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For two weeks sometime between the first movie and the second, Ameet vanished. He beamed about it so much that I re-read it. The 6th or 7th time, I think. My first time was in Class 8th from an old copy stuffed into a book rack about 9 feet from the floor.
The book had belonged to my oldest uncle and had passed on to three of his younger brothers, judging by the signatures and dates affixed on the front page. So this time around hearing him gasp like I did about Luca Brasi , and Sunny , and Michael , and Solazzo and all that first gladness of world you experience when you first read that book, I desperately wanted to re-read the Michael in the restaurant scene or Michael in the hospital scene.
So I read the whole thing. By the time the second movie rolled in, and we got to watching it no first day first show this time around , we were like two excited school boys who had just read the Godfather. Let me clarify though, the part of the mind that had read the Godfather and the part of the mind that was excited about Wasseypur 2 were theoretically separate parts of the brain.
It was NOT a Spot-the-character movie either, though as fanboys we did spend much of the movie doing it. Because, in a good movie, and in an Anurag Kashyap movie, the scene, the hat tip works just as well as it did originally, even in the far new different context it is placed in, without necessarily having an emotional connect with the inspiration.
Johnny in our lingo has always been that iconic character from the Sriram Raghavan film, so I was initially confused. I looked at Yashpal Sharma again and back again. Mind blown instantly. The usual how the fuck did Anurag think this. Yashpal Sharma plays an item boy. Not because Nawaz is not a great actor, but because Faizal, as he was introduced was such an unlikely hero!
Who knew Tony Montana could wear a suave lungi? Faizal Khan is a blister of a character, a Michael Corleone for the ages, a local mobster obsessed with Amitabh Bachchan, both in turn and independently inspired from Al Pacino. However, Nawaz chooses Scarface over Godfather, a Tony Montana in his lungi, amidst deep intakes of ganja smoke. The character song defining Faizal is the demonic Kaala Rey, a magnificent song reminiscent of Ganda hai par dhandha hai ye from Company. A succinct sum up of the character.
A marked difference from Sardar Khan , who is all Keh ke loonga. There is no angst, at least none that stays unresolved at the end. He, instead, climbs up to the terrace and jumps to the adjacent terrace and shimmies down a wall and breaks his foot and winces with pain and enlists the help of a neighbour to return home. And instantly, a hero, a protagonist, is reduced to a mere man, who has to visit the doctor to treat this broken bone and walk around in a plaster cast afterwards.
This, Kashyap tells us, is what avengers are like — fools, sidetracked by love stories Faizal is as much a fool for Mohsina as his father was for Durga , men with vague aims but without concrete plans. And this could be the reason for beginning Part I with this shootout — perhaps Kashyap was pointing to his intentions of myth-busting, as opposed to all those films where a revenge-oriented plot enabled heroic myth-making.
The scene where he demands to know what a pager does is a beauty. Gangs of Wasseypur 2 made it all very clear. Why the motivation for making the movie was telling the whole story? I now understand what Anurag means when he says the primary motivation was the chance to be able to tell the whole story.
The movie was year stamped through out because there was an attempt at a parallel social, political and bollywood timeline. A generational shift was being described. From the time one could hold hundreds of labourers in pouring rain inside a coal mine using just one pehelwan to now where everyone is a hero in his own film in his own head.
I was overwhelmed with the spectrum of characters over the years. A daze when seen in part one, a buzz by the time part two ended. I understood why the first film had made me uncomfortable, whereas my parents loved it to bits.
That was the 70ss. About that generation in Bihar. My father worked through the division of erstwhile Bihar into two states, first in Bihar, then in Jharkhand. We saw the moments, in the film which say that the people who were earlier looting the treasury were given the keys to it post the state division.
As for the conscience, Anurag says those who indulged in pilferage explained to themselves that when everybody is taking it why not they. The film captures the changing nature of the business, the vengeance and the politics of it all through three generations of one family. I got the milieu of GoW2 perfectly.
It was the bihari cool I had grown up with. The joke that Definite played on Perpendicular, involving the bike jump ; I almost died laughing right there in the theater. I noticed that I have had a very low gag reflex through the two movies. At absolutely unexpected moments, some inner chord gets tickled embarrassment, presumably , and I burst out laughing and giggling through the entire scene. If you have one Bihari in a story, you could have a stereotype, if you have two, one could have two facets, more characters — a more honest insistent exploration.
This was a whole universe of Biharis. Over three generation of characters, I was overwhelmed! This is so far ahead of scratchy caricatures that it is futile counting milestones. And his peculiar achievement — and, finally, a praiseworthy one — is that he draws from our cinema and, at the same time, denounces it. If this post was an Indian movie, my hero would be Anurag Kashyap. Now being a drooly eyed fanboy, I generally see Anurag Kashyap as Neelkanth the oceans are being skimmed, everyone gets their riches, Shiva gets poison, who injests it to prevent the world from getting infected or maybe Lord Jesus who suffered for your sins.
But I do not want the tone to be a tragedy, of potential unrealized, and I do not wish to leave you sombre at the end of it, perhaps repentant at your own part in the sins. On the other hand, I do not want this to be a heroic tale either, say like , where the sacrifice of a hero, as a flash across a generation, inspires others into picking up arms. Not that any of them would be wrong, if I played with your feelings enough, but not this particular tale, not here. So, well what is K doing in this story?
One of those days last week. I was going to call it Hi! Just K. I had been watching this trailer of No Smoking over and over again like a manic obsessive for the last two days, and there had already been some left over angst from reading all those reviews disappointed about Agent Vinod, because they expected better from Sriram Raghavan. Things got mixed up in the head, and what with one brilliant movie after another being unleashed this year, I wanted a bigger picture calming down message sent down to the populace with wikipedia and a torrent connection.
