#mukkabaaz

[celebmania01]

From Struggle to Success: Vineet Singh's Inspiring Journey as an Outsider in Bollywood

In the glitzy world of Bollywood, where star kids and industry connections often pave the way for success, there are a few exceptional individuals who rise above the challenges and carve a niche for themselves. Vineet Singh, the talented actor, is one such personality who has defied the odds and achieved success despite being an outsider in the film industry. In this article, we will delve into Vineet Singh's inspiring journey, highlighting his struggles and triumphs along the way.

Vineet Singh's journey in Bollywood is a testament to his resilience and determination. With no family background or industry connections, he had to face numerous hurdles in his pursuit of acting. His initial struggles, including auditions, rejections, and financial constraints, could have easily deterred him. However, Vineet's passion for acting and unwavering belief in his abilities kept him going.

It is important to consider diverse perspectives when discussing Vineet Singh's journey in Bollywood. While some may argue that being an outsider can create more obstacles, others believe that it brings fresh talent and unique perspectives to the industry. It is through these diverse perspectives that we can appreciate the significance of Vineet Singh's accomplishments.

Statistics can shed light on Vineet Singh's impact in the film industry and highlight the magnitude of his success as an outsider. Box office numbers, critical acclaim, and awards can serve as indicators of his talent and the impact of his work. These statistics showcase the recognition Vineet has received from audiences and critics alike.

Throughout his journey, Vineet Singh has not only proven his acting abilities but has also challenged societal norms and stereotypes. His portrayal of complex characters in critically acclaimed films like "Mukkabaaz" and "Udta Punjab" has garnered praise for his versatility and the depth he brings to his roles. Vineet's performances have not only resonated with audiences but have also opened doors for more diverse narratives in the industry.

In conclusion, Vineet Singh's inspiring journey from an outsider to a successful actor in Bollywood is a testament to his talent, determination, and resilience. His ability to overcome obstacles and carve a niche for himself is commendable. Vineet's achievements not only inspire aspiring actors but also serve as a reminder that hard work and passion can break barriers in any industry.

#vineet singh #singer #indian idol #indian idol show #winner

[harpianews]

Vineet Kumar Singh says box office is valued more than one's talent: 'Aajkal kaam ke baare mein kam baat hoti hai'

Vineet Kumar Singh says box office is valued more than one’s talent: ‘Aajkal kaam ke baare mein kam baat hoti hai’

Actor Vineet Kumar Singh made a mark in films when he appeared in 2017’s Mukkabaaz, but despite critical acclaim, Vineet’s success did not translate into several film offers. In a recent chat, Vineet said that he was hopeful that his luck would turn Anurag Kashyap directorial But that didn’t happen as the industry is driven more by box office numbers than by good performances. In an interview on…

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[newsaza]

More than acting and filmmaking, box office collection is essential for a theatrical release: Vineet- Cinema express

More than acting and filmmaking, box office collection is essential for a theatrical release: Vineet- Cinema express

Vineet Kumar Singh, who returns to the OTT space with Rangbaaz 3: Darr Ki Rajneeti, believes that something more than good acting and filmmaking is needed for theatrical releases. “What is more important is how much your film has made at the box office,” he says. “I realized this after Mukkabaaz (2017). Moreover, to work with the makers I want, I need to expand my horizons.” The first two seasons…

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[znewstech]

Vineet Kumar Singh isolates himself to get into character's skin - Times of India

Vineet Kumar Singh isolates himself to get into character’s skin – Times of India

‘Mukkabaaz’ actor Vineet Kumar Singh, who will next be seen in the action-crime drama ‘Rangbaaz 3’, revealed that in order to get into character, he has begun isolating himself. Moreover, he has stopped shooting for sometime to make sure he was completely in sync with his character as he will be potraying his journey of three decades on the show. In the series, viewers will see him playing the…

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[toyezu]

#Mukkabaaz #The Brawler #movie illustration #fanart #映画感想 #ザ・ブローラー #indian movies

