Gully Me Aaj Boy Nikla!

Image courtesy: comingtrailer.com

Films are the only art form that people can critique without knowing anything about the craft, director Zoya Akhtar said on a televised talk show. That’s because only films have the power to touch, entertain, heal and empower everyone from an office peon to a CEO. The impact of a Hindi film is usually ephemeral and oft forgotten within a day of watching the film. Very rarely do we find films that truly astounds us by leaving lasting imprints in our minds that crop up even during dreary moments in the day. Andhadhun was one such film last year, and this year, it is Gully Boy. It seems to be just a happy coincidence how both films are based on music.

The story of Gully Boy as evident from the trailer, is the journey of a guy from Dharavi who wants to make it big in the world of rap, despite his financial, societal and familial hurdles. It’s the classic underdog story, but the crisp and sharp writing by Zoya Akhtar (also the director) and Reema Kagti gives the film’s humdrum story definition and gumption.

Ms Akhtar could also be called a trendsetting director. If Zindagi Na Milegi Dobara set the trend for bachelor road trips and Spain tours, Dil Dhadakne Do set the trend for European cruises. Gully Boy is no exception, for it sets the trend for Indian hip hop music. Am quite prepared to see more Indian hip hop artistes come into the fore after Gully Boy, and more power to them!

Funnily enough, the only lines I have ever been able to rap perfectly are the ones rapped by Ranveer Singh in Ladies vs Ricky Bahl. I remember thinking even when I heard the song the first time that Singh had a great voice, but never in my wildest imagination could I imagine that eight years later there’d be a film where Singh would rap real time, all the time! As Murad aka Gully Boy, Singh disappears into the character, so much that in the first scene of the film, he was actually out of focus, and seems to manifest from nowhere! His appearance, for which he is always criticised, becomes his greatest strength in the film - he looks, talks and dresses like a Dharavi boy and is convincing till the last scene. Singh infuses uncharacteristic restraint (barring Lootera) into the sensitive, underconfident and quiet Murad that makes the character instantly relatable and likeable. Additionally, Ms Akhtar milks every expression, every scrunch of Singh’s face with close up shots, where Singh’s emotions play out beautifully on the canvas that is his face. Murad is submissive, but his eyes exude the fire of his dreams. He is vulnerable but not scared. He is poor but headstrong, not giving in to easy wealth over his dream. Singh doesn’t play Murad, he IS Murad. From the devious Khilji to the boisterous Simba to the introspective Murad, Ranveer Singh’s talent is just increasing by leaps and bounds, so much that now every performance of his is deemed his ‘career-best’. I think that term is a bit premature, for his best is yet to come, and boy, I can’t wait. Apna time aayega, he fervently raps in the film. Mr Singh, aapka time aa gaya!

In fact, in this particular movie, sabka time aa gaya. Alia Bhatt as Murad’s “hateli” girlfriend Safeena is smashing, Vijay Varma as his crafty, misguided friend Moeen is superlative and Amrita Subhash and Vijay Raaz as Murad’s long-suffering mother and violent father are superb. However, it is debutant Siddhant Chaturvedi as Shrikant/MC Sher, Murad’s mentor-friend, who takes a lion’s share of the total acting. Chaturvedi, like Ranveer, possesses the ability to act solely with his face, conveying emotions with a deep glance or a seemingly offhanded smile. Watch out for the scene of the second rap battle hosted by Kubra Sait - while Ranveer goes from underconfidence to swagger, Chaturvedi goes from confidence to dejection, and yet, it is only his eyes that are sad, for there is a huge smile plastered on his face. This particular scene makes for some of the finest performances in the film.

This film is so engaging that it would be pardonable to overlook the technical details of its filming, but in all honesty, it is the finese of the craft that makes this film such a visual treat. Cinematographer Jay Oza’s aerial shots of Dharavi and his night shots of Mumbai make this film an ode to the city that never sleeps. For erstwhile Mumbaikars (like me), the shots of the trains, the cafes, the lanes, even the tiny houses are nostalgic. It is fairly obvious that the film was shot on location - no amount of production could have given that ‘lived-in’ vibe to the houses! In addition to Murad’s story, Ms Akhtar adds in various underlying themes - domestic abuse, drug use, child labour, a slight touch of patriarchy- into the film, but these themes are so deftly incorporated that at no point does the audience began to feel weary. The film ends on an abrupt, spectacular high and left me wanting for more.

One thing I really love about Ms Akhtar’s films is the lack of ambiguity regarding the characters- they go through a proper story arc and get closure (barring Dil Dhadakne Do with its debatable ending). I would also say that it was rather clever of Ms Akhtar and Ms Kagti to use the conversational ‘Bambaiyya’ Hindi; the inexplicable musicality of the dialect boosts even the simplest of dialogues, penned by the wonderful Vijay Maurya. I’m all in for ‘shudh bhasha’ but honestly, doesn’t saying “bas kya!” sound so much better than “ arre theek hai yaar”?

“Rap matlab rhythm aur poetry” says MC Sher in the film. I’m really glad he explained that, for I am illiterate in rap. That is one musical genre I have staunchly stayed away from, thanks to mainstream rappers such as Honey Singh and Baadshah - sorry, but aunties threatening to call the police and proper patolas do nothing to me. Before Gully Boy, I thought rap was just a series of nonsensical, distasteful lyrics set to meter. In the film, however, I discovered that rap is about as aesthetic as poetry, with its lyrics addressing society, politics and philosophy. After the film, I can safely say that rap is more profundity than profanity, for Ranveer Singh’s Murad raps lyrics that were penned by none other than Javed Akhtar himself ! The music provokes as much as it entertains, especially “Doori” and the titular “Meri Gali mein”.

All in all, I’m hard-pressed to find any flaws in the film. That’s not to say that there aren’t any, but they are so teensy that it would be really petty of me to focus on them. Please, please, please watch this film in the theatre. It is worth every paisa. And keep your hands free for applause - you will be compelled to clap and hoot a LOT of times in the film. Also, if you know how to whistle, desi-style, go ahead! This film truly deserves your time and money. Thank me later 😁!

Best lines: “Mai sapna nahi badlega sachchai se mel ke liye. Mai sachchai badlega sapne se mel ke liye” and “Duniya me sab comfortable hote toh rap kaun banaate?”