Hamid Movie Review: Amidst the innocence, there is a harsh reality!

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Aijaz Khan’s Hamid is a film that brings the climate of fear to the forefront that is prevailing in the Kashmir and highlights the air of uncertainty in the lives of Kashmiris by portraying their loss and separation.

The film begins with a close-up shot of a wooden piece being sliced and smoothened. This is a scene inside a carpentry workshop that builds boats. Rehmat (Sumit Kaul), who works here, calls it a day and heads for home on his bicycle. On his way back home, he fearfully stops his bicycle at a distance when he looks at the security forces. On being called by them, he takes gentle steps towards them. He is asked to show his identity card and explain what’s inside his toolbox. Their eyes also fall on his diary and they ask him to read whatever’s written inside it. Rehmat reveals that he is good at “shayari” (poetry) and writes his own verses. The few verses that Rehmat goes on to read from his diary include words like “bawaal” (chaos) and “bechaini” (restlessness). Unable to deduce what he just recited, they suspect him to be a terrorist. Rehmat clarifies that this poetry is talking about how restless and chaotic his heart feels in the times of sufferings. Aijaz Khan’s Hamid is a film that brings the climate of fear to the forefront that is prevailing in the Kashmir and highlights the air of uncertainty in the lives of Kashmiris by portraying their loss and separation.

Hamid, which is an adaptation of the play Phone No 786, delves into the problematic situation in Kashmir by closely following Rehmat’s sudden disappearance and the effect that it has on his family. Rehmat is the father of Hamid (Talha Arshad Reshi is so lovely in this character). The movie explores how Hamid and his mother Ishrat (Rasika Dugal) go about searching for Rehmat in their own ways (if at all there is small hope of him coming back into their lives).

Innocence, humour and reality-check come to the fore through Hamid’s quest for knowing whereabouts of his father. He gets to know the importance of the number ‘786’ in Islam. Somehow, his innocuous trials of calling Allah using ‘786’, in the hope of seeking His help in finding his father, lead him into calling Abhay (Vikas Kumar) who happens to be a part of armed forces stationed in Kashmir. Their interactions on phone were not only funny but also showed how children like Hamid are oblivious of the gravity of the situation in Kashmir.

Rasika Dugal’s magnificent performance, albeit for a brief period, brought out the feeling of despondency in the character of Ishrat. She goes to the police station in vain. She is not able to talk to her son with compassion and does not even know Hamid is waving her goodbye while sitting inside his school bus. She unravels the sweater that she so lovingly knitted for her husband before his disappearance. She couldn’t stop crying while taking part in a sit-in. Such was the trauma and agony attached to her character that I wished she had more screen presence.

The film also depicts the ground reality in Kashmir through the people, the armed forces and the child. It is not trying to uncover what’s right and what’s wrong. Instead, it tries to show what’s really happening in Kashmir and does not shy away from doing so. There’s a guy spraying on road writing ‘anti-Indian’ message. A young guy pelts stone at an armed officer before getting caught and peeing his pants out of fear. A throng of people is holding placards and chanting “azaadi” (freedom) while an officer gets into a fight with one of them. The people are frightened by merely the sight of an armed officer (Abhay goes near a woman to know if she is Ishrat and help her in any way but the woman fearfully keeps her head down). Abhay, in a scene, reveals that he did not know the presence of a child when he went about killing terrorists in an operation and feels tired of being stuck here. Even during the phone conversation, when Abhay reveals who he really is, the first utterance that comes out of Hamid, a young eight-year-old boy, is “dushman” (enemy).

The limited nature of happier times that were shown in the movie can make one wish that more of such joyous times prevails in this beautiful part of the world. The brief display of father-son relationship, when Rehmat takes Hamid on his bicycle to school with both singing a Kashmiri song, is so beautiful that you want them to be like this forever. And as the movie comes to a close, Hamid takes his mother out on a boat. Seeing their smiling faces, one can think that they have moved on. But the pain of loss will linger in their hearts forever.


Badla Movie Review: Bogged down by predictability

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Badla is not the sort of movie that would keep you on the edge of the seat that it intends to.

Arjun (Tony Luke) frantically washes off the blood from his hand and comes out of the washroom. He takes a close look at the framed photos on the wall. One of the photos displays the poster of arguably the greatest drama of all time – Sydney Lumet’s 12 Angry Men. When it comes to figuring out the best movies that form conjectures on how crime would have taken place, 12 Angry Men sits right on top of my list. I have no idea if this photo was deliberately included by Director Sujoy Ghosh. But you do get a flavour of that iconic film in Ghosh’s latest venture.