[enewsexpress]

From Bajirao Mastani to Hasee Toh Phasee – 9 movies the actor had rejected

From Bajirao Mastani to Hasee Toh Phasee – 9 movies the actor had rejected

There isn’t any doubt that Sushant Singh Rajput had a formidable graph in his performing profession spanning simply over 7 years. His profitable transition from TV to characteristic movies (after Shah Rukh Khan) has paved a method for actors who’re aspiring to work on cross platforms. From being a heartthrob to an out-an-out entertainer, Sushant Singh Rajput made his mark together with his…

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#Bajirao Mastani #Chanda Mama Door Ke #Fitoor #Half Girlfriend #Hasee Toh Phasee #Mukkabaaz #Padmaavat #Ram Leela #Raw romeo akbar walter #Sushant Singh Rajput #Sushant Singh Rajput birth anniversary #sushant singh rajput birthday #Sushant Singh Rajput rejected films

[all-brown-everything]

My favourite Indian films of 2018

Sorry for the wait this year. 2018 in the movies mirrored my own life a lot; the films on the list are films to love, make you feel something human, and they force you to take their characters and hold them close to your chest as if they were your own. While the most interesting mainstream movies from South Asia over previous years on this blog have excelled when they chose to experiment with the language of cinema itself, the 10 I’ve written about here have, similar to great literature, embraced pain, longing, love and everything else that comes with being alive.

10. Theevandi

I’ve seen this film being described as an “anti-smoking movie.” I couldn’t disagree more. It’s a story about the nature of habit (rather than the disease of ‘addiction’), of locating the source of your personality, your soul, and trying to change it against the will of nature. During my time in India this year, nothing brought more joy than an ice burst and cutting tea at the side of the road, perching on the side of the pavement and watching life carry on around you. And while this is a film with a main character who wants to quit smoking, it isn’t about cancer. It isn’t about that horrible sooty smell at the end of your fingers, or yellowing teeth or a decreased sperm count. It’s about how something as innocuous as a tube of rolled up tobacco hanging out of your mouth can act as a fragile crutch for the entire weight of the world.

9. Laila Majnu

Like many of my favourites this year (and every year), this re-telling of one of South Asia’s most important romances wants to know what love is. Here, we see love not as a generous, giving emotion, but as pure greed. With one of Bollywood’s most gorgeous soundtracks, that bleeds furiously out of every frame, and a constant sparkling gleam of glamour over these gorgeous young actors and the Kashmiri hills they prance around in, I enjoyed this enough just based on the commercial tropes it toys with for fun. But its real beauty lies in its brave and painful final declaration; that the most divine love may connect you to God and remove your soul from your body, but it will destroy you and your connections to the Earth, as the cruelest form of asceticism.

8. Cake

I’m including a Pakistani movie (again) because our film industries were birthed under one national identity, and I don’t see the studios of Karachi as any more culturally distant from Mumbai’s Film City than Kodambakkam. Moving to Cake, this stunning portrait of a dysfunctional family surprised me against all my instincts that it was a Western-facing production clearly aimed at piercing its way into festivals and a patronising ‘World Cinema’ bracket. It is in fact, a study of shifting societal politics in an increasingly extreme and polarised World, of figuring out where your values stand in the midst of religion, feudalism and globalisation, and accepting that when these heavy, abstract concepts weigh down on your shoulders, it is the human beings around you who will feel the strain first.