Kaminey flopped for the same reason. Too dark for most of the screen time, most dialogues too hushed. After driving the earnest amongst you into despair over the future of artistic endeavor in this country, I would have endeavored to put you on the back foot by saying cinema in the country especially is a unique art form. It is putting your money where your mouth in, and sometimes it is big money, and a big mouth, and a big foot to wrap it all up. As they say, the onus of proving the guilt is on the prosecutor, and not the defendant.
I understand that by this time you would have had fuming arguments within yourself which I would have brushed under the carpet by a charming turn of phrase, and pushed you right into another question, What do you mean, Film maker? Most times because I say so is followed because it is their money and their mouth. I like to think of it like Sherlock.
It is around this time you would have re-noticed the name of this blog. It is a tight rope walk. This staying between the profitable corridor of high artistic creativity and a flop. I would have whisked you away right now to the perfect paragraph for the occasion from Death in the Afternoon , by Hemingway.
Which I would now, since he has written it anyway. The formal bullfight is a tragedy, not a sport, and the bull is certain to be killed. But the matador, if he knows his profession, can increase the amount of the danger of death that he runs exactly as much as he wishes. He should, however, increase this danger, within the rules provided for his protection.
In other words, it is to his credit if he does something that he knows how to do in a highly dangerous but still geometrically possible manner. It is to his discredit if he runs danger through ignorance, through disregard of the fundamental fundamental rules, through physical or mental slowness, or through blind folly. The matador must dominate the bulls by knowledge and science. In the measure in which this domination is accomplished with grace will it be beautiful to watch.
Later, he is talking about a matador who failed in the ring, and it is quite reminiscent of the way rabid critics talk about some film makers. That night at the cafe I heard no word of sympathy for him. He was ignorant, he was torpid, and he was out of training. Why did he insist of being a bullfighter? Why did he go down on both knees? Because he was a coward, they said. The knees are for cowards. If he was a coward why did he insist on being a bullfighter?
There was no natural sympathy for uncontrollable nervousness because he was a paid public performer. It was preferable that he be gored rather than run from the bull. To be gored was honorable; they would have sympathized with him had he been caught in one of his nervous controllable jerky retreats, which although they mocked, they knew were from lack of training, rather than for him to have gone down on his knees. Because the hardest thing when frightened by the bull is to control the feet and let the bull come, and any attempt to control the feet was honorable even though they jeered at it because it looked ridiculous.
But when he went on both knees, without the technique to fight from that position, then Hernandorena admitted his nervousness. To show his nervousness was not shameful; only to admit it. When lacking the technique and thereby admitting his inability to control his feet, the matador went down on both knees before the bull the crowd had no more sympathy with him than with a suicide.
That analogy rather went out of hand. Not in the piece I was meaning to write. In that piece, you would emerge from the paragraphs above armed with a whole new insight, sensitivity and kindness, and it is at this point, I would have made you see this trailer.
Then I would have built up some kind of fun collage of his anecdotes, his movie trailers and how he is the hero, the angry young director of this piece. I would have said that the way last year ended, with Rockstar Pre and Post is his legacy. Saif based on a limited sample of two films likes to make smart films, helmed by a critically fantastic director, he wants to make a mature film, but he wants to keep it in the absolute fun zone.
Nothing wrong with that. These are interesting signs that tightrope walk is being paid more and more attention. At this point, you would have been nodding your head. This post will have plenty of spoilers, I want to talk about the movie. Have been itching to think about it aloud. Also, before you read any further, you should know that I had a positive predisposition towards the movie even before I had seen it. I have been watching over it like an eager fan weird since I am not quite a Imtiaz Ali or a Ranbir Kapoor fanboy since production began.
Some of the reactions to the film however, have been proof incarnate why the above challenge is not taken up by worthy film-makers. Perhaps my fellow discerning movie watchers who did not like the film would have liked it better if Imtiaz had called it Pyaar Kaise Hota Hai.
The film maker has chosen to NOT focus on that part of the story. The hero is not heroic in what the film-maker has chosen to focus on. He need not be. That is poetic license! There are umpteen moments in the movie where right in the middle of singing something, Jordan has woken up from a reverie, a frozen moment where he does not know what just happened!
When Katarra pulls him out of the brothel where he is singing, it leads up to one of the most brilliant scenes of the film. Naming the movie Rockstar is a sleight of hand. He does not feel for God sits around all day in the dargah, joins in the singing, because it is there!
The unveiling of this song in the movie had about the same effect on me as the title song of Love, Sex aur Dhokha. I had been a big fan of both the songs before I went into the respective movies, and watching the usage of the songs in the film stunned and shamed me. Not that I like the songs any lesser, yet. Free Tibet is incidental, all of it is background.
The music does not originate from spirituality sufism , rebellion Dylan, Morrison , and representing communities, or an attitude. The realization is bile worthy. Incredibly real love story. Not pretty, not suave, not smooth, but soul stirring nevertheless.
He seeks development of his talent at the beginning of the film through a falsehood of heart-ache, and is exasperated while he bites into a samosa in trying to get his grips onto real love. That the film and Ranbir Kapoor manage to make both credible is what makes this movie exquisite. This song, and the scene that immediately follows this, the kiss, and back to the clapping, a palm raised in embarrassed "uh well, you liked that?
I was singing for myself" moment! The way the love story progresses, the way each touch is established, how tender Hina Nargis Fakhri looks one can readily understand the heartache from having that taken away from you is done in a way that cannot quite be summed up in words. Not at least in mine. Anurag Kashyap tried here , here , here and here , all on twitter. Such an unexpected film..
Rockstar is unlike most films.. Ranbir is just awesome. I cannot write much more tonight apart from thanking everyone who has worked on the film. Thank you for working on it with such conviction. Must watch it again, as soon as possible. Raja Sen , and Sukanya Verma have said it much better than I do.
