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Zoya Akhtar's Gully Boy has a dense story with multiple threads. Murad's naughty father makes it a generational film of the 80s, his rap partner is a separate mentor-outsider, his shitty best friend makes a poetic slumdog-legacy movie, his rap fights suggest a drama inherent in clbad / caste, his mother, a film about social gender disparities, and his girlfriend, a love triangle of modern times. In a typical "artist" film, we see each segment of the isolated protagonist's journey – consistently, in a linear sequence – to define art as an escape from reality. One phase follows the next; the rise is "structured", a systematic manifestation of disparate conflicts. You often feel that the emotions of a character are exclusive at a given moment, as if there were none before or after.
Murad's experiments are simultaneous. his psychology is more a weighted average than a cumulated sum. His destiny is a division of reactions. When his father locks him up, Murad immediately turns to his girlfriend. When his mother suffers, the young rapper turns to the survival instinct of his friends. When he works as a driver, he composes lyrics to fill the silence. When nothing works, he begins to strike to challenge these silences. There is no order; you can see that he is thinking of one space while navigating another.
Safe Space
This is where Murad's love affair with Safeena acquires meaning. It's the only space in which thinking about everything else comes down to thinking of each other. Unlike other quasi-biographical images, they form one of the countless faceless unions of the city in the margin of visibility; you could imagine them using rocky walks to protect their identity just as much as the next couple dressed in burkha defying the moral police. We do not see them fall in love with each other or "begin" – a half-love template evoked in their first scene, where we are led to believe that they do not know each other before holding hands.
These are childhood lovers, already nine years together when the film begins. As a result, they are emotionally in the phase of "informal siblings" – a phase where all their meetings are invariably triggered by the need to share. Either he has something to say first, or she does it; they do not have to worry about wooing to let the film rest on romantic pbadion.
The sociocultural chains of their situation are rooted in the geography of their meetings. Their main point is a fragile bridge over a sewer connecting two distinct worlds – one side leads to the slums of Dharavi and the other to the city it occupies. The train in which they hang out with his friends is static in a railroad yard – he is supposed to move, but is dormant for the moment, waiting for the morning. The bus in which they meet is already moving between destinations, as is their relationship during the movie. Her troubled family dynamics, as well as her friendship with Moeen, are also ongoing stories well before the title's appearance. The two new equations, MC Sher (Siddhant Chaturvedi) and Sky (Kalki Koechlin), are geared towards music. Yet the first pushes him to confront his voice and his education, and the second to recognize the importance of Safeena's familiarity.
Marking Territory
However, this familiarity is mental and not entirely physical. Because of the surreptitious nature of their equation, they have the chance to discover themselves again. In public, they can not touch each other and spend the essence of their love to resist rather than yield to their instincts: an arrangement that keeps them nervous, like teenagers who do not express themselves still fully. Their kisses are therefore tender, organic, not desperate; the lips recognize and savor the other with a novelty not repeated. Kissing is not just a means of affection, but a mode of communication; she kisses him surprised to cheer him up the first time, show him his support second and forgive him wholeheartedly the third time. she reacts physically, succumbing to the kind of primal impulses otherwise reserved for badual union. It is territorial – not thinking twice before representing its possessiveness with its hands, legs and glbad bottles. Protecting her is, for her, as natural and unnatural as a little kiss on her lips. With his stealthy looks and his hidden messages, lying for love is also a special type of love.
In railway stations, bus stops, windows. That's what makes them move forward. But what is perhaps most remarkable in their "in-between" relationship in the context of traditional cinema is the recognition of habit and conditioning rather than irrational feelings and noble gestures. Murad walks away from Sky just as he realizes he knows no other female company besides Safeena, for better or for worse. Because sometimes, " you set hai ? (Are you sorted now?) "Means just as much as those other three words.
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