{"id":4208,"date":"2016-03-18T12:49:26","date_gmt":"2016-03-18T07:19:26","guid":{"rendered":"http:\/\/13.201.39.237\/?p=4208"},"modified":"2026-07-17T20:57:12","modified_gmt":"2026-07-17T15:27:12","slug":"apna-time-aayega-privileged-india-gully-boy","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=4208","title":{"rendered":"Apna Time Aayega: What Privileged India Needs to Learn from Gully Boy\u2019s Shabdon Ka Jwala"},"content":{"rendered":"\n

\u201cW<\/span>ords are, in my not-so-humble opinion, our most inexhaustible source of magic. Capable of both inflicting injury, and remedying it.\u201d\n\n<\/p>Who would have thought that the words of the great Albus Percival Wulfric Brian Dumbledore would be brought to life so evocatively by Vijay Maurya in <\/span>Gully Boy<\/span><\/i><\/a>, directed by Zoya Akhtar and starring <\/span>Ranveer Singh<\/span><\/a> and Alia Bhatt in what are, quite possibly, career-best performances so far. Singh altogether disappears within the character of Murad Sheikh, a final-year college student struggling to graduate and land a sales job just so he and his family can rise above the fate that a \u201cnaukar ka beta\u201d<\/span> will always be a naukar<\/span>. <\/span><\/i>So much so that in the first scene, it took me several seconds to recognise that the hesitant, worried young man who has been snookered into participating in a car heist was Singh, a man whose career has been characterised by excess and a spirit that is all about intemperate grabbing and holding of attention. Bhatt, although well-versed in playing the spunky, outspoken, career-minded young girl, kicks it up a notch as Safeena, a doctor-in-the-making who picks her battles carefully and lies artfully to balance the weight of her <\/span>conservative parents<\/span><\/a>\u2019 expectations. Akhtar directs the film with controlled intensity, oscillating between the unhurried, languorous style of filmmaking she is known and admired for, and the throbbing intensity demanded by a protagonist, who every so often, has had enough. <\/span>\n\nBut as much as <\/span>Gully Boy <\/span><\/i>is the product of the combined geniuses of Akhtar, Singh and Bhatt, it truly belongs to its dialogue writer Vijay Maurya (who also plays Murad\u2019s uncle, Ateeq). Because even as <\/span>Gully Boy <\/span><\/i>is the rags-to-riches story of a rapper who feeds the flames of success by using anger, dissatisfaction, and his <\/span>depressing<\/span><\/a> lot in life as fuel, it is also the story of \u201cus\u201d \u2014 the \u201cus\u201d who have appointed ourselves the gatekeepers of cool, who band together to drown out the harsh, unfamiliar sounds of the Murad Sheikhs of the world. It is the story of the \u201cus\u201d that decides who gets to speak, and how, and how much, and in what <\/span>language<\/span><\/a>; and anyone who dares break rank can simply resign themselves to a lifetime of being ignored. In <\/span>The Faraway Nearby<\/span><\/i>, a collection of essays by Rebecca Solnit, she writes, \u201cThe tragedy of the imprisoned, the unemployed, the disenfranchised, and the marginalised is to be silenced in this great ongoing conversation, this symphony that is another way to describe the world.\u201d<\/span>\n

