| Reply to Thread New Thread |
06-22-2012, 08:34 AM
|
#1 |
|
|
 Gangs Of Wasseypur--Review
Anurag Kashyap is in receipt of enthusiastic evaluations for GANGS OF WASSEYPUR, prior to the film's theatrical release in India. Subsequent to its unveiling at Cannes this year, GANGS OF WASSEYPUR has harvested buoyant acknowledgment, is fervently anticipated and highly estimated. The film has been prized by assessors for its authoritative and engaging plot, vengeance being its nucleus subject matter.
 The stripes connecting mainstream, conventional, profit-making cinema and parallel or corresponding cinema are smudging. The mainstream is being reformulated and the superior thing is that it co-exists comfortably in the present day, thanks to critically acclaimed and commercially successful films KAHAANI, PAAN SINGH TOMAR and VICKY DONOR. The parallel cinema that was once deemed as lackluster is far more fascinating and pleasurable currently. In the last couple of years, diverse categories of movies have surfaced, innovative initiatives are being endeavored, new-fangled stories are being acquainted with. Anurag Kashyap, who is celebrated for his effort in generating a position in Indian cinema's forward-thinking space, narrates a classic account of two disputing families set against the milieu of the coal mining groups in Dhanbad. Heightened by strong acts by a gifted and assorted cast, the film is ingeniously narrated and has several power-packed sequences that render you speechless. However, it's not without its share of blemishes… But more on that later! Towards the end of colonial India, Shahid Khan loots the British trains, impersonating the legendary Sultana Daku. Now outcast, Shahid becomes a worker at Ramadhir Singh's colliery, only to spur a revenge battle that passes on to generations. At the turn of the decade, Shahid's son, the philandering Sardar Khan, vows to get his father's honor back, becoming the most feared man of Wasseypur.  With so many characters, the account being narrated by a voiceover and the film constantly going back in time, it takes time to get a hang of things initially. The film begins in the center of things and then hauls us back to 1940, where the recounting initiates. GANGS OF WASSEYPUR has a capricious first half, but the film advances vigorously post intermission. There's never a tedious moment in the second half of the gangster epic, the plot throws a number of disclosures at you, it dribbles with visual style, laces up with commanding, acidic and witty lines… with Rajiv Ravi's camera moving incessantly. In fact, there's so much that Anurag invests in the movie. Clearly, he has that streak of courage that very few film-makers in Mumbai pride themselves in. But there's a flipside too: The screenplay could've been crisper and taut. It slackens sporadically [in the first hour specifically]. Most importantly, the excessive run time makes you fidgety, even though the content leaves you mesmerized and captivated on numerous junctures. Also, you ought to have a really strong stomach to absorb a film like GANGS OF WASSEYPUR. The generous usage of expletives/cuss words, the gruesome violence, the repugnant visuals can prove to be disconcerting to an oblivious spectator. In fact, it's not your regular Bollywood entertainer. It's not like anything the Hindi moviegoer has ever witnessed. That's precisely why one should enter the auditorium cognizant of the fact that he/she is going to witness something absolutely contradictory to what he/she has been subjected to for eons. Let me, at this juncture, put you on alert that GANGS OF WASSEYPUR is not for the faint-hearted or lily-livered. But if you are in a mood to experience something diametrically diverse, chances are you may come out feeling elated and ecstatic.  The soundtrack of GANGS OF WASSEYPUR will be remembered as the reappearance of small-town folksy music in a contemporary avatar, though it can be assumed that the music is vastly experimental. Deep respect for music director Sneha Khanwalkar for merging folk music with fashionable sounds to exactitude. Though hard to choose the best one, 'O Womaniya' and 'Jiya Ho Bihar Ke Lala' certainly stand out, 'Kehke Lunga' is also a frontrunner. Besides, 'Kasam Paida Karne Wale Ki' and 'Salaam-E-Ishq', the evergreen tracks from yesteryear hits, are smartly placed in the narrative. BANDIT QUEEN, SATYA, ZUBEIDAA, AKS, PINJAR, 1971, SWAMI, RAAJNEETI and LANKA are some of the performances of Manoj Bajpayee which are, for eternity, committed to memory. The skilled actor now adjoins GANGS OF WASSEYPUR to this imposing listing, wherein Bajpayee appends incredible value and weightage to the intense character he depicts. His presence illuminates every sequence that he emerges in and compels you to esteem the actor with amazement.  