7. Golak, Bugni, Bank Te Batua

I really love Punjabi cinema. Seeing it come into its own and reclaim its cultural narratives and aesthetics from bastardizing Bollywood (where now even a film set in rural Gujarat will feature a Punjabi language song) has brought a lot of joy. Now here comes a  happy little film not set on preaching the glory of Sikkhi or telling an epic tale of brave warriors or earnest farmers, but on bringing us into the lives of a middle class Hindu Punjabi family in a small mohalla of a tier 2 city. And these aren’t the Hindu “Punjabis” of a Bollywood movie set in Chandni Chowk, who might throw in a “tussi” or “tuadi” here and there at the most. These are real people with a real culture, as intertwined with Punjab and their Sikh neighbours as they are separate. The film doesn’t patronise them by drawing humour from their novel identity; the situational character-based slapstick and witty back-and-forth theatrical dialogues exist in a warm parallel with the “World” of the movie. And then the lives of these people change in one instant as demonetisation hits, and we are hilariously reminded that whether you’re Hindu or Sikh, Northern or Southern, you are (unfortunately) still in India.

6. C/o Kancharapalem

I won't say this film stood out as a "Telugu movie", as such slight, subtle films are an anomaly no matter what language they're made in or how brash those other films produced in the same mother tongue may be. These small and quiet tales, with their shy characters who live at the fringes of society, whether that mean they are Muslim prostitutes or simple middle class teachers carving out a living in a small village, are special because they manage to transmit such humanity without stirring from the dark alleyways or shaded courtyards where they take place. Not every film needs to stand tall like an intimdsting Tolstoy tome; some can be as unassuming as an RK Narayan novella and still make us feel like they're an epic.

5. Pyaar Prema Kaadhal

Let's be honest. Casting two leads from a reality show, putting heart shaped balloons in your posters and deciding on the title "Love, Love, Love" pretty much screams "trash" doesn't it? But here was a humbling reminder that Indian popular culture can surprise you in the most pleasant of ways. These two good-looking young wannabe-stars and their social media followings represent so much about the "new India", a steadfastly singular culture (or cultures) whizzing through the fiery hoops of globalisation at breakneck speed, coming to terms with a mixed up value system, raging sexual frustration and an ever widening class gap, all of which have left a generation feeling more connected yet more alienated than ever before. This is 'Pyaar, Prema, Kaadhal', a flawed and horny love story, sweating with tension and all the repulsive angst of human emotion, yet with the glamorous musical heart of Indian cinema still beating loudly underneath.

4. Manmarziyaan

There was as much to love about 'Manmarziyaan' as there was to hate. The age-old filmi love triangle rears its head again, only this time with characters who are more manipulative and frustrating than any you've seen in a "mainstream" movie before. But while the film never forces you to judge (at times leaving you confused about whether you're actually supposed to like any of these people) it demands that you engage. It's encouraged some of the finest writing on cinema I've seen in recent years, and such an unashamedly "Bollywood" film inspiring this thrilling thought and analysis from our finest critics (whether their judgement is kind or not) warrants its inclusion on this list alone. Then there's the way its incredible soundtrack weaves in and out of scenes like the characters own breaths, the way life changing moments are obscured from the script by deafening silences and acutely observed minutiae, and of course THAT lead performance. I'm not sure if I "liked" it or not, but I sure as hell can't wait to watch it again.

3. Pari

The better the film, the harder it is to write about. 'Pari' is rich with metaphor. While being a ghost story (and a damn good one) merely on the surface, it has plenty to say about the way our society treats women, poses the question of if we can truly be born evil, and even critiques our savage treatment of "the other" in a global society where more of us are on the run than settled in our homes. But I think its biggest strength is that while it challenges you to reach into the very centre of your being and take a look at yourself and the World around you, its craft and screenwriting is so good that not at any moment does it give you a second to realise that's what you're doing.

2. Rangasthalam

'Rangasthalam' is so great. Like really really great. Once an innocuous muscle man, Ram Charan has channelled his inner Dhanush and located his physicality, writhing and slanging his way into the mind and body of the quintessential South Indian rural hero, hoisting his lungi and flicking his beedi into one of the most visceral and truly cinematic masala movies in living memory. The thumping pace and kinetic choreography (both of the rousing song sequences and the busy, lived-in frames of the rest of the movie) evoke a dusty, violent world with the same panache of Ameer in 'Paruthiveeran' or Sasikumar in 'Subramaniyapuram', while the moustache twirling dialogues and meticulous emotional beats offer as much pure fun as a "Dabangg" or a "Khakee" or any classic Hindi masala movie. I've read pieces linking the cinema of 'Rangasthalam' to film noir traditions, but to me it simply proved that the masala genre still has as much excitement to offer as any other.

