Beyond that Kashyap’s mode of storytelling, and the way his characters loom over the proceedings without becoming caricatural, 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. The two worlds are interconnected only by their legacy of lineage and violence. A silly shallow reading of the clannish gang-war theme.
Oh, did we really say Gangs Of Wasseypur was derived from The Godfather? Nah. But he applies these to characters who are as far removed from the world of escapism as Sicily is from Wasseypur. He uses the language of Manmohan Desai and Narinder Bedi’s cinema. In taking the grammar and language of the formulalistic 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. This, in a nutshell, could be the plot for a cheesy 1980s’ potboiler. The 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. 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). 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 social outcast. Even the main protagonist in Kashyap’s bloodthirsty saga is a certifiable rogue named Sardar Khan.
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. While the characters indulge in their unmanned violence we the audience become numbed participants in the rites of the wrong-doing. It’s a strangely dichotomous world where music and songs (Sneha Khanwalk) mock the characters’ subverted hero-giri. Nozzle lagi raja torey bangle par…could well be the signature of the Kashyap’s Wasseypur-wallahs. 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. To mainstream Hindi moviegoers, this is not an unknown territory.
The mafia in one form or another rules the little town.
The world of Wasseypur is soaked in blood and revenge. 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. 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. Welcome to Kashyap’s Wasseypur.This is no country for the weak-hearted. 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. Gangs Of Wasseypur, Part 1 (2012): 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.
0 kommentar(er)
