The film opens with a teasing flash-forward to the end of the story, when a gang armed to the teeth with bombs and machine guns blast their way into the palace-fortress of the reigning don, Faizal Khan.
Vengeance, blind ambition and greed oil the wheels of a long-running blood feud between competing godfathers in the Bengal mining towns of Wasseypur and Dhanbad. No moralizing or regrets trouble their consciences, nor are they likely to bother the young male demographic that will account for the lion’s share of the audience. Though the testosterone level is pumped to the max, there’s still room for funny jokes, fooling around and vibrant film characters that spring to life with mythical deeds and single-minded passions. Less successful is the screenwriters’ attempt to embed the tale in a historical and political context, which simply doesn’t have room to emerge amid all the mayhem. Tipping his hat to Scorsese, Sergio Leone and world cinema as well as paying homage to Bollywood, writer-director-producer Anurag Kashyap ( Black Friday) fashions a kind of “Once Upon a Time in Bengal”, a piece of violent entertainment that never seems to run out of invention or bullets. PHOTOS: Cannes Day 7: Brad Pitt’s ‘Killing Them Softly’ Premiere, ‘Le Grand Soir’ Photocall Its bow in Cannes’ Directors Fortnight met with rousing consensus, but it’s still an exotic taste at a delirious length. Split into two parts, as it will be released in India, this epic gangster story spanning 70 years of history clocks in at more than five hours of smartly shot and edited footage, making it extremely difficult to release outside cult and midnight venues. All of this bodes well for cross-over audiences in the West. The music of the film was very unconventional and inspired by folklore, unlike the the usual romantic or peppy numbers in Bollywood films.An extraordinary ride through Bollywood’s spectacular, over-the-top filmmaking, Gangs of Wasseypur puts Tarantino in a corner with its cool command of cinematically-inspired and referenced violence, ironic characters and breathless pace. Just like the film, the film’s soundtrack was also raw yet catchy, be it Hunter or be it O Womaniya. Yahan kabutar bhi ek pankh se udta hai aur doosre se apna izzat bachata hai,’ and so on, are fondly recalled by cine goers. Sabka badla lega re tera Faisal’? Also dialogues like ‘Beta tumse na ho payega,’ ‘Yeh Wasseypur hain. Who doesn’t remember Nawazuddin’s dialogue – ‘Baap ka, dada ka, bhai ka. Gangs of Wasseypur is known for its epic and hard-hitting dialogues. Gangs of Wasseypur was filmed in Varanasi, Bihar, and Chunar, and the real locations consisting of mainly of Indian folk made the audience relate to the film as it gave the film a rustic setting. In fact, the satire in the film’s context was noticeable and the way it highlighted political issues was not seen before in Bollywood. The story was an amalgamation of everything from politics, vengeance, power struggles, scams, and more.
The reason why Gangs of Wasseypur became what it did is mainly because of its plot with twists and turns apart from its raw essence. Be it Manoj Bajpayee as the ruthless Sardar Khan or Huma Qureshi as the sultry Mohsina Ahmed, the characters were perfectly etched and they entertained the audience to the T. Not just that, it also made to Sundance Film Festival in January 2013.Īs the film completes 8 years today, we list down five reasons to watch the crime drama:Įvery actor in this crime drama was a delight to watch and the casts’ acting prowess was witnessed by one and all. While the film’s second part was released later, the project became the only Hindi film to be screened in its entirety at the 2012 Cannes Directors’ Fortnight. Centred around the coal mafia of Dhanbad and its surrounding power politics, the film boasted of a stellar star cast including Manoj Bajpayee, Nawazuddin Siddiqui, Huma Qureshi, Richa Chadha, Jaideep Ahlawat, Pankaj Tripathi, and others. Helmed by Anurag Kashyap, G angs of Wasseypur – Part 1 released on Jand is one of those films that still remains fresh in the memory of the audience.
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