Review Of “Haddi”: Nawazuddin Siddiqui Settles Into A Shaky Revenge Saga
Politics, Retribution, And Other Nefarious Deals Are Permitted To Grow In The Constrained Gullies Of Noida In Akshat Ajay Sharma’s Debut Feature Film Haddi.
Anurag Kashyap’s Filmmaking Is Clearly Visible Throughout The Production, Which Was Directed By Sharma, Who Previously Served As The Director’s Assistant.
Nawazuddin Siddiqui In The Role Of “Haddi.”
Haddi Has It All, Whether It’s Kashyap’s Preference For Subtly Violent Off-Screen Material Or His Clear Quentin Tarantino Influences. You Wouldn’t Have Anticipated Indian Film Pop Music In Action Sequences Before, But It’s A Charming Phenomenon That’s Caught On. This Is One Of My Favorite Kashyap Motifs.
The Soundtrack Of The Movie Is Stirring And Compelling, Especially The Mournful “Beparda.” The Thoughtfully Composed Background Music Also Finds A Partner For Each Scene.
Nawazuddin Siddiqui And Anurag Kashyap In A Still From ‘Haddi’.
The Movie Haddi Is Named After Its Lead Character, A Trans Woman Named Harika (Nawazuddin Siddiqui), Whose Happiest Day Is Spoiled By A Nasty Power Play Set Up By A Land Shark-Turned-Politician Named Pramod Ahlawat (Kashyap). Ahlawat Is Initially Portrayed As A Dishonest Politician Who Is Easily Alarmed, But His Business Practices Are Far More Terrifying Than What Is Initially Apparent.
Some Of His Lackeys Pose As Trans Women To Prey On Wealthy Clientele, While Others Run A Dubious Chemical Plant. To Its Credit, The Movie Examines How Their Animosity Toward The Trans Community Presents Itself Despite The Fact That They Use Their Identity To Their Advantage, From Microaggressions Like Misgendering To An Air Of Apathy And Outright Violence.
A Social And Medical Change In Harika’s Life Is Depicted Through Flashbacks. These Passages Shed Light On The Character’s Genuine Intentions And Can Be Used To Create Empathy In The Viewer.
Therefore, It Is Perplexing That The Camerawork And Direction Rarely Give Harika The Compassion And Empathy She Deserves In Her Own Story. Close-Ups And Clumsily Composed Images Repeatedly Emphasize The Fact That Siddiqui Is Wearing Feminine Attire Throughout The Movie, Which Highlights A Serious Issue.
Films That Feature Cis Men As Trans Women Have Frequently Drawn Criticism, And A Big Part Of That Criticism Stems From The Fact That The Stories Of These Movies Almost Never Manage To Move Past The Idolization Of The Actor Who Plays The Part.
Whether On Purpose Or Not, It Promotes The Inaccurate Notion That Trans Women Are Merely Guys Dressed In Sarees. Additionally, The Term “Asli” Is Frequently Used In Relation To Gender Identification; As A Result, We Are Led To Assume That In Order To Be A “Real” Trans Person, Undergoing Medical Transition Is Required.
Although The Movie Could Be Seen As A Critique Of How Transgender People Are Used, This Nuance Is Missing, Which Makes The Message Unclear.
But The Movie Doesn’t Get Everything Completely Wrong. Through Harika’s Narrative, The Movie Does Not Suggest That She Is Inherently Violent; Rather, Trans Characters Frequently Wind Up Playing Villains Or Victims In Action Movies. This Contradiction Gives Harika’s Character An Intriguing New Dimension, As She Appears To Be Struggling With A Significant Loss While Simultaneously Wanting To Exact Revenge She Never Thought She’d Have To.
Source :Zee5
Source: The Quint