1. Mukkabaaz

I'll remember 2018 as the year that Anurag Kashyap, previously India's frontrunner in the realm of "interesting" (but more often headscatching) cinema, stopped thinking with his very big brain and instead used his even bigger heart. His most straightforward film is undoubtedly his best, Hollywood-esque in its writing but firmly Indian in its sentiment. The scale is small - empty boxing arenas, bleak winding village paths and a cast plucked from the TV screen - but its emotions are pure opera. This is a timeless film, and though it laughs at the ridiculousness of modern India, poking a nasty smug finger at caste oppression, petty politics and the bureaucratic nightmare of simply trying to stay alive, it defies analysis. Much like the song at the centre of the story, the violently stunning 'Paintra', it only asks that you feel. And what more could we want from cinema?

I've had so much fun at the movies this year. From dancing to Dilbar in the cheap seats of G7 in Bandra to reciting Dhanush's Maari 2 dialogues at the bus stop outside Ilford Cineworld, Indian movies have continued to punctuate my life and bring me more joy than they have any right to. I can't wait to do this all again this year. What were the films that stirred you over the last 12 months? Let me know. Xx

#tovinothomas #malayalam #mollywood #indian movies #telugu #tollywood #laila majnu #bollywood review #bollywood #anushka sharma #taapsee pannu #tovino thomas #manmarziyaan #anurag kashyap #indian cinema #ram charan #rangasthalam #pari #mukkabaaz #pyaar prema kadhaal #raiza wilson #tamil #kollywood #punjabi cinema #punjabi movies #punjabi #pakistani cinema #abhishek bachchan #simi chahal #hindi cinema

[dantruongoud]

Pure 100% natural from Vietnam

Smell sweets, oud cheap

#agarwood #bahrain #bakhoor #dubai #emirates #jeddah #kuwait #malaysia #manila #mukkabaaz #viet nam #oud #oudoil #smellsgreat #indonesia #brunei #quatar #uae #saudiarabia #oman #incense #alain #doha

[enfarktuss]

Mukkabaaz (dir. Anurag Kashyap)

#vineet kumar singh #zoya hussain #mukkabaaz #anurag kashyap #bollywood

[filmmakersvision]

Top 10 Hindi Films of 2018

January 13, 2019

by Inakshi Chandra-Mohanty

1. October

October is like poetry unfolding on screen. An amalgamation of visual pleasure, a heart-warming score, and some of the strongest, most emotional performances of the year, this film is the definition of beauty. With an extremely simple plot, October thrives on the humorous antics of the eccentric Dan (Varun Dhawan) as he develops an unspoken bond with Shiuli (Banita Sandhu). As the trailer stated, it’s not a love story, but instead a story of love. There is the love between mother and daughter, which is tested time and again as the mother (Gitanjali Rao) is pushed by her brother-in-law to take Shiuli off the ventilator. And on the other hand, there are the selfless emotions that Dan has for Shiuli. His feelings for her are never explained, while what she feels for him can never be known. There is so much more to explore in the film, so many more nuances to touch on, which is why it is the best film of the year.

2. Tumbbad

“So jaa varna hastar aa jayega.” When children cry at night, mothers say phrases like this interchanging the villain (for example, Gabbar Singh), to make the children go to sleep. It has become such a popular phrase in the media, that the Tumbbad writers used it as the catchphrase of their film. This mythological horror fantasy film told in three phases, deserves to be recognized for being one of the most imaginative, surreal films made in Hindi cinema. A combination of frightening visual effects, a heart-racing background score, mindblowing cinematography, and creative storytelling, this film is about a man who encounters a mythological demon while searching for an ancient, hidden treasure in his ancestral ‘haveli’ (mansion) situated in the village of Tumbbad. Behind this unique storyline, is a very basic concept of greed in human nature. However, the film manages to present it in a fresh way. The best aspect of this film is the fact that it is a pure entertainer, which is commercially viable. The regular Indian film-going audience would love this film, if they were taken to see it. Unfortunately there is no known name associated with the film, therefore most of this audience has not even heard of the film, let alone gone to see it.