Was thinking about the Raja Sen list of 9 songs from I was thinking of making a similar list. However, I did not want to limit my list to a medium as such. Before Dev D had released in Feb this year Feb 6th, just checked , my life was in search of something to get crazy about. The hated job, the new empty city, long distance relationship, the sheer hard work of it without any of the poetry expected of life. I remember having been extremely looking forward to the friday release, especially since it was Anurag Kashyap.
I knew there was a perverse joke in there somewhere waiting for me. Some quote by Abhay Deol was stuck in my head. Well, Dev D is Anurag making a love story. Some fuckup had happened opening Friday, movie not released in Fame Adlabs.
Only PVR had got rights, and single screens. I took a long detour from office to catch the opening night show and having restrained self from reading about it through the day. I spent Rs. Most of it vodka bottles. Bought and took home and drank, mostly neat or by making them pretty. Till then, vodka was something that girls drank. I remember making myself a hell of a lot of black russians.
No, but that was much later. The opening night was just plain simple passed out on floor, messed up inebriated and stoned, and yet the thinking ablaze, the ipod on through the night at high volumes. Friday night. Over the next three days, I was to see it three more times. Sat night. Sun night. Monday office. Tuesday sick. Off from work. Dev D night show. I was to see it on Friday again. In 3 different theatres around calcutta. Amit Trivedi had been a peripheral figure in life just before watching the film.
Coz it was. I was more emotionally affected by Dev D as a film than I have ever been of any film. I do not have the same feelings about it now that I see it, but that could be perhaps I have sucked them off any possibility of emotional upheavals. But what was it? What was that one thing about Dev D? The One. The Reason, if you prefer to call it. Scientific technique followed while coming to this highly subjective decision. I separated the film into two halves. I made sure from the second viewing, all odds were covered.
No reading first viewing No classification. Wednesday office. Wrote Morning After: Updates on a tortured body and soul experience. On Thursday, I wrote 25 Random things from my head. Saturday, I wrote Beginning a Night. The first 38 seconds of Emotional Atyachaar is an incredible build up to what happens later. The whole song is like literally going through the fear of having to live through another night.
All of it, the entire fanboyness, the crazy rockstar music, the Last Man Standing Abhay Deol, the crazy set of characters, the dancers, the mysticism of it all culminated in that one moment. Altaf Raja could not have dreamed it. Danny Boyle should have received a Tech Oscar just for suggesting the usage of the body attachable camera. He uses the songs as background score.
Not as Ruk jao bhaia, let me dance around crazily a bit. But Ah, Pardesi! How could you imagine to shoot a song which is a built up peppy rajasthani folk melody? I list 5 sequences…. My Top-5 cinematic moments from Dev.
Meetha sa chadha hai bukhaar. Thank you Anurag. And you got the face inside water to depict high routine finally right. More moments coming up! So even without the obvious context, we plunge headlong. In routine action films, I often just switch off, and miss nothing. The story has the arc of a classical, two-generational saga. Sardar Khan and his two henchmen, played by Piyush Mishra and Jameel Khan, are thugs and murderers, armed with bombs and guns.
They steal cash, kill and openly challenge their opposition. Sardar is married to Nagma, played by Richa Chadda, a woman without much choice but full of irascible energy, and later to Durga, a bewitching Bengali woman. The younger generation is seemingly a changed lot. Faizal, played by Nawaazuddin Siddiqui, an obsessive fan of the ruling matinee idol of the times, Amitabh Bachchan, has the echoes and shadings of a don in the making, unpredictable in an armour of quiet—the Michael Corleone, who likely takes centrestage in the second part.
The Godfather parallels are unmistakable. But the impassioned language is his own. The canvas erupts with blood, hacking, maiming and sexual lust—none of it without humour. The local tongue is deliciously written. Nothing in the film—characters, situations or conflicts—are understated. The production quality of Gangs of Wasseypur is top notch. Besides the ubiquitous cinematic kitsch in the middle, the period details are visible when you look for them—from the rupee notes to the particular model of television and refrigerator, the passing of time is in the details, without looking like they are planted.
Even sequences in sunlight have some deep, contrasting tones. Part of this absynthine cocktail is the lead performance of Manoj Bajpai. He has the instinct and physical audacity of a great actor, who shifts from ruthless to idiotic.
Nawaazuddin Siddiqui is the actor of promise in the second part. His role is written with nuances—a man who sobs watching Bachchan and daydreams, can also lie to the police straight-faced and then kill. In the short span that he exists, the development is visible in every next scene. Siddiqui is restrained, as required and talks with every part of his deep face.
The women of Wasseypur never pose any real danger, but they are not easily manipulated. Richa Chadda who plays Nagma is a stunningly controlled actor who makes high-pitched histrionics seem perfectly natural. There are some brilliant strokes of casting in the film. Pankaj Tripathi as Sultan, the butcher, Piyush Mishra, Jameel Khan, and Tigmanshu Dhulia as the politician, among others, play their roles with smooth conviction. A new template for the Indian blockbuster. Yet it is the excess that suffocates all the magic, originality dying out for lack of room to breathe.
Kashyap gets flavour, setting and character right, but the lack of economy cripples the film. There is a lot of gunfire, but like the fine actors populating its sets, Wasseypur fires too many blanks. One Ramadheer Singh Tigmanshu Dhulia in a cracker performance is the prominent mafia don in Wasseypur, which was once a village, but is now a populated zone within Dhanbad.
Ramadheer is a powerful MLA now. Ramadheer had sensed a threat from Shahid. He asked for him one night, got him into his jeep, and Shahid never returned home after. His son kept waiting. He knew Ramadheer had killed his father.
This little boy Sardar Khan Manoj Bajpayee, wonderful comeback grows up with revenge on his mind. This is the background. Most movies have a definite beginning background , middle turning point and end climax. The genre it comes closest to then is an epic, like all mythologies — Mahabharat, Ramayan. Sardar Khan has two wives.
