Namrata Joshi on Anurag Kashyap

thanks to Bliss..
LINK

It was in the August of 2001 that Outlook got a call from the writer of Satya, Shool and Kaun about a run-in with the censors over his directorial debut, Paanch. About five youngsters who are part of a rock group called Parasites, the film was rejected by the Central Board of Film Certification for glorifying drugs, sex and violence, besides the foul language and negative characters. Paanch never saw the light of day and jokingly came to be referred to as the most widely seen unreleased film in the history of Indian cinema. Its director Anurag Kashyap, however, became a regular presence in our Bollywood forays—mostly for controversial reasons. In a scathing column in 2004, he got after every big name in the industry, from Khalid Mohammed to Subhash Ghai. “We are running a donkey’s race, swimming in the shallow end of mediocrity, believing we are masters of the sea,” he wrote. Letters poured in, in provocation.

For many years thereafter, Anurag remained a filmmaker in search of a debut, acquiring in the process a new middle name: jinxed. Black Friday, a no-holds-barred recreation of the 1993 Bombay blasts, came to be stuck for a few years because of a court stay. No Smoking (2007) did get a release but got roundly thrashed for being a dense, pretentious and self-indulgent take on fascism. Eventually it took Dev.D (2009), a reinterpretation of Sharat Chandra’s Devdas, to rescue him from oblivion and set him on an upward trajectory.

It was still hard, though, to imagine a Kashyap film as the stuff of huge kitschy hoardings, releasing with more than 800 prints and running more than five shows a day in some suburban multiplex. Gangs of Wasseypur 1 and 2 has changed that. They have made him a brand, one with more than a dozen films riding on him (see box). Anurag Kashyap is now the toast of international film fests, attending Cannes with three films and a 40-strong contingent, and due at Toronto, four films in tow. “He has got acceptability, visibility in a certain constituency that frequents the multiplexes,” says Shohini Ghosh, professor at the AJK Mass Communication Research Centre, Jamia Millia Islamia. “In that sense, he is a mainstream filmmaker now, but an interesting mainstream filmmaker.”

Remarkable about Anurag’s success is that he has no qualms about working with new people, taking risks with untested talent or backing projects of debutants. If Gangs… brought us face-to-face with lesser-known names like Nawazuddin, Huma Qureshi and Richa Chaddha, Bombay Velvet will have a script written by historian Gyan Prakash. “I like their energy,” says Anurag, “and I have believed in a conscious attempt at not playing safe.” No other filmmaker in Bollywood, not even his favourites Vishal Bhardwaj and Dibakar Banerjee, is taking such risks. Says Umesh Kulkarni, director of Vihir and Deool, “Good cinema has to be a movement like the New Wave, Dogma. And he has the courage to back and produce all kinds of films, not just his own.” Filmmaker and friend Sudhir Mishra affirms that: “He’s putting his weight behind all sorts of films.”

Anurag also gives the young creative freedom like no one else. He handed Wasseypur’s script to composer Sneha Khanwalkar and lyricist Varun Grover and asked them to create music of their choice for various points in the narrative. “I delegate a lot,” he says. In return, he expects total commitment and hard work. But unlike even his own mentor RGV, he doesn’t hog the limelight. “It’s about the whole team,” he says.

His greatest strength, Anurag claims, is his lack of insecurity. He will let industry people read his film scripts. He has let journos see early cuts of his films. “It improves films, it’s a constantly evolving process,” he says. The only rule is not to do what people expect you to do but what you want to do. Says Mishra, “He is stubborn in what he wants. He has the courage to say no even when circumstances demand a yes.” There is one thing, though, that he has learned over the years. “You are taking money from someone and he needs it back,” he says. The Wasseypurs may have changed that.

With success, however, has come criticism. Many feel he has lost his innocence, begun playing to the gallery, is using and abusing media at his convenience; that his idealism is nothing but empty bluster. “I don’t wear idealism on my sleeve any more,” he admits. “I am going along the industry way but creating my own path.” Criticism keeps him going, it’s praise that makes him anxious. “I am trained to deal with the public not liking me. I am used to being criticised.”

