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Review: 'Gypsy' meanders like its wandering hero

Published Mar 6, 2020, 7:19 pm IST
Updated Mar 6, 2020, 7:19 pm IST
Jiiva delivers a knockout peformance but Raju Murugan's lofty tale bears the scars of the censor's scissors
'Gypsy' is the tale of a man, woman and a horse.
 'Gypsy' is the tale of a man, woman and a horse.

Cast: Jiiva, Natasha Singh, Lal Jose
Direction: Raju Murugan

When a film releases right after a censorship controversy, much is expected of it. And when it is directed by an award-winning filmmaker whose credits include Cuckoo and Joker, much more is expected of it.


So does Raju Murugan manage to top himself with Gypsy?

The story begins in Kashmir. A baby loses its parents in the Indo-Pakistan war and a wandering musician raises it. He names him Gypsy (Jiiva). He grows as a wandering singer. His best companion is his a dancing white horse name Che and they travel from Kashmir to Kanyakumari.

Life takes a drastic turn when the happy-go-lucky Gypsy meets Waheeda (Natasha Singh), a girl from a conservative Muslim family. Gypsy develops a liking for Waheeda and the latter is attracted to Gypsy’s lifestyle, having been brought up in an orthodox manner by a fundamentalist father Muthalippu (Lal Jose).

The duo elope, marry and settle down in Varanasi.  Then Waheeda gets pregnant. However, the couple are separated during a horrifying communal riot instigated by politicians.

While Gypsy is jailed for a year, Waheeda is traumatized by the brutal killings and sexual violence perpetrated on women. Gypsy even loses Che to a violent mob.

Will Gypsy and Waheeda ever get back together?

Jiiva looks fabulous and delivers a knockout performance in Gypsy. He pulls off an unconventional role with effortless ease. In a role that hardly has any dialogue and everything has to be conveyed with her eyes, debutant Natasha is adequate.

And a shout out to the majestic white horse Che! Sunny Wayne and Lal Jose pass muster.

Though Raju Murugan's intention of conveying a message of humanity is laudable in these turbulent times, the problem is that the story meanders, much like its protagonist.

The writing could have been more intense during the romantic parts. Somehow, the lead pair’s chemistry doesn’t work out the way it should have been.

Yet another downer is the butchering by the censors, which reduces the real impact of hard-hitting political statements.  

Technically, Santhosh Narayanan’s soulful and thematic music elevates and aids the film. Selvakumar’s visuals are vibrant and enriching.