Haddi

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.

While it's great to see trans representation in Indian cinema, grotesquely violent as it may be, this film didn't quite do it for me. I'm not quite sure that Nawazuddin's superlative acting chops saved the film from its own convoluted ensnarement. I didn't quite get the mystery that shrouded the business that Haddi, our protagonist is a master of. The revelation of the mysterious business adding nothing to the plot except more gore and violence to the already blood-dripping entree that we as the audience is served. As well, Haddi's collaboration with the trans community of Delhi, who help him with their vengeance mission is also lacking. There are no scenes that show them bonding, we get no sense that relationships were built, sympathies were exchanged and a community that's so often oppressed rose to the occasion to take down the notorious and self-serving politicians. All in all, as a typical action-drama, I'd probably rate it higher (6) but in so far as storytelling goes, it fell short.

The film starts off with a confusing plot line, the film does not grip the audience very well, there is very little in the name of masala, nawaz udin sidiqies acting is the only saving grace towards the entire movie, the direction is also poor with haphazard time leaps & confusing fights among the characters. The title of the film also makes no sense till the ending is close by. The villian has a sinister look to him and has no original draw other than that. The film feels like as if hijras where thrown deeply into the mix with no purpose in mind. I was all set for a gory thriller but the film does very little to promote graphic scenes that can be called masala.

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.

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.