Spoilers ahead…
Read the full review on Film Companion, here: https://www.filmcompanion.in/gully-boy-movie-review-berlin-film-festival-2019-ranveer-singh-zoya-akhtar-baradwaj-rangan/
Zoya Akhtar’s Gully Boy acknowledges its inspirations right on top: “This film is a shout-out to the original gully boys, Naezy and DIVINE.” Naezy’s life was briefly chronicled in Disha Noyonika Rindani’s documentary Bombay 70, where the rapper explains that his given name, Naved, means “messenger of happiness.” The name of Gully Boy’s protagonist (played by Ranveer Singh) is significant, too. He’s Murad: “desire”. And his desire is break free of his circumstances. It’s not easy. When his father (Vijay Raaz) brings home a second wife, the sounds of the shehnai echo across their little pocket of Dharavi. Murad plugs in his earphones, and for a while, another music — his music — fills his world. But quickly, his father yanks the cord and the earphone slips out. It’s back to the shehnai. The neighbourhood engulfs him all over again.
Even outside, at work (he’s employed by his uncle), he’s never allowed to forget who he is, where he’s from. This uncle (Vijay Maurya, who also wrote the dialogues; the screenplay is by Zoya and Reema Kagti) reminds him that he is destined to be a servant: one who serves others, like his father, who drives around a society lady. A lot of the time, the cinematographer Jay Oza locks his camera onto Murad’s face — it’s as though the man is boxed in not just by fate but also by the frame. But Murad has other plans. The rather on-the -nose song Ek Hee Raasta goes: Chalte chalte kahin ek mod aata hai / Seedhe raste se bilkul alag / Koi deewana hi hota hai jo udhar jata hai. Translation: Only a madman will take the path less travelled, and Murad is that madman. He discovers he can give vent to his feelings with lyrics like these, which are tailor-made for rap. Or as Naezy’s mother in Bombay 70 would put it: “English ki poetry zor zor se bol raha hai.”
Copyright ©2019 Film Companion.
Sri Prabhuram
February 10, 2019
Would you consider this or LBC to be Zoya’s career best film?
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Saket
February 10, 2019
Fantastic review, as always, BR.
I will comment more after watching the film, but I do share your concerns regarding Zoya Akhtar’s sensibilities. She knows her craft well, and she knows how to make even mundane scenes more interesting. But, I’m not sure she has found her voice yet. She’s still someone who’s looking at cinematic stories from the outside. What she lacks (and filmmakers like Anurag Kashyap possess in abundance) is the ability to hit the viewer with that sucker punch. She’s sometimes too soft for her own good.
Having said that, there are clear signs that she is improving with each film. I liked Dil Dhadakne Do much more than her previous films. In many ways, it was the anti-K3G film — a big up yours to KJo’s channelling of nauseating (and fake) filthy-rich background stories. It wasn’t perfect by any means, but by adopting a satirical tone, it at least provided a semblance of balance. The film suffered on two counts: it needed more of Ranveer Singh and Shefali Shah, who was spectacular playing a very complex role. Zoya chose to focus on Priyanka Chopra instead, and her character never was that interesting to begin with. Well-intentioned messaging or not.
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Dracarys
February 10, 2019
“A lot of the time, the cinematographer Jay Oza locks his camera onto Murad’s face — it’s as though the man is boxed in not just by fate but also by the frame.”
– it’s a beautiful line!
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MANK
February 10, 2019
Dil dhadakne do was a terrible film all around starting with its stupid premise. It was like watching paint dry as you said in your review. I think Zoya’s best was in lust stories. For a writer filmmaker who suffers from LHHE , it was great to see her use silences so brilliantly there. It was almost like a silent movie with Bhumi pednekar giving a great performance
I am glad for Ranveer. He seems to be pushing the boundaries as an actor. I hope he tone down his off screen behavior though
Great review BTW, now waiting to watch the film
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hakimokimo
February 10, 2019
I was dissatisfied with Ranveer’s performance in Padmaavat. So Happy to see him excels in Simmba and Gully boy.
I wanted to watch the movie before reading your take. But I couldn’t resist. Awesome review
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vagabonder
February 10, 2019
Gully Boy feels like Zoya’s back to her Luck by Chance days (still her best film IMO) albeit, going by your review, with a softer edge. Regardless of the quality of the films she’s produced after LbC (and ZNMD did annoy me immensely), she brings out the best in her actors and as far as actors go, both Ranveer and Alia are dynamite. So looking forward.
