{"id":4228,"date":"2016-05-23T01:49:49","date_gmt":"2016-05-22T20:19:49","guid":{"rendered":"http:\/\/13.201.39.237\/?p=4228"},"modified":"2016-05-23T01:49:49","modified_gmt":"2016-05-22T20:19:49","slug":"saeed-mirza-salim-langda-gully-boy-apna-time-aayega","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=4228","title":{"rendered":"Before Murad, Saeed Mirza\u2019s Salim Langda Was the OG Gully Boy Dreaming of \u201cApna Time Aayega\u201d"},"content":{"rendered":"\n\u00a0\n

I<\/span>n Saeed Akhtar Mirza\u2019s 1989 classic <\/p>Salim Langde Pe Mat Ro,<\/span><\/i> the protagonist Salim (Pavan Malhotra) \u2013 a cocky small-time ruffian \u2013 and his sidekicks Peera (Makrand Deshpande) and Abdul (Ashutosh Gowariker), are roughed up by a local cop. Humiliated, Abdul laments about their insignificance and lack of status but Salim remains unfazed. Peera and he allay Abdul\u2019s concerns by recounting stories of mob bosses who had started from the bottom like them, and slugged their way to the top. From the grimy ghettos to the glistening towers of <\/span>South Bombay<\/span><\/a>. \u201cTu dekhna,\u201d Salim assures Abdul, \u201cApna bhi time aayenga re.\u201d<\/span>\n\nAlmost 30 years later, that same sentiment is the punchline in Zoya Akhtar\u2019s hip hop underdog drama <\/span>Gully Boy<\/span><\/i><\/a>. As \u201cApna Time Aayega\u201d, it has transformed into an aspirational axiom; a pop culture catchphrase lapped up by meme makers and <\/span>political parties<\/span><\/a> alike. <\/span>Gully Boy\u2019s<\/span><\/i> hero Murad (Ranveer Singh), is a Dharavi boy aspiring to be a <\/span>rapper<\/span><\/a>. Akhtar draws inspiration from Mumbai\u2019s underground rap culture and its young trailblazers to weave a rooted story of ambition, angst, and expression.<\/span>\n\nLike Salim, Murad is also a lower-class <\/span>Muslim<\/span><\/a> lad seething away at class inequality and yearning to break free from his claustrophobic existence. He is protesting the \u201cdriver ka beta driver banega\u201d mould being shoved upon him with a college degree and earnestness that seems like they aren\u2019t enough to be counted. \u201cApna time aayega,\u201d Murad keeps mumbling to himself to both console and motivate himself, crafting verses almost out of habit. As despairing circumstances keep sucking him into the vortex of crime and ignominy, rap becomes more than a distraction for him \u2013 it becomes his identity and eventually his exit route. \u00a0<\/span>\n\nBut while Murad finds his calling in music, Salim has no creative or intellectual outlet. In the film, he\u2019s an unlettered man with no professional bent or social standing. Stung by religious prejudice and systemic <\/span>discrimination<\/span><\/a>, the mighty world of crime becomes an obvious choice offering creed, camaraderie, and control \u2013 or at least the illusion of it. <\/span>\n