3. Mukkabaaz

Though many people characterize Mukkabaaz as a film about boxing and the hardships sports players in India face, I believe that it is at its core a love story. The heroine, Sunaina Mishra (Zoya Hussain), is the driving force behind the hero, Shravan Kumar Singh’s (Vineet Kumar Singh), passion for boxing. The first time he sees her he rebels against his good-for-nothing, but powerful coach, Bhagwan Das Mishra (Jimmy Shergill), who also happens to be Sunaina’s uncle, in an attempt to impress her. Throughout the film, his motivations, his passion, and his support all derive from his love for her. And even his decision at the end of the film is for the safety and happiness of Sunaina. His passion for boxing is secondary to his love for his wife, which is proven again and again by his actions. Mukkabaaz is Anurag Kashyap’s first attempt at creating a love story and is much better than his latest film, Manmarziyan, which after a certain point, becomes frustrating. Not only is Mukkabaaz a fresh and unique love story, but it also contains elements of Anurag Kashyap’s trademark style, so no true Anurag Kashyap fan will leave the film feeling disappointed.

4. Andhadhun

For many critics and audience members, Andhadhun is being lauded as the film of the year. It is no doubt a great film. The writing is intelligent for the most part, the direction is crisp, and the performances are phenomenal. But in my opinion it is fourth on this list primarily because I viewed it less in comparison to the other films of this year, and more in the context of Sriram Raghavan’s body of work. If compared to his other films, Andhadhun is closest in style and storytelling format to Johnny Gaddaar. Both are told as flashbacks. Both begin with a small mistake spiraling out of control. Both are an ode to 60s and 70s Bollywood crime capers. Both have elements characteristic of a neo-noir. And both are extremely intelligent edge-of-the-seat thrillers, with twists and turns at every moment keeping the suspense high. However, Johnny Gaddaar has a far tighter script than Andhadhun, especially in the second half where Andhadhun becomes slower and slightly less interesting due to the introduction of less entertaining characters. Therefore, Andhadhun is still one of the best films of the year, but my love for Johnny Gaddaar prevents me from rating it higher on this list.

5. Raazi 

Bias is the biggest weakness of any film based off of real events. The director’s most difficult obstacle is to not let his/her own views reflect on the objectiveness of the story, while still keeping the emotions intact. With Raazi, Meghna Gulzar has so brilliantly manipulated the audience into empathizing with every character in the film, regardless of nationality, therefore feeling patriotism regardless of country. After watching this film, you won’t hate Pakistan, nor will you hate India. You will just hate war altogether. Everyone will leave the theater feeling patriotic with no specific country in mind. Raazi follows the character Sehmat (Alia Bhatt), the daughter of an Indian spy, who gets married to a Pakistani military officer, Iqbal Syed (Vicky Kaushal), in order to gather information on the Pakistani military plans during the Indo-Pakistani War of 1971. Sehmat is such a well-written character with multiple dimensions. On one side, she is bound by her patriotism towards India, and the promises she has made to her father. And on the other hand, her growing love and affection for her husband and his family comes in the way of her mission. Ultimately, she is torn between these two and can no longer distinguish between right and wrong. There are very few films, which explore so many emotions and so many different sides to an issue with minimum bias, and Raazi is one of them.