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csimumbai
February 11, 2019
I am a bit confused by your reservations BR. The slang was adequately ghetto, but a healthy dose of rage on Murad’s part (not ‘generic’ aspiration) coupled with depictions of struggle would have made it more palatable for you. And Safeena is marvelous precisely because she is harnessing her rage and bucking the stereotype of a docile Muslim woman. Seems like a) there is a lot of fetishization of rage on your part and b) your assumptions about ghettos, Muslim masculinity, and femininity needs unpacking. When the film comes out, one will have to do the same with Z. Akhtar too.
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shaviswa
February 11, 2019
To me, Ranveer’s films are the Hindi equivalent of Ajith or Vijay’s films – unwatchable.
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V
February 11, 2019
Shaviswa: Ajith Vijay a! And here I was thinking of commenting that Ranveer could be the Rajnikanth that Bollywood never got. Going by his solid popularity (in social media atleast) as this down-to-earth cool dude, his unconventional looks, his choice of films that take him to the common man & yet have scope for his acting chops, his dreamy personal life story, his eagerness to be friendly – I know Rajni fans will disagree & even I know it is too early to call, but there is this Super Star X factor that I think he has. (Oh and Rajni was also known for his bizarre off-screen acts in the early 80s)
(Then would Ranbir be Kamal?? Insider, Good looking, Unapologetic about his relationships, certified acting skills, wavering popularity, smug etc)
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Apu
February 11, 2019
It might be because I steer clear of SLB movies that I have not watched Ranveer as much as I had wanted to, ever since I saw him in Band Bajaa Baraat. For me he was a breath of fresh air in Dil dhadakne do (OT: I also liked how Priyanka remained true to the character and was against her type), and liked his showy-then-broody turn in Simmba.
His looks and body language seem to be very fluid and adaptive to a wide range of roles. Not sure how far his talent stretches though.
I am looking forward to this.
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shaviswa
February 12, 2019
@V
Please…..your comparison is not even close.
I saw one or two films including Padmaavat….and was least impressed by his histrionic abilities. He may play psycho roles well though.
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Apu
February 13, 2019
Shaviswa: Watching only two movies of an actor including one in which he enacted the role of a thoroughly evil villain for a theatrical director is hardly a way to judge an actor’s histrionic abilities. If watching Ranveer as Khilji makes you feel that he is good in psycho roles, then he must have done a really good job in that role, no?
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Ruminating Aesthete
February 13, 2019
Ah why does this smell of nepotism – surround this film. I mean Zoya sure has proven her mettle, but why do I see directors constantly compromising on the casting. I really do feel that there are lot of good actors out there – but directors jus seem to refuse to look beyond the industry usuals.
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Ruminating Aesthete
February 13, 2019
Zoo a Hindi film by Shlok sharma, was not entirely based on rap but used it as a constant leitmotif.
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Anu Warrier
February 14, 2019
Ruminating Aesthete, why do you feel that Zoya has compromised on the casting for this film? From interviews, I gather that both Ranveer and Alia were her first choice – the first time ever, she said, that she got her choice of actors. And with Ranveer, he’s always been into Hip-Hop and Rap music, so it seems there’s a synergy at work even before the film took off.
Besides, while I agree with you that there are a lot of talented actors, Ranveer and Alia pretty are talented too. Alia may be in the industry because she’s Mahesh Bhatt’s daughter, but in her short career, she has proved that she is still where she is because she has talent.
Why is it that talented film kids shouldn’t be in films? Or we wouldn’t have had a Rishi Kapoor or an Aamir Khan or a Rani Mukherjee or a Konkana Sen Sharma or a Shabana Azmi, for that matter. No?
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Anu Warrier
February 14, 2019
Actually, you also say that Zoya has proved her mettle – but then, if you go by your argument, there are far more talented directors than her and she shouldn’t have been given a chance either, should she have? She’s also a filmi kid.
So how do we decide which filmi kid should be given a chance and where do we draw the nepotism line?
I mean, I can understand how nepotism gives star kids more opportunities than the average Joe or Jane. But to say ‘nepotism’ every time any kid from the film industry steps in – either as actor or director or technician – makes it seem like the children of anyone working in the film industry shouldn’t even bother trying to work in that industry. Would we say the same for, say, scions of business houses? Or say children of parents in any other profession? Lest they get their chance due to their parents’ name and social currency?