The other performance that takes you by surprise is that of Tigmanshu Dhulia. An accomplished director, this film makes you open your eyes to the fact that he's an incredible actor as well. So strong is his screen charisma that he is in possession of every frame he features in. Both Richa Chadda and Reemma Sen have meaty roles, but Richa is the definite discovery. She is simply brilliant from the very inception. Reemma is in terrific form, essaying a difficult part with flourish. Nawazuddin Siddiqui is first-rate and one presumes, one would get to see more of him in the second installment of the movie. Ditto for Huma Qureshi, who's introduced much later in the film. She's wonderful in the sequence when Nawaz attempts to get a little extra comfy with her. Piyush Mishra, as always, is hugely competent. Jaideep Ahlawat is another actor who leaves an indelible impact. He's fantastic! Jameel Khan, who features prominently with Manoj Bajpayee all though, is effective. Pankaj Tripathi is in terrific form. Note the flare-up at the marriage. He's fabulous! Vipin Sharma gets into the skin of the character and delivers a wonderful performance. Vineet Singh, who portrays Manoj's elder son, is perfect. Yashpal Sharma appears in a cameo. Anurita Jha gets minimal screen presence in this first part.  On the whole, GANGS OF WASSEYPUR symbolizes the fearless new Indian cinema that shatters the clichés and conventional formulas, something which Anurag Kashyap has come to be acknowledged for. It has all the trappings of an entertainer, but with a difference. The film prides itself with substance that connects with enthusiasts of new-age cinema. But, I wish to restate, one needs to have a really strong belly to soak up to a film like GANGS OF WASSEYPUR. Also, this striking movie-watching experience comes with a colossal length and duration. The reactions, therefore, would be in extremes. GANGS OF WASSEYPUR is for that segment of spectators who seek pleasure in watching forceful, hard-hitting and gritty movies.  
|
|
|
06-22-2012, 09:20 AM
|
#2 |
|
|
|
|
|
|
06-22-2012, 05:55 PM
|
#3 |
|
|
Starring: Manoj Bajpayee, Nawazuddin Siddiqui, Richa Chadha, Huma Quershi, Reema Sen, Piyush Mishra
Directed by Anurag Kashyap Rating: ****  Bleeding brilliance in almost every frame, breathing fire through every available orifice that the characters possess, and whipping up a kind of frenzied flamboyant bloodshed that was once associated with the Spaghetti Westerns of Sergio Leone and Sam Peckinpah, Gangs Of Wasseypur is, briefly, one huge gang-bang. No protection provided. From its bludgeoning opening when merciless marauders ambush a powerful enemy’s fortress-like home with army-like meticulousness, Gangs Of Wasseypur, takes us into a world where compassion is a dinosaur, forgiveness a faux pas, and kindness an unforgivable sin. Welcome to Kashyap’s Wasseypur. This is no country for the weak-hearted. Country-made guns go off without warning, bombs are hurled from two-wheelers that have seen better days, and abuses fly out even faster than the bullets. If you are the kind of moviegoer who doesn’t enjoy hearing and seeing the unimaginable things that can be done to various parts of the human anatomy, then I suggest you try something more sugary and safe. The world of Wasseypur is soaked in blood and revenge. The mafia in one form or another rules the little town. To mainstream Hindi moviegoers this is not an unknown territory. At least 4 other recent films, all remarkable in their own right—Paan Singh Tomar, Ishaqzaade, Rowdy Rathore and Shanghai have hurled audiences right into the notorious anarchy of the North Indian small-town (Bihar mainly) where the barrel of the gun speaks an irresistible language of mayhem. Nozzle lagi raja torey bangle par…could well be the signature of the Kashyap’s Wasseypur-wallahs. It’s a strangely dichotomous world where music and songs (Sneha Khanwalk) mock the characters’ subverted hero-giri. While the characters indulge in their unmanned violence, we the viewers become numbed participants in the rites of the wrong-doing. Unlike the other Bihar-UP-mein-bawandar films the almost-ritualistic slaughter of all rules of civil conduct in Gangs Of Wasseypur is not redeemed by the presence of any hero. Even the main protagonist in Kashyap’s bloodthirsty saga is a certifiable rogue named Sardar Khan. As played by Manoj Bajpayee, in what is arguably his most feisty and filled-out performance to date, Sardar Khan is a second-generation criminal and a social outcast. In the film’s unforgettable prologue, Sardar’s father (Jaideep Ahlawat, incredibly in-character) serves as a henchman to the powerful local politician (Tigmanshu Dhulia). Politician has Daddy killed by