And he has criticised others in return, recklessly at that. Bollywood’s enfant terrible has taken on many holy cows and powerful individuals, be it Bhansali or RGV’s films, YRF’s filmmaking or blasting Amitabh Bachchan for allegedly playing dirty with Bedabrata Pain’s Chittagong over Abhishek starrer Khelein Hum Jee Jaan Sey. “We’re used to nobody saying anything. I engaged and fought.”

Success, however, is also the great equaliser in Bollywood. The Big B has been recommending Wasseypur to his Twitter followers even as one wonders whether the white flag portends Abhishek landing up in a Kashyap film. In an answer to the query, Anurag shows me the long SMS he has sent Big B, an apology as well as a dig, from Bachchan’s “sabse bada, moonhphat aur bewakoof fan”. There is no reply in his inbox yet.

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156 Responses to “Namrata Joshi on Anurag Kashyap”

  1. Bombay Velvet if done right could be one for the ages..

  2. Utkal Mohanty Says:

    “Now working in ads feeds this film-buying frenzy. He has no other indulgences in life, save books.” BOOKs. And having lived a life. I think that’s what differentiates Kashyap from sat RGV, and a host of others in Mumbai, putting him closer to someone like Aamir.

  3. i pray to the great “god-devil” above all of us that better sense will prevail and Anurag will not cast the fake actor…. ranbir kapoor …in bombay velvet and ruin my experience of watching bombay velvet.
    ranbir kapoor is an anachronism in anurag’s film.
    he has already paid heavily for casting the wooden faced john abraham.

    find it funny,that anurag is suddenly pandering to these star kids….is he the same anurag who wanted the award for the best male actor to be given to rajpal yadav in mai madhuri dikshit banna chahti hoon…instead of hrithik in koi mil gaya?

    • Haha anjali:
      Actually let’s not e that unfair on kashyap
      He needs bigger stars to increase his visibility /box office
      Theres nothing to be apologetic about it
      It’s a practical Economic decision
      Btw after rockstar my faith has somewhat increased-both will gain -ranbir from kashyap as an artist and kashyap from Ranbirs starpower (whatever it’s worth )
      Ps: I actually loved ‘no smoking’ and even liked John Abraham in it :-)

  4. Utterings and action-the crucial difference !!

    Someone mentioned here that kashyap is financing Qs (of gandu fame) next film !!
    Haven’t seen that film but can imagine why it’s about and it’s controversial subject..this is just a random example and may not even be factually correct now but there are loads of others
    Take the whole casting of GOW and even sneha!
    Now what does kashyap have to gain feo supporting folks like gandu (I mean q)
    That’s where the difference between ‘words’ & ‘actions’ come
    Folks say lot of things
    Some stick to only political correct stuff in press/public (even on blogs) while some resort to sensationalism
    And some latch onto sensationalism to create controversy /criticise!
    But none of those ‘utterings’ are important beyond a point!
    It’s the actions–
    (barring Kalki-gate etc) kashyap has Stilton what he says in ACTION (something that not many others do!)

    • i m still pissed at kashyap for not casting abhimanyu singh(ransa in gulaal) in GOW. Abhimanyu is a bihari and a great actor.

      i have seen gandu and it is a great film. gandu is atleast 100 times better than no smoking of kashyap…both the films more or less share the same theme.
      its true he has nothing to gain from supporting Q….other than perhaps his reputation as the renaissance man of indian cinema.

      • What’s ‘gandu’ about -don’t know about it..May watch it ..
        Is abhimanyu Singh the same as the ‘hero’ of sunny leone in Jism2

        • That reminds me :
          Finally did ANY human being here watch jism 2 or not !!
          If so: a review pleez (don’t worry -won’t pull your leg for watching it!)
          If not : feel sorry for sunny leone — all her ‘hard work’ has gone waste– need to ‘console’ sunny leone :-)

        • gandu is a movie which will shock the most subversive in the audience…. by its brutal honesty.kashyap’s films looks like rajshree productions if compared to gandu.

          Is abhimanyu Singh the same as the ‘hero’ of sunny leone in Jism2?
          no. thats arunoday singh….shit actor.
          abhimanyu sing was in gulaal as ransaa….and rakt charitra part 1..as bukka reddy.
          do check him out.

          • “kashyap’s films looks like rajshree productions if compared to gandu.”
            Hahaha
            Hmm- may have to check it then -is it available online?

