WATCH THE TRAILER HERE
First, the Recap:
Dare to design. Dare to yearn. Dare to find a way forward. Dare to rise. When those seemingly ever-present odds are weighing against you, will you crumble under the pressure of those who believe they know best what path you should trod or instead discover the way to push through, overcome, and know a fulfillment unlike you’ve ever had? Many choose the former, a few choose the latter, and it is those few who make a mark. In Mumbai, a young man named Murad (Ranveer Singh) is trying to see that clear way forward, living a somewhat downtrodden but sustainable life under the expectations of a domineering father Aftab (Vijay Raaz) and his long-standing, highly supportive girlfriend Safeena (Alia Bhatt). But when a chance encounter with local underground rapper MC Sher (Siddhant Chaturvedi) turns his aspirations on their head, it will be up to Murad to take the opportunity to shine–or be crushed under the scrutiny his choices and hesitations are bringing.
Next, my Mind:
This is a prime example of South Asian film at its dramatic best, and it is this style of larger scale character drama that gives it an indie feel with big budget bombast, visually stimulating, emotively powerful, and more than on par with anything Hollywood is putting out there, if not in some ways even better. Here, it is thanks to a fresh presence in “The Big Chair”, Zoya Akhtar, whose ability to write, direct, and produce is making her an absolute “must-watch” artist, and with upcoming projects like “The Archies“, “Jee Le Zaraa“, and “Kho Gaye Hum Kahan“, we hope creates further exposure to new markets, including here in the U.S., where South Asian cinema should truly become a new medium for mainstream audiences to try out and discover like this critic did just how adept these filmmakers are.
With its magnetic, emotionally-packed, outright rousing backdrop that immerses us into Mumbai’s prolific underground street rap scene, this feature film from writer/director/producer Akhtar, writers Reema Kagti and Vijay Maurya, producers Farhan Akhtar, Hetvi Karia, and Ritesh Sidhwani plus executive producer Stuti Ramachandra carries us into the age-old narrative staple that is the underdog story but does so as only Bollywood cinema can deliver, infusing it with a fresh, well-paced, fully engaging tone and mood that the viewer cannot help but get wholly involved in as the film traverses its thematic explorations with intelligent writing and flat out entertaining, heart-pumping rap music as its core essence. This critic actually finds it continually fascinating that South Asian film in general seems to be so consistently adept, at least for the efforts I’ve seen, at delivering even the most oft done topics in a manner that DOES feel so new and unique, which is a testament to how the industry is continuing to improve and grow.
Following the path of a man trying to solidify his future and identity in the midst of a society and familial structure so deeply ensconced in traditional, cultural, and societal “norms” and pressures of not being able to strive to be above one’s supposed “station” in it all, the narrative propels us with a conviction and burning intent through a multitude of specific tangents that encompass the rich vs. poor, following your passions, standing up against the limitations that social status, stereotyping, caste, and religion constantly attempt to impose while likewise discovering the fortitude to stand UP for one’s self worth, value, and due respect by finding that next level of initially unrealized inner confidence and ability that just needed the right atmosphere and opportunity to break loose, shine, and more than adequately make a statement. The film does a superb job at showcasing this kind of highly personal journey while also allowing time for the grander aspects of how it affects others’ lives as well, painting it beautifully via rap music’s poetic tapestry.
Another facet I loved in watching the film is just how deftly the rap creations throughout the effort illustrate its undeniably cathartic nature, as in this story’s context it is such an strongly emotive conduit to channel that hunger, desire, anger, and pain into a creative medium that simply allows you to let it all out, that absolute statement that shouts “I am TIRED of being beat done and seen as insignificant!!” while pursuing one’s dreams and real aspirations, which as stated above, are often in defiance of how it’s “supposed to be”. Every one of the rap sequences presented throughout the project, from individual and music video-style instances to the definitively multifaceted, affecting rap battles that bring so much of the story together in a totally feasible and believable way, are just plain awesome to listen to and get moved by. There is a love story involved here as well, but while it is fun and integral to the overall picture of what’s occurring, this was one time it really took a back seat to the more focused concentration on Murad’s personal odyssey. And I will say that the film’s lead up to its finale is outright impactful and hard-hitting in a fantastically affirming and entertaining way and become a more than suitable closing of events.