One Richa Chadha gives him kids, he has three children from her. He has a child from her as well. One of them Nawazuddin, the finest find in recent years , nurses ambitions of joining the gangs of Wasseypur. Your patience is likely to wane after a point. And yes, it does. Yet, just as it does, the makers manage to successfully slip in an inspiring scene, an entertaining snippet or a limited twist in the plot and you go back to engaging with the picture all over again.
The goon is the government itself. The film gets the nuances just right. This is quite rare for movies placed in provincial towns. Their lives are harshly too real for them to expect the same from their movies. The setting for this mafia film in that sense is spot-on. Vishal Bhardwaj had intended to make the second part of his masterpiece Maqbool set in Dhanbad as well, where the script could trace the early life and rise of Don Abbaji Pankaj Kapur.
Gangs Of Wasseypur is fictionalised, demented history soaked in blood. Movies have a gender. This one is fully male. The community of Qureishis take on other Musalmans. 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. This is no country for the weak-hearted. Country-made guns go off without warning, bombs are hurled from two-wheelers and abuses fly out even faster than the bullets. 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. While the characters indulge in their unmanned violence, audience become numbed participants in the rites of the wrong-doing.
Even the main protagonist in the blood thirsty 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 social outcast. Politician has daddy killed by a hired assassin and Sonny-boy grows up swearing revenge. In taking the grammar and language of the formulistic vendetta drama from the s and s and converting it into a crackling saga of compelling contemporary currency, Kashyap turns all the rules of mainstream Hindi cinema on its head.
But he applies these to characters who are as far removed from the world of escapism is Sicilyis from Wasseypur. The two worlds are inter-connected only by their legacy of lineage and violence. 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. 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 are unconditionally mired in the mood of violence.
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. 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 not 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. There is a rather enticing love story featuring Manoj, his screen wife debutante Richa Chadha and the other woman Reema Sen tucked away in the folds of the ferocious tale. In fact, every character, big or small, is cast with what looks like first-and-last options. Not to be missed.
But be warned. Avoid meals half an hour before and after viewing. Like Teri Meri Kahaani, this film was also not expected to open well but like that film the opening is lower than the low expectations from it. The film was promoted so it is was not one of those films where there is no awareness. There were many shows which had audience counts of people in seat multiplexes.
The morning collections were less than half of films like Shanghai and Ferrari Ki Sawaari and these films opened poorly. Teri Meri Kahaani opened to a below the mark response at most places in India. The film may improve a bit as the day goes along as opening is at low levels but it will have to show major growth at on Saturday if its to make any mark at the box office.
Teri Meri Kahaani probably has best chances in and around the Delhi area and the opening has also been best in this area. However, its business will have to show an upward trend from Friday evening onwards, for it to have a decent run at the box-office. The business of this film will have to show a miraculous jump over the weekend, if it has to post decent numbers. It surprisingly doesnt stay with you once its over.. Right from its long opening sequence where a gang relentlessly showers bullets and bombs at the haveli of their rival gang, with inhuman intentions to terminate everyone from woman, kids to elderly, Anurag Kashyup establishes the tone, temperament and texture of his gritty gang-war drama.
In terms of its story, Gangs of Wasseypur seems like a basic revenge drama. But in terms of its screenplay, there is not a single scene in the film that might give you a been-there-seen-that feeling. Raja Sen lifted Dibakr Banerjee on one shoulder in his review on Shanghai just 2 weeks back and throws Anurag Kashyap off his shoulder this week!!! And Mr. One displeasing review and Mr.
AK seems to be flexing his tweet-muscles!! I think Raja Sen is an awful critick…not because his content does not match his verbal swagger but because his voice is compromised! Must say about Kashyap though that I do find his modus operandi a bit much in these matters. It seems to me that those on twitter and following him would in any case be inclined to check out his movies! But Kashyap keeps retweeting all of this stuff. Agreed on Rangan. I would add that you and GF could easily replace most of the Indian film critics from their paid positions.
AK actually tweeted yesterday that RS wrote his review with a crowded mind.. Maybe he deleted it. No, that particular tweet is still present. The one that I posted was a reply to someone who was abusing Raja Sen.
Am yet to recover from that howlarious remark!!! Ok guys, saw GoW. But at the end this is not a great film or anything- a very good effort which soars at various points but is never consistent and engaging enough to stay with you long after u have left the theatre. It has opened to full houses in Bihar, Uttar Pradesh and Jharkhand and is also drawing crowds in multiplexes in the Metros, distributors say.
Some of the shows were even houseful. The film is going great and even the advance booking is going on full swing. It is around 80 percent occupancy. Written by Zeishan Quadri, who hails from Wasseypur, known for the bloody rivalry between gangster Faheem Khan and businessman Sabir Alam over scrap business, the film is described as a cinematic offering that has hurled audiences right into the notorious anarchy of the North Indian small-town where the barrel of the gun speaks an irresistible language of mayhem by a reviewer.
Directed by Kashyap, it has too much of gore and blood and it is believed that violence on this level has never really been a part of mainstream Hindi cinema before. But it has started improving from the evening shows and would pick up in the night and at the weekend.
Kashyap, who co-produced the film with Sunil Bohra, has said that it is his most expensive film and he reportedly had to spend Rs. However, the afternoon shows showed some improvement and distributors across the country feel collections will spike during the evening and night shows. Although the film has a limited target audience, distributors expect the collections graph to rise over the next two days.
Occupancy is expected to be around 60 per cent during the night shows. A 60 to 70 per cent response is expected during the night shows. Its opening was around 10 per cent and business has remained the same. The evening shows may garner a better response. The film might pick up over the weekend. Here Sanjah Ghai makes somewhat different claims in each case!
Will say though that if these two pieces are taken together the response seems much better than the one suggested by Taran and BOI and so on. Usually this happens when star politics comes into play. Similarly with GoW giving out the lowest possible numbers is a bit odd. Wonder if Kashyap and his friends have managed to annoy these guys! The real shamelessness here involves Taran and Nahta constantly proclaiming themselves paragons of honesty.
