‘Alhamour H.A.’ Netflix Movie Review - A Decent and Watchable Film

In Abdulelah Alqurashi's Alhamour H.A., a security guard, Hamed (Fahad Alqahtani), gets extremely rich by launching a scam. His attitude changes after he gains a lot of wealth. Hamed becomes rude and arrogant, and his behavior pushes his loved ones away from him. His friends/colleagues desert him, his wives leave him, and his mother prays for him, but doesn't live with him. As far as Hamed is concerned, everybody merely sucked all the money out of him and left him alone during the most challenging time. He fails to grasp how disrespectful he is towards the people who care for him. This deluded creature only lives for money, and life makes a joke out of him when his savings - his hidden treasure - too is snatched away from him.

What all this means is that Alhamour H.A. is a well-executed rise-and-fall story. The filmmaking is competent; the performances are on point. Alqahtani looks like an offspring of Divyenndu and Sunny Singh. His face is always on alert mode as if he is constantly busy sniffing out opportunities. The movie, too, is similarly active. The scenes move energetically. The fast pace is meant to be intoxicating, showing how money makes life more lively. Hamed's vices come to the surface when he drowns in prosperity. His surroundings change so quickly that he easily becomes bored with old things. This also means he starts finding his first wife, Fatima (Khairia Abu Laban), unattractive after meeting Jiji (Fatima AlBanawi). He begins to see women as materialistic objects that should change as per his requirements. When he tells Fatima she should dye her hair blonde, it feels as if he is asking her to replace a chair or table with some other model he just saw in a supermarket.

Women, for Hamed, become nothing more than pleasure dispensers. He likes them in the same way he likes his vehicles. Hamed is so unromantic and short-sighted that a luxurious car is the only gift he can give to his wife, her family, or his friends. Of course, Hamed must think everyone has the same taste as him. That others will enjoy what he enjoys best. Characters criticize Hamed's taste, though one can clearly see he doesn't care. The man considers himself to be a businessman. He is a businessman, all right, and also selfish as hell. When he goes to his mother at his lowest, he asks her to pray for his success. He never wonders what his wives want or bothers taking his mother's perspective. He even goes ahead with a crucial decision without discussing it first with his colleagues.

Alhamour H.A. is most alive during the scene where money drops like rain on Hamed. The character, by breaking the fourth wall, reveals his self-centered opinions to us, which creates a distance between him and us. We laugh at him, not with him. Yet, Alhamour H.A. just remains a watchable, competent film. What prevents it from being more memorable is the narrow conception of its story (Hani Kadour, Omar Bahabri, Manar Alotaibi, and Alaa Matraf each get the writing credits). For instance, there is a character with a penchant for everything Asian, but this quirk remains superficial. It would have been better if the characters around Hamed were treated as more than mere mute participants/spectators. They are utterly disposable, and one of them just gives rise to a big complication. I don't even remember the names of most of the people. The movie hits us with "dreamy visuals" when Hamed takes drugs. But these visuals are not dreamy or imaginative. They appear disorganized, amateurish. If the businessman loses his money, the filmmakers fail to achieve creativity.

Final Score- [7/10]
Reviewed by - Vikas Yadav
Follow @vikasonorous on Twitter
Publisher at Midgard Times