Interesteg What makes it different from others?

ScoobyMint Disappointment for a huge fan!

Konterr Brilliant and touching

Contentar Best movie of this year hands down!

mohantypranit The movie Haider is one of the best movie of Bollywood film industry.This movie contains some great acting performance from Sahid Kapoor,KK Menon,Tabu and a great cameo by Irfan Khan.The story is really nice, though it is based on Shakespearean tragedy Hamlet but what good way to adapt this Shakespearean tragedy in setting of 1995 Kashmir conflict.Music is also great.Not telling you much about the story I recommend you to watch this movie and get the story by yourself. -----------------------------------------------------------------------------------------------In short, MUST WATCH if you are movie lover

nk-khushi As the film ended I was subconsciously consumed by the feeling how this genius of a movie may not receive its due credit. Layers of tragedy makes it so dark for the mass - the film dramatizes the most neutral perspective (which is bloody brutal) of Kashmir massacre till date adding to the heartbreaking darkness of Hamlet. Shraddha had an extremely difficult time keeping at par with the brilliant cast of Haider. While Menon is superb as always, Shahid doesn't waste the chance to demonstrate his gift. How he emerges from a wounded young man to beast filled with wrath is just perfection. However, with all these performances, the film can't be considered a masterpiece had Tabu not played Ghazala - Haiders mother. She defines this film, she is the film. It's mesmerizing to see Kashmir all over, especially because its snowing most of the time. Dialogues are complex and powerful at the same time - there are few you will remember for a long time. Some might consider it a slow movie but I felt the dots are so interestingly connected that there is hardly a moment to feel lost. I didn't find the music to be great except Bismil Bismil because of its larger than life dramatizing. A story of disaster, mistrust and revenge - magically told by Vishal Bhardwaj.

Tanay Chaudhari Rather hard-hitting, but lacks the uniform macabre of Vishal Bhardwaj​'s previous two adaptations of William Shakespeare​'s dramas (especially "Omkara"). Even its grandeur of screen writing and production design over the conflict striven Kashmir, couldn't engage it enough into becoming an eventual let down. Hauntingly mellifluous music by Bhardwaj, and so-far career best by Shahid Kapoor, and a sublime Tabu​ are embellishments to an otherwise lackluster production. The film is surreal on several occasions, and even uses its cast and plot quite ably, but loses track on the attempt of becoming too-much- of-everything. A reluctant 7/10.

dirac-spinor2015 As a subtle philosophical tinge that cinema is a powerful tool for political mobilization and mass persuasion, Slavoj Zizek notes beautifully that, "It doesn't give you what you desire, it tells you how to desire." Haider is the adaptation of Shakespeare's famous Tragedy Hamlet; and the latest Bollywood movie about Kashmir. Question is whose tragedy is Haider? Why many people waited for Haider to release, and see the latest take of Bollywood on Kashmir? There are two reasons why Haider had generated some curiosity among Kashmiri movie lovers: One, it was the adaptation of a play, the story and plot of which was already known to many literature lovers and Shakespeare fanes. Two, its script was co-written by Basharat Peer and directed by Vishal Bhardawaj; Peer known as pioneering English fiction writer amongst Muslims of J&K, and Vishal a successful director for adapting Othello and Macbeth as Omkara and Maqbool respectively. Basharat Peer––whose memoir Novel Curfewed Night gave him unprecedented popularity as a writer of the 'ordeal' of Kashmir Conflict. More than Bhardwaj's credentials it was Basharat's involvement in the script writing that many envisaged a change in the routine Bollywood rhetoric. Haider is a typical Bollywood feature film, no different from: Gangster, Saheb, Biwi Aur Gangster Returns or Gangs of Wasseypur. It doesn't offer anything on the reality of 'what' is happening inside (or with) Kashmir. Rather, it makes a serious attempt to showcase how a real struggle can be reduced to a family feud under the garb of (mis-informed) adaptation of a Shakespearean classic. In the midst of its mis-informed adaptation it lets the Zizekian tinge (of how to desire) creep in. Film adaption as a derivative work needs to be creative so that the "thin red lines" between the original and its adaptation are respected. An adaptation needs to take care of the background, which forms its foundation–––more so when the background is highly political and sensitive setting like Kashmir. In a new backdrop and setting it needs to take note of minute details such as culture, historicity, contemporariness, traditions, dialect and so on. The question is how far has Haider been successful in adaptation of Hamlet in a highly political backdrop of Kashmir? Is the attempt artistic or political? If it is political, whose politics does its serve? And why do we need to ask these questions at all? Some Kashmiri friends feel highly obliged that Haider has depicted some fractions of conflict. In a Kafila blog, Suhas Munshi writes that "for faithfully adapting the violence done to Kashmiris," Basharat would have to "script a pornographic narrative for screen." The point is not whether Haider succeeds or fails in faithfully portraying the victimhood of Kashmiris from all angles of conflict (structural, political, torture-al etc). This can be a one vantage point to see how far Haider has successfully been able to portray the ordeal of Kashmir that falls within the limits of its frame. And how Basharat ventured to associate the limited frame that forms Haider with its outside–––the power relation(s) that are so central to the familial relations of Haider's characters and yet so distant (and mysteriously absent) from its frame. For the relations between Haider (Shahid) and his uncle Khurram (K. K. Menon), Arshia (Sharddaa Kapoor) and her father Pervez lone (Lalit Parimoo) are not mere personal relations. They have a deep political nature, which Haider has not endeavored to look into. The invisible hand of sovereign amidst these relations is absent in the frames of Haider. Instead the film attempts to cut a slice from these deeply political relations and present it to the audience in an altogether different avatar–––an avatar which reduces a struggle for aspirations and a fundamental right (Right to Self-determination) to a revenge saga. See the full review at http://sanhati.com/articles/12422/