‘Gehraiyaan’ - A baffling tale of two halves
Hardly has there been an Indian OTT film as eagerly awaited as ‘Gehraiyaan’. The trailers of the film, its unique cinematography, contemporary music, modern urban positioning and ravishing starcast built an unprecedented anticipation. But after having watched it, I can firmly state that ‘Gehraiyaan’ is a movie that’s very hard to write about, primarily because it is truly two different films merged in one and each deserves a review of its own.
The first half of the film is the most contemporary and refreshing take that Bollywood has ever made on rich, urban relationships and infidelity. Ever been in those ultra-elite groups of boys and girls (picture South Delhi) where inhibitions are at their lowest? Where money is spent, alcohol flows, clothes are short, almost everyone is attractive, promiscuity isn’t frowned upon and if you feel like an outsider, too bad, for you’ll have to bring yourself up to them because they won’t bend down to you? But perhaps they weren’t judging you, perhaps you were judging yourself, perhaps you didn’t dislike them, perhaps you secretly envied them! If the first half isn’t viewed with that realisation internalized, it is easy to discard as immoral and elitist. But if you’re past that barrier, then the first half of ‘Gehraiyaan’ is a thing of beauty! Incredibly sharp exposition, breakneck speed, gorgeous visuals, gorgeous people, sensuality in the air without ever being voyeuristic, the beautifully mysterious use of water and breathtaking music that enters your soul!
The second half of the film is another film entirely. While still engaging and leaving you on tenterhooks to figure out how the happenings of the first half culminate, this half repeatedly pushes you out of the world the makers want to keep you in. Logical loopholes are left unanswered, human dynamics are replaced by technicalities, the drama heads in another direction altogether and the grip over the central conflict is loosened - all because of the plot decision to prop up external darkness to extract its inner counterpart.
Which brings me to the one shocking decision made by the makers towards the end of the story. Without giving spoilers, all I can say is that Director Shakun Batra is a huge Woody Allen fan. But to me personally that decision completely tarnished the entire experience of the movie, even more so because the story could've still reached the same end without having us put through that.
If I don't make the decision to completely move on from their decision, it'll affect your experience of reading this and hence here goes....Seldom have mainstream, glamorous Stars been cast so aptly. Deepika is astonishingly alluring and deeply mature as a traumatised soul whose life runs in circles. Siddhant impresses with his confidence and versatility even within the same film. Ananya has the ability to suck you in by portraying naivete but then punch you in your gut to reclaim the respect her maturity deserves. Dhairya Kara's character remains on the fringes, leaving the story unable to move with him or without him and he embodies that strange duality perfectly.
The film's cinematography by Kaushal Shah is a character in itself. Never have Hindi film frames looked so refreshing and impressive. It'd be truly hard for a scene to pass through that lensing and yet come across as low-quality. The editing by Nitesh Bhatia deserves a special mention for its manipulation of time and how it helps advance the plot while saving screen-time.
The disclaimer at the beginning of the film was abnormally large and repetitive. The producers at Dharma decided to opt for an OTT-only release and the number of intimate scenes was the rumoured cause. And after watching the film, one can't help but agree. This is a film that'd be very easy to hate and censor in today's climate. 'Gehraiyaan' is one of the first Hindi films to not only have an assigned Intimacy Director' (Kuhad and Ritviz video Director - Dar Gai) but also feature her name on its promotional material. Gai deserves huge credit for directing intimacy as intimacy, without any titillation. Some viewers have trolled Deepika for doing such a film 'after her marriage' but the fact that they didn't seem to mind Ayushmann in 'Chandigarh Kare Aashiqui' proves who needs to introspect.
Gone are the days of Bollywood's lip-sync songs in the Swiss Alps but arguably no recent Hindi film has used songs in the background as well as
"Gehraiyaan', the credit for which goes to composers Kabir Kathpalia (OAFF) and Savera Mehta, Lyricist Kausar Munir and co-lyricist + 'Music Supervisor' Ankur Tewari.
The Screenplay is written by Ayesha De Vitre and SumitRoy along with Director Shakun Batra, whose evolution in craft is visible after 'Ek Main Aur Ekk Tu' and 'Kapoor & Sons' but if I go purely by Story, Kapoor & Sons' remains his favourite film of mine. Which doesn't negate the fact that 'Gehraiyaan' is definitely worth a watch for even when it feels contrived, it still remains engaging and often anxiety inducing. Which is perhaps how the makers would've felt making the film that they did!