Haq Review: Yami Gautam Proves Her Worth More Than the Film Proves the Worth of Muslim Wives

RATING - ⭐ ⭐ ✨ 2.5/5*

Haq Review Movie Talkies:

I’ll tell you an interesting thing about this film — it ends with text information about the Triple Talaq case that took almost three decades to become law. Ironically, the actual film starts right there and ends within 20 seconds when that text fades out. Just before that, the climax shows Shah Bano winning the case of maintenance for her children at the Supreme Court, and I wish that had been the interval point or a pre-climax portion. Suparn Verma makes the same mistake he made earlier in The Trial. In that web series, most of the key moments — the arguments, conspiracies, and verdicts — took place inside the courtroom. Reversing that, Haq takes some of those drawing room, society scenes to the courtroom. You can notice a clear change in the style of arguments as the case travels from the session court to the high court and then to the Supreme Court. By the final stage, the legal arguments and evidence take a backseat, while issues like minority identity, secularism, religious science, and the existence of Muslim traditions come to the front. I understand that shift — it helps in dramatic elevation — but I don’t think a courtroom drama should rely more on sentiments than on legal arrangements.

Haq Story:

The story revolves around Shah Bano (Yami Gautam Dhar), a young woman who falls in love with Advocate Mohammad Khan (Emraan Hashmi). They get married, and nine years later, Mohammad brings another woman into their house. It turns out that he had loved this second wife even before marrying Shah Bano. Feeling humiliated, Bano leaves the house with her three children, still hoping Mohammad will help with their education. But after some time, he stops sending any money. That’s when Bano decides to return — to claim her Haq. The matter goes to court, and Bano is protected by IPC 125, which allows her maintenance and alimony for her children. Mohammad doesn’t stop there. He divorces her by saying “Talaq” three times, following the Muslim ritual, leaving Bano completely shattered. She then decides to fight the male dominance and outdated traditions that have made the lives of many Muslim women miserable. Now, it’s not just her case — it’s the case of every Muslim woman. The question is: will she be able to fight this patriarchal system and reclaim her right?

Haq keeps you busy from start to finish and barely gives you a moment to check your phones, except for one song in the second half. The conversations, conflicts, and the portrayal of systematic pressure feel natural, effectively defining this inspiring story based on true events. But just like OMG 2, Haq too fails to grasp the essence of what a true courtroom drama should be. I’m not expecting it to be another 12 Angry Men, Judgment at Nuremberg, A Few Good Men, or even Court (2014) — those are classics known for their confrontations, factual arguments, and layered details. I get it, this is a mainstream Hindi film, not an arthouse project. Still, a film set in the Supreme Court should show at least a bit of logical structure driving the verdict.

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For example, there’s a scene where Yami Gautam Dhar’s character goes to the Muslim board to argue her case but ends up walking out defeated despite proving her point. I didn’t quite get how that mattered to the ongoing high-court case or the overall story. Why would she or her father walk out as if they’ve already won something? The bigger point in that scene — that there wasn’t a single woman on the board — was a crucial issue, yet the film doesn’t make that clear until much later. Only when she reaches the Supreme Court does she speak directly about equality, by which time the focus has shifted from her personal struggle to a broader commentary on the community’s existence. Emraan Hashmi’s character, in one scene, gives a long speech before the Chief Justice that turns a domestic matter into a community threat. Strangely, no one in the courtroom objects to that irrelevant diversion. The same pattern repeats with Yami’s character — she delivers a powerful, emotional speech filled with passion, but there’s barely any legal redefining in it. That’s where the film falls short. Otherwise, it’s a gripping, emotionally engaging story built around an important topic. Another issue is the film’s timeline. It ends in 1985, and we’re watching it in 2025. That naturally lessens the impact of its historical urgency. The topic of triple talaq was indeed highly controversial even a decade ago, but the heat isn’t as intense now. The social and legal environment has evolved, so the film feels slightly late to make a groundbreaking statement.

Haq Cast:

Now, coming to Yami Gautam Dhar — she’s simply amazing. In one word, phenomenal. She has delivered yet another award-worthy performance, and I’m sure she’ll be ignored once again by those Pan Masala-sponsored award shows and lobby-driven ceremonies. But honestly, there’s nothing to be sad about, Yami ma’am. You’ve won hearts yet again, and there’s no denying that you’re among the best actors of our times. She completely outshines everyone else in the film — even Emraan Hashmi and, I’d say, the film itself. It’s refreshing to see Emraan in such a sophisticatedly villainous avatar, layered yet natural. He doesn’t overplay the role and goes along with the flow. He did fine, I guess. Sheeba Chaddha, as always, brings her quiet magic. The moment she appears on screen, you just know she’s going to play a character you can’t dislike. I only wish Verma had given her a couple of strong monologues. He made a similar mistake in The Trial — along with Sheeba, some of his best actors, were underutilized. Vartika Singh, Paridhi Sharma, Danish Hussain, S. M. Zaheer, Rahul Mittra, and others do their parts without any major flaws. They all help maintain the tone and pace, even if their roles don’t stand out individually.

Technically, though, I have a couple of complaints — mainly about the cinematography and sound design. These two aspects are crucial in courtroom dramas. Look at Judgment at Nuremberg again — while it’s remembered for its strong courtroom writing, its cinematography, especially in the final sequences, leaves a haunting, unforgettable impact. Those camera angles, those frames — they become part of the storytelling. Haq had the same potential to create a cinematic masterpiece moment, but maybe that’s too much to expect from Suparn Verma, who, frankly, isn’t Stanley Kramer. The editing is fine, though. It’s crisp enough to keep you engaged without unnecessary drag. The production design serves its purpose — the courtrooms, the houses, and the old-era settings all look authentic.

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Haq Movie Review:

Suparn Verma’s storytelling does keep you invested. He builds cinematic tension and makes you feel genuine anger against the arrogance of the male-dominated Muslim community and especially the tradition of triple talaq. For a while, you feel that frustration deeply. But right after that emotional peak, you also realize that it’s India of the 1970s and ’80s that’s being shown. In today’s context, where laws and rights have improved significantly, that anger naturally softens into reflection. So yes, applause to Verma for creating that emotional pull and cinematic tension — and hats off to Yami Gautam Dhar for empowering his vision with her strength and acting finesse. Haq may not be a perfect courtroom drama, but it’s certainly an important film. It’s important for the Muslim community, both men and women, as it revisits a historical struggle that shaped modern personal laws. But I’m not sure if the larger audience — the majority — will connect to it with the same intensity. Still, it’s a film worth watching. It may not redefine cinema or courtroom dramas, but it reopens a conversation we tend to forget. And that, in itself, is an achievement. Overall, Haq is a watchable, thought-provoking drama driven by a stellar Yami Gautam Dhar, a decent Emraan Hashmi, and a director who knows the emotion but not always the craft. It’s flawed but honest, dated but meaningful, and above all, a reminder of how one woman’s fight for dignity can echo through generations.

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