Expressions. The shameless expressions of human emotions are always dark. Be it the uninhibited expression of the people living on the mutual exclusive brim of live and death. Be it the screaming of human souls against the military atrocities in Kashmir. And, expressions are dangerous! Sometimes illicit. But, when on a journey to rediscover the artistry of the bard – Vishal Bhardwaj has gone overboard and crossed the fake cinematic expressions to a much broader canvas which boasts of a classic blend of both extravagance and subtlety at the same frame.
Set in the backdrop of militant Kashmir – Bhardwaj showcased an exceedingly elegant adaptation of Shakespearean Hamlet, and on the hindsight portrayed the most compelling mother-son relationship may be in the history of Indian cinema.
Transmutation of one of the most complex tragedies ever, the director made an impeccable effort with an eloquent script and a magnificent narrative. The incessant narrative backed by the chilling yet supple background score of Bhardwaj pierces through the skin – poises your heart and vents through your eyes. The narrative slow-poisons us. Cripples through the highs and lows. Screams for death. Just like the last scene of the crippling villain – screaming for the mercy of death. A cinematic marvel indeed!
The mother and the son torn by the disappearance of the man of the family on a dark morning creates the core of the plot. The political – cultural – emotional journey of the two adapting the parts of a guised tragedy is the best Indian cinematic tribute to the bard till date. And, for Vishal Bharadwaj – his third Shakespearean screen adaptation is his best. Undoubted!
Pankaj Kumar – the cinematographer of Sheep Of Theseus fame penetrates through the fatal tragedy of the Heaven On The Earth. The morning sun on the white snow – the exquisite view of the scenic valley – surprisingly insinuates the broader tragedy of the human greed. Greed for power. Greed for land. Overpowering the human feelings. And, it all makes the scenic heaven blunt – just a valley of cold dead bodies mounted one above the other.
But, above all those – the film has some towering performances. Tabu, the bereaved wife and a troubled mother portrayed different shades in awesome versatility. She brought the flesh and blood to the deceptive, obscured character to such an extent – that you can smell it. She impeccably emblazoned the darkest emotions of the character.
Kay Kay as the villain – the treacherous uncle – evil yet subtly humane – was played with immense care. Towering performance yet again – this movie should be a milestone in his career.
And, other includes Narendra Jha – the disappeared father – was a marvelous casting. As Haider’s love interest, Shraddha Kapoor created a space for herself in this movie. When at the end, she was humming a folk oblivious to the painful external world – numbed by the grief – she stole the moment.
And, there he was. Haider. Shahid Kapoor. One of the most under-rated actors of the industry, Kapoor, played the role of his life. Nobody. Yes, nobody from the contemporary Indian film industry would have dared and played the character with such intensity. Shahid illuminated the darkest nooks of the soul of Haider. The character was poetic. A creation of art. And, he played it to the core. The piercing eyes – red – venting the aggrieved agony – spurting the hatred to the insensitive world – Shahid bleeded our hearts from inside – without a single stain outside. He placed him on scale much different and ahead of his contemporaries.
One of the best tragedies ever made – Haider marks a cinematic milestone in the Indian film industry. it expressed the emotions. Subtle. Yet hard-hitting. Complex. Yet real. Romantic. Yet tearful. Illicit. Yet brave. And, so, The director can go overboard to show the scene – where before committing the ultimatum for her life – the mother meets her son. Dying of fateful agony. Kissed his head. Cheeks. Lips. Subtle. Yet, heavy!
My Verdict
My Rating
4
Just like when The Wind That Shakes Berley rolls - if one wants to sit through the end credit numbed by agony of the two tearing souls – with a Rekha Bhardwaj in a redolent background – watch Haider! Even dark can be glaring. Pain can be artistic!