I have been a huge fan of Singh ever since seeing him for the first time via the very first Bollywood film I’d ventured a look at, which was 2015’s EPIC “Bajirao Mastani“, where his larger-than-life portrayal of peshwa Bajirao was simply stunning. Here I completely enjoyed watching the actor become far more of an “everyman” through his role as Murad, a young man desperate to get out from under his father’s dominating thumb and other restrictive presumptions of where his life is to go. Topped off by being involved with a girl outside his own religion, things seem to not bode well for making his mark. But, when life brings about his exposure to the street rap scene, it triggers an outlook and drive to excel within him that Murad hadn’t truly realized or acknowledged was within him, and it initiates his captivation with rap that will alter his life forever. It’s a performance filled with charisma, outright fervor, utterly believable emotion, and “GOT to root for him!” bravado, and Singh brings it all about with his trademark intensity full-on.
Bhatt, another of my personal favorite Bollywood stars, brings her always-present level of fire and purposeful energy to her role as Safeena, a medical student aiming for her professional physician goals who’s been in love and involved with Murad, in spite of their Hindi-Muslim dichotomy, for a sizable amount of time. Her unwavering support for him takes on many degrees of potency (even to a certain level of literal ferocity!) as she tries to somewhat temper his frame of mind and be a perceived voice of reason when rap suddenly becomes his focus and presents an initially unsure/unsecure future. Storms come, and Safeena soon finds herself at a point of choice when it comes to their relationship and if it will actually be able to continue, which in itself does arrive as a necessary stage of the greater tale of their love, and Bhatt delivers it all throughout with her own hallmark combination of sassy spunk, dramatic flair, and equally wonderful charm that makes her stand out for me consistently.
Primary supporting roles are legion in an ensemble film like this, and the wealth of talented performances is no less commanding and even dominant, thanks to Chaturvedi’s excellent turn as street rap king MC Sher who becomes Murad’s guide/mentor in the rap realms and who is THE voice that persuades Murad to see his potential, Raaz’s highly effective turn as Murad’s overbearing father Aftab, a man who’s worked hard all his life but has grown embittered and unsupportive towards Murad’s plays at being more than his class is meant to be while also tearing his own family apart, Raaz bursts forth with menacing bravado as Murad’s domineering father whose own personal turmoil and non-understanding of his seemingly wayward son’s choices cast a pall over all the lives he embraces and attempts to control, Amruta Subhash in a heartbreaking yet formidable turn as Murad’s long-suffering mother Razia, who’s abused and beleaguered yet stands firmly for her son’s ambitions, and Kalki Koechlin in a key and quietly authoritative performance as Sky, a music producer who catches on to Murad and MC Sher’s work and wants to take things to another level for them, while also possibly taking other things she’s attracted to.
Additionally, other major supporting roles are brought about by Vijay Varma, Nakul Roshan Sahdev, and Rahil Gilani as Murad’s three best friends Moeen, Salman, and Rishi, each of whom present solid performances and play specific catalysts in Murad’s story, Jyoti Subhash as Murad’s deeply traditional grandmother who urgently backs up her own son’s viewpoints at the cost of Murad and Razia’s outlooks on events as they unfold, and Vijay Maurya as Murad’s uncle Ateeq, a businessman whom Aftab has arranged for Murad to work for in order to have a “legitimate” job. Further appearances are made by Ikhlaque Khan, Sheeba Chaddha, Ayaan Zubair Rahmani, Rahul Piske, Mallika Singh, Srishti Shrivastava, and again, a HUGE numbers of others too many to mention here. So, in total, “Gully Boy” spreads its message of “Persevere, Overcome, Triumph!!” with beautiful execution, grounded characters, relevant themes, and the soaring, pounding, movement-inducing, evocative beats of rap all packaged nicely in the scope of character-driven, story-based filmmaking.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
Loved reading this review.