Kennedy Review: Anurag Kashyap's genius is undeniable, so is his self indulgence

Plot Overview

To begin Kennedy with a William Wordsworth quote about youthful gladness descending into despondency and madness is such a Kashyap move that one cannot help but smile at the audacity. The sentiment is clear from the outset, because whatever joy existed in the life of the title character is now locked inside memory, belonging to a time when his marriage was functional, his home perhaps warmer and his eccentricities still carried a hint of a smile.

That earlier version of the man stands in stark contrast to the present incarnation, which is defined by quiet madness and heavy despondency. We are introduced to Uday Shetty, also known as Kennedy, played with impressive physicality and restraint by Rahul Bhat, a former cop presumed dead after a past operation. In truth he survives as a ghost within the system, operating in the shadows as a contract killer whose existence officially does not exist.

Characters And Narrative Arcs

Kennedy moves through the city in sleek suit coats, occasionally masking up before heading out to eliminate yet another target, and he does so with mechanical efficiency and chilling detachment. At one point he admits that he has killed so many people that he has stopped counting, and the line lands not as bravado but as weary confession. He works within a strange high end transport service for special clients, which becomes both a cover and a metaphor for the elite machinery he now serves.

Behind him stands Raseed, a corrupt police officer played wonderfully by Mohit Takalkar, who uses his supposedly dead subordinate to execute dirty work without leaving fingerprints. The mention of Bade Bhai carries Kashyap’s familiar political commentary, subtle yet pointed, reminding viewers that this is not merely a crime story but a tale of power structures feeding on expendable men. Kennedy knows that as long as Rashid shields him, consequences remain theoretical.

Revenge, Family And Emotional Undercurrents

As the narrative unfolds, it becomes clear that Kennedy is not simply a hired weapon but a man nursing his own revenge, slowly peeling back a conspiracy that stretches higher than expected. The film remains engaging during these stretches because one constantly wonders what fuels him, who he is truly avenging and how deeply personal this mission runs. The script teases answers without offering them too quickly, which keeps curiosity alive.

The emotional core rests in his fractured family life, especially in his love for a daughter he barely had the chance to know. His marriage was already collapsing before his supposed death, and the domestic scenes reveal a man who was flawed long before he became a phantom. These glimpses of tenderness add dimension, suggesting that the madness quoted at the beginning may have been seeded long ago.

Direction And Screenplay

Anurag Kashyap’s direction oscillates between gripping intensity and frustrating excess, and that inconsistency defines the viewing experience. There are stretches where the film is deeply engaging, particularly when it focuses on Kennedy’s revenge angle and the gradual exposure of a larger conspiracy, because the questions of why he is doing this and who he is ultimately targeting keep curiosity alive.

Unfortunately, the film begins to lose momentum when it pivots too often and introduces layers that do not always enrich the central thread. The arrival of femme fatale Charlie, played by Sunny Leone, who resides in the same apartment complex as one of Kennedy’s targets, adds intrigue but also narrative distraction. There are also mysterious figures who appear at inconvenient moments to offer cryptic pep talks, pushing the story into territory that feels more self conscious than organic.

The personal backstory that bookends the film eventually becomes predictable, and this predictability is where one recognises a recurring flaw in Kashyap’s recent work. He has previously succeeded in orchestrating sprawling parallel narratives, most notably in Gangs of Wasseypur, where multiple characters and plot lines converged into a grand design. In Kennedy, however, the abundance of threads sometimes feels less like tapestry and more like tangle.

The Perfomances

Make no mistake, Rahul Bhat is terrific here, and his buffed up physique, brooding stillness and controlled intensity bring credibility to both Uday and Kennedy. He carries the weight of insomnia, regret and simmering rage in his posture, and there are stretches where he seems to be operating on a frequency higher than the script itself. The transition between the former cop and the contract killer could have been explored with greater nuance, yet Bhat ensures that the character never feels hollow.

Mohit Takalkar as Rasheed exudes menace, embodying institutional rot with unnerving ease, while Aamir Dalvi is sensationally delicious in his brief stint. Sunny Leone is wondrously stiff and while there is an attempt with the over-the-topness of her character of a femme fatale but she disappoints after a point of time. Even when the writing spirals into confusion, the ensemble manages to keep scenes watchable, anchoring the film in performance even as the narrative threatens to drift.

Technical Aspects And Music

Visually and tonally, Kennedy embraces neo noir with enthusiasm, using dim lighting, masks and urban bleakness to cultivate atmosphere. The music, often symphonic and reminiscent of classical compositions one might associate with Beethoven or Mozart, injects gravitas into scenes that might otherwise feel sluggish. There are moments where the slow motion and extended walking sequences seem excessive, yet they also reveal Kashyap’s desire to linger inside mood rather than rush through plot.