It is the story of the \u201cus\u201d that decides who gets to speak, and how, and how much, and in what language.<\/blockquote>\nBut <\/span>Gully Boy<\/span><\/i>\u2019s characters \u2014 not just Murad, but all the angry, hopeful, listless, fighting, restless people that crowd his world \u2014 refuse to be silenced or ignored. They don\u2019t speak \u201cour\u201d language, but by God, they\u2019ll have their say. Maurya equips them with dialogues that rob the policing of speech by the <\/span>bully<\/span><\/a> that resides in all of us, of its power and sting, sharply using our lofty ideas of language against us. The embarrassment you\u2019re forced to feel, if you\u2019re willing to confront and engage with it, is acute, and humbling.<\/span>\n\nThe realisation that <\/span>you too<\/span><\/i> are the problem hiding within the comfort of anonymity provided by <\/span>us<\/span><\/i>, steals up on you at awkward moments. It cuts you open with the precision of a surgeon\u2019s scalpel, not as the blow of a butcher. In one scene, a white man attempts to explain what rap is to Murad, who he assumes knows nothing, in a faintly condescending manner, only to be quickly shut up when Murad mouths the lyrics with a bored expression. In another, Murad\u2019s boss asks him how <\/span>educated<\/span><\/a> he is, only to use his answer to warn his daughter how she cannot possibly want to suffer the ignominy of being at \u201chis level\u201d, while Murad drives on, wordlessly. The most brutal part of the interaction is that his boss wasn\u2019t even trying to be hurtful or mean. Murad isn\u2019t important enough to be given that much thought. Who among us isn\u2019t guilty of saying something thoughtlessly cruel in a language we presume can\u2019t be understood by \u201cthem\u201d?<\/span>\n\n\"gully_boy\"\n\nExcel Entertainment\n\n\u201cApna time ayega,\u201d Murad tells himself, every time he is forced to swallow his words and hurt. It\u2019s no surprise then that the next line in Murad\u2019s anthem goes something like, \u201cYehi shabdon ka jwala meri bediyan pighlayega.\u201d The movie does a fine job of integrating the vexing socio-cultural force of class <\/span>inequality<\/span><\/a> and discrimination that plague boys like Murad into the musical messages of the rappers they grow up to be. After all, rap and hip hop were musical genres that were shaped by black men who used music as a form of resistance and wrote lyrics that were scathing criticisms of <\/span>racism<\/span><\/a>, white supremacy, police brutality, mass incarcerations, and the war on drugs. <\/span>\n\nAs brilliantly made and written as it is, <\/span>Gully Boy<\/span><\/i> is not without some glaringly obvious flaws. The dialogues pierce, but the story misses some crucial beats. Murad Sheikh\u2019s life is exhausting and hard, but his musical journey is far too easy for someone who started with not even wanting to sing the songs he wrote. We never truly get to understand what drives Safeena to <\/span>violence<\/span><\/a> when anything threatens her relationship with Murad. Her dialogues and interactions drop hints that the screenplay never quite follows up on. Perhaps Akhtar wanted us to read between the lines or form our own conclusions, but the incomplete story arcs often feel jarring \u2014 as if they simply ran out of time and will \u2014 amid making slow, sweet love to <\/span>Dharavi<\/span><\/a> with a camera. <\/span>\n
The dialogues pierce, but the story misses some crucial beats.<\/blockquote>\nNot to mention how doggedly <\/span>Gully Boy <\/span><\/i>steers clear of messy topics like Islamophobia and communal violence that a character like Murad \u2014 <\/span>Muslim<\/span><\/a> and poor \u2014 has got to be affected by. When a movie that revolves around rap ignores some of the most pressing political concerns of the time it is set in, it loses some credibility, no matter how well it is otherwise made.<\/span>\n\nYou might not walk out of <\/span>Gully Boy <\/span><\/i>with an accurate understanding of just how much rap has been a genre characterised by dissent; but if you allow it, you\u2019ll walk out of it feeling smaller and wanting to do better. For me, that was more than enough. <\/span>\n","protected":false},"excerpt":{"rendered":"

Gully Boy\u2019s characters \u2014 not just Murad, but all the angry, hopeful, listless, fighting, restless people that crowd his world \u2014 refuse to be silenced or ignored. They don\u2019t speak \u201cour\u201d language, but by God, they\u2019ll have their say.<\/p>\n","protected":false},"author":306,"featured_media":4211,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[7599,7600,7580,727,1147,7581,347],"class_list":["post-4208","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-apna-time-aayega","tag-dharavi","tag-gully-boy","tag-hip-hop","tag-ranveer-singh","tag-rapping","tag-violence"],"yoast_head":"\nApna Time Aayega: What Privileged India Needs to Learn from Gully Boy\u2019s Shabdon Ka Jwala<\/title>\n<meta name=\"description\" content=\"Gully Boy\u2019s characters \u2014 not just Murad, but all the angry, hopeful, listless, fighting, restless people that crowd his world \u2014 refuse to be silenced or ignored. 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