And if you [general ‘you’] tell me that no other parent in any other profession makes it easier for his/her children to join that same profession, let me remind you of the ‘old boys’ club’ and what, in management speak, is called ‘networking’.
It sounds better than ‘nepotism’ but it’s just the same wine in a new bottle.
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Madan
February 14, 2019
Being the son /daughter/relative of some big shot in the industry does make entry much easier (Julia Roberts/George Clooney). But if the films they star in don’t run, it’s much more r brutal to them than many other industries where teamwork can mask an individual’s failure. In that sense, it’s like sports if not quite as brutal. Sunny could secure opportunities for Rohan Gavaskar but he couldn’t actually bat on his behalf, obviously.
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anon
February 14, 2019
The rage is cosmetic alright. I watched Dil Dhadakne Do on Prime with breaks and quite enjoyed it. If I’d watched it in the theatre I would’ve probably liked it lesser. If I’d watched Gully Boy on Prime, I would’ve enjoyed it more.
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csimumbai
February 15, 2019
#Nepotism. Came to see people’s reaction to Gully Boy, but was pleasantly surprised to see this debate. In my opinion, “nepotism” is not the best descriptor of the power relationships in the Indian film industry. The industry is organised like a caste (the child of an actor/producer is born into it), a guild (the said child and an outsider can apprentice and learn the craft, particularly technical skills), and adheres to the principles of private property (the child inherits the money, the aura of the star, and the network, to use Warrier’s term).
@ Ruminating Aesthete. If “nepotism” helps dismantle caste and private property, sign me up for the revolution. With it you’ll transform not only the film industry but all that is sacred (or profane, depending on the perspective) in India – Indian capitalism, politics, classical music, media, even the judiciary and many others institutions. All these work along similar lines. But unfortunately, nepotism is used as a stick to beat some people. It helps air resentment, but doesn’t aspire to transform anything. It doesn’t even try to understand how the industry works.
In my opinion, it’ll be unfair on Zoya Akhtar, Ranveer Singh, Alia Bhatt, who have all benefited from the industry that works on principles of caste, guild, and private property (and have dreamed of working in it since childhood) to not make films.
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tejas
February 15, 2019
Does anyone else remember a film called Break ke Baad? It was released at a time when Deepika couldn’t act, Imran kept giving one after another film with innocent man-child roles.
Deepika’s character was that of a upper-class Muslim girl who does her own thing, is selfish, rebels against pretty much everyone and has a beautiful relationship with her single mother.
That role stayed in my memory because Khalid Mohammed mentioned in his review that finally there was a different portrayal of Muslim families than what the stereotypes were.
Similarly – Lipstick under My Burkha has a pretty interesting character who happens to be a Muslim female.
I think there is a huge lack of diversity in film characters in terms of religions, social strata, cultural and regional milieus. Which is why the above two characters stayed in my memory, and stand against “most interesting Muslim character since Fiza” award to Alia’s character here.
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Ruminating Aesthete
February 15, 2019
@Anu Warrier:
You felt Ranveer and Alia are talented actors, I agree that there have been some performances of their’s which were respectable.
Surely Lootera, or Highway/ Udta Punjab were respectable outings. The question is how exactly one evaluates talent in film acting. Multiple variables operate, which determine the efficiency of an actor.
I have posted this video before in another comment section.
And of course the technique
https://www.theguardian.com/stage/2009/may/09/character-building-great-actor
Film acting I feel has two parts to it – one of course is the on screen persona and the other part, the meat, actual acting technique and skill.
Vikram Motwane and Imtiaz Ali are great directors, they know how to derive a performance from an amateur who just has a screen presence that suits the character. In fact in highway one could contrast between the performance of Hooda (which was all deep/ sincere and technically nuanced) and Alia’s ( which was more driven by her own persona).
When someone has a deficiency in acting technique or in-depth realisation of the art form they might still be able to produce an emotion but they would surely be unable to make a truly private moment public. They would never be able to build on a character and as the shooting goes traverse an arc.
Abhay Deol a product of nepotism is a great actor, as well, in my opinion: Dev D, Oye lucky, lucky oye, Shanghai, Manorama Six feet under.