6. Mulk

In the current times, when the Hindu-Muslim animosity is still fatal, and when anti-Muslim hatred is spreading widely throughout the world, a film like Mulk is essential. The film explores the backlash and ostracization Muslims face from Hindus and even from their own community, when the word terrorism is applied to a member of their family. After his nephew, Shahid Mohammed (Prateik Babbar), turns to terrorism, it is up to a respected advocate Murad Ali Mohammed (Rishi Kapoor) and his daughter in law Aarti Mohammed (Taapsee Pannu) to reclaim their family’s honor and fight for their prestige, as the whole family is prosecuted in court on charges of terrorism. The issues discussed in Mulk are tackled with sensitivity and minimum bias by writer-director Anubhav Sinha, and are made to resonate with the audience through the poignancy of the film. The film is not a landmark film, but it is an important one and hopefully it will allow people to gain a broader understanding of the type of anti-Muslim hatred that plagues the country.

7. Laila Majnu

It is very difficult to recreate a timeless, epic love story in a period where in film, practicality and realistic situations have begun to take over the classic notion of love. Making people believe in the intensity of emotions and craziness of love is a complicated task. The plot of Laila Majnu is a basic love story, boy meets girl, they fall in love, and their family enmity causes obstacles in the path towards their union. The first half is full of clichés yet remains fresh because of the new faces, the beautiful music, and the strong chemistry between the leads. However, it is the daring second half, when we see the love being torn apart, where Majnu’s separation from Laila causes him to succumb to depression, that makes this film worthy of being on this list.

8. Stree

After Bhool Bhulaiyaa, here is another brilliant horror comedy that has truly left the audience frightened by some scenes but has also managed to make them laugh extremely hard in others. A town is terrorized by a woman, called Stree (Flora Saini), who abducts men, leaving their clothes behind, and Vicky (Rajkumar Rao) attempts to solve this mystery and rid the town of ‘Stree’ forever. The three male leads, Rajkumar Rao, Aparshakti Khurrana, and Abhishek Banerjee, as well as Pankaj Tripathi have impeccable comic timing, which is supported by the hilarious dialogues. And yet the film still lives up to its role as a horror comedy since it is filled with scary moments and jump scares, the essence of which are not affected by the comedy. Stree is an overall entertainer, and its box office success is proof of that.

9. Pari

Pari was harshly criticized by film critics and the audience because it promised a horror film, yet it was not scary. However, its approach at creating a unique universe and widening the imagination of the audience is commendable. Pari is the story of a man, Arnab (Parambrata Chatterjee), who takes in an apparent victim of abuse, Rukhsana (Anushka Sharma), after her mother is killed in an accident caused by his car. However, everything is not as simple as it seems and soon Arnab realizes he has been dragged into a very dark world filled with conspiracies and supernatural forces. The line between good and evil has been blurred, and he no longer knows whom to trust. Though not scary in the moment, it leaves people with nightmarish thoughts and goosebumps afterwards, as the concepts and characters, which are thoroughly developed, are quite frightening. It would have been on the same level of Tumbbad if not for the weak script that completely derailed in the second half. However, despite that, the film works, partly because of the daring to try something new, and the brilliant performances, especially by Anushka Sharma, which will continue to haunt you for days.

10. Blackmail

At the time of its release, this film went almost completely unnoticed, due to bad PR and few noticeable actors. When I went to see the film, there were only two people apart from me in the theater. However, this black comedy is such a hilariously entertaining film. A man, Dev Kaushal (Irfan Khan) returns home one day to find his wife, Reena (Kirti Kulhari), cheating on him, and instead of confronting her like any normal person would, his sadistic mind convinces him to anonymously blackmail her and her lover, Ranjit Arora (Arunoday Singh). What begins as a simple plan, turns into a convoluted game as Ranjit’s wife, Dolly Verma (Divya Dutta), an employee at Dev’s office, Dolly’s father, and a private detective get involved. Though I do believe that a lot more could have been done with the story to make more comedic situations using the unique characters, the film was still thoroughly engaging due to the witty dialogues and brilliant characterization, emphasized further by the amazing performances.