Most recently Taran had a run-in with Shahid Kapoor on Mausam. Again not a film that did well but these guys went after it from the very beginning. Did more than Dev D. The expectations were greater but these were probably unrealistic too. Now with GoW if a couple of those pieces are to be believed the opening looks very solid or even better than this.
Taran has brilliantly suggested that had this film and Teri Meri Kahan released on different dates both would have done much better. Gimme a break! This is such garbage, such an insult to the intelligence that one must pity those who take these claims seriously. Take BOI, they contradict their own claims with every new report! On the surface, Gangs of Wasseypur is a revenge saga, a tableau of vengeance between generations of gangsters.
Director Anurag Kashyap decides to tell this story his way, infusing it with moments of sly wit that give the blood-soaked drama irresistible color. It reunites Anurag Kashyap with exactly the kind of style he is most comfortable with : hyper masculine, hyper real, going for the jugular.
The Qureshis are descendants of a colonial-era dacoit, and now run vicious roost over Wasseypur. You had repeated shots of Matam, the Shia practice of self-flagellation, interspliced at random in almost every montage of Qureshi violence. It is also worth noting that the Qureshis are butchers, another stereotype beloved of Bollywood, and that there are plenty of shots of chopped carcasses and cracking bones that accompany their varied vengeances.
Qureshis are routinely stereotyped in North India as butchers i. These Arabs belonged to the Quresh tribe, the tribe of the Prophet Mohammed, and as such the community is thus also known as Qureshi. They have three sub-divisions, the Chikwa who are found in the Rohilkhand and Awadh regions of Uttar Pradesh, and are connected with the slaughtering animals such as sheep and goats, and the Qureshi Qassab who slaughter cows and buffaloes.
A third sub-group are the Bawarchi, a community found mainly in the city of Lucknow and in Gujarat, who are professional cooks. Each Qassab group has a different traditions as their origin and migration, for example most Qassab in the Deccan region claim to have arrived with the armies of the Mughal Emperor Aurangzebs invading armies. The community is entirely Sunni, and in North India speaks Urdu.
The community belong to both the Sunni and Shia sects of Islam, but the majority are Sunnis.. In Bihar, the Qassab are a class of Muslim butchers, and are generally known as Qureshis. They are found throughout Bihar, and are one of the few Bihari Muslim communities that speaks Urdu. The Qassab consist of two sub-groups, the Bara Karbar who were involved in the slaughtering of cows and Chota Karbar who slaughtered goats.
Closely related to the Qassab are the Chik, a caste associated with the slaughtering of goats. The Anjuman Quresh has a Bihar branch, which acts as a welfare association. They are entirely Sunni Muslims, and are fairly orthodox. Now before Sattu comes after me for leading you on.
I will run. S: seems like we will have another thread with A. What are these people- teenage boys spending all their time watching porn and playing video games? Mihir Fadnavis for example said he wanted to have sex with the film. God help us! The reviews for GoW are overwhelmingly positive. First Shanghai and now GoW. At least no one can claim that reviewers have been paid for writing ecstatic reviews.
Well Southern movies usually get an audience. TMK is a mainstream release. The Ferrari kind of film gets a screening too. But the problem here is that the release strategies are all wrong, both in India and outside. The GoW kind of film should really only be aimed at a festival audience and so on.
It should play in one or two screens in a place like NY and not in the usual mainstream theaters that screen other Indian films alongside lots of commercial American ones. Again in India the only difference between a GoW release and a RR is that the former gets fewer screens and so forth. But the entire mindset that goes toward releasing such a movie ought to be different. Even with mainstream stars this should be the case. The same is true for Guzaarish.
In the US or elsewhere in the West even with major stars no one releases an offbeat movie everywhere. It will move to the suburbs in a week or two. And this happens every time! Some of us often lament the lack of a proper film culture in Bombay at the critical end but in real terms this too is one of the consequences.
So yeh USA mai release hi nahi hui hai…makes sense. Once it is a hit in india, they can get better deal from foreign distributors but then I am novice in all these things possibly!? Satyam, this film has to seen on the big screen. I liked RC a lot, both parts, but probably the first one more.
More than even liking it this is one of those relatively few films over the last decade or so that I actually feel like revisiting in a compressed time frame. GOW just did not interest me enough.. But i am quite sure the 2nd part would be better. If you grow up in small town, d k boss is used a lot.. Oh, yes! Saket, thanks for reminding me …LOL. THe movie and the actor are one of my favs. LOL Saket. If one grows up in Delhi, or even spends a year or two in the city, one could very well open a Hindi Gaali Academy.
No kidding! Even girls in Delhi do it better than most guys from small towns. My bourgeosis sensibilities will get shocked. And Saket is right abt Delhi girls, some female friends of mine from Delhi can give anyone a competition in this field. In fact not once have I used it in my life. BTW: You all are doing good job writing thesis on gaalis! The gaalis Vidhya Balan gave in Ishquiya were very innovative I had never heard of them either before.
Di, the fact that u have never uttered an abuse is seriously praiseworthy i sincerely mean it. Just saw one of the greatest movie ever made by an Indian…Gangs of Wasseypur. A subversive history of India from onward depicted through the story of a small town of wasseypur. The movie is bristling with intelligence and introspection.
A veritable tour de force of cinematic excellence…. Tarantino appears like a candle before the blazing sun of kashyap. This film is a Don quixote…. Modest ants and rats! From India: this news is becoming v common This time from bombay Rave party busted : 34 detained!! Hope none of the members here have been detained!
Ami is playing with her 2 little nephews she took them for Ferrari ki Sawari. Minor: they were left to watch Ferrari ki sawaaris on their own.. He says he can never make a flop film. Cinema is my life. Teri Meri Kahaani and Gangs of Wasseypur disappointed on day one with poor collections with wide releases.