  5. For me the most interesting director of BW right now. Black Friday, No Smoking, Dev D, GYB, and GOW…..shows range and a distinct voice. Earlier one could reasonably accuse him of being over indulgent and lacking ambition, but in light of GOW and especially the upcoming Bombay Velvet these charges no longer hold.

  6. Good thoughts matrix
    If only some could ‘forgive’ him for his past ‘utterings’ and start evaluating him on his ‘films” hahahaan

  7. LOL!
    It was bad enough trying to see some worhtwhile comments without having to go thru a bunch repittive,predictable,hyperbolic and often senseless praises of Kashyap. Now, we have another thread.

  8. I would imagine Oscars are pretty soon going to recognise him with a lifetime achievement award.

    • omrocky786 Says:

      I think Anurag’s famous words which he said for Khalida apply to him as well now ..”Chutiya tu ab retire ho jaa..”…
      aapka moohphat Nofan..

      • LOL!
        He is talented but cant take big doses of Kashyap fans.
        Kashyap is insufferable as it is but his fans more so.

    • Yes they will…they messed up when they waited to give LIFETIME to Ray on his death-bed; they dare not repeat this mistake with AK – after all, he is better than Ray, Ritwik, Hrishikesh, etc. etc., right?

  9. The rumor is he ghost directed Sholay and is the ghost writer of Fountainhead.
    BTW, if someone uses the word ‘layered’ one more time on this blog, I am going to strangle that person. There are no layers except layers of BS lately about Kashyap and like.

    • LOL, true! some of the most overused, abused words in the vocabulary are generated on blogs and in the film media. Another word is ‘texture’, then there’s ‘visual grammar’. Then every film expands the ‘boundaries’ of Hindi cinema (we’re running out of room.. Mars will have to be an option soon with this kind of expansion).

  10. ‘layered’ :-)

  11. Now don’t strangle bliss as well
    He/she IS real –
    So What if her other name is ‘munna’ ;-)

    • Is this some disease that makes you question gender of multiple members here and accuse them of having dual identities?

  12. Yes :-)
    Any problems …

  13. Lot of people have been talking about kashyap’s film devd as if it was a small thing.
    Sudhir Mishra had to shelve his half made(subversive take on dev das)….the film “Aur Devdas” after watching DevD.
    To Quote him:”
    Ab devdas par doosri film nahi ban sakti….this will be the last film on devdas. Kashyap murdered Devdas. I am shelving my project.”

    Those who may not be knowing:
    Kashyap has to edit the last half hour of the film devd. after the reformation of dev….dev was shown to have become a pimp of chanda!
    But he had to control his tendency for the subversion and edited the last half hour.
    to compare mehra and sippy with kashyap is unfortunate.

  14. Re: to compare mehra and sippy with kashyap is unfortunate.

    For once I agree. It is indeed unfortunate and unfair to Mehra and Sippy!

    • what is happening lately is that some members have become Jurists, advocates and executors all ‘rolled in One’ :)

      They put there own set of ‘Arguments’ and then they decide on their own arguments and then they execute…

      Its like ‘Talbinisation’ … So and so is Useless, so execute him and so and so is Prophet so Hail Him/her…

      Sigh !!!

      • Hi bliss: if munna is ‘troubling’ u- tell me:
        I will ‘protect’ u :-)

        • your disease is reaching to tripping point, AA…. Get medical attention soon, else no one can save you :D

          ps: U admitted to rajen that you have disease .. sad to hear that :(

          • Don’t worry bliss
            I wont tell people about u and munna :-)
            It will remain a ‘secret’ !!

  15. “Re: to compare mehra and sippy with kashyap is unfortunate.

    For once I agree. It is indeed unfortunate and unfair to Mehra and Sippy!”
    Finally
    Rajen uncle said something frank and correct :-)
    I’m proud of u my buoy lol
    @satyam
    Plz admit it — ever since u have compared Rohan sippy with kashyap,
    Some deceased ancestorin kashyaps family tree died again!!
    Hahaha
    As for rakesh Mehra- he is a different species
    I don’t consider him inferior to kashyap ( differen maybe!)