At the same time, he is the product of circumstances that are both disadvantageous and dehumanising.<\/blockquote>\nMirza, whose well known for his uncompromising cinema, was compelled to make <\/span>Salim Langde Pe Mat Ro, <\/span><\/i>a searing narrative around the Indian Muslim identity after the 1984 Bhiwandi riots. The film unfolds in \u201980s Bombay which was a detrimental decade in the economic and <\/span>political<\/span><\/a> history of the megapolis. It was after all, a time when gangsters ruled, mills were shutting down, and Hindu fundamentalism was on the rise, and its full-blown fallout would be felt in the inglorious events of 1992. <\/span>\n\nA self-described \u201c<\/span>Leftist Sufi<\/span><\/a>\u201d, Mirza addresses sectarian politics, casual <\/span>bigotry<\/span><\/a>, ghettoisation, and the ensuing vicious cycle of poverty and crime in <\/span>Salim Langde Pe Mat Ro<\/span><\/i>. Born Salim Pasha, this anti-hero attests his identity to his street name \u2013 Salim \u201cLangda\u201d (the lame). \u201cMeri chaal mein thodi chamak hai,\u201d he says cheekily about his limp, but he is keenly aware of how inconsequential he is \u2013 \u201cEk lorry paltenga toh chaar Salim milenga,\u201d he remarks. <\/span>\n\nSalim\u2019s family resides in an impoverished Muslim-dominated neighbourhood. His <\/span>mother<\/span><\/a> makes some money sewing, his younger sister is of marriageable age and his father, an honest laid-off mill worker, denounces his son\u2019s nefarious ways. Along with his father\u2019s approval, Salim is also battling the looming presence of his late elder brother, Javed. An educated, hard-working man of principle, he is someone Salim feels he can never measure up to. Consumed by inadequacies, Salim spends his days on the streets. His gang symbolises the disillusioned, self-sabotaging youth who spend their days wandering aimlessly, committing petty crimes, and staying under the <\/span>police<\/span><\/a> radar. <\/span>\n\nA lout who steals and extorts for a living, Salim is not easy to empathise with. At the same time, he is the product of circumstances that are both disadvantageous and dehumanising. And the film blends its players\u2019 personal and political identities so beautifully that makes it a richer and more complex telling than <\/span>Gully Boy<\/span><\/i>. <\/span>\n
The film unfolds in \u201980s Bombay which was a detrimental decade in the economic and political history of the megapolis.<\/blockquote>\nMirza neither glorifies Salim nor does he believe in exposition. He simply presents him with an alternative and watches him respond. When Salim meets his sister\u2019s suitor Aslam (Rajendra Gupta), he finds a voice of reason that motivates him to look beyond his victimhood and persevere. A progressive, underpaid scribe, Aslam is engaged in a dual battle \u2013 against dogmatic practices within the faith and fighting for the <\/span>community<\/span><\/a>\u2019s self-affirmation. <\/span>\n\nAslam\u2019s rationale \u201cPadho, likho, kuch ban\u2019ne ki koshish karo, kam se kam koshish toh karo\u201d instils a sense of inclusion in Salim and inspire him to lead an honourable life. Together they depict the Muslim community\u2019s constant state of chasm \u2013 <\/span>alienation<\/span><\/a> from the mainstream versus the assertion of its identity as an equal in a growingly majoritarian India. <\/span>\n\nOver the course of the film, Salim eventually moves from living under Javed\u2019s shadow to being a responsible provider for his <\/span>family<\/span><\/a>. From being cynical to asserting \u201cHindustani hai main, mereko izzat se jeene ka hai,\u201d Salim\u2019s transformation from an outlier to a stakeholder is complete. But if anything, the film\u2019s ominous title makes it clear this tale has no happy ending. Just when he puts his life in order, Salim is killed on the streets by an old rival. People like him can\u2019t really hope for do-overs.<\/span>\n\nSalim\u2019s death came right before the Indian economy opened its gates to liberalisation \u2013 and to a world of diverse choices, opportunities, and perspectives that reflects their presence in our contemporary art, <\/span>culture<\/span><\/a>, and society. It\u2019s exactly what helped create a world where Murad \u2013 despite his damned fate \u2013 excels in an art form that\u2019s essentially foreign and can demand access to equal opportunities. It\u2019s why his graffiti in <\/span>Gully Boy<\/span><\/i> reads \u201cRoti, Kapda, Makaan + Internet.\u201d <\/span>\n\n\u201cAb hausle se jeene de \/ Ab khauf nahi hai seene mein \/ Har raaste ko cheerenge \/ Hum kaamyabi cheenenge,\u201d are certainly Murad\u2019s word. But they could well have been Salim\u2019s soliloquy.<\/span>\n","protected":false},"excerpt":{"rendered":"

Thirty years before Zoya Akhtar\u2019s Gully Boy, another Muslim protagonist like Murad seethed away at class inequality. Personal and political identities blend beautifully in Saeed Mirza\u2019s Salim Langde Pe Mat Ro, making it a richer, more complex telling than Gully Boy.<\/p>\n","protected":false},"author":291,"featured_media":4229,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[7580,1382,1147,7621,7622,7623,5503],"class_list":["post-4228","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-gully-boy","tag-muslim","tag-ranveer-singh","tag-rapper","tag-saeed-mirza","tag-salim-langde-pe-mat-ro","tag-zoya-akhtar"],"yoast_head":"\nBefore Murad, Saeed Mirza\u2019s Salim Langda Was the OG Gully Boy Dreaming of \u201cApna Time Aayega\u201d<\/title>\n<meta name=\"description\" content=\"Thirty years before Zoya Akhtar\u2019s Gully Boy, another Muslim protagonist like Murad seethed away at class inequality. 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