Haddi

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.

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.

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.

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 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.