Thankfully I did not watch Contratiempo / The Invisible Guest (Badla is a remake of this film). Badla is a sort of a movie where you want to be knowing nothing about the story as it would be extremely difficult to get through this film if you have already seen the original. But even without knowing the significant twists and turns in the plot, I had already predicted the culprit in the very beginning.

“Justice is blind”, utters Badal Gupta (Amitabh Bachchan is terrific in this character as he has been for decades). He, further, says in one of the scenes, “jo saabit ho sake vahi sach hai” (Truth is what can be proved). He has been hired as the attorney for defending the case of murder. Naina Sethi (Taapsee Pannu renders a magnificent performance for this role which emulates that of Amitabh Bachchan), who claims to have been framed as the accused in this murder, recounts what ‘exactly’ transpired that led to the killing of the son of Rani (Amrita Singh) and Nirmal (Tanveer Ghani) and also that of Naina’s boyfriend Arjun. Badla, which means revenge, involves how Naina builds a story from her vantage point to prove her innocence and how she intends to make everyone believe that framing her as the accused was an act of revenge.

Badla does not portray an intricate story. Primarily it only focuses on two incidents. This became problematic as the narrative continuously harks back to the same set of events and even as little things get revealed every time those same set of events are revisited, they did not really contain any major surprise element. The engrossing interrogation that ensues early on when Badal Gupta, with a constant smile on his face, asks Naina to tell nothing but the truth, acts as a great premise. But it is bogged down by the predictability. But even though I had already prefixed my mind on who the real culprit is, the writing of the film is so well-crafted that accompanies different conjectures, as Badal Gupta surmises what might have happened on the basis of Naina’s account, it did make me wonder if I am right regarding my prediction.

I found the second half of the movie to be more impressive, especially towards the end, as Badal Gupta dives deeper into the “baarikiyaan” (details) of the story narrated by Naina. Amidst the seriousness during the conversation between Badal and Naina, there were little things that might go unnoticed, as they were not the point of focus, but were a great addition (Initially Badal keeps referring Naina, who is his client, by “you”. When he calls her by her name for the first time during the conversation, he justifies that his daughter is of the same age as Naina that made him call so. In another instance, while seriously discussing with her, he adroitly says that he won’t mind a cup of coffee). Badla is not a bad movie. But it is just not the sort of movie that would keep you on the edge of the seat that it intends to.

A Star Is Born Movie Review: One’s glory, another’s fall

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A combination of terrific performances from Bradley Cooper and Lady Gaga and a mixture of enchanting romance, the growth of a star (and the fall of a star), and the eventual tragic end makes A star is born a beautiful and inspiring film that shows both the highs and the lows when one attains stardom.

The film opens with a rock concert. Jack (Bradley Cooper) sings “And I’m all alone by the wayside” in front of a cheering crowd. We, then, see Ally (Lady Gaga) walking down the street singing “When all the world is a hopeless jumble and the raindrops tumble all around, heaven opens a magic lane”. The lonely Jack sees a hopeful Ally in a nightclub singing a French song. Jack wears a smile that shows his instant admiration for a captivating voice of Ally. He goes backstage and asks her out (Loved how Ally feels shy as he looks at her romantically). There begins the rise of a star with the help of an established artist. A star is born, Bradley Cooper’s directorial debut, illuminates not just the ascension of a singer but the fall of a star as well.

There is no freshness in the plot as, of course, the movie marks the third remake of William A. Wellman’s film (same title) that released in 1937. It can be divided into two parts: The first one is where Ally’s talent gets recognised by Jack, the charming romance between them grows, and Ally gets to sing on a big stage before eventually signing her own album with a record company. And the second one is where the relationship between them is falling apart, Ally’s singing career has touched sky-high and Jack ends up in a drug rehabilitation program. While the former depicts the glory, fame and love, the latter represents the grief and dilemma.

The love angle between Jack and Ally is the standout feature of this film. It’s going to be talked about for years to come. Jack is truly enamoured of her. He looks at her as if she is the most precious person he has ever met in his life. He drops her off at home and while she gets down from the car and heads towards the door, he calls her and says that he wanted to take another look at her. He is sitting beside her bed while she is enjoying her pleasing slumber and he just can’t take his eyes off of her.