  16. @ anjali: As for sudhir mishra and his ilk–
    Have very less patience
    Just by having a wierd hairstyle and roaming around with ‘auteuristic’ ideas doesn’t make u one!
    He has been ‘threatening’ to do something great for ages and what does he come up with –bollocks ..
    It’s better to be either kashyap or dhulia or go to the other extreme and take the unabashed box office route
    These sort of ‘middlers’ like sudhir mishra aren’t needed
    Btw was it him talking of a film with bachchan rishi -what happened to that one ..

    • Not sure what u mean by ‘middlers’ exactly but if it refers to middle-of-the-road film directors, u have just insulted Hrishikesh Mukherjee. Btw before criticising Sudhir Mishra, have u cared to watch a single film of his in entirety (i don’t think so since it’s a habit of urs to comment on films without even watching them)- his Iss Raat Ki Subah Nahi and Hazaaron Khwaishen Aisi are both better than all Kashyap films except Black Friday.Though i rate Kashyap higher than Sippy but not as a pure technician

      • > now that’s a random stray one !
        How and where from did hrishikesh mukerjee come from by gods grace hoho :-)
        And talking of ‘insulting’ him!!
        A perfect case of 1+5=15??
        >we are not talkin about ‘pure or Impure’ technician bit ‘filmmaker’
        And sippy Isnt comparable to kashyap !
        > note that have mentioned that I respect rakesh Mehra
        > have seen both those films (with difficulty!)
        And no: I’m sorry but didnt find them ‘better than kashyap films’
        The ultracrap chameli was fortunately I ly party directed hy him -so will spare him that
        What about ‘khoya khoya chand’ -a pretentious mess!!
        > If u want his good works -maybe his early association with ‘Jane bhi do yaaron’-think as a screenplay wa good
        And his upcoming about sexual harrassment @ work !!!
        Ps: besides (trying to be) Chitrangada singham sugar daddy !!!

        • Alex, I am 200 % sure that u have not seen Iss Raat Ki Subah Nahi ( i am not questioning ur knowledge abt films but have a very strong hunch on this one ). Hazaaron Khwaishen Aisi, inspite of its deficiencies, is a must watch (i can’t say the same for any Kashyap film apart from BF and Gulaal). In any case since u like Kashyap so much do check out his Last Train To Mahakali (it’s there on youtube and is pretty short). And if u are callling KKC pretentious, then No Smoking was zillion times more pretentious

        • Alex, there are very few filmmakers who are completely accomplished in every sense and who make completely realized films. So for example if we’re talking about Awara yes this is a film that does ‘everything’. There are many lesser directors who’ve made perfect films too. Of course I am never after any such ideal in any case (few can live up to the Cocktail ideal anyway…!). Sometimes failures are more interesting than successes (not talking box office here). I might be more inclined to revisit Dil Se than Guru! I might prefer Thakshak to RDB. I have a weakness for Rockstar and yet I can also point out problems in the film. All of this is partly about personal preference but ultimately the idea that there’s a perfect film is pretty close to fiction most of the time. This is hard to see for films that become hugely iconic and definitive, easier for others. Still there are some very obviously completely realized works. Many such examples. But they’re uncommon. Or you might have a film that’s successful in this sense but works with a low bar. So I can’t say there’s a problem with DDLJ but they’re hardly aiming for the stars here!

          For the vast majority of films there is always a balance between various things the directors attempt and the extent to which he is ‘interesting’ in some or most of these areas. A director though has to be judged precisely by his ambition. The disappointing Kashyap film might still be better than 99% of everything else that’s made in Bollywood but that doesn’t mean anything. We can’t raise the bar at one end when everything works and lower it at another. Mehra has to be held to a higher standard. I can’t say RDB or D6 have problems but they’re better than everything Rohit Shetty makes! They of course are in a literal sense but that’s a meaningless statement when it comes to evaluating Mehra. So on and so forth.