Teri Meri Kahaani hit screens across India while Gangs of Wasseypur was plus which is huge for such a film. Teri Meri Kahaani is looking set for a 5. Single screens across the country are poor. Gangs of Wasseypur is expected to fetch around 2. It has done very poor in Bihar where the film is set but neighbouring state UP has done better especially the multiplexes in the state. Gangs Of Wasseypur has also performed badly at single screens.
Celluloid in its true honest form.. Two of the most awaited films of recent times hit the theaters this Friday. However, it seems highly unlikely that either of them are going to do some good business at the Indian box office. A movie, which was much hyped about in recent times, it seems the hype was just not enough.
The situation at single screen theaters was worse than that of multiplexes. Compare it to recent releases Shanghai and Ferrari Ki Sawaari and you will know it had one of the worst openings of recent times. The movie had a better opening day than that of Gangs of Wasseypur but was still way below expectation.
Both the movies will pick up on collections during the weekends but I wonder what are the figures they will be needing to recover the loss of the opening day. It seems highly unlikely that any of these will leave a mark at the Indian box office.
Difficult bit not impossible …. Saw TMK what a pathetic movie. Point is the romantic genre is just not clicking with the masses as well as suprisingly even the classes now , even ladies in the theatre seemed bored of the movie and when I saw RR few weeks back ladies and families at large were enjoying the same.
Masala genre is here to stay and it seems to have broken the mass class divide for now. In the absence of a strong product this is never enough to set the highest box office benchmarks but it can nonetheless be a moneyspinner on its own. And who can of course get people to the theaters too. I would probably see this just for the album! Hi Alex would watch it for Katrina for sure.
As for the stars I liked Abhishek couple of years back as of now Akshay is on my fav list alongwith Aamir ofcourse. Bit whatever may be the supposed reasons, lots will see it…. Unsurprisingly even cigarettes shooting gimmicks acquire cult legendary mega status….
Director Shirish Kunder was on cloud nine about having Amitabh Bachchan play the lead role in one of his upcoming projects, Common Man. He Amitabh is not doing any major films right now. It may be because of his health. Shirish is presently busy wrapping up his ambitious project, Joker, starring Akshay Kumar and Sonakshi Sinha.
The director had planned to start Common Man right after, before moving on to yet another film by the end of the year — Kick, with Salman Khan in the lead. The good thing is, I take two to three years to finish a film. Amitabh has time to work in KBC, but not movies? This is absurd. Frankly among all proposals Amitabh had right now, this one was most promising.
Amitabh not sparing time for this movie is definitely a bad move. All i know its a wonderful script and if well translated on screen, could be another milestone for Amitabh. More than Kunder, such type of Scripts not written every day. Some one from my circle who have read this script was raving about it and was sure that this movie will be a big milestone in Amitabh career, if well made.
Its on middle line of Munna Bhai and A wednesday.. Nowadays whenever a bachchan refuses a film, that film should become hot property and a sures hot success -some times even exceptional ones like Lagaan.. Ps-here I think there are other reasons as well. And his approval of Common Man script is indication that he has senses to pick good script. And what Amitabh has done in last years? Teen Patti or some RGV movies? As a fan i am expecting him to come in central role in well made movies.
Common man could have been one such. He is a big screen star, as a fan any day i would like to see him in one solid movie a year … rather than one KBC and 2 substandard movies. Instead of investing huge time for KBC, why not he invested time for choosing right movies? And more over, you must be aware.. This shows how much he has ability to chose good scripts. Refusing A wednesday was his Big mistake among so many others , and refusing Common Man will be another big mistake.
No wonder we will see Anupam or Naseer or Boman irani very soon doing this movie under some banner.. Big B is far wiser to understand this and he is right in choosing KBC over that. And you are surely going to get surprise from Joker.. He is bagging new endorsement deals. He is sparing four months for KBC. He has time to do cameos in craps like Department. This is kind of movie which he himself should take pain for initiation.. The great man is beyond working for his career this stage..
Bachchan rejected films should become hit property…. Did like the first 15 min or so of JeM though. In fact, they did a film together, Shoebite, which is still in the cans. Sources close to the director tell us that he recently narrated astoryline to Big B and the latter has given him the green signal. Right now, Sircar is scripting the film along with writer Juhi Chaturvedi. Although Sircar is scripting the film, he will complete his next film Jaffna with John Abraham before he starts work on Garden House.
To get their comments, we sent Bachchan and Sircar a text message but they did not reply. But our source stands by this nugget. Unrelated -for anyone interested.. Ps— these reviewers should go and learn a few things from GoW. A heavy duty dialogue folks— Whatta dialogue —applause! So much of criticism about Indian critics here.. Just saw Gangs of Wasaipur..
Billiantly directed by Anurag.. Manoj is simply superb and the film is visually arresting. The jump in biz at several screens was phenomenal. I think today he is bigger as TV star than a film star. In fcat as a TV anchor he is awesome and untouchable. Of course he is a good film actor too. But today he really needs special projects like Paa or Khakee to bring out the actor in him. But what happened to Shahid? OT Enjoy this musical piece from the earlier anna karenina Tchaikovsky and Tolstoy — the giants in action.
Gow going houseful!!! Gangs Of Wasseypur collected 2. The first day territorial breakdown is as follows. Teri Meri Kahaani collected 5 crore nett approx on day one. Stay away from such stuff but this sounds interesting. Btw kashyap has got a John doe order for wasseypur Is this the first Indian film getting it?
Anyone seeing it online? The dark knight rises In wasseypur!! Gow not playing anywhere near… Am being forced to watch TMK!!! Keep on with your GoW reviews and support this good cinema.. After a slow start, GOW picked up dramatically in evening and nite shows.
According to distributors, Saturday was a more fruitful day for GoW, which found more takers due to word of mouth publicity. Though TMK did not have a great opening, the film has managed to collect around Rs 5. GoW has sparked interest in the Delhi circuit too.
