Haddi

This film marked Akshat Ajay Sharma's directorial debut and while it was his first foray into filmmaking, it seemed that his confusion during the process mirrored the audience's experience. Both the director and the audience remains in a complete state of confusion during the good half of the movie. The movie commences in a disjointed manner, with scenes lacking coherence, often overlapping haphazardly. As the film reaches its midpoint, a flashback is introduced (although it remains baffling why filmmakers persist in using this tired method to reveal motives halfway through) and at that point, the narrative begins to make some semblance of sense. However, due to the lack of continuity throughout the film, despite the potential in the story and plot, the execution falls badly and a complete noose dive.

Regarding Nawazuddin, my advice would be to reconsider acting solely for the sake of friendship and instead thoroughly review scripts before committing to future projects.

The film begins with Harika's childhood, when she is forced to live as a boy because of her gender identity. She is bullied and abused by her classmates and teachers, and her own family rejects her. As she grows up, she becomes a prostitute and a body snatcher, but she never gives up hope of finding a place where she belongs.

When Harika meets Irfan (Ayyub), a kind-hearted NGO worker, she finally feels like she has found a home. However, Irfan is murdered by a group of land-grabbers, and Harika vows to get revenge. She joins a gang of transgender women and cross-dressers, and they set out to take down the land-grabbers.

Haddi is a gritty and violent film, but it is also a powerful story of resilience and hope. Nawazuddin Siddiqui gives a tour-de-force performance as Harika, and the film's supporting cast is also excellent. Verma's direction is assured, and he does a great job of capturing the harsh realities of life for transgender people in India.

Haddi is not a perfect film, but it is an important one. It is a rare film that tells the story of a transgender woman from her own perspective, and it does so with compassion and understanding. The film is a must-watch for anyone who wants to learn more about the transgender community and the challenges they face.

Some other things to keep in mind about the film:

The film's title, Haddi, means "bone" in Hindi. This is a reference to Harika's strength and resilience, as well as the violence that she experiences throughout the film.

The film is set in the murky world of Gurgaon and Noida, two satellite cities of Delhi. These cities are known for their rapid development and their growing inequality, which are both factors that contribute to the marginalization of transgender people.

The film features a diverse cast of transgender actors, including Aqsa Siddiqui, Anjali Lama, and Kalki Koechlin. This is a significant step forward for Indian cinema, which has traditionally been very underrepresented when it comes to transgender representation.

Overall, Haddi is a powerful and important film that is sure to spark conversation and debate. It is a must-watch for anyone who wants to learn more about the transgender community and the challenges they face.

I wish to appreciate Nawazuddin Siddiqui for his amazing performance. The movie shows its characterisation, plot, action in a very subtle way. You'll definitely love and praise the character of Arika in this movie. Also, you'll love Nawajuddin in action. His dialogue is impressive: "Main Nahin Marta".

Each and every character from the movie has performed very well and hence deserves our appreciation. This movie shows the life of 3rd gender and the way the society devalues it. The song Beparwa is also very good and suits all the takes throughout the movie. Nawajuddin's acting performance in all forms is impressive and praiseworthy.

Admya Bhalla and director Akshat Ajay Sharma collaborated on the film, and it commendably avoids delving into the sensitive topic of eunuch rights or portraying them as helpless. It treats its characters with care while delivering a potent message against those who pose a threat.

However, the frequent shifts between the past and present weaken the story. The film starts with a flurry of events and names, making it challenging to follow. Viewers must commit to memory, but as the plot unfolds, the characters gradually become more recognizable.

Just as the story gains momentum, it meanders among inconsequential characters. The narrative advances for several months leading up to the climax, yet it fails to explore the significant transformation of Bone as he establishes his own party.

This leaves numerous unanswered questions in the film's conclusion, as the editing lacks cohesion. Nonetheless, the film excels in depicting the beautifully portrayed love story between Irrfan and Haddi.

Nawazuddin Siddiqui, known for his experimental roles, continues to impress with his portrayal of a transgender woman, demonstrating a deep understanding of her mannerisms and speech.

The emotional impact when Haddi's family reacts to Pramod's death through clapping is both poignant and heart-wrenching. Saurabh Sachdeva's performance as Inder feels authentic from the very beginning.

Anurag Kashyap falls short in his negative role, with repetitive facial expressions throughout. Ila Arun as Revathi Amma and Mohammad Zeeshan Ayub as Irrfan have limited screen time and incomplete character development. The song "Beparda" aptly suits the film's context.

First 80 % of the time movie is very much engaging and realistic. The script and direction is excellent. 20% in the end is very opposite of realism for what you really like about this. Maybe that was a justice for the character. There is a strong balance of the awareness for third gender and main storyline being a movie. All acted really well. Direction is layered so people may not realize what's happening because it isn't a sequence. There are some technical experiments like showing gun shots on skin rather through clothes or graphics. This needs recognition because many didn't even noticed and rated less.