          Getting back to Rohan Sippy his concerns are very different from Kashyap’s. The latter is definitely the more ‘auteurist’ director though perhaps he’s now trying to become more mainstream in certain ways (I support this), Sippy is much more about working within a commercial format but at a distance from it. He’s not making hugely ambitious films in terms of scale and so on. Nor is he screaming ‘I’m an auteur’. His is a much more modest, unassuming approach but because of this his films are underrated. He also keeps his distance from the entire media machinery. The point once again is that a number of people are hyped in the media but he isn’t one of them. I consider BM and DMD two of the most interesting films from Bollywood in contemporary times. I also consider them more successfully realized than most other films. In terms of the visual choices, the editing on display, the sense in which his subjects don’t seem that extraordinary at the outset but nonetheless lead to surprises, some of the performances he draws from ABhishek in this film, the way in which he plays with the heritage (Indian or otherwise). This doesn’t mean he’s Guru Dutt! On the other hand Kashyap is much more of an auteurist figure, much more into experimental cinema (at points certainly) but by the same token his more successful films are either not interesting enough (Dev D.. I don’t have a problem with anything here but it’s a very minor attempt) or the more interesting ones are seriously flawed (Gulaal). I have a strong suspicion GoW falls in the latter group. BF on the other day is a fully realized film in every sense. I liked Girl With Yellow Boots quite a bit too but this is a straight festival effort ‘in Hindi’, which is fine but then when you compare it to those standards it’s not necessarily extraordinary. So no I don’t think this kind of film is automatically better than DMD. I’m a great fan of Mehra but all of his films so far have had serious problems in some form or fashion. I can’t say this about BM or DMD.

          But this idea that there’s no one like Kashyap in Bollywood is first of all hyperbolic. He’s certainly one of the industry’s bright lights but the terms of his cinema are also different (much as the same holds true for Dibakar Bannerjee or whoever). So when I watch Shanghai on its own the film seems fine but otherwise poor given its source material. The fact that it’s still better than most other films doesn’t mean anything. But I’d say that for this kind of terrain Kahaani was a better film than Shanghai.

          Ultimately I’ll go anywhere in search of a good film. Precisely because I don’t insist on ‘perfection’. A lot of my arguments in this sense are about the ‘reception’ of a star or a director. So the commentary of Kashyap on this blog and in some other quarters is hyperbolic to the point of meaninglessness. This is not about alternative opinions. One has to remain within the realm of reason! I liked Udaan more than just about every film Kashyap’s directed (haven’t seen GoW) with the exception of BF. So one can conduct these discussions any number of ways but there has to be some sanity here. Of course I shouldn’t even complain about the Kashyap hyperbole given that some think Cocktail is comparable to Guru Dutt’s films! By those standards Kashyap is being underrated.

          You don’t like Sippy as much as Kashyap, that’s perfectly fine but the idea that this guy simply cannot be compared to Kashyap in any sense is frankly deeply wrong. Certainly so in terms of his visual registers. Which is the only bit I am contesting here. No one has to like Sippy otherwise. And this was my problem with the Raavan response as well. No one has to like the film, I can certainly ‘see’ the point when various problems are pointed out here (I can see the same for Yuva or Dil Se as well) but it is important to argue in a way, discuss these things in a fashion that are consonant with what a director like Ratnam puts before you, even when he’s not having his best day (assuming this is so for Raavan or Dil Se or Yuva). My argument has always been against the ‘illiteracy’ of certain opinions. One can say a lot of things about Raavan but don’t tell me he doesn’t know how to shoot a film. Don’t tell me he’s forgotten how to edit and so on. Otherwise there can be lots of very genuine criticism directed at this work of his or any other. I myself have done it on many occasions. But again the debate must be conducted with a certain seriousness and/or ‘literacy’ in these matters. And it doesn’t begin by indulging in an appalling level of hyperbole when it comes to certain names.

          • There u go: a loooong one by satyam :-)
            While I agree with the basis and the points u are making–
            In my view: there can be discussions about kashyap and Mehra –given their terrain, the issues they have are ‘more’ and ‘visible’ than the sippy terrain
            Incidentally I like sippys films and infact like him as a soft spoken gentleman
            But as a film maker (visual registers or not)
            Kashyap / Mehra > Rohan sippy !
            Ps : Mano ratnam is above all these gentleman (though kashyap :Mehra may show some ‘growth’ with time vein younger an may reach there someday !)

