Gandu

Gandu, a computational 2010 black-and-white film directed by Qaushiq Mukherjee, featuring Anubrata Basu, Joyraj Bhattacharya and Rituparna Sen, is an artful skewering of conventional narrative cinema that infiltrates deeper into the consciousness through its often shocking visuals and bold storytelling.

The film is centered around the life of its titular protagonist Gandu, brilliantly played by Anubrata Basu. Gandu, translated into English as "loser," is a crestfallen and embittered young man tormented by a grim reality that mirrors the socioeconomic miseries of urban Kolkata, India. Lamentably unemployed, he vents his pent-up frustrations through his rap music, which reveals his desires and dreams, acting as his personal and profound insights into society's faults and his own distressing life.

The character of Gandu is not designed up for sympathy or empathy, but his authentic and visceral portrayal guards the narrative's complex emotional layers. He resents his mother’s intimate relationship with a man he despises and is plagued by a relentless loneliness, further exacerbated by his financial instability. He lives his life on the periphery, often resorting to petty theft from his mother's lover to fund his aspirations – all of which adds to the complexity of his character.

Joyraj Bhattacharya plays the role of a motor-rickshaw driver, fondly called 'Rickshaw', a toothless but kind man, who turns out to be Gandu's only friend in the world. He is seen influencing Gandu's life in various ways, offering a semblance of companionship in his otherwise solitudinous existence. The beautiful camaraderie of the unlikely duo adds some gentle moments, contrasting Gandu's otherwise abrasive narrative style.

Rituparna Sen plays an important role in the narrative, portraying the much older lover of Gandu's mother. Her character adds a deep layer of complexity to the emotional fabric of the movie.

This film is not just a journey through Gandu's life, but it's also an exploratory narrative about societal norms, struggles, and dreams. Its vivid imagery and profound storytelling are interspersed with Gandu's ferocious rap performances, offering a uniquely raw and poetic perspective on life in urban India.

Gandu is audaciously shot in a black-and-white color palette, which adds a certain rawness and authenticity to the narrative. The edgy, sharp visual style of the movie, mixed with a gritty and honest portrayal of Kolkata's streets, forms a backdrop that almost becomes a character in itself.

The film's distinctive blend of narrative structure merges the real and unreal through surrealistic techniques. There are sequences that aesthetically borrow from the abstractions of dreams and music, which are intricately woven to amplify Gandu's psychological and emotional complexities. The distinctive way in which it blends the languages of cinema and music makes it a peculiar piece in Indian independent cinema.

Another noteworthy aspect of Gandu is its explorative soundscape. With a definitive emphasis on 'desi' hip-hop and rap culture, the film relies heavily on a robust and innovative soundtrack to reflect the protagonist's inner turmoil and dreams; it almost becomes a character itself, mirroring the inner turmoil of Gandu.

However, one must note that Gandu is not for the faint-hearted. It is stark, open, and often shocking. The movie is a conscious and tactical defiance to the prudent mainstream, addressing adult themes and relying on explicit scenes, making it one of the most controversial films of its time in India. But such unconventionality is its strength. The raw and almost crude presentation question societal norms, dismantles boundaries and offers a unique lens to witness the harsh grittiness of life.

In the end, Gandu is more than just a film; it's an exploration of life through a unique prism, where the audacity and innovation in its execution brilliantly outline a narrative of frustration, desire, and dreams. This film is nothing short of a cinematic revolution that challenges the viewer at every turn, ultimately delivering a powerful commentary on youth despair and its relation to society's ills.