Movie Review: Gangs Of Wasseypur (2012)
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.