Ranveer and Alia can be made to look good as in dil Dhanake do and udta punjab. But, in a film, do they have the craft and understanding to build on a given character and affect us deeply with their performance, so much so that a director such as Zoya might rely on them heavily; I don’t think so. Let me throw in a few names – the Udaan kid – Rajat barmecha. If u actually wanted to cast someone who knew how to rap, why not cast an actual rapper as in 8 mile.
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Madan
February 15, 2019
@Ruminating Aesthete : You are making a very different kind of point there. Yes, it may be that ARTISTICALLY Ranveer wasn’t the best bet for Gully Boys. But is that the only consideration for casting in any fairly mainstream production? Never. I have seen both Jolly LLB movies and I thought Arshad Warsi was more believable in the role. But the name Akshay Kumar promises higher box office returns. And the same holds good for Ranveer and Alia. It isn’t just about whose blessings they enjoyed to land up in Bollywood. Today they have a certain star value and are box office draws which is also something a filmmaker has to consider often times. And these decisions aren’t just restricted to the selection of actors. I will give an example wrt Umrao Jaaon. Originally, Muzaffar Ali hadn’t intended to cast Rekha and had signed up Jaidev for the music. Jaidev intended to record the songs with a singer named Madhurani. But when Rekha was cast, Ali now wanted Asha to sing the songs. Jaidev disagreed and quit the film and Khaiyyam stepped in. So the question of whether the best actor was necessarily cast in a role goes beyond nepotism and has to do with the art vs commerce dilemma that pervades cinema and other art forms. It’s another matter that I think Asha was anyway the better singer, Jaidev’s whimsical objections notwithstanding.
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Ruminating Aesthete
February 15, 2019
I also feel Film companion and BR should afford more space for films such as Zoo, made by Shlok Sharma. These experimental films need such web sites, which cater to a niche audience, more than films like Gully boy.
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Anu Warrier
February 15, 2019
@RA – I’m not saying there aren’t ‘more talented’ actors. But asking ‘Why not X?’ Or ‘Y’? is moot. Because any role that is cast could have been done – perhaps better, perhaps differently – by another actor. So someone could ask why Rajkumar Rao was cast in Bairelly ki Barfi, for instance? Why not Vicky Kaushal? See what I mean? (But then, Vicky, the flavour of the season, is also an industry kid.)
I am just intrigued by the fact that you think Zoya’s casting of Ranveer and Alia reeks of nepotism. Because Alia is an industry kid? And if you’re against nepotism, then Abhay Deol shouldn’t be excused, no? 🙂
He was great in all those films you mentioned, and is quite one of my favourite actors, but what the heck was he doing in Happy Bhag Jaayegi? or Aisha, One By Two, Nanu ki Janu et al? Those are films which would make someone who doesn’t like Deol wonder why he keeps getting chances to sleepwalk through movies. (That they were all bad movies is beside the point.)
As for ‘…if they wanted to cast someone who knew how to rap’, then that negates the whole purpose of ‘acting’, right? Only those who know how to rap should play a rapper, only those who know how to sing should play a singer, only those who know how to beat up 10 people should play a gangster, only a poet should play a poet…
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Ruminating Aesthete
February 15, 2019
Moreover when I picked the word nepotism here, there was a reason. The male and female lead, the director were all Bollywood kids. I can totally understand that nepotism is something that cannot be just yanked out, one fine day. Even Maniratnam had relatives who were in the industry before he got in. As mentioned before one of my favourite actors is Abhay Deol.
The issue I have here is when a director gets good script, even when he/ she thinks someone is gonna be most suitable for the part – ideally they would have to do a casting excercise especially send out a casting call. Only then does a director realize how well the first casting decision was.