In a known plot, as this film has, it is important not to stretch too much when it comes to delineating the process of becoming a star. So, amidst the romance, her stardom kicks off as well. In one scene, Jack emphasises the significance of “talent” over “looks” and, in another scene, she presents a song to him which she wrote herself but is not confident enough if that is good enough to show to the world. Impressed to a great extent and charmed by her beauty, he asks her to join him on stage and that is it. As Ally hoped, heaven has really opened a magic lane for her. It was so beautiful to see them singing “Shallow” together.

Probably I was mesmerised by this relationship so much so that I felt the film got draggy and jading once the problems in their life kick in. But I liked how the film exhibited the harsh realities in the life of a star. When Ally is giving her speech on stage after winning the Grammy Award, she is joined by a drunk and unstable Jack who pees in his pants. It is disheartening to see the embarrassment on Ally’s face. Bobby (Sam Elliott), Jack’s half brother, says, in another scene, that people are still listening to Jack’s songs while Jack has succumbed to drug and alcohol addiction. Nevertheless, a combination of terrific performances from Bradley Cooper and Lady Gaga and a mixture of enchanting romance, the growth of a star (and the fall of a star), and the eventual tragic end makes A star is born a beautiful and inspiring film that shows both the highs and the lows when one attains stardom.

Sonchiriya Movie Review: Intense and rooted

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Sonchiriya is an intense dacoit-based story that throws light on sexual abuse and caste-related violence backed by a superbly written screenplay

Indumati Tomar (Bhumi Pednekar) croons ‘Sonchiriya’ (sung by Rekha Bhardwaj in the composition of Vishal Bhardwaj) that has a haunting and calming effect. She is sitting with an ailing young girl as they are being rescued by dacoit Lakhna (Sushant Singh Rajput) on a boat. This moment comes immediately after the intermission as it leaves us in a state of serenity. This is also the moment when we get to know that Sonchiriya is, actually, the name of that young girl. This scene has a special place in my heart as it sprung like the sweet smell of soil that the air carries after the rainfall during peak summer. The film has such intense story that we yearn for the tranquillity, that this song produces, to remain with Indumati and the young girl as they have gone through a lot of sufferings due to the so-called caste and the sexual abuses.

Rooted in casteism and child sexual abuse, Abhishek Chaubey’s Sonchiriya portrays the life of dacoits, their internal conflicts, their continued battle against security forces and, most importantly, how they wind up saving the lives of Indumati and the young girl accompanied by her. The back-and-forth style of screenplay in Sonchiriya infused the film with ‘surprise’, ‘unknown’ and ‘guess’ elements. A small girl, for instance, flashes in the eyes of the dacoit Maan Singh (Manoj Bajpayee) early on in the film which frightens him. The relevance of that small girl comes much later and at the appropriate juncture in the story as Lakhna recounts a misadventure that led to the killings of young children. Even the complete picture of what really transpired during the conversation between Maan Singh and an informer, that takes place before they go about looting a big fat Indian wedding, is disclosed much later.

Manoj Bajpayee’s brief appearance for the Maan Singh character overshadowed the presence of every other actor whenever he came on to the screen. His terrific acting brought out the benevolent expression while giving away money to an informer. He looks dangerous when he calmly asks for the cash to a trembling guy in a wedding. It was only when his part was over that the other characters finally seemed to exist. Lakhna, played by Sushant Singh Rajput, bloomed soon after Manoj’s brief stint and was well supported by dacoit Vakil Singh played by Ranvir Shorey. Lakhna, as Indumati states in a scene, is an understanding and kind-hearted dacoit. Vakil is very particular about one’s caste (He shows his aggression when the young girl, accompanied by Indumati, is found to be of a different caste who are termed by them as ‘untouchables’). Vakil, also, has no regard for women and considers them inferior (He scolds a guy, in a scene, saying, “Tu mard ni, aurat hai” (You aren’t a man but a woman)). Bhumi Pednekar’s extraordinary act exemplified the sentiments attached to the character of Indumati (One could feel the harrowing experience she must have gone through as she pleads Lakhna not to reveal that she was, too, subjected to the sexual abuse during her childhood). Even Ashutosh Rana looked threatening as he plays the role of a security officer (When he is hiding on a terrace, he slowly gets up and keeps a stern face, gestures with a finger on his lips to a boy standing on the opposite terrace in a bid to tell him not to shout, and shoots at the dacoits).

I felt that the movie lost the grip in the second-half. But the intensity remained intact because of its brilliant writing and the marvellous way with which it brings out the core issues revolving caste and girl child rape incidents. Not to forget the fantastic background score that further intensified the impact of the movie.

