Nawaz + Anurag Kashyap + Crime Thriller. Now who wouldn’t kill for that (pun intended)??? 2023 was a year with significant transgender representations in Hindi movies, and ‘Haddi’ is another addition to the list. I honestly was so excited for this movie. Sushmita Sen’s ‘Taali’ had already pumped me up, and knowing Nawaz’s calibre, I was all in for ‘Haddi’. Sadly enough, this is another experiment gone wrong for him. It is not the transgender misrepresentation that fcks things up– just the basic flaws in the technical aspects ruin things. What sets out to be a glorious representation about the dukh dard kasht peeda of transgenders, slowly veers into the land of a cliche crime thriller. Sigh.
Plot
‘Haddi’ is essentially the tale of Harika (played by Nawazuddin Siddiqui), a transgender woman seeking revenge against the villainous politician Pramod Ahlawat (Anurag Kashyap) for the murder of her godmother and wrongfully snatching her land. The movie kicks off with Haddi, who’s running a shady body-snatching operation in Prayagraj. When the police bust him, he runs away to Noida, where he’s taken in by a gang of cross-dressing, hitman-and-blackmailer-posing-as-prostitutes crew. Alongside them is a tentative NGO owner, played by Mohammed Zeeshan Ayyub. Through flashbacks, we learn about Harika’s past, the support she received from her community, and the tragic events that led to her transformation into Haddi.
Performances
Nawazuddin Siddiqui, despite his best efforts, finds himself entangled in a web of stereotypes. He tries to bring depth to Harika/Haddi but yaar, bohot exaggerated sa lagta hai. Wanted more inner depth to his character, but the try hard “feminine” gestures just ruin things. Wahi doosre taraf, Anurag Kashyap as the baddie Pramod Ahlawat appears more like a caricatured comic-book villain than a menacing figure. It’s like you know the threat, but you never really feel it. Mohammed Zeeshan Ayyub is someone I have always loved– the guy hardly misses. Yahan bhi, he stands out with his tender portrayal of the NGO owner, leaving you wishing he had more screen time. The supporting cast, including Saurabh Sachdeva and Ila Arun, are as good as they get, bringing authenticity and richness to the narrative.
Direction and Writing
‘Haddi’ ko dekh kar na, bohot early 2010s waali movies ki vibe aati hai. It embraces a noir-inspired grittiness but struggles to find a consistent tone and style. The film’s narrative is where the real downfall begins. Absolutely loved the idea of fusing the world of transgender individuals with that of corrupt politicians and criminals, but execution mein itni khichdi paka di ki movie barbaad hogayi. The introduction of Pramod Ahlawat and his gang dilutes the impact of the transgender storyline, making it feel like two different films awkwardly stitched together. And you never get to know what the movie really tries to convey.
Screenplay and Cinematography
Initially, ‘Haddi’ promises an intriguing dive into the world of transgender individuals, shedding light on their struggles and resilience– so far so good. But when it decides to venture into gritty crime thriller territory, and that’s where it all starts to crumble. The transition between these two narrative strands is as smooth as you shifting your vibe between your two friend groups. While ‘Haddi’ excels in portraying the vibrant world of transgender individuals and their complexities, it loses its grip when the crime elements take over. Cinematographically, the film captures the essence of the transgender community but stumbles in maintaining a consistent tone throughout the film. All in all, the tonal shift is just too abrupt.
In the grand finale, ‘Haddi’ sets out to tackle the sensitive topic of transgender identity and their quest for justice and revenge. While Nawazuddin Siddiqui deserves applause for his effort, the film’s failure to explore the depth of his character leaves you feeling unsatisfied. Anurag Kashyap’s portrayal as the antagonist also misses the mark. The supporting cast shines, adding authenticity to the narrative. ‘Haddi’ serves as a stark reminder that good intentions alone can’t save a film. While it starts off intriguing, it eventually loses its way. Dekh sakte ho, but keep your expectations in check.
