens we are informed that Nagesh runs a photo-copying business on the ground floor. He operates with an obsolete machine, which malfunctions practically every day. His customers are disgusted with him for the bad quality output his machine produces.

Naseeruddin Shah: Censor Board is afraid of female sexuality on screen

His daughter-in-law Aditi (Sonali Kulkarni), has an ulterior motive when she cajoles her husband Neeraj to convince his father to give up his business. But Nagesh is adamant. Emotionally hooked, he prefers to cling on to his oft-failing German brand machine.

Till one fine day, Nitin takes the reigns in his hands and replaces the out-dated machine with the latest digital photo-copying machine. That sets the stage for reconciliation.

Similarly one notices a change in the graph of Nagesh’s grandson Anu, who from a bubbly little boy turns into a scared, reticent child till he is told to fight his own demons.Kabir Sajid as Anu definitely steals the limelight from all his co-stars. The child actor is simply endearing. He emotes like an ace, delivers his dialogues brilliantly and holds his stead against stalwarts like Naseeruddin Shah, Sonali Kulkani and Aamir Bashir.

The film boasts of moderate production values. The background score by Rupert Fernandez is bright and chirpy. The songs; Aache bachche rote nahin and Aye Zindagi snuggly mesh into the narrative.

Overall, the film is slight too flat and straight.

Sudip Bandyopadhyay’s twee family drama is all over the place, but it has its moments. Hope aur Hum begins as an ode to ancient objects, meanders into a young boy’s irrational fears, and wanders off into unchartered territory – all in the space of 96 minutes.

Nagesh (Naseeruddin Shah) is devoted to his old photocopying machine, which should occupy pride of place in a museum but instead squats on vital real estate in his family home. Nagesh refuses to get rid of the contraption, reasoning that if it goes, so will he.

His adorable grandson Anu (Sajid Kabir) supports him, but he has his own demons to slay – playing in the gully cricket team, and getting out of his head the image of what he believes to be a ghost at his maternal grandmother’s home. The sprawling mansion is soon going to be converted into a hotel – a hint for Nagesh, perhaps? – and Anu runs into the ghost during a weekend visit.

Nagesh’s older son Neeraj (Aamir Bashir) frets over a promotion. Nagesh’s younger son Nitin (Naveen Kasturia) loses his mobile phone and finds love during a visit from Dubai. The most redundant character is Aditi (Sonali Kulkarni), who hangs around waiting for the men in her life to make up their minds.

The film’s central focus – something to do with the power of destiny– is as vague as its title, and Bandyopadhyay and co-writer Neha Paawar lose their grip over the proceedings early on. The film is set in the present – indicated by the presence of smartphones – but it feels stubbornly old-fashioned in its depiction of the tensions between the past and the present.

Some sweet moments of family humour and solid performances emerge through the pile-up. The knee-high Sajid Kabir is delightful as Anu, whose obsession with cricket gets a hard knock after that strange encounter with the ghost. Naseeruddin Shah is endearing as the patriarch whose heart lies in the past, even though his motivations remain shrouded in mystery, Although it is hard to imagine a movie in which a young boy matches step with an acting powerhouse, the kid and the thespian makes their scenes count.

In ad filmmaker Sudip Bandhyopadhay’s Hope Aur Hum, three parallel narratives flow side by side. Seeped in nostalgia, the film has many moments- some striking, some memorable and some fleeting- in a story told through three generations of the Srivastava family.

At the centre of this story is an old man Nagesh Srivastava (Naseeruddin Shah), who is attached with his old school photocopy machine. He has named it Mr. Soennecken after Friedrich Soennecken, the famous German office products supplier. And at a time when everyone is technology obsessed, Nagesh finds solace and refers to the work of Mr. Soennecken as art. He is still stuck in the era when he first brought the machine home and all his neighbours had lined up outside to get just one glimpse of it. His son Neeraj (Aamir Bashir), who is under constant pressure to get that due promotion at work, understands his father’s attachment but to his wife Aditi (Sonali Kulkarni), the room where the machine is kept can be used to provide their kids a more comfortable living and separate rooms. She keeps practicality over both emotions and nostalgia.
Nagesh comes from a time when even machines, gadgets and appliances, had a place of their own in people’s life. When his grandson retorts saying the machine is old and needs to retire now, Nagesh tells him, “ye machine bekaar nahi hai, yaadgaar hai.” Whether it was someone’s first car, first watch, first television or even the first photocopy machine - it meant more than just an electronic device. To them, letting it go means to let go a part of oneself. But, in his mind, Nagesh knows that whether it’s a human or a machine - it has to work because there’s always someone younger or advanced waiting to take its position. Shah is in his top form and delivers a wistful performance throughout. He speaks lines that have depth and delivers them with an impact that not many can boast of.

