HABEEBI Tamil Movie Review
Cast -:
Kasthuri Raja , Esha Mohammed , Mala vika Manoj,Anusreya Rajan, Dhana sree Sudhakaran,Nilofer NishaI,smath Ban u,Rekha Kumanan,Jayashree Binuraj, Arulkumar and Others.
Crew-:
Writer : V.S.Mohamed Ameen Director: Meera Kathiravan Producers : Romeo Pictures, Nesam Entertainment Pvt Ltd, GKS Bros Production Music Director: Sam C.S Editor: Mathi VS DOP: Mahesh Muthuswami Art Director: Appunni Sajan Lyrics: Yugabharathi, Karthik Netha, Mashook Rahman Stills: Chandru, Ajith S, Anilkumar Publicity Designs: TWENTY ONE G PRO: Suresh Chandra DI: Promo Works Colorist: Adhithya Krishnan VFX: LightsOn, Pelsseyon, Crayon Dubbing Engineer: G. Krishnan Sound Design & Mixing: T Udaykumar Sound Effects: Arul Murugan and Others.
Story-:
*Habibi* is a story set against the backdrop of a Muslim family living in the Kadayanallur area of Nellai district during the 1980s. Kasthuriraja works as a weaver and lives in a joint family with his younger brother. When the weaving business suffers due to the advent of power looms, his brother goes to Riyadh for work. Meanwhile, Kasthuriraja’s son, Eesa, spends his time caught up in local romances and village life, but eventually, circumstances compel him to go abroad as well. The family’s financial situation improves significantly. Upon Eesa’s return to the village, marriage arrangements are made for him, but the process is fraught with numerous obstacles and family complications. Did Eesa get married? Did he return abroad? What became of his first love? This forms the story of *Habibi*. In Arabic, the word “Habibi” means “my beloved.”
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Movie Review -:
What is life without the earthy scent of one’s native soil? The weight of this sentiment hit hard following the passing of veteran filmmaker Bharathiraja, a pioneer in telling stories rooted in the hinterlands of South India. Meera Kathiravan’s latest film, *Habibi*, belongs to this same genre. The film revolves around the evolving relationships over several decades within a Muslim family struggling with the loss of their livelihood. At its core, it is a sprawling love story involving couples, school students, and—significantly—the art of handloom weaving. While there is no shortage of films in this genre, the execution is what sets this one apart. Yet, in a landscape where films depicting romance within a Muslim family are rare, *Habibi* fails to fully harness its potential; it falls prey to the very conventional storytelling tropes it seemingly sought to avoid.
Mohamed Yusuf (Kasthuri Raja), a stern patriarch, refuses to abandon his craft despite the rapid pace of industrialization. He often remarks that the rhythmic clatter of the loom was the first lullaby he ever heard. Time offers him no solace, however, as he faces constant pressure to sever ties with his ancestral trade—a struggle compounded when his brother leaves for West Asia in search of employment. Yusuf’s son, Abu Tahir (Eesha), is his Achilles’ heel. Eesha and his neighbor, Niloufer (Malavika Manoj), are lovers trapped within their own respective confines. It is noteworthy that in a world where women are constantly scrutinized, Niloufer navigates the entire film without a single line of dialogue and without the agency to act on her own desires. It is commendable how the director authentically portrays the customs of Muslim families—drawing on the backdrop of Kadayanallur—and captures the anguish of separation caused by a partner leaving for the West in search of economic stability.
However, is it necessary to devote such extensive screen time to scenes depicting lovesickness or the grief surrounding a loved one’s funeral? Given that the camera is capable of spanning decades in just a few shots, why does the film linger unnecessarily in certain places? In fact, the film’s central theme emerges only minutes before the intermission; until then, it unfolds pleasantly, rooted in simplicity and the characters’ tender romance.
It is evident that Meera wishes to underscore the bond one shares with their roots and hometown, while affirming that the heart often pursues what it truly desires. That emotional pull is palpable, and the pain of separation feels genuine.
The director never portrays the person making the difficult decision to leave as a villain; instead, he acknowledges the reality that drives young people to seek opportunities elsewhere to secure their livelihoods. The film also features one of my favorite scenes—where Abu Tahir and his uncle find solace in each other’s voices via cassette tapes while grappling with the hardships of daily life. However, because *Habibi* dwells so heavily on the downsides of that decision, it inadvertently comes across less as a nuanced exploration and more as a discouraging narrative masquerading as an empathetic one.
Kasthuri Raja delivers a sincere performance as Yusuf, a character struggling to come to terms with the world around him. Sam C.S.’s music props up the narrative during its faltering moments, lending it emotional weight. However, the standout character is undoubtedly Dhanashree Sudhakar’s Parveen. She quotes Ambedkar, Periyar, and Martin Luther King; even while adjusting her abaya, she emphasizes the necessity for women to raise their voices. In a pivotal scene, she holds up a mirror to the protagonist, pointing out that silence does not signify obedience or good conduct—on the contrary, it can sometimes be a sign of deep disrespect.
Her scenes are brief yet impactful. Unfortunately, ‘Habibi’ fails to fully capitalize on these crucial moments; it prefers to focus solely on Yusuf’s family rather than delving into the politics. Consequently, there are times when we are left confused about Abu Tahir’s state of mind and where his true loyalties lie. Beyond his responsibilities and his family, who is he really?Ultimately, *Habibi* speaks of everyone’s journey to the Gulf, but for all that traveling, the film never quite arrives at a specific destination.
This Is My Personal Review So Please Go and Watch The Movie In Theaters Only.
Written by B4U Media Admin Ratting B4U Media Admin 4 / 5
