“To be or not to be…” Barely had the bard any idea about a certain Mr.
Vishal Bhardwaj adapting his most complicated work into a motion picture, capturing
the troubled history of Kashmir, making a political comment and still be able
to keep intact the hardcore essence of the play.
Shakespeare and Bhardwaj have had a glorious past. From Macbeth-isqe
Maqbool to Othello’s tragic story Omkara to turning Hamlet into Haider,
Bhardwaj has always given a totally different outlook, vision and canvas to the
Bard’s work.
Haider as a film is much more than an adaptation. Way back in 1996,
Gulzar had directed Maachis based on
the Khalistan issue. Haider on a broad level tries to look at the issues at hand
which were relevant to his Guru’s work but overall Haider is a film which
showcases Kashmir in the light no one could have ever imagined.
While barely 5 minutes into the film, this happenes-
Tabu (to Shahid’s father) - Aap kis ki taraf hai? (India or Pakistan)
Shahid’s father - Zindagi ki.
This one line, a minute long sequence, gives the audience an idea of the
kind of maturity and sensibleness on display. As the film progresses, the river
Jhelum also turns out to be a very important character in the film; silent yet
powerful, conveying and carrying myriad emotions but never for once interfering
with the premise of the film; flowing through the valley (and the film), like a
silent protagonist.
What is striking about Haider is the amount of emotions silence
portrays. There is just the right amount of silence which brings out hallows in
the life of Kashmiri's, the disdain in their lives and the meaningless in their
existence. Eyes lit with hope, dreams set on wings and reality coated in poisonous
pills.
The cinematographer helps the director a lot in terms of portraying the
impact that was desired. The shots of the Kashmir valley are beautiful, or if I
might put, hauntingly beautiful. The graveyard scene is an out an out classic. Do watch out for that scene, Goosebumps
guaranteed. Unbelievably beautiful shot! Haider is poetry in motion, largely due
to the camera work and the kind of screenplay that has been penned by Bhardwaj
and Peer and to top all of that, the dialogues are an absolute delight to
listen to thanks to Bhardwaj’s brilliance.
Much more than dishing out the staple diet of entertainment, Bhardwaj
also informs; informs the truths that are largely hidden, the emptiness which
is largely ignored due to the valley’s beauty and the truth behind the picturesque
graveyard (Kashmir).
So there are scenes in the film when a kid wakes up in a
truck filled with dead bodies and dances on realizing that he is alive or a
scene where a man refuses to enter his own house without being frisked and
asked for an identity. Such is Bhardwaj's mastery over dark humour. Such is
his vision to showcase reality, with a pinch of humour and a spoonful of bitter
truths.
Bhardwaj sticks to his allegorical narrative pattern, extracting
symbolic meaning from superficial sequences. The narrative flows in poetic
patterns with beautiful use of imageries and rhetorical questions for
obviously, the answers here are more apparent than the questions.
Tabu, playing the role of Gertrude has aced it. Driven by passion and
desire, and rooted deep inside with care and affection, I could hardly imagine
anyone else but Tabu in the role of Ghazala Meer.
The penultimate scene where
she instils the conflict in the heart of Haider is an example of a
brilliant display of method acting. Never for once going overboard, she is
consumed by her own fears and wishes. She delivers an absolutely mind boggling
performance.
Shraddha Kapoor, playing the role of Ophelia, Hamlet’s love interest,
does a good job. Though she seems a little out of place but manages to get
through. Although it is only fair to say that she displays a huge improvement in
her performance since her Aashiqi 2 days.
Irrfan Khan plays Roohdar or the Ghost and it is from his entry in the
film that proceedings actually start to move. Needless to say, he outshines
almost everyone despite a minimal amount of screen time that he gets.
Narendra Jha as Shahid Kapoor’s father is an absolute find. Amir Bashir
manages pretty well in his role. The 2 Salman’s are hilarious and yes that is
Bhardwaj’s way of putting humour on screen.
Kay Kay Menon being the wizard that he is, has given a different
dimension to Claudius’s character. He is menacing while dealing with Haider and
comfortably cosy when having to enact alongside Tabu. The makers have, at 2
instances tried to convey the meaning of the word chutzpah; Menon literally enacts out its meaning.
Dil ki agar sunu
toh tu hai... Dimag ki sunu toh tu hai nahi. Jaan lun ki Jaan dun? Main rahoon
ki main nahi..
Shahid Kapoor,
given his talent has always been scarcely used in good films. But as Shahid
delivers these above mentioned lines, you almost can see a reflection of Pankaj
Kapoor, an actor within Shahid almost willing to break the shackles and explore
himself. And he gets ample opportunities. If the monologue that he delivers at
the crossroads does not make you stand up and applaud, the performance in Bismil surely will. There are so many instances in the film where you feel that
Shahid’s choice of work in the initial stages of his career wronged him and his
talent, because what you see in Haider is a performance consumed in so many
shades and realms of life and yet brutally honest. He has performed with much
maturity. KUDOS! Pankaj Kapoor surely would be a proud father.
Vishal Bhardwaj’s
third adaption of the Bard’s tragic trilogy is probably also his most self
indulgent work but it never gets in the way of his story telling. One has to
praise Vishal Bhardwaj for the manner in which he has adapted Hamlet. Never for
once does it appear that something is amiss. Everything is served just in the
right proportions and what is fantastic about Haider is that it terrifies you
with its content and yet never lets you go out from the essence of the
film.
Not only has Bhardwaj masterfully
narrated the story but also has prepared an absolutely outstanding music album
which, if listened to properly, conveys the entire story.
For a detailed
music review oh Haider, please visit the below mentioned link-
Overall Haider is a kind of cinematic
experience that only Vishal Bhardwaj is capable of providing. It is disturbing
yet evocative, grim yet hopeful, surreal yet realistic and disturbing yet
engaging.
As the film ends, with Rekha
Bhardwaj reciting Aaj Ke Naam (a poem by Faiz) there is invariably a sinking
feeling that develops, a feeling which the mind fails to recognize, a feeling
that states that yes, Kashmir is but a beautiful graveyard, a graveyard where
thousands of dreams were buried whilst alive and yet it emerged out as the
paradise as it once was.
I would repeat,
Bismil is one of the finest songs to have come out this year and its
choreography and Shahid’s mind boggling performance only make it a rare
masterpiece. Needless to say that Gulzar Sahab has worked magic with his words
which very few are capable of.
It would be unfair
to compare the 3 adaptations by Bhardwaj and rank them as each one of them,
apart from being radically different in their manner of adaptation, were also
visibly different in the kind of cinematic experience they intended to provide.
HAIDER, to me is a
film that rarely gets made. Rarity is what also happens to be Vishal Bhardwaj’s
forte! Shakespeare would have been a proud man had he seen someone play around
with his work with much finesse and command.
GULO ME RANG
BHARE..BAAD-E-NO BAHAR CHALE
CHALE BHI AAO KI
GULSHAN KA KAROBAAR CHALE.
**4.5 STARS**