With the security forces chasing away the dacoits and some members of security forces planning to take down their own leading officer, the movie rightfully ends on a note referring to the natural occurrence of life in which snakes eat rats and vultures eat snakes. Sonchiriya is an intense dacoit-based story that throws light on sexual abuse and caste-related violence backed by a superbly written screenplay.

The Favourite Movie Review: Side-splitting and insightful

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Yorgos Lanthimos’ The Favourite is a delightful black comedy movie that attains a semblance of normalcy towards the end that is both insightful and thought-provoking.

If Anne (Olivia Colman), the queen, gets what she wants (sex), she would, in return, offer the luxury. Sarah Churchill (Rachel Weisz) and Abigail Masham (Emma Stone) know this characteristic nature of Anne and bestow this with utmost profuseness. Sarah and Abigail take turns to woo Anne and try to become the ‘favourite’ of the queen (hence, the title).  In all its weirdness and the hilarity that it, thus, produces, Yorgos Lanthimos’ The Favourite is a delightful black comedy movie that attains a semblance of normalcy towards the end that is both insightful and thought-provoking.

The Favourite is one of the finest examples of how black comedy films should be written. There is every bit of seriousness in it and yet we find it strange and extremely funny. In one of the early scenes, Anne joyously tells Sarah that the war against France is over. Sarah, in response, tells with condescension that the war is not over and it must continue as Anne replies, “oh!”. This was the first strange and hilarious instance when I laughed out loud. Abigail, in a scene, explains that, while she was travelling in a carriage, a “man was pulling his (penis)” and the actual image flashes in her eyes as we burst into laughter. As she gets down from the carriage, unable to resist, that man grabs her butt and she falls in the mud (If I had seen a complete stranger behaving in such indecent manner, I would have felt an immense amount of indignation growing inside me). Then, in response to Abigail’s request for a job, Sarah rudely replies that she can be a “monster for the children to play with” and Abigail excitedly roars mimicking a lion. In another humorous instance, Abigail, while working as a maid, is asked by an inimical lady to “scrub the floor until Mrs. Meg (Jennifer White) can see her toothless, fat face in it”. Abigail narrates a sad turn of events to Sarah but explains in a way that throws us into uproarious laughter (Abigail says that when she was 15, her father lost her in a card game to which Sarah replies, “you are not serious”. Abigail continues saying that “the debt was to a balloon-shaped German man with a thin cock”). Sarah, in a scene, teaches how to shoot the birds to Abigail. And when Abigail misses her aim, Sarah mocks her by saying that she is really doing damage to the sky. When Samuel Masham (Joe Alwyn) enters the room of Abigail, she casually asks him if he has come to seduce her or rape her. It was both droll and whimsical when Harley (Nicholas Hoult) is sitting on a sofa and is annoyed by the presence of duck beside him as he asks, “Must the duck be here?”.

I was impressed by the performances of Rachel Weisz and Emma Stone in particular as they portrayed the characters of Sarah and Abigail with such perfection. Written by Deborah Davis and Tony McNamara, the narrative eschews strangeness and humour towards the end and shifts the focus towards who-becomes-the-favourite-of-queen. Abigail, with all her prudence, manages to give a fierce competition which causes consternation to Sarah. Anne, even, denudes Sarah of her privileges. The moment of realisation strikes when Abigail, who thinks to have succeeded Sarah as the favourite, has to kneel down and rub the legs of Anne. In spite of it being a historical period drama, the movie seems so relevant in the present world where the greed for ‘more’ has always resulted in a disastrous way as we fail to realise that ‘less is more’.

Alita: Battle Angel Movie Review: An unsatisfying but enjoyable film stuffed with surprises

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Alita: Battle Angel remains a film that promises for a delightful affair but falls short as it is in no way substantial enough to make us crave for a sequel

I’m with her”, says Hugo (Keean Johnson). He wears a stunned look on his face as his girlfriend Alita (Rosa Salazar) has single-handedly and marvellously challenged and fought a group of hunter-warriors. This is not the only instance when Alita’s strength and agility have been depicted. There is a gradual progression, you can say, of depiction involving Alita’s skills, her past (where she is seen indulged in a battle) and the regaining of her lost glory (Well, almost!). Directed by Robert Rodriguez, Alita: Battle Angel, for most parts, remains enjoyable but in a deliberate effort to make a sequel, the movie seems to have held back far too many interesting portions of the story.

