Hawas

Sapna is a lonely wife who lives with her busy businessman husband, Raj Mittal, in Dubai. Raj's lack of time for her leads Sapna to fall in love with and become sexually involved with a playboy named Karan Rastogi, who later abandons her. When Raj discovers their relationship, he accidentally kills Karan out of frustration, leading the police to pursue both Sapna and Raj. The film then explores their attempts to evade these murder charges.

The film's noteworthy aspects include its decent cinematography, brilliant soundtrack, and the underlying theme of extramarital affairs.

While the performances of the three leads-Meghna Naidu, Tarun Arora, and Shawar Ali-were initially overacted in the first half, they showed significant improvement and became more engaging as the conflict arose. Mukesh Tiwari's portrayal of Rashid, the police inspector, was average and lacked the necessary personality for the role, contributing minimally to the film.

The film's pacing is generally appropriate. The first half is filled with intimate scenes of lust; the moral of the story truly emerges only in the second half. Karan Razdan have effectively explored the dramatic moments of lust suggested by the title 'Hawas'. The plot became engaging and logical only when the thriller conflict emerged. However, the film suffered from several plot holes. For instance, when Rashid commands airport security to arrest Sapna and Raj, the staff appears indifferent, allowing the couple to escape easily. Furthermore, Rashid's personality illogically shifts instantly upon their escape, displaying an inconsistency in character development. The dialogues are quite silly and could have been significantly improved. The climax is predictable, though it would have benefited from a more descriptive resolution regarding Sapna and Raj's fate after flying to India.

The visual aesthetics of 'Hawas' (2004) demonstrate a varied approach, utilizing diverse cinematography techniques to establish mood, from dramatic low-key lighting and strong silhouettes to natural, expansive daylight. Costumes range from understated, practical wear to vibrantly colored, flowing attire, often serving to highlight characters against their surroundings or being obscured for stylistic effect. Production design shifts between detailed architectural interiors, vast natural landscapes like beaches and dramatic skies, and abstract, minimalist backdrops. Makeup consistently appears subtle or indiscernible, suggesting a focus on natural character portrayal within the scene. The editing is quite ordinary but tolerable, considering the film is from the early 2000s. The song choreography is rather uninspired and could have been developed better to enhance the visual appeal of the beautiful songs.

Daboo Malik's music is arguably the film's strongest asset. While generally not a fan of his work, here his music effectively captivates the audience. Although the soundtrack isn't exceptionally versatile, it features several soothing songs characteristic of early 2000s music. "Teri Chahat Mein" by Babul Supriyo and Sunidhi Chauhan is a particular highlight. Additionally, the background score effectively enriches the thrilling atmosphere of the storyline. The sound design is also rather impressive for a film of its era.

Despite half of the film revolving around the very concept of 'Hawas' (Lust), it effectively conveys a deeper underlying theme: the highlighting of consequences associated with extramarital affairs.

In conclusion, "Hawas" is not merely a film about lust but rather its profound consequences. While it may not be considered a great film, it can still be enjoyed by those who appreciate erotic thrillers.

So, I gave it a star only because I saw this movie in theatre while I was in boarding school and I loved the songs of this movie.. Everything else is so fu**ed up that none of the lead cast were able to make a career out of it. None.

I've watched only the first 25 minutes of this movie until this moment, and it has already seem to be a strong contender for one of my all-time favorites. There is a possibility that this would even replace my all-time top favorite, Loha.

I came to watch this movie after another of Karan Razdan's masterpieces, Ei8ht: Shani (Surrender to the power of Shani). That is also a great movie, but this is way better. Extremely bad (over)acting, ridiculously idiotic dialog delivery, poor script!! Wow! So bad that it is good. No, it is great.

PS. OK, I am done watching it. I loved the acting part the most. Meghna Naidu's acting is excellent; one loves the stop-animated way in which her emotion changes: She talks, waits for a few seconds and then suddenly outbursts if she needs to change into another mood, be it happiness, sadness, coyness, excitement or whatever. She has only two facial expressions: one is smiling, and the second is squeezing her face. Needless to say, it is a fact that Karan Razdan did not make her a heroine for her acting capabilities, but rather for her bodily assets, which he then somehow does not fully utilize. The other two central characters also have only one expression each: the husband has the expression of a robotic assassin sent from the future, and the lover is perpetually euphoric and carefree, probably a result of excessive and habitual intake of fine grade cocaine.

Watch it. Highly recommended.

10 out of 10.