In Kolkata, even though TMK took a better opening 20 to 17 per cent due to its bigger cast, it did not manage to sustain itself. GoW did not open well 17 to 18 per cent but has picked up some momentum. On the other hand, GoW is doing well, and thanks to the positive reviews and word-of-mouth publicity, it is doing quite well.
Gangs… did not get off to a great start but business has improved quite a bit since yesterday. In Orissa, regional cinema rules, dampening the prospects of both Hindi releases. I think RR has done till now. Should finish around but seeing as both new releases have not made many inroads at SS it could do even more. Hence it was necessary to implead names of cable operator and ISP as representatives of their group.
I wonder if Kashyap could be less petty from now on…. And the great AK did not even think it necessary to invite AB to screening of GOW where even dildos like ranveer singh and ranbir kapoor—sorry Saket; I copied your phrase—found seats!!! Yes, it is the genuine AB id on twitter. AB has about 3 million followers on Twitter and his account is verified. His only airs his grievances against the media publicly. Because there is a certain asymmetry here.
Abhishek is an even better example here. With Amitabh Bachchan no one disputes his gifts and accomplishments and so on. Because this very magnanimity is seen as the ultimate sign of his privilege. Now part of it is true owing to simply his nature. That is simply not his goal leaving aside what box office realities force him to do. But also the name matters because everyone else is invested in it too. It is an event that means much more. Even if Bachchan is the star who helped launch an event the latter is now greater than the sum of his achievements.
So every star since Bachchan tries to occupy that site. In other words and with the exception of Aamir it is not that they want to be the top stars, they want to be so in Bachchanesque ways. Which is a very different deal. All of this could be a larger discussion but Abhishek is always seen as the potential heir. When others succeed it is only about them.
When he succeeds it is also about the retriggering of the Bachchan archives. And so because of this structure the whole generosity bit even when genuine can be resented. This happens with the media too. It happens with the audience too, they want the gym body or at least a certain definition of fitness, they want him to follow what every other star is doing in terms of the trends of the age but he often goes militantly in the other direction!
Or most of it! In every situation. Irrespective of who is in the right or not. This is what drives the right into hysteria with respect to Obama. That he simply will not lose his cool or crack in any sense! This is often the perception on the other side when there is asymmetry.
To respond to something is also to concede one has been wounded. But Kashyap should respond to this with grace on twitter. Incidentally Bachchan follows Kashyap on twitter anyway. Abhishek might too. Bachchans……and kapoors and whatnots! But once he is out…he starts creating and convincing himself with myths about the romantic village life.
Pls stop myth making and lets talk real and sensible. Amitabh complimented Anurag becoz he saw great talent in his film………… and he knows that he is amitabh today becoz of his talent and the only currency which matters in the scheme of things and will always matter is talent.. The rest of your statement is too extraordinarily incoherent to warrant a response. But then one should expect this from someone who says the following:.
Nothing great about this act, right? But, if he were to have simply ignored GOW or even mentioned a very ordinary approval of the movie, all hell would have broken loose!! Saw GoW — a pretty Good film except awful Voiceover in the beginning and some good old self indulgence Soundtrack was awesome with keh ke lunga and bihar ke Lala as best tracks.
Film has some of the most romantic moments i have seen onscreen. Richa Chada as Nagma was my favorite performance. D on netflix yesterday and really enjoyed the movie. But I have also felt that he needs to move on and make a truly important film. A true talent always outgrows his or her older self.
Perhaps GoW being a more ambitious film does this. Satyam, Is GoW a good film? Is it a truly important film? Not at all. But i am sorry for you and GF that u guys would not be able to catch it in theatre it has to be seen on the big screen. This film deserves write-ups from you, GF,Q, Abzee etc. Also i wanted to make an important point.
Coincidentally earlier I got this note from someone:. Bete, European cinema ki kitnee bhi baaten kar lo, one cannot will influence! Having said that Kashyap has never said anything against Bachchan himself.
Or Abhishek is where his father becomes vulnerable in a sense. The question then is: what does the angry young man represent that he so disturbs the bourgeois establishment? Abhishek on the other hand with many of his choices on and off screen very much does so. I am not really talking about talent and so on here but the configuration of a site of meaning.
When he failed these were his own. It;s completely fair to be on either side of this divide. But the institutional narrative is a different thing altogether. Presence in his films of those masala elements are as spoofs or caricatures of reality…something to laugh at! And if u look deeply….. Which is a completely different deal. Cervantes loved those older epics. But he faced precisely the problem Leone did and Kashyap does. One has to adopt a very different tone. If the work is rich enough it stands in its own right, otherwise it fades with time.
Your sense that somehow these later guys are more enlightened or the audience is more enlightened and cannot accept the more mythic or transcendent framework of the older films is a stunningly poor reading of everything and not one any of these latecomers would endorse. Leone loved all the Hollywood Westerns. He was soaked in them. Every other shot of Once upon a time in the West references a classic shot from an older iconic Western. So on and so forth. These latecomers are worried that they will be seen as simply imitative!
Not interesting enough as readers. And hence a certain ironic distance has to be created which I have politically problematic in other contexts. Cervantes is not the best example here. He is too titanic a figure but he too moves away from the mode of medieval romance and more or less invents the novel. Note how he does not try to create the ultimate romance.
Not because he thought the latter were silly but because he knew it was too late in history to do this. So much of his novel is about a certain nostalgia. Yes it is subversion but the best and richest subversion always involves a certain genuine and authentic tribute. The timeline once again is important here.
It is only at the end of a tradition, when it has been exhausted, when nothing new can be produced from it that the mock attempt even becomes legible. You have a profoundly incorrect sense of how these economies of influence and subversion operate. And I should add also a profoundly poor sense of how the original works operate and what they mean.