a hired assassin who could be teaching social science in a village school, and Sonny-boy grows up swearing revenge. This in a nutshell, could be the plot for a cheesy 1980s’ potboiler. In taking the grammar and language of the formulistic vendetta drama from the 1970s and 80s (there’s even a broad and prominent homage to the Big B in Yash Chopra’s Trishul) and converting it into a crackling saga of compelling contemporary currency, Anurag Kashyap turns all the rules of mainstream Hindi cinema on its head. He uses the language of Manmohan Desai and Narinder Bedi’s cinema. But he applies these to characters who are as far removed from the world of escapism is Sicily is from Wasseypur. Oh, did we really say Gangs Of Wasseypur was derived from the Godfather? Nah. Silly shallow reading of the clannish gang-war theme. The two worlds are inter-connected only by their legacy of lineage and violence. Beyond that Kashyap’s mode of storytelling, and the way his characters loom over the proceedings without become caricatures, are frighteningly original and as liberated of reference-points as any of the path-breaking films on gang wars that have emerged out of Hollywood in the last 25 years. Kashyap celebrates the drama of the grotesque with the relish of a 7-‘coarse’ meal. No details in the non-stop brutality are kept off camera. We can count the number of thuds and stabbing sounds every time a victim is cornered and done to death. Violence on this level has never really been a part of mainstream Hindi cinema before. The end of cinematic niceties is here. Take it or leave it. Kashyap in Wasseypur legitimizes gore with glorious gusto. In the gang-war that he portrays with such feral immediacy, victims are chopped up piece by piece, their body parts sent to the butcher’s to eliminate legal evidence. A finger floating in a cesspool of stale blood is a commonplace sight in the world of unchecked mayhem that Kashyap has constructed with such casual resplendence. His team of technicians is unconditionally mired in the mood of violence. Rajeev Ravi’s camera mows through the imaginary world of Wasseypur with a devilish dispassion. The film looks layered and even luminous in texture. But the tone of narration is detached. The dereliction of the damned and doomed characters is neither romanticized nor demonized. Indeed, Gangs Of Wasseypur invents a new language of cinematic expression. It creates a world where the characters inhabit a universe of vapid stagnant violence. And yet the narration, never short of breath even in the most breathless state of violence, exudes a kind of vibrancy that comes from neither rejection nor acceptable of an undesirable situation. It comes from within the characters. As they battle each other in bitter futile feuds they also seem to be battling the demons within themselves. The synthesis of what lies within and without is devastating. And yet for all its outward show of ruthless machismo Gangs Of Wasseypur is a film with a heart. There is a rather enticing love story featuring Bajpayee, his screen wife (debutante Richa Chadha) and the other woman (Reema Sen) tucked away in the folds of the ferocious tale. That Bajpayee’s wife is played by firebrand Richa Chaddha is a very happy happening in this sad but savagely funny tale. She is quite the discovery of the year, and that too in a film mottled with exceptional performances by Bajapyee, Nawazuddin Siddiqui as his son (more of him in Wasseypur 2), Tigmanshu Dhulia (clenched controlled and combative as the villain in chief), Pankaj Tripathi (riveting as Bajpayee’s belligerent enemy), Piyush Mishra (remarkably restrained and wise as Bajpayee’s mentor and guide) and Huma Qureshi (another whammy performer whom we will see more of in the sequel) In fact, every character, big or small, is cast with what looks like first-and-last options. You can’t imagine any other actor playing any of the myriad parts. Brutal, brilliant, dark, sinister, terrifying in its violence and yet savagely funny in the way human life is disregarded Gangs Of Wasseypur is one helluva romp into the raw and rugged heartland. Not to be missed. I can’t wait to see the sequel. But be warned. Avoid meals half an hour before and after viewing. |
|
|
|
06-23-2012, 12:15 PM
|
#4 |
|
|
Yeah!! It's a great movie of gangs wasseypur and along with these type of movies i realte them along with a same story to watch free family guy . moreover this tv show and this movie combined have a same tune to move a theme..... i like both of them most
|
|
|
|
06-28-2012, 09:50 AM
|
#5 |
|
|
|
|
|
|
06-29-2012, 12:37 PM
|
#6 |
|
|
|
|
|
| Reply to Thread New Thread |
«
Previous Thread
|
Next Thread
»
Linear Mode
| Currently Active Users Viewing This Thread: 1 (0 members and 1 guests) | |
|
|