Based on Gunnm, a manga series by Yukito Kishiro, the film is set in the 25th century (20th Century Fox graciously presented itself as 25th Century Fox in the beginning). The premise is not too exciting and gives a been-there-seen-that feel. Dr. Ido (Christoph Waltz) finds the remnant of an old cyborg in a scrap yard and rekindles the life in it by giving it a new body. The storytelling, then, moves on to delineate how this cyborg, Alita, slowly remembers what she used to be 300 years ago.

Backed by the screenplay rendered by James Cameron and Laeta Kalogridis, there is a conscientious effort of creating a nexus. Alita recalls being involved in a battle where suddenly a giant ring, encircling an enormous pipe, comes crashing down to take down a lot of those fighting over that pipe. We recall this scene when Hugo is climbing up this huge pipe with Alita following him trying to persuade him to come down and all of a sudden that giant ring comes crashing down. Hugo talks about a rugby-like sport called Motorball, in another scene, and says that “champion” gets to visit the sky city Zalem which is apparently controlling the city on the ground. We hark back to this when Alita suggests to Hugo that she will take part in the Motorball competition for him to be able to get to Zalem.

The movie is filled with style quotient. Hugo’s motorbike with a single wheel has a modish appeal to it. In another scene, Dr. Ido’s ex-wife Chiren (Jennifer Connelly) gets inside a car and as the car door opens, we see Vector (Mahershala Ali) sitting inside it. He turns towards the camera and the car door gets closed (It was depicted in such stylish manner). In another instance, Hugo takes Alita to a Motorball game in a stadium and she gets excited and thrilled by the super cool sport.

There is a sudden expression of mingled affability on Alita’s part when she first meets Hugo. But it does not blossom into an interesting or rather, I should say, satisfying romantic relationship as we do not yearn for them to be together. I hate to do a comparison but this triggered a reminiscence. I recalled the iconic romance between WALL-E and EVE from one of the greatest animated films of all time – WALL-E. I can’t remember a better courting scene between robots than this. Alita: Battle Angel does not involve robots per se. But the relationship between Alita as Cyborg and Hugo as a human just did not work out and it hardly moves us when Hugo dies after being attacked by a hunter-warrior. As a matter of fact, it is painful to see a dog getting killed when it comes in defence of Alita and starts barking at a hunter-warrior. Seeing a living being getting hurt or having a romantic relationship is relatable and does invoke feelings inside us. But, WALL-E is a classic example of a human-less yet emotional film. Alita: Battle Angel fails on this aspect.

Nova (Edward Norton), who is controlling the Zalem, can speak through Vector or a hunter-warrior by getting the access of their mind instantly. It seems interesting at first. In fact, he is the most important antagonist. But, all we get to see is his glimpses. A stolid-looking Nova is shown towards the end as he looks down upon the city on the ground from sky city Zalem. Also, as Alita gradually recalls her past, it gives us the chills momentarily. With the movie coming to a close, an unsatisfactory feeling sets in. More than a film, it seems like the first episode of a TV series. Even though the film’s writing has excelled in presenting a narrative with nicely crafted surprises, Alita: Battle Angel remains a film that promises for a delightful affair but falls short as it is in no way substantial enough to make us crave for a sequel.

Gully Boy Movie Review: An intense drama with a musical feast that gives a sense of belief

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Spearheaded by Ranveer Singh’s breathtaking act, Gully Boy presents a strong narrative that has elements for you to identify yourself.

MC Sher (Siddhant Chaturvedi) says to Murad (Ranveer Singh), “Sab comfortable hote to rap kaun banata” (If everyone lived comfortably, rap would not have taken its birth). This thought reflects in the entire film. I watched the movie with such intensity that I started reminiscing instances from my own life and felt an astounding belief building up inside me as to “Yes, you can follow your passion and be great”. That’s the power of this film. No matter what field you are in and what destination you are heading to, Zoya Akhtar’s Gully Boy has such incredulous effect on us that we start believing that there is light at the end of the tunnel. As this film claims, it surely is a perfect “Shout-out” to the “real gully boys DIVINE and Naezy”. It is an intense story of a rap artist who fights his way out of his father’s supposed notion of them being a “naukar” (servant) and triumphs against all odds by following what he earnestly wanted in his life.