Much as no serious scholar of Homar chides him for making Achilles so unimaginably strong! To avoid the influence he has to move in a very different direction. Of course these things can never be completely repressed and hence the clues come up in some work or the other! Not saying his stance is invalid by the way.
There are many like him in the history of every art. Such projects are not invalidated by any means. Artists struggling with older figures or models is nothing new. Art is enabled this way. But matching the model, let alone surpassing it is a far more hazardous game! History has been on the side of the former! The Vikram Seth example again proves my point. It is historically irrelevant as are many writers who write in a 19th century vein, historic or otherwise.
Which is not to say that the books cannot be interesting reads. And here the Zizekian idea is absolutely the right one. Once the revolutionary event arrives it reconfigures the previous history. It demarcates it in very different fashion. It is about where these terms overlap. For example Newtonian physics defined the world in one way, Einstein then changed this model. This happens in every field.
The great example rewrites everything. It is more profoundly about the narrative one uses in the name of history. When Ilaiyaraja first came about the same thing happened. The older figure is not reduced by the newer one but once the latter comes about there is no possibility of in this case doing music like IR.
That history is closed. It is hopelessly wrong! And you are completely confused if you think Leone is indicting older Westerns or Tarantino is doing this! He might become that one day but he is not there yet. Not by a long stretch. Kashyap belongs much more to a certain film festival bracket.
I doubt very much that GoW will do this either. Thus, if one guy can beat up 10, in Kill Bill one woman will slaughter That right there suggests to you that something other than mere mockery is going on. From the trailers, the very excess of Gangs of Wasseypur suggests to me that I will like this film, that it is NOT just an exercise in realism. Instead I think this film rather operates on the tension between its protagonists, weaned on grand mythic narratives and its heroes, imagining their lives to be the same and trying to will it to be like those narratives and the reality of day to day life where far from murdering some one easily it is much harder to even open a door the same way or even stab a foe as easily.
I think it has become standard for Kashyap to have these ironic constructions in his movies where he has these protagonists who are given these unoriginal macho energies to release on screen but the movie gradually shows up the gap between their self-images and the reality of the kind of effect their behaviour is having on those around him.
D soundtrack was one of the best. It was appalling that it was not even not nominated by some of our popular award shows. It won National award. Agree munna. Just back from GOW. Insanely brilliant t is my word for it. Every thing that was wrong about Shnghai is right about this one. Bradwaj rangan;s review has said pretty much what I want to say about it. Have to see it again before writing my version ofa revew.
I await a longer piece from you. Everything in one go! This is for Alex! Was watching Jhalak…. Sachin, just checked out your blog…. Mishra and Kashyap- Awesome shit! Great job man- I am so glad that someone like you is commenting here. And i am even more glad that u belong to Scindia just like u I too belong to a boarding school of Dehradun called The Doon School- so i can somewhat understand your rebellious, individualistic thoughts.
Just back from TMK …. Except the current era!! Ditto for s era and The depiction of these older eras was a bit amateurish and even picture postcard ish In the pre independent scenes, most scenes seemed to have one person of each religion amongst the friends even if the total number of humans in a scene was three!!!
Have said this before… But perhaps she was a bit too much even for these three roles! Thanks Alex for ur views. And this is exactly what i am expecting from the film. And i am with on Pri Chops. Also minor — so u are also being taken by some females to TMK.. PC is a fine actress.. Gangs of wasseypur -anecdotal report! The rediscovery in TMK Well, came across this actress in TMK -incidentally find her name is neha sharma and has done a film before and that too with hashmi!!
Teri Meri Kahaani showed no growth at the box office on Saturday as collections were in the same range as Friday. The film collected around 5 crore nett on Friday and collections on Saturday were also around 5 crore nett. The film showed slight growth at in the big cities while other places fell a little.
The opening itself was low so when a film is unable to grow from a low level there is not much hope for it in the long run. The film should do better on Sunday as families may give it a go but the film has little chance of sustaining from Monday onwards. Coming back from GOW. First I went for today morning show, but got little late when reached theater, so get back home thinking will see night show. Went again for PM show, Multiplex where I went first was surprisingly house full.
I was cursing myself for paying car parking fee without checking availability of ticket. That area has multiplexes around and show timings for GOW everywhere was at minutes difference, so I went immediate next multiplex, there was again long queue and when I was in middle of row, I got shocking news that GOW is houseful and only TMK is available. I was about to back home, someone came from behind and asked me if I need some tickets, he had few tickets and due to cancellation of his plan, he wanted to sell them.
I bought two from him and it was sigh of relief. Show began at PM, no need to say it was Houseful. Kashyap gave signal even before movie start that this one is going to be fun filled ride. Yes, despite violence and crude language in its core and Revenge as its theme, movie is complete fun, thoroughly engaging and exciting.
But treatment of subject is innovative, screen play is crispy and background score and songs take the movie to another level.
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Republic of North It is free and clean, works under Windows. Gangs of Wasseypur subtitles on new OpenSubtitles. Hide ads Gangs of Wasseypur subtitles English. Subtitle details. Download beta Download. Use OpenSubtitles Download Manager. Guide how to watch movie with subtitles. Gangs of Wasseypur Comment log-in to post comments. Movie details AKA: G. 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. Country: India. Language: Hindi. If you want to be pernament logged-in, check in form remember me. Username: Password: remember me. Select Select sub srt txt ssa smi mpl tmp vtt dfxp. Select Today 1 day ago 7 days ago 15 days ago 1 month ago 6 months ago 1 year ago. Gangs of Wasseypur 1. All subtitles for this movie in this language. All subtitles for this movie.
All subtitles from this user. Director: Anurag Kashyap. Release: Khaali Peeli is an action drama wherein a taxi driver picks up a girl on the run and what follows isa crazy, roller-coaster of a ride. His past and present…. A man learns about alien agendas from a dying agent and feels compelled to warn the world about the impending danger.
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