Rooms have time outside. A loud noise and applause broke out every few minutes. The overcrowded foreign public seemed to experience a collective moment, even though it was the first day of the film’s release and one of its first appearances in Mumbai. We admit that the energy of Gully Boy and his little moments often permeated my doubts about the film. In fact, we made a statement that this could be the most entertaining film of the year.
Aparna Sen, chairman of the jury who chose Gully Boy for India’s official contribution to Oscar, seemed to agree with me. “The film’s energy is contagious and that is what the audience will say,” the director said. The announcement increased the itchiness in the film again when he had an affair between Indian cinema and Oscar as usual. Of the 51 films, we sent to the Academy for review since 1957, 32 of them were in Hindi or Hindi, with Gully Boy making it the 33rd film.
That recognition came at a strange time for Bollywood, because even the most gruesome fans and industry experts recognized the fact that the so-called “regional” film industry outperformed Indian cinema in content and form. This phenomenon was further highlighted by Anupama Chopra’s column in the Hindustan Times last month when he asked questions to the public about making Malayalam virus films. “Today, the cinema is far ahead of Malayalam and Tamil Bollywood.
India’s entry to the Oscars by 2020
A total of 27 films claim that this is India’s entry to the Oscars by 2020, including the Tamil Super Deluxe film. The film, which was released with excessive anticipation and enthusiasm like Gully Boy, is for me one of the boldest Indian film experiments. Director Tiagarajan Kumararaj collaborated on a script with three leading directors – Nalan Kumarasami, Poor, and Neelan K. Sehar – to create a piece of life, black comedy that combines exhilarating nihilism with strong philosophical and social considerations. Several weeks have passed since my explanation and I already have an egg on my face. Gully Boy is no longer the most entertaining Indian film of 2019. In fact, this is not the best Hindi film I have watched this year.
When the credits rolled and Ragyu Dixit’s voice flickered above the credit, I left the theater as a fool for the people around me. Friends and acquaintances were very impressed with the film while I was confused and excluded from several aspects. The order of the song “Doori” still cannot be explained – “the topic of the study of how not to look for poverty, all the perfect pictures and reasonable sliding and close-up cameras,” as noted by Uday Bhatia at Livemint Uday Bhatia. The story moves in a predictable way, without the logic of the story that influences the romantic path between Sky and Murad. The musical collaboration on the album remained a major achievement, but the removal of some of their original compositions, such as Azaadi, from their political significance seemed to be a compromise. The film also decides to use the song, while robots Murad and Moine rob and try to infiltrate the action with fake revolutionary vibrations.
The simple message of this film is that if you want something, you will definitely have it.
Murad’s dream travel choices have consequences – until they do. If frenemy Moeen takes the case to steal, viewers are expected to buy it because nothing can hurt Murad’s dream, at least not all of his actions. Our criticism does not diminish the fact that we like many aspects of film. When I heard about the film selection yesterday, I heaved a sigh of relief that it wasn’t, at the very least, Uri: The Surgical Stroke. The fault lies not only in the decisions we have made over the years, but also in how we choose films to present our 106-year-old cinematic talent.
Lack of modern initiatives
Contrary to Aparna Sen’s testimony, Gully Boy’s mission is not to go public, but to members of the academy and the Western film community. Opportunities for the best international feature films already depend on the same mechanism that sets the main competitor for this year’s film festival.
Gully Boy celebrated this year’s premiere in Berlin, but because of the average rating, which he received internationally, was canceled. The real contrast lies in the South Korean film Parasite journey.
Winner Bong Joon-ho of the Palm d’Or gladly received the title of Cannes Film Festival, where few were surprised by the warm welcome and unanimous praise. However, the most prominent performance of this film comes from its box office. This is South Korea’s second highest title in 2019, with a $ 71.9 million loan granted to the country just days after his victory at Cannes. The film has sold more than 1.6 million tickets in France, making it the biggest winner in the country of Palme d’Or. Of course, this film is a clear leader at this year’s International Film Awards.
The general public may not be familiar with Bong Jun Ho, but for many cinemas and strange films around the world, he has long been a talent to be reckoned with. His fame, today referred to as “overnight success,” is based on traveling through film festivals and displaying history for 15 years. In comparison, Indian efforts are still scarce and the necessary support systems are lacking.
Indian films shown at various international film festivals in 2019 include Aamis, Jallikattu, Moothon and Bombay Rose. According to the requirements of the Indian Film Academy and Federation, “Films must be commercially available between 1 October 2018 and 30 September 2019. The film must be released at least seven days in a row.” The film has no release date during this period and Aamis is far from being released.
The Oscar campaign is a very expensive affair for even the biggest Hollywood productions, and word of mouth makes a significant contribution to limiting the cost of low-cost films to indie and foreign languages. Village Rockstars, who came to India to get an Oscar in 2019, premiered at TIFF in 2017 and received major praise and praise. The film was unable to get a small release until 2018 and when it appeared in the international film season to launch its campaign, new Indian films such as Mard Ko Dard Nahi Hotta and Tumbad received more laudable awards and prizes. The time and lack of a large campaign budget means that the film does not signify an Oscar nomination.
Decades of systematic neglect of independent and related films, confused distribution and lack of international visibility in film selection have contributed to the lack of Oscar nominations in India. If in such a scenario even propaganda films are considered Oscar-worthy, Gully Boy might be a safe and acceptable choice.
Read Also – 1. Movie Analysis – Sahoo Movie Review and Rating