Review of Gali Guliyan (In the Shadows)

A crumbling section of Old Delhi with its dark, labyrinthine alleys, its dingy congested accommodations, its swarming markets, and the ubiquitous dangling ensnared cables that connect them all serve as a perfect metaphor for the mental state of the film’s central character Khudoos. The reclusive Khudoos spends most of his time in his dark den compulsively reviewing his multiple surveillance monitors that capture the seemingly mundane occurrences in his neighborhood.

The motive behind this grim fixation is not clear, but these visuals may be Khudoos’s only association with humanity. His increasingly eerie presence, cold demeanor and refusal to adapt to societal norms irks and repels the people around him. Khudoos's sole human contact is his friend and benefactor Ganeshi, who frequently visits him, offers him work and brings him meals. 

Just when Khudoos’s existence seems to be devoid of any purpose, a disturbing situation brewing next door incurs his attention. Living in the adjoining home is young Idris who is trying desperately to save his mother and younger brother from his abusive father who is a butcher by profession. Khudoos makes repeated attempts to reach out to young Idris, but his acute paranoia, alcoholism, and delusions serve are impediments. 

A skillfully written script by director Dipesh Jain reveals enough to keep you engaged but also provides ample space for audience participation. There is also a lot that is purposefully understated that adds to this maze-like mystery.  There is a twist in this tale can be spotted with ease early in the film by an attentive viewer, but this film is much more than discovering the twist. The central focus of intrigue is this mystery is not the twist but mind of Khudoos.

The cinematography by Kai Miedendorp and the art design works wonderfully in constructing Khudoos’s dark but surreal intertwined web-like universe where everybody seems trapped. The sounds of buzzing Old Delhi from a myriad of sources is a persistent presence in the film. The crisp editing by Chris Witt keeps you engaged despite the seeming banality of the occurrences.

Now for the central performance by Manoj Bajpayee, which is one of the main reasons that keep the audience engaged. The character of Khudoos has almost no demonstrative traits, has very little to say and for the better part of the film’s running time languishing his dark room, this is quite a test for any actor. Bajpayee takes on this challenge with aplomb and transforms himself into the character. From his gaunt frame and his dishevelled appearance to his bewildered countenance, slothful body language, and his muffled speech, Bajpayee perfects every aspect of Khudoos. But beyond the physical and verbal characteristics, there is something inexplicable, a level of performance where the actor fades away to become the character, this is what is achieved here.

In the hands of a less skilled actor, Khudoos would probably have seemed like a foul fiend, but Bajpayee manages to make him empathetic and perhaps Khudoos a victim of unspoken torment from his past. Usually, actors who have achieved success develop a fixed set of tools over a period of time that consists of mannerisms, dialogue delivery patterns and established ways of reacting to certain kinds of scenes which they reuse in every film i.e. the acting becomes mechanical. Here, Bajpayee bravely discards his old tools and rediscovers himself from the core, it is almost like this is a debut performance with the fire, freshness, and passion.

The supporting cast that includes the ever-reliable Ranvir Shorey as Khudoos friend, the excellent Neeraj Kabi as the abusive father and the talented Shana Goswami as Idris’s mother play their parts to perfection. Young Om Singh as Idris is also quite remarkable especially in his moments of silence and holds his own against seasoned actors.  

For skilfully authoring a script that is most unlikely for a first film and holding all these elements of this rather complex tale, director Dipesh Jain deserves massive accolades.

Despite its considerable merits and critical acclaim, Gali Guleyan has performed rather poorly at the box office, there were just five people at the screening I was present. Perhaps because our audiences are conditioned to think of films only as a source ‘entertainment’ only. Maybe it is time for film appreciation to be added to our school and university curriculums to cultivate a better taste in cinema.

Hopefully, Gali Guleyan will find a bigger audience when it is released digitally. It would be a great travesty if a masterful work of art that merits multiple viewing goes unnoticed.