A REVIEW BY AALIYA ANSAR
Movie: HAAL
Direction: Rafeek Veera
Duration: 2 Hours 10 Minutes
Language: Malayalam
Genre: Musical, Romance and Drama
Positives
- Strong lead performances
- Soulful songs and effective background score
- Engaging First Half
- Realistic cinematography
- Precise Editing
Negatives
- Predictable core story
- The direction was good but could have been better
- Familiar forbidden-love theme
- Slow pacing in several portions
- Screenplay lacks an impact
Story
From Kadalundi in Kozhikode comes Asif Beeran, a carefree youngster who has no interest in academics. His dream is music, especially rap. He performs with his own group and goes by the stage name Azbee, along with his crew Monjans.
Everything changes during a wedding performance, where Asif notices a girl named Maria. As usual, he is instantly drawn to her. What follows is not just a simple love story, but a deep conflict, as their feelings grow in the middle of strong social barriers — mainly because they belong to different religions.
Direction
Director Rafeek Veera approaches HAAL with a clear artistic intention: emotional control. His storytelling relies heavily on mood, silence, and atmosphere rather than dramatic confrontations. The film is shaped by visual stillness, unspoken feelings, and musical cues, making it more experiential than event-driven. Veera seems deeply interested in the internal worlds of his characters, allowing their emotions to surface through pauses, glances, and lingering frames.
However, this restrained approach becomes both the film’s strength and its limitation. While the romantic chemistry between the lead pair is well-maintained in the first half, the second half struggles to retain the same emotional grip. As the narrative shifts from romance to socio-religious conflict, the film begins to feel crowded with incidents. Political undertones, communal tensions, and ideological clashes are introduced, but not always with the depth required to make them impactful.
The emotional consequences of key conflicts are underdeveloped, which weakens audience investment. The climax, despite its intentions, settles into a familiar template, and the sudden involvement of political elements feels slightly disconnected from the emotional journey built earlier. Still, Veera deserves credit for integrating music thoughtfully into the narrative. Songs emerge naturally from character emotions, rarely feeling like interruptions, and the performances are guided with sensitivity, particularly from the lead actors.
Screenplay
The screenplay of HAAL is emotionally sincere but structurally predictable. It does not aim for twists or dramatic escalation, instead choosing to immerse the viewer in mood, rhythm, and emotional proximity. This approach will appeal to audiences who enjoy slow, introspective storytelling but may test the patience of viewers seeking narrative momentum.
Music plays a crucial role in the writing. Songs are woven into the screenplay as emotional extensions of the characters rather than commercial inserts. The relationship between Asif and Maria grows through shared silences, music, and moments rather than dramatic declarations. This organic progression works well initially.
However, the screenplay struggles once the conflict intensifies. While the idea of forbidden love is timeless, the writing does not bring sufficient freshness to the theme.
The socio-political and religious angles introduced later feel more descriptive than dramatic, and the emotional struggle of the characters lacks escalation. Silence, though effective in parts, occasionally stalls the narrative, leading to repetition and predictability. From start to finish, the trajectory of the story remains largely foreseeable, limiting its emotional payoff.
Technical Aspects
Technically, HAAL maintains consistency and restraint. The cinematography is one of the film’s strong points, capturing emotional distance through framing and visual composition. Close-ups reveal inner turmoil, while wide shots subtly reflect social barriers and isolation. The visual language supports the film’s emotional tone without drawing unnecessary attention to itself.
Editing remains smooth for the most part, preserving the film’s rhythm. However, the second half could have benefited from tighter cuts, as certain scenes linger longer than needed. Art direction, costumes, and makeup remain grounded and realistic, helping the film stay rooted in its world without artificial gloss.
Music
Music is the emotional backbone of HAAL. Rather than functioning as a commercial tool, it becomes an extension of the characters’ emotional states. The song ‘Hijir’ stands out for its haunting melody and poetic pain, with its chorus beautifully capturing longing and loss. The rap number performed by Shane Nigam adds a contemporary edge, effectively reflecting political tension and social unrest.
The background score is used sparingly and with intention. Instead of overwhelming scenes, it rises only when emotions demand it. Particularly in the first half, the background music elevates romantic moments, enhancing their intimacy. Overall, the music complements the film’s subtle tone and strengthens its emotional texture.
Performance of the Actors
Shane Nigam delivers a controlled and introspective performance. He relies more on body language and expressions than dialogue, allowing emotions to simmer beneath the surface. His portrayal suits the film’s restrained tone, making Asif feel real and emotionally grounded. Sakshi Vaidya complements him well, offering a calm and composed performance. Her expressions feel natural, and she conveys emotional shifts without exaggeration. While her role does not demand dramatic transformation, she brings sincerity to the character. The supporting cast effectively represents societal and familial pressure, though a few characters could have benefited from deeper writing to enhance their impact.
Final Verdict
HAAL is a slow-burning musical romance that prioritizes mood, emotion, and realism over dramatic spectacle. Its strengths lie in its sincere performances, soulful music, and visually grounded storytelling. However, its predictable narrative, uneven pacing, and underdeveloped conflicts prevent it from reaching its full potential.
This is a film best suited for viewers who appreciate realistic romance, musical storytelling, and emotionally restrained cinema. Those willing to engage patiently with its rhythm may find HAAL quietly rewarding. However, audiences seeking high drama or fast-paced entertainment may find it emotionally distant. Ultimately, HAAL stands as a well-intentioned film that caters more to a niche audience than the masses.
Rating: 3/5
A REVIEW BY AALIYA ANSAR