I am sure this never happens in India, films obviously are celebrity driven – Ranveer is a brand name and so is Alia. By saying that they both were her first and last choice – Zoya nullifies the casting process, indirectly accepting that she is no auteur; she is but a curious product of our crass capitalistic society. One in which aesthetics is but an afterthought
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Sai Ashwin
February 15, 2019
There is a wonderful scene in the film where foreign tourists (white) are seen touring inside a slum. Looking the lives of people there as “local attractions”. Sadly Zoya Akthar is also a foreigner. The kind who says “aww he is just a gully boy”.She doesn’t go into the roots of the problem. There is no angst like BR says in his review, why does he feel the need to sing? Is it just to prove the world he can? Is it for fame/success/money? I feel the reason should be much more complex. What she does is weave a marketable underdog story around slum which is based on a true story and make the characters as cliche as possible. You have the dad who doesn’t want his son to follow his dreams but work like he does, you have the supporting mother, you have flawless mentor/friend , you name it. Still the film works because it has heart in it. And who doesn’t want to see a slum kid succeed against rich brats? But one wonders after the end of the film. Isn’t Zoya doing exactly what she mocks in the film? A capitalist exploiting the lives of the slum by making it seem like anyone who works hard and talented will get success,fame,money etc if only reality was such fantasy where winning a contest will make you star. Basically selling the American Dream to Indians. After seeing such films, one can only wish when will we Indians have the privilege of seeing films like Nightcrawler or American Psycho which shows the other side of it. The Dirty Side of it, the side capitalists like zoya herself would like to pretend doesn’t exist.
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Sai Ashwin
February 15, 2019
@Ruminating Aesthete
Wow thanks for the link, that was quite something. I probably wished Gully Boy was something like that.
Also why were Tamil Rappers completed omitted in the film? Tamil population itself is huge in Dharavi, and arguably they face more problems cuz of the whole language thing.
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Anu Warrier
February 15, 2019
Ruminating Aesthete – I know of no film industry in the world where casting calls are made for all roles. Most leads, even in Western films (and I’m not talking only about Hollywood here), are generally bankable stars. A-listers even. Unless you have a script for which you are very sure that a saleable name will actually work against the story, and you go for unknown names. That’s the nature of the beast, because films by their very nature are a marriage of both art and commerce.
Ranveer is not a film kid. But his father had the money to propel his son’s dreams. Others aren’t as lucky. That, too, is the nature of the industry.
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Sai Ashwin
February 15, 2019
Also, anyone notice how the carjacking was shown in a western-like way? Too smooth for Indians, carjacking in India is extremely messy (I used to know a few carjackers when I was in college).In hindsight, I think Anurag Kashyap would have been perfect for this film, Mukkabaaz is probably anti-gully boy. Basically I just wish the film contained the level of anguish in this azaadi video
P.S.- Sorry for this rant-like post.
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Ruminating Aesthete
February 15, 2019
@Sai Ashwin my intention of mentioning Zoo the Hindi film was purely because of its interesting aesthetic. I really was not bothered about the Tamil- Hindi divide. But the coexistence of these two languages in the same film makes it interesting. In fact I am not one who likes conscious activism in any art.
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Aran
February 16, 2019
Sai Ashwin – Your comment is the exact taste left in my mouth after watching the movie. On the surface, there all the cinematic conventions and all the faux conflicts, but it’s just that – on the surface. The same way Kalki and friends fight their ‘wars’ by defacing ads in the movie and then go back to their cozy apartments in highrises, Zoya’s wars, or films, are removed from reality.
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Sai Ashwin
February 16, 2019
@Neither do I, But the song Azaadi is a protest song but film has it in a very silly way. Graffiti on walls by Rich folk? for what? The lyrics doesn’t match the visuals remotely.
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Madan
February 16, 2019
Ruminating Aesthete: But I don’t think Zoya has claimed to be an auteur nor has the media placed her on such a pedestal. Like her brother, she tries to make somewhat off beat films that are still very mainstream.
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Saket
February 16, 2019
First things first, Abhay Deol isn’t even an actor to begin with, forget a good one. If Vikram Motwane and Imtiaz Ali are great directors who can extract good performances from amateurs, then Abhay Deol is surely worse than any amateur out there – because directors like Anurag Kashyap and Dibakar Banerjee couldn’t extract anything out of him.
Second, here’s the gist of the Guardian article that I wholeheartedly agree with:
The performances that most often thrill us are those where instinct and technique are both in perfect balance but also opposition, and flamboyance and inner life collide head on, transforming feeling into thought and words. When this mixture of abandon and control ignites, what happens is as mysterious as alchemy; the theatre crackles; it leaves the spectator reeling.
The video about acting, posted above, does make some good points but it’s all about technique (also, the video is created by a Film School student, and just to emphasize, there is no mention of Abhay Deol in any of the clips). Technique can only get you so far – great acting is about getting inspired and letting your instinct guide you, after you’ve done your homework. That’s the whole gist of acting. Another secret? The more you practice, the better you get at acting!