Nitin, from the second generation, has his life revolving around his phone which he loses upon his arrival in India. But who knew a lost phone can help find him love! His story relies more on chance encounters and destiny, but you wish to see more of it and more of Kasturia too. He is a talent to reckon with but doesn’t get enough screen time and enough shades to portray.

The third narrative, also the most prominent one, is that of the youngest generation - Anu. To let go of irrational fear and free oneself from the guilt of what would have happened or what could have happened is as tough for him as it is for his grandfather to let go off that old machine. Despite being a child actor, Sajid hooks you. His innocent yet enthusiastic commentary makes you smile and his fear and guilt make you worry.

While actors do their part well, the film in its entirety doesn’t seem well enough. The obvious connections between humans and machines is a strong base but that doesn’t come out the way it should have. The film tries to be a poem but the lines are not strong enough and the plot doesn’t convert to prose in totality. The metaphors relating to life and transition are in plenty but only some leave an impact. It also feels that the film is not worthy of the ending we are served with, but of something better.

Hope Aur Hum is a well-intentioned film. It has its heart in the right place and manages to seep you in its own nostalgia and think of things beyond the film. But there’s something that doesn’t quite make it through. The message of this family drama stays with you but the film, unfortunately, might not.

उम्मीद पे दुनिया कायम है' और उम्मीद की यही डोर निर्देशक सुदीप बंदोपाध्याय की फिल्म 'होप और हम' में तमाम कलाकारों को एक माला में बांधे रखती है। कहानी में हर किरदार किसी न किसी उम्मीद की आस में है और फिल्म के क्लाइमेक्स में जब हर किसी की उम्मीद पूरी होती है, तो आप खुद उम्मीद के उन टुकड़ों के साथ सिनेमा हॉल से विदा लेते हैं।

कहानी बहुत ही सिंपल है। नागेश श्रीवास्तव (नसीरुद्दीन शाह) यूं तो बहुत ही समझदार और जिम्मेदार बुजुर्ग हैं, मगर जब उनकी बाबा आदम के जमाने की फोटोकॉपी मशीन को रिटायर करने की बात आती है, तो वे बच्चों की तरह उसे बचाए रखने की तिकड़म करने लगते हैं। असल में इस फोटोकॉपी मशीन ने उनके संघर्ष के दौर में परिवार को संबल और सुरक्षा दी थी। नागेश का बेटा नीरज (आमिर बशीर) प्रमोशन की जद्दोजहद में लगा है, जबकि उसकी पत्नी (सोनाली कुलकर्णी) चाहती है कि उसके ससुर उस मशीन को अलविदा कहकर उस जगह को बेटी के पढ़ने का कमरा बना दें। फोटोकॉपी मशीन से जुड़े नागेश के जज्बातों को सिर्फ उसका नन्हा पोता अनु (कबीर साजिद) ही समझ पाता है। नागेश को उम्मीद है कि पुरानी मशीन का खराब हो चुका पुर्जा कहीं न कहीं जरूर मिल जाएगा। उसी बीच नागेश का छोटा बेटा नितिन (नवीन कस्तुरिया) दुबई से अपने पिता के लिए नई-नकोर और अडवांस फोटोकॉपी मशीन लाता है और उसी दौरान उसका मंहगा फोन खो जाता है। यहां नानी के घर गए अनु से एक भूल हो जाती है और अब वो उस भूल को सुधारने की उम्मीद लगाए बैठा है।
निर्देशक सुदीप बंदोपाध्याय की होप और हम ने कहानी में कई लेयर्स और मुद्दों को गूंथा है। उन्होंने फिल्म में उम्मीद के साथ-साथ किस्मत के फलसफे को भी बयान करने का प्रयास किया है। उनके किरदार सच्चे और सहज नजर आते हैं, मगर फिल्म में कई जगह वे अपनी पकड़ खो देते हैं और कहानी सपाट लगने लगती है। फिल्म को स्क्रीनप्ले की सहायता से और दिलचस्प बनाया जा सकता था, हां फिल्म में कुछ हलके-फुलके पल हैं, जो मुस्कुराने पर मजबूर कर देते हैं।

नसीरुद्दीन शाह ने हमेशा की तरह अपने किरदार को सहज रखा है। वे नागेश श्रीवास्तव के रोल में विश्वसनीय लगे हैं। वहीं, उनके साथ बाल कलाकार कबीर साजिद ने उम्दा अभिनय किया है। नन्हे कबीर ने अपने बाल मानसिक द्वंद्व को बखूबी दर्शाया है। सोनाली कुलकर्णी के रोल में करने जैसा कुछ नहीं था। उन जैसी सशक्त अभिनेत्री के हिस्से में बेहतर सीन होते, तो कहानी संवर सकती थी। आमिर बशीर और नितिन कस्तुरिया ठीक-ठाक लगे हैं। फिल्म में संगीतकार रूपर्ट फर्नांडिस संगीत पक्ष को कर्णप्रिय नहीं बना पाए।




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