          • Filmmakers, even the greatest ones, can broadly be divided into two groups. Those who have a problem with commercial cinema and/or whose cinema primarily operates as a polemical response to the latter and those who might make very interesting or even great films but who aren’t particularly bothered by this divide. Rathnam is the latter kind of filmmaker. He’s done all kinds of stuff but he doesn’t have issues with commercial cinema which is he can also easily make very good genre films. There are very many very great filmmakers that fall into this category. The ‘experimental’ filmmaker (and not to devalue these figures) always runs into a kind of logical crisis. It is hard to maintain the experimental quality after a while because this itself becomes the signature (Godard, RGV, Kashyap and so on) and so such a filmmaker has to keep pushing the boundaries (or seen to be pushing them) more often than not. This sometimes takes the filmmaker into more and more radical experimentalism but not necessarily more interesting or ‘better’ cinema. The wiser filmmakers (as with any other art form) always know that the ‘experimental’ is ultimately a certain kind of fiction (much like realism in a different sense) and has to be used sparingly. Put differently you do not arrive at ‘truth’ (let alone greater ‘truth’) simply by investing in these labels. In yet other words a very escapist commercial entertainer if done right can be more ‘true’ than a very ‘realistic’ film on a serious subject. And so the point that needs to be stated here and in deliberately provocative fashion is that in fact Shyam Benegal is not always ‘truer’ than Manmohan Desai. Those directors that fall in that other category I’ve mentioned all know this. In the terms of Harold Bloom both are different ‘anxieties of influence’, the realistic filmmaker just works with a different kind of anxiety. and so (judging by some of the reviews) if GoW seems masala soaked in some ways or if there are Bachchan references and so on all of this should be taken very seriously. Not as the usual ‘oh he’s spoofing masala or whatever’. In fact such an effort can often be the means to come to terms with an overwhelming legacy.

          • @ satyam

            “I consider BM and DMD two of the most interesting films from Bollywood in contemporary times.”

            Since yu talked about the commercial format,less ambitious and non auteuristic films…..do you think BM and DMD were better films than Bheja fry 1 and Taxi No: 9211? If so why? and How?

            Frankly, Your constant underrating of Devd (much in the same way rajeev masand gave it a 2.5 stars)…only to find out later to his embarrassement that the movie has become something of a cult…is reflective of your own personal taste and preference. I have a strong suspicion you dont like films where the protagonist is some kind of a zombie,grown up kid not ready to face the world in practical terms. For me DevD was great not merely as a piece of subversion of the popular melodramatic,bhansali endorsed devdas narrative, but even as a character study of the protagonist …it is psychologically profound.
            The interactions between dev chanda and dev paaro..is illustrative of kashyap’s penetration of human mind.

            Shanghai was a very deep criticism of middle class mentality, a theme Dibakar repeated after OLLO….
            Dibakar has played on the plot supplied by the Novel Z..and produced something tottally different and far more ambitious…the film merits a second and a third viewing.

          • I’m not a fan of the Devdas story but I quite like DevD! However if you consider this a revolution in cinema I have 6800 (and still counting..) other films to show you.

            On Shanghai I’d rather revisit Z! didn’t say it wasn’t a good enough film, just overrated.

            do like Taxi No 9211 a lot. Not as much as BM though. On Bheja Fry not a fan. Not a fan of the French original either. They’re alright.

            On DMD:

            http://satyamshot.wordpress.com/2011/04/28/specters-of-dum-maaro-dum/

            On BM don’t have a piece but a number of comments. Will dig these up another time.

          • @ anjali: ive mentioned this before but I think it’s not Satyams fault that his ‘grip’ of romances/ or movies related to this genre like devdas, forget cocktail is ‘weak’
            My reading is that he has been too much of a good boy
            He may have seen many films but ‘theory is theory’ ;-)

      • Not a big fan of Mishra but I generally tend to like moments in his films. Have a great weakness for HKA. Wouldn’t say all of his films are better than Kashyap’s though. I’d put kashyap ahead of him rather easily but yes HKA is one of the contemporary films I’m most likely to revisit.

        • Satyam, u got me wrong. i never said that Mishra is a better director than Kashyap or ‘all’ of his films are better than Kashyap’s. All i said was that Iss Raat and HKA are better (it should have been ‘more important’) than all Kashyap works save BF (and probably Gulaal) just like IMO Rgv’s Shiva (and even Rawail’s Arjun) are more important than GoW even if latter is a ‘better’ film.Btw what did u think of Mohra?IMO in that crapfest era it was the only decent attempt at masala apart from sum Santoshi films

    • i agree sudhir mishra is a useless director.