No, seriously. Actors who do theatre always do well in films (Ranveer Singh, by the way, has a minor in theatre and has also worked in Makrand Deshpande’s street theatrical group in Bombay).
A third secret? Dialogue delivery is more than 50% of the job! Get the pauses, the enunciation correct, and your facial muscles will follow suit. People talk about an actor’s facial tics, forgetting how they actually are a by-product of his/her dialogue delivery. This is why working in theatre is so important – it relies completely on an actor’s dialogue delivery. No place for listening, reacting and all that clap-trap.
Fourth? Great acting is also about evoking emotions in the audience – essentially, conveying a sense of vulnerability. Actors who can convey vulnerability well are always going to be loved by the audience. Think Bachchan in any of his deathbed scenes (Deewar, Shakti etc). That these scenes acted as follow-ups to a macho persona, a very masculine presence, only serves to amplify the overall effect.
Last, but not the least, there is also a physical aspect to acting – the non-verbal clues, the posture, the gaze and that almighty, albeit nebulous, thing called screen presence (among other things). People are very, very good at reading non-verbal clues, contrary to popular belief. And they do assume importance in cinema, I do concede that point.
Back to Ranveer Singh, Zoya’s choice and why she didn’t choose an actual rap artist – I’m sure people are aware that Ranveer has himself sung at least 5-6 songs in the album. He received a standing ovation at Berlin, after the public screening was over, for his rap skills, no less. Berlin regulars have commented to the effect that the film (and Ranveer) received the biggest cheers in the last 20 years.
Variety, Hollywood Reporter and Peter Bradshaw have given the film favourable reviews, with the first two complimenting Ranveer (also, Alia) on his performance. Isn’t that enough to erase talk of any nepotism? Back in India, every single reviewer, without exception, has given Ranveer high marks for his performance in Gully Boy. I have never seen, read or observed a fraction of this kind of appreciation directed at Abhay Deol. And this is just one film. I could easily pick up Bajirao, Padmaavat & Lootera, for comparison.
Finally, between Alia and Katrina, one is a nepo-kid and one is not. No prizes for guessing who is more likely to win a National Award in the future.
I rest my case.
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Saket
February 16, 2019
The other thing to note is that acting isn’t supposed to exist in a vacuum. We talk about Hollywood greats (Brando, Pacino, De Niro et al), my personal preference lies with European actors, but they are products of their culture. Indians, and Indian culture, is at least a notch louder. For better or worse, but that’s a separate debate.
In an Indian context, the sensibilities are bound to be different. If directors are representing an Indian setting, and they happen to be rooted, there is bound to be a reflection of our culture, our sensibilities in films as well. And the acting has to match those octaves, or risk creative dissonance. A great example lies in last year’s Manmarziyan, where Tapsee is a loud firebrand and Abhishek Bachchan is a more restrained person. They both come from different backgrounds, with different upbringing and their performances reflect this mismatch.
It’s erroneous to assume that one template (subtlety or restraint) fits everything in a precise fashion. As Abraham Maslow said, “I suppose it is tempting, if the only tool you have is a hammer, to treat everything as if it were a nail.”
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Kid
February 16, 2019
Madan: Mainstream directors can (and often are) auteurs. Raj Kapoor was a mainstream director (never made any non-mainstream film), he was also very much an auteur. Ratnam too is the same.
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brangan
February 16, 2019
Saket: In addition to the excellent point you make, I measure an actor’s ability by how well he/she holds the camera gaze when there are no lines. The ability to make you feel the intensity (like I mention in the “smoulders” part of this review). Ranveer does that beautifully. And this “internality” — coming after a series of strong “external” performances — truly points to his range.
PS: Why are so many comments (except Sai Ashwin’s) around — rather than about — the movie? Not many people seen it yet?
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Madan
February 16, 2019
Kid: Never said a mainstream director cannot be an auteur. Just said nobody had accused Zoya of being one. Meant she just makes films that fit into a mainstream mileu with her thinking in English fetish.
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Ruminating Aesthete
February 16, 2019
I haven’t watched the film yet BR. However my discussion started of as a tangent. As I had mentioned in my post, before, I was bothered about the nepotism, which is not just part of this production, but is a pervasive issue.