#bestof2018 #hindi films #bollywood #october #Shoojit Sircar #juhi chaturvedi #tumbbad #rahi anil barve #sohum shah #mukkabaaz #zoya hussain #Anurag Kashyap #andhadhun #tabu #sriram raghavan #raazi #vicky kaushal #meghna gulzar #Alia Bhatt #mulk #anubhav sinha #rishi kapoor #laila majnu #avinash tiwary #imtiaz ali #stree #pari #blackmail #Rajkummar Rao #anushka sharma

[dial-m-for-movies]

Mukkabaaz and Gully Boy – A Combined Review

Disclaimer: This article is for the people who have already seen both the films. It’s an analysis of the stories and not a review per se. 

Before getting into the intricate details of both the films and why I chose to write a combined review, I would want to dig into their timelines and how their timely release resonated with me in my life. Mukkabaaz was released in January 2018, while Gully Boy had hit the silver screen a year later, i.e., February 2019. In January 2018, I had just started my journey as a full-time writer with some talent and no knowledge and network, while in February 2019, I had landed up my next job – a position that would play a huge role in changing my fortunes (Apna Time Aaega, you hear?). Needless to say, in 2018, I felt that all the forces of nature stood against me in my journey as a writer, and in 2019, I started feeling that I am getting into the grooves. Therefore, I could relate to both the films at the time of their release, and they became special to me. 

However, my personal journey with both the films is not the reason I am writing a combined review, but what inspires me to write this review is that both the stories offer an oppositional reading to each other while also being a mirror image of each other in all the aspects – to start with, both the films cater the stories of lower-middle-class people with the faintest chance of achieving anything in life. While Gully Boy offers a ray of hope to the dreams of the underdog artists, Mukkabaaz butchers those dreams with a formidable knife of ground-level politics (literally and figuratively), the caste system of India, the bureaucracy in the Indian government jobs, and of course, a tangential narrative of vengeance that does not surpass the portrayal of the other aspects forementioned.

In Gully Boy, we see an underdog rapper Murad, who eventually rises to fame through sincere and honest hard work. 

On the other hand, Mukkabaaz shows us a promising champion Shravan Singh, who has to lose all his battles and is beaten to submission under the juggernaut of a flamboyant ex-boxer (sorry, a Brahmin ex-boxer), who walks that extra mile to destroy the career of who seems like an eventual star in the boxing ring, or in other words, Uttar Pradesh ka Mike Tyson as the protagonist will proclaim with sheer conviction and passion (read fashion).

Both the protagonists have a very similar background in terms of their strata in the society, but what separates them is their journey to a perennial failure or eternal fame, and what unites them is the raw talent that both of them are blessed with and have nurtured over the years.

Akin to Shravan Kumar of Mukkabaaz, Murad of Gully Boy has a romantic interest, albeit without a narrative-shifting conflict. It is also a coincidence that Murad’s girlfriend is outspoken to the level of rudeness, while the female protagonist of Mukkabaaz cannot speak, although both of them share a similar interest of being a free soul that intermittently experiences bouts of rather entertaining anger.

Shravan and Murad have very distinctive jobs that are equally boring and most importantly, hopeless. However, in Gully Boy, you see Murad experiencing a moment of Eureka that makes him abandon his job and go on to chase his goal of becoming a rap sensation, and this makes the film a warm fantasy of hope for the (contrived) realization of dreams. On the other hand, Shravan continuously struggles against the system. Here, I would digress a bit. There is a scene in Mukkabaaz wherein Shravan’s boss tells him that once upon a time, his forefathers used to work in his house, but the time has changed. This, what seems like a running commentary on the reservation system and the perpetuated politics in the government jobs, can also be interpreted as an empathetic note to a generation that is paying the price for the atrocities committed by the forefathers.

