New Delhi: The first edition of ‘Gangs of Wasseypur’ had given ample hints about what to expect from the concluding part, but what it had not promised was the brisk pace with which incidents take place.
Faizal Khan (Nawazuddin Siddiqui) gets hold of the centre-stage in no time, but his ascendance to the throne also showed director Anurag Kashyap’s grip on the story.
To showcase the transformation of a simple drug addict to a cold blooded criminal was not an easy task, but the director established the scene with very few gestures, like Nawazuddin kissing Richa Chaddha on the forehead and Fazlu’s butchered head hanging with the threshold.
Nawazuddin’s mannerism is disturbing in the film; his character’s penchant for supremacy shows the human face of the criminal. Remember the scene from Dibakar Banerjee’s ‘LSD’ when some goons chop the lovers of the first story. The normalcy on the faces of the goons made the sequence menacing. Kashyap has taken that feeling of crime to a new level with ‘Gangs of Wasseypur 2’.
The first part started on a high note when bullets silenced ‘Kyunki Saas Bhi Kabhi Bahut Thi’. Gradually, Sultan (Pankaj Tripathi) became the symbol of physical brutality; later Sardar Khan’s skills with knife fetched him the appreciation from the crowd. Still, the crime was shown with objectivity, like most of the shots were long shots; however, the second part is much ahead of the first in celebrating the violence.
The scene where Faizal slits Fazlu’s throat showcases Tarantino style bloodshed, very unfamiliar to the Indian audiences. Similarly, Faizal keeps shooting the dead body of Ramadhir Singh (Tigmanshu Dhulia) in the last scene. The expression with which Nawazuddin does the shooting is not repulsive, it shows his satisfaction level.
Richa Chaddha’s provocations feature the small town’s attachment to criminal tendencies. The Hindi film industry hasn’t shown many such mothers in the past.
‘Gangs of Wasseypur 2’ doesn’t have the crime in the background, it’s the part of the lives. This is probably Anurag Kashyap’s biggest achievement in this film. He smashes the stereotypical spectacles with which we used to see the crime on celluloid, and who knows this could be the inception of a new kind of cinema where the line between criminals and non-criminals would become so thin that they would be called as just ‘characters’.
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