When u say you measure an actor by how well he holds the camera’s gaze; I understand that you take into account, the way in which, the actor/ director duo have built up the character, until that point, and also their combined efficiency in making deep/ private moments public.
In my opinion Ranveer (I haven’t see his acting in Gully boy, so my impression might change) does not have the above mentioned faculties, or even if he does, they are yet to impress me.
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Saket
February 16, 2019
Will Smith on Ranveer in Gully Boy
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tonks
February 16, 2019
BR : “Kumbalangi nights” where Fahad Fazil’s characterisation is very unusual, is an interesting movie. I hope you’ll have time to review it.
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Shalini
February 16, 2019
“Why are so many comments (except Sai Ashwin’s) around — rather than about — the movie? Not many people seen it yet?”
Saw it a couple of days ago and concur that it’s a thoroughly entertaining film but – that’s it. It’s such a “slight” film that I don’t have much to say about it other than that that this is the 3rd film in a row by Zoya that struck me as superficial – enjoyable in the moment of viewing but forgettable afterwards. I’m afraid I wasn’t particularly impressed with the music either; the lyrics cloak themselves in powerful language but seemed mostly derivative to me – heck, even “andha kuan” was evoked at one point. 🙂
@ Sai Ashwin – “There is a wonderful scene in the film where foreign tourists (white) are seen touring inside a slum. Looking the lives of people there as “local attractions”. Sadly Zoya Akthar is also a foreigner. ”
I had the same thought! That scene made for a rather surreal moment for me and I wondered if Zoya had enough self-awareness to recognize herself as one of the tourists. Her film suggests she doesn’t.
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Akshay
February 16, 2019
Despite much talk of authenticity, Gully Boy looks staged to the hilt. It is pumped with artificial, performative testosterone. It gives the thrills, it is risk-free and wears its heart on its sleeve. That heart, however, hardly beats.
It is no surprise that the characters who come across real, as lived in, are the ones not deeply drawn at all, who do not trace an arc. Safeena, Murad’s parents, even Sky at times — these are people who exude a flatness of life that in its banality is redolent of the smell of frustration. Murad, despite being cut from the same cloth, is from the start the marked guy, the hero, the protagonist, one with the responsibility of a set character-arc, He becomes the film, he becomes a character, a fiction. The Dharavi setting, the murky milieu, the language, everything turns extraneous, decorative, packaged.
Gully Boy is neither inspiring nor informative, resounding nor real. It is just loud.
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Ramit
February 16, 2019
@Shalini- I thought Zoya was self-aware in her role as an outsider. First, the foreign tourist is just looking at the poverty. Later, when Murad sings the rap, the foreigner gets impressed and a little self-conscious. He no longer looked down upon Murad, and tried to ‘educate’ him about his T-shirt. I think this was Zoya’s acknowledgement as her awakening.
BR sir, that is why I think Kalki’s character couldn’t be axed. In my opinion, she was a stand-in for Zoya, who brought the YouTube sensation out in cinema halls (pubs). Kalki/Zoya knew the accolades she could bring on the rapper.
@Madan- LHHE problem is not there in Gully Boy.
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Anu Warrier
February 16, 2019
Saket, thanks, man. You said what I thought (and better than I could have stated).
BR – unfortunately, a bout of cold and fever struck me down and so Gully Boy will have to wait. 🙂
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Me
February 17, 2019
Just saw the film. Felt cheated. The trailer was brilliant, the movie didn’t live up to it. I could not feel Ranveer’s desperation, his hunger or his struggle. I felt the build up to Apna Time Aayega was missing. The film was brilliant in parts. But overall it could have had more rawness I felt. I agree the whole Kalki track was so unneeded. Loved your review. It says exactly what I felt.
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Roopa Vinoth
February 17, 2019
As someone who has not grown up listening to rap music and is alien to the rap culture, i thoroughly enjoyed the movie. It is the story of an underdog portrayed convincingly by Ranveer. I loved the other guy Sher. There were places where i felt he was overshadowing Ranveer. Is this his debut film? He is soo good. I thought the rap battles were staged well. Not sure if this is the true representation,, but it was thoroughly entertaining. I always thought that Zoya is good at making urban films but with lust stories and now Gully boy, she proved otherwise. Not sure if any other actress could have pulled of Safeena’s role so convincingly… She is just effortlessly natural,,, Two thumbs up,,
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