When they ran to save their lives for the first time, they were mere 12-year-old boys, and the world called them ‘refugees’.The war of 1971 gave birth to a new country – Bangladesh. It also gave birth to two young orphans – Bikram and Bala. They witnessed the war and its aftermath, where the world tried to trample over them. Fighting for survival, they clung to each other and escaped to Calcutta.
Before they knew the world, they knew each other. Such was their bond, such was their friendship.Each time they sought new beginnings, each time they would rise, the world would crush them down.So, they fought again… and again. Together they were unbeatable. They were unstoppable. Theywere inseparable.In the years that passed, Bikram and Bala, became Calcutta’s most loved, most celebrated, most reckless, most fearless and most powerful GUNDAY!
They had everything… then, one fine day, bells rangNandita, the most beautiful cabaret dancer, walked into their lives, and they lost everything to her.Their murky world turned magical and colourful. They fell head over heels in love with her. But that was only a blissful lull before an impending storm.And then entered ACP Satyajeet Sarkar, the right for every wrong, a law for every outlaw and a counter force for Bikram and Bala.What follows from here is the most sensational-most thrilling-most dramatic story ever told!
First things first! GUNDAY is smartly penned, lavishly mounted and sharply edited… and it carpet bombs the spectators with every trick in the book. The bromance, the romance, the gunday versus cop clash, the burst of colors, the unpredictable screenwriting coupled with smart lines, the spray of bullets… the director, who has also penned the film, makes sure he leaves his stamp all over the film.
There are interesting twists in the narrative and though the viewer might feel he knows what’s going to transpire next, the writing catches you by complete surprise as a brand new twist comes to the fore. On the flip side, the film is bloated in length and could’ve had a shorter run time, especially in the second half. The penultimate portions in particular could’ve done with trimming. It’s prolonged for no reason. Also, a few twists tend to get repetitive, but the very next episode makes you forget the defect.
The DoP bathes each and every frame in lush colors. The usage of colors during the intermission point, when the twist in the tale happens, is striking. The action sequences are lively, with the violent scenes never going overboard. The soundtrack [Sohail Sen] is wonderful. ‘Tune Maari Entriyaan’ is, without doubt, the hot favourite. ‘Jashn-e-Ishqa’ and ‘Asalaam-e-Ishqum’ are lively compositions and sync well in the scheme of things. Dialogue are striking and at places, clapworthy. As a matter of fact, each department seems to have worked really hard and in consonance to realize the director’s vision on celluloid.