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In a recent interview, Vishal Bhardwaj stated that even as he was writing the screenplay for Hamlet, the final film in his trilogy of Shakespearean tragedies (the earlier films are Maqbool, based on Macbeth, and Omkara, based on Othello), his wife drew his attention to Basharat Peer's autobiographical novel, Curfewed Night. Peer's novel examines the political turmoil in Kashmir, the site of India-Pakistan conflict for decades (see "Kashmir is the Hamlet of my Film," Indian Express, 5 October 2014, Web). In an act of creative serendipity, Bhardwaj's Hamlet, initially conceived as an espionage thriller, turned into the story of Haider, a disaffected Kashmiri youth growing up in the heavily militarized Kashmir of the 1990s when both insurgency and the Indian army's brutalities had escalated. By the director's own assertion, in Bhardwaj's Haider (co-written with Peer), Kashmir is Hamlet, not least because "I like to fire the shots from Shakespeare's shoulders [. . .] that gives me a lot of license" (see "Bollywood Takes on the Agony of Kashmir," New York Times, 27 October 2014, Web). For Peer, a Kashmiri journalist, it was a matter of taking "stories I had reported on and grafting them onto Shakespeare" ("Bollywood Takes on the Agony of Kashmir"). This somewhat instrumental and incidental use of Shakespeare's Hamlet as a cover or a template for narrating the story of Kashmir does not always work. But it does convey a sense of excess-the Shakespearean frame often proving inadequate to hold the complex narrative of a benighted world haunted by army surveillance; random security checks; torture; the sudden "disappearances" of men; and the "half widows" who wait for them, not knowing if they are dead.
The film often feels weighed down by stories, almost too many of them. The first half focuses on setting the Kashmir scene while the Hamlet plot is compressed into the second half. The sense of claustrophobia is intensified by the writer-director's anxiety to flesh out what in Shakespeare's play is half told, suggested, or gestured at. In a novelistic overloading, Hamlet's character is given a "back-story" that pictures his childhood growing up...