Including the redundant wrestling scenes where the main characters are seen beating each other up, there is a lot wrong with ‘Upahaar’. Its main downfall lies in the filmmakers’ inability to fully develop the complexity of its characters and their actions, thus falling short of delivering a compelling ‘slice-of-life’ narrative.

The story revolves around three women—Muna, Nisha and Pooja—who cross paths when Muna rents out her spacious apartment in search of roommates. They’re all different, which is obvious from the get-go. Unfortunately, the writing fails to subtly explore these differences, opting instead for a heavy-handed approach.

Pooja is draped in youthful exuberance and naivety, Nisha is a hard-hearted professional who can’t stand Pooja’s immaturity (and vice versa), and Muna is both hardened and softened by the verisimilitudes of life. If it were done well—if the writers hadn’t harped on misplaced comedic moments, and worked to flesh out the dynamicity of their characters, this essentially ragtag group of women could’ve astutely portrayed that they are more than the sum of their flaws.

Their opposing dynamics could’ve played off each other to intensify the message of finding unity in their differences. Reminiscent of this storyline is ‘Dhak Dhak’, a Hindi-language film that depicts five women worlds apart in age, culture and background, who find solace in their similar yet slightly different struggles. ‘Dhak Dhak’ is not perfect by any measure—the drama, a dramatic standoff and lack of originality hindered its enjoyability. However, the one big aspect it portrayed well was the chemistry and camaraderie between its characters.

Even in moments of tense confrontations when characters initially dislike each other, ‘Dhak Dhak’ manages to entertain, thanks to its natural dialogues seamlessly integrated into the narrative. However, ‘Upahaar’ tends to overdo its message.

For instance, in one insignificant scene, Chawi, an unfaithful older man who squanders his wife’s money on mistresses, including Pooja, makes inappropriate advances towards Nisha. This leads to a forced attempt at comedy as Nisha and Pooja engage in a physical altercation with Chawi. Rather than opting for witty dialogue, which would have added depth to the story and characters, ‘Upahaar’ resorts to cheap physical comedy.

Moreover, the film suffers from pacing issues and a lack of clarity in its tone and message. While attempting to address current social issues such as youth migration, unemployment and mistreatment of street vendors, the integration feels disjointed and detracts from the emotional depth of the narrative. The balance between light-hearted moments and serious themes is not well-managed.

The actors make an effort to portray their characters authentically, but they are let down by the weak script. The writers struggle to handle the complexity of their characters, often crossing the line in their portrayal. For example, Pooja is depicted as having a boyfriend, Rohit, while also using Chawi for financial gain. When Rohit discovers this, he attempts to kidnap Pooja in a misguided attempt to cope with his heartbreak, a plot point that lacks coherence within the narrative. ‘Upahaar’ fails to navigate the complexities of its characters effectively, resulting in a messy script and inconsistent tone.

However, one aspect the movie handles well is portraying characters’ growth while retaining their core selves. Despite Pooja’s questionable decisions and immaturity, she takes responsibility for her actions without losing her cheerful persona. Nisha, initially indifferent towards Pooja, evolves into a kinder person while maintaining her assertive nature. Meanwhile, Muna, the film’s anchor, perseveres despite facing adversity, rebuilding her world with unwavering hope.

Everything falls apart, and somehow comes together too fast in the film. ‘Upahaar’ could’ve worked had the filmmakers understood how to utilise the dynamicity of its characters. There’s nothing wrong when a film doesn’t have a definitive plot or stakes at large, but such a take demands the use of sensory and creative cinematographic elements, a cohesive unravelling of its characters, less capitalisation on redundant dramas, and clever dialogues. There’s so much potential in depicting the realities of life in all its harsh and human consequences—with the humanity they deserve.

Upahaar

Director: Gyanendra Deuja

Cast: Rekha Thapa, Benisha Hamal, Pooja Sharma

Duratio: 2 hours 23 minutes

Year: 2024

Language: Nepali