The very first thing you notice is the music, contributed by several musicians, which is ingrained in this film with such significance. The music plays a crucial role to exemplify the feelings of high-spiritedness, agony and despondency. For me, the best portrayal of music-exemplified emotions is a scene where Murad, while working as a driver, drives a woman home, who is in tears, and the Doori poem plays out in the background – Kehne ko hum paas hain par kitni doori hai, ye bhi kaisi majboori hai…Main ye behte aansu ponchu utni meri aukaat nahi (We are so close to each other yet so far…My status is not high enough to wipe off your tears).

Gully, in hindi, refers to the alley. Here, Gully Boy refers to Murad who lives in the ‘gullies’ of a slum in Mumbai. Early in the movie, some tourists from London visit this slum and are, apparently, excited as they exclaim “wow!” and click pictures. The tourist guide takes them, incidentally, to Murad’s house to show them the kind of toilet that they have in these houses (Funnily, Murad’s grandmother charges 500 for this). One of the tourist guys is wearing a t-shirt with a printed image of a hip-hop artist. Murad praises his t-shirt and to the utter surprise of that guy, Murad starts singing an English rap song sung by that artist. This scene assured that the film is in no way going the familiar poor-guy-becoming-rich way. Gully Boy is not at all clichéd. In fact, this scene is the first of many instances that show Murad’s inclination towards the hip-hop genre. Influenced by MC Sher (What a rip-roaring rendition by Siddhant Chaturvedi for this role), Murad joins him and starts writing verses and presents them to MC Sher. There is no heroic display of him suddenly doing so well. He, even, loses in the most embarrassing manner imaginable in a rap battle (It is so moving to see Murad when his opponent uses Murad’s poverty as the baseline for his defence as Murad keeps his head down and is mortified by what he just heard). It is this unhurried nature of Gully Boy that is so impressive. We are happy for it to be taking its time. As MC Sher insists Murad to bring out the “jwala” (lava or fire) inside him and face the world with intrepidity, we get energised as the film slowly depicts the rise of Murad or the Gully Boy (his stage name).

I am sure the film is going to strike the right chord when it comes to representing the lives of billions of people who are unable to pursue a career that they want. Murad, under the circumstances of his life, winds up working as a car driver and the growing pain inside him comes out in the form of a rap verse “Apna time aayega” (My time will come). Succumbing to the pressure of his parents, he starts working in an organisation through the influence of his uncle. He, even, indulged himself in stealing cars with his friend Moeen (Vijay Varma). While commuting in a train, he looks at the gloomy faces of fellow passengers going back to home after a drudging day of work. In another scene, Murad’s uncle praises him for choosing the right career and the next moment Murad looks at the clock and leaves for a rap battle audition. Zoya Akhtar has meticulously orchestrated the turn of events that illuminates how Murad gets on the right path eventually after a series of struggles.

Murad boards a bus and so does Safeena (Alia Bhatt has done an amazing job. Oh! What a performer!). They stare at each other every now and then. As soon as the person sitting next to Murad stands up and deboards the bus, Safeena occupies that seat. Just when we are about to think if this is an age-old trick of a boy-meeting-girl in a bus, Safeena and Murad hold each other’s hands. They are already in love for 9 years. So, the focus of the film remains intact as the narrative wastes no time in illustrating Murad’s love-life. Even though Alia Bhatt’s presence is transient, it is so lovely to see the portions that involved them courting. When their relationship comes to a standstill for a period of time due to Murad’s brief stint with Sky (Kalki Koechlin), he says, in a scene, that life without Safeena is like having spent a life without a childhood. This brief spell of romance portion has been moulded in such a beautiful way that their separation makes you feel sad.

It is not just the external forces that come in the way of Murad. He has to confront difficulties at home too. His conservative father (Vijay Raaz is stupendous in this character) remains mad at him. He has also married another lady and has brought her home which leads Murad’s mother (Amruta Subhash) into an enormous amount of desolation. It broke my heart to see Murad’s mother crying madly as he hugs her. Even Safeena explains to her parents that she lies to them because they won’t allow her to put on lipstick, go out with boys and have fun. Safeena’s mother (Sheeba Chaddha) shows some photographs of men and tells to Safeena, in a scene, that she is at least getting to choose a man to get married unlike her. These are the sort of hindrances that, not only Murad and Safeena, but a lot of us have to deal with to be able to attain something.

I had to endure a lot of those mandatory commercials that were played before the start of the movie. But as the movie ended and I left the cinema hall, I completely forgot about those tiring advertisements. Thanks to this stunning film! Spearheaded by Ranveer Singh’s breathtaking act, Gully Boy presents a strong narrative that has elements for you to identify yourself.