Kennedy: Anurag Kashyap's film uses polar opposites of Tchaikovsky and rap as a living character in his narrative

The Indian premiere of Anurag Kashyap’s film Kennedy took place at MAMI 2023, and the most striking aspect of the film, for me, was its music. Anurag said after the screening that he wrote the film as Tchaikovsky played in the background, with whiskey by his side. If this were a mood, it has very well seeped into his story and his visuals as well. In addition to this, Boyblanck and Aamir Aziz’s music add such brilliant undertone to the already intriguing plotline, more so in combination with the classical music that plays out. The introduction scene featuring Rahul Bhat as Uday Shetty embodies all of this, as it establishes the overall tone of the film — dark noir. Tchaikovsky here goes hand in hand with the very polished Hollywood noir film style set-up of the scene. The scene screams a mafia boss or a psycho serial killer. As the scene plays out to then include Sunny Leone ’s introduction as Charlie, the music is as much a moving breathing element as the actors. From classical to RnB and rap, the music transitions to signify a shift in Uday’s Shetty’s mood. When he is angry, the classical music reaches an octave higher when chaos ensues Uday’s mind. It hits the notes of RnB when he is contemplative and the rap — mainly the poetry of the rap draws Uday’s thoughts out of his head for us to understand him better. He a killer with no redeeming quality. He is (rightfully, I think) disowned by his family, and is a loner who stalks his daughter, sneaks in expensive gifts to her without her mother’s knowledge and has cameras installed in her room. To say that he is problematic as a father and as a person would be an understatement. Yet, this is Uday Shetty. His idea about right and wrong is disturbing, how he treats other humans is horrendous, and yet, you want to know more about. So Anurag definitely succeeded in intriguing me because I loved how he packed in all of these layers not just through his actors, but every creative element that forms the scene, mainly music and the complimentary visuals. Take for instance, the violence portrayed in the film. The music at such scenes reach higher decibel levels not only to instil a sense of tension to propel the story forward, but also to show the audience that all of this violence is nothing but noise. Uday’s readiness when it comes to dropping bodies right, left and centre has roots in a complicated place. This is also the very place that causes him to see people that he killed, return to haunt him. Uday’s version of Gunjan’s brother (played by Abhilash Thapliyal), makes an impression because of the wit and humor these scenes have. Now, the film succeeds in building layers in terms of the music, poetry and visuals. It is lovely to see this world come to life, and yet, in unpacking Uday’s psyche the film flounders as it gets convoluted. However, I would say, watch the film, and this time look at the music and the poetry as not just an accessory, but a highlight. There is a moment where the poetry in the film breaks the fourth wall as it speaks directly to the audience. It is a revelation every time we hear Aamir’s words, and especially so, when it attacks the viewers for the voyeurs in us that enjoyed the ensuing violence in the film. Priyanka Sundar is a film journalist who covers films and series of different languages with a special focus on identity and gender politics.

  Read all the  Latest News ,  Trending News ,  Cricket News ,  Bollywood News , India News  and  Entertainment News  here. Follow us on  Facebook,  Twitter and  Instagram.