Kennedy review: Anurag Kashyap Finds His Grit in the Shadows of Mumbai
Rating: 3.5/5 Suyog Zore
Any Kashyap project is guaranteed to spark intense debate among cinephiles, and 'Kennedy' is no different. Given the polarized, "mixed-to-diametrical" reception from international critics, I walked into this viewing with tempered expectations. However, that cautious approach paid off: I found myself thoroughly engrossed. Despite a runtime of 2 hours and 25 minutes, the film maintains a relentless grip, never once dipping into boredom.
Set against the eerie, claustrophobic backdrop of Mumbai during the second wave of COVID-19, the story follows Uday Shetty (played with chilling precision by Rahul Bhat). Once a policeman, Uday is now a ghost—a clandestine hitman operating under the alias "Kennedy" for the corrupt Police Commissioner, Rasheed Khan (Mohit Takalkar). In the first half Uday doesn't come across as your typical "troubled" protagonist; he is a bloodthirsty, remorseless killer who finds genuine satisfaction in his work. He is calculatingly cold man who kills without a second thought. The film establishes his brutality early on: when tasked with assassinating an honest politician, he nonchalantly wipes out the man’s entire family just to ensure there are no witnesses. We learn that his descent began six years prior, when his inability to control his lethal urges led to the murder of a high-profile individual, costing him his career and his relationship with his family. Now, he is a man so deep in the shadows that he has lost count of the bodies he's left behind.
What sets 'Kennedy' apart from a standard hitman flick is how deeply it breathes the air of Maharashtra’s complex political landscape. Kashyap cleverly embeds references to the rising tensions of the era, capturing the friction between clashing ideologies. For those familiar with Mumbai’s heartbeat, the film offers rewarding "insider" moments regarding the "insider vs. outsider" debate. A standout instance of this is the pointed interaction between a Marathi politician and Uday. When Uday reveals he’s from Karnataka and doesn't speak Marathi, the politician’s retort—"Accha Karnataka se ho, Matunga. Lungi Uthao Pungi Bajao"—is a sharp, culturally loaded jab that will resonate specifically with those who understand the history of Mumbai’s linguistic politics. Even a brief, five-minute conversation between two politicians becomes a masterclass in tension, mirroring the real-world administrative shifts occurring in Maharashtra during the second COVID-19 wave. One politician’s interrogation of the Commissioner—questioning whether his loyalty lies with his post, the current government, or the people who actually appointed him—is a chillingly realistic look at how power is wielded behind closed doors. The film is equally unapologetic in its portrayal of institutional decay. Kashyap doesn't shy away from showing a police force that functions more like a corporate hit squad than a law enforcement agency. The moral vacuum is personified by the Commissioner, whose entire motivation is driven by a desperate need to scrape together Rs 200 crore to settle a debt. In 'Kennedy', the line between the "protectors" and the "predators" isn't just thin—it’s non-existent.
Visually, 'Kennedy' is a triumph of atmosphere, proving that Anurag Kashyap hasn't lost his touch for capturing the city’s underbelly. The cinematography is evocative and moody, with the vast majority of the film shot at night. This choice drapes Mumbai in a slick, neon-noir aesthetic that mirrors the moral murkiness of the characters. Kashyap’s direction is equally sharp, particularly in the film’s kinetic moments. One standout chase scene, in particular, will be a treat for long-time fans; its raw, breathless energy offers a brilliant nod to the iconic chase sequences from Gangs of Wasseypur. It’s in these moments that Kashyap reminds us why he is a master of the genre, blending gritty realism with a stylized, cinematic flair.
The strength of 'Kennedy' also lies heavily on the shoulders of its ensemble, and for the most part, the casting is spot-on. Rahul Bhat delivers a steely, pitch-perfect performance; he portrays Uday’s stoic nature with a chilling, quiet intelligence. While some might mistake his performance for lack of emotion, it is exactly what the character demands—a man who has become a hollowed-out vessel for violence. The supporting cast follows suit, with Mohit Takalkar and Shrikant Yadav delivering grounded, high-stakes performances that make the murky world of Mumbai’s elite feel dangerously real.
However, the film isn't without its flaws. One area where the film slightly loses its momentum is in its use of flashback sequences. While intended to provide context for Uday’s descent into darkness, these scenes eventually start to feel a bit repetitive. Instead of adding fresh layers to the protagonist’s psyche, they occasionally act as distractions from the high-stakes tension of the present-day plot. Had Kashyap trimmed these sequences or allowed the audience to deduce the character's history through subtle cues rather than explicit recalls, it might have heightened the sense of of mystery and curiosity surrounding Uday. A leaner approach to his backstory could have made an already sharp character study even more razor-edged.
Another notable distraction is Sunny Leone’s performance, which unfortunately leans into unnecessary overacting that feels out of sync with the film’s grounded, neo-noir tone. Her subplot also feels largely irrelevant, acting more like a narrative detour that adds very little momentum to the central plot. While these moments represent a slight dip in the film's otherwise tight execution, they don't overshadow the technical brilliance and the powerhouse performance by Bhat.
Despite these few narrative stumbles, 'Kennedy' stands as a bold, atmospheric triumph for Anurag Kashyap. It is a dense, culturally layered thriller that rewards viewers who pay attention to the subtext. By rooting the story in the specific anxieties of the pandemic and the rot within the police force—where commissioners treat their office like a debt-clearing business—Kashyap creates a world that is as socially relevant as it is violent.
If you can overlook the unevenness of the subplots, you are left with a haunting character study of a man who has lost his humanity to the system. It is a dense, culturally layered thriller that rewards viewers who pay attention to the details.
Cast: Rahul Bhat, Sunny Leone, and Mohit Takalkar
Writer: Anurag Kashyap
Director: Anurag Kashyap
Comments
Post a Comment