While Shravan Kumar suffers in every way due to his caste being inferior to the Brahmin ex-boxer and superior to the presumably Dalit boss, who has now achieved success through education. On the other hand, we do not see Murad suffering from a crisis due to his religion or him being a minority in India. But we see him suffer due to his financial position so much so that he ends up writing a song named Doorie, which is an odd to the modern times of visionary development that has been turning a blind eye on the crippling poverty in the country.

The supporting characters are also polar opposite in both the films – Shravan’s friend depicts the typical lower-middle-class guy, who likes to play it safe, while the iconic Moin is a go-getter who turns out to be a savior to Murad and also plays a key role in his journey to success.

The characters who coach both the protagonists are very distinctive personalities. 

While MC Sher is a proven rapper who backs these underground artists who are looking for that one single opportunity in life.

Sanjay Kumar from Mukkabaaz is a victim of the caste system – Harijan and more importantly, too good at his job and therefore, forced to failure by the system.

Amid these contrasting characters and narrative threads, what separates Mukkabaaz and Gully Boy are the very different philosophies. While Mukkabaaz teaches you to fold your hands in front of the system to achieve sustainable success, Gully Boy provokes you to be a rebel, so much so that the means through which Murad manages to live and ultimately rise to fame are also criminal and anti-social, even though it is arguable that the filmmaker wanted to show glimpses of desperation in the slums of Dharavi.

This is to say that Mukkabaaz tries to condition or convince its audience to live life like a loser (and that will make you an ultimate winner in the long run), but it also ushers the way to success that is real and safer, especially in a century-old system, which will stand against you.

In that case, Gully Boy sermonizes the world-wide popular self-help quotes (You Can Win) to an extent that not only makes it become unrealistic but also an urban fantasy of dreams - an effect that catapults with the film's iconic song “Apna Time Aaega”. 

Mukkabaaz unravels the loopholes of the system, while Gully Boy asks you to take the responsibility yourself and almost says that you are the only one who can stand against your dreams. This is exactly where Mukkabaaz gets closer to portraying a real society of moral violence, and Gully Boy becomes just another underdog story (though a very good one) that is made to inspire masses.

And to say it, a lot of things separate the journey of both the filmmakers – Anurag Kashyap – an underdog storyteller caught in the tinsel town of mediocrity and a perpetual conundrum of cinema as entertainment and art. And then we have Zoya Akhtar, who is blessed with a flamboyant background and of course, the enviable production value that comes with it. While Anurag Kashyap is yet to see real success with money and awards - the one he actually deserves, Zoya’s Gully Boy experienced the fortune of being a nominee in the Oscars.

On that note, here’s what I want tell Anurag Kashyap with a rather sardonic smile –

“Apne talent ka pramaan-patra leke society me Jhanda gaadne nikle ho?

Daant chiyaar ka time bhool jaaoge.

Pehle sahi vyatitva ke samaksha daant niporna seekho.

Zyada important hai ki tum kisko jaante ho, kisko pehchaante ho.

Kaun tumko jaanta hai, kaun tumko manta hai.”

<wink wink>

#mukkabaaz #gully boy

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[teamomuskan]

So, we often cringe at the quality of movies we make,

The crudity, absurdity and almost ludicrous scripts are often a fodder for ridiculing the mass production of what can be called conspicuous crap we are served almost every Friday.

But as the age old adage in content goes, "जो दिखता है, वही बिकता है", if good movies fail to garner footfalls, who is to blame!

You, of course.

I watched Mukkebaaz today. It is a travesty that this amazing movie, notches above so many recent average blockbusters failed to be a money churner at the Box Office. This social satire weaves in itself a heart touching love story, some stupendous acting skills and street smart dialogues, it's an absolute pleasure to watch.

Anurag Kashyap is a brilliant story teller and Vineet Kumar Singh, whatta muse. The mute girl's spunk is so fabulous, it feels if she would have a dialogue in the film, it would somehow wear the sheen off those oh so emotive eyes.

If you want to somehow contribute to good cinema, go watch this movie.

Bharat Mata Ki Jai.

😀

#Mukkabaaz #anurag kashyap