      • ^ taking of sudhir mishra: reminded of Chitrangada Singh !
        Anjali : did u see jokers ‘kafirana’ song
        On Chitrangada Singh: is she your cousin/relative :-)
        What did u feel about her ‘performance’ there..

        • chitrangda singh is perfect.
          was trying to find fault in her looks….tried real hard….but there isn’t any.

          • Yes anjali: u have good taste- just watched that song properly
            I’m pleasantly surprised
            Also she has ‘picked up’ the item song nuances well
            Ps: though age does show on her face somewhat now – but overall good signs of ‘maturity’–so much better than ‘halkat’ kareena!!

          • RE: “chitrangda singh is perfect.
            was trying to find fault in her looks….tried real hard….but there isn’t any.”

            Man, I so agree — except I wasn’t trying to find fault. She is gorgeous (although the clothes in the Joker item song don’t suit her; too thin).

  17. “Kashyap has to edit the last half hour of the film devd. after the reformation of dev….dev was shown to have become a pimp of chanda!”
    Haha that is reserved for Dev d 2
    Starring the (illegitimate) son of DevD & his (s)exploits

  18. well glad she talked about shool which was manoj’s best performance according to me and i will elaborate a scene there which shows how equation changes with timew :

    manoj vajpayee along with his wife raveena and children goes to a cafe and a scarcastic baira(waiiter for a scene) took their order and a decade laters the same baira(nawaz) and monoj plays the lead in gow 1 and gow 2 respectively…

    for records dev d has nothing to do with devdas may be it was a subversion of popoular new srk one (just a gimmick nothing more)but in terms of liereature, artistic tone and script it has nothing to do with devdas but ya a grat master did that effectively and with maturity …..shyam benegal with sooraj ka satvan ghoda

    http://gesturegraphics.wordpress.com/2011/04/27/suraj-ka-satvan-ghoda-a-timeless-classic-by-shyam-benegal/

    (an inspiration of dev d which it was not a patch of …)

  19. and for record maturity is not absurd used of profanity and inversion of anything or some highly absurd porn fantacies:

    for morons even dev can be pimp just like girl can do a handijob for his father and father likes it( the girl in yellow boot)…a father watches the mms of his daughter and dies with guilt(dev d )

    no smoking was not based of fantacies but the core of script was taken from stephen king’s quitters

    http://en.wikipedia.org/wiki/Quitters,_Inc. ( in terms of etthics even no credit was given)

    similarly paanch and black friday based on hugely popuar real events where everything was ready in terms of research and this aspect kashyap was lacking in gow ( part 1 was middle of road but part 2 was fully commercial) and like any other bollywood masala without a big star

    hyperbole is good but kasyap seriously has to make a significant movie which sets the bar either in terms of technicality or visual or commercially

    vishal bhardawaj without these hyperbole has done much better

    • @ Rockstar
      I have been trying not to say this but your absurd criticism of Kashyap has forced me to…..You definitely lack in aesthetic sensibility/vulnerability to appreciate the breadth of an artistic vision. You have the cinematic maturity of a typical indian who has grown up in the staple diet of bollywood masala films and all your talk of satyajit ray,shyam benegal,stephen king..etc are superficial…mere words…which yu love to bandy.

      • nothing beats your absurd praise and if you can’t argue or don’t have brain for it simply stop it rather taking personal potshots

        your superficial talks of osho or any other topic are as idiotic as one could get

        how old are you..10 or 12

        • if anyone talks about ray, benegal ,king he lacks sensibility and maturity and other like a [edited] … grow up and have a life

          • Cool it rockstar
            U are getting carried away :-)
            In your urge to put down kashyap, u are calling a female 10 year old or ‘idiot’ etc
            One can disagree politely hahah

          • no girl you always get carried away and i have just shown you mirror …. seen it time and again

            this is virtual world so better not talk about genders these thing don’t suit some people certainly and ya respect or politeness is not given it has to be earned by action

            if you want same learn to give that to others

          • “no girl you always get carried away”–agree..
            Though it was u not her who started saying ’10 year old’ and ‘idiot’ to her
            While she just commented on your comments on kashyaps films :-)

          • yup and calling other typical indian mentality(in a snide way certainly), lacking artistic aesthetics and what else are spritual and talking about maturity( age ) is part of sufi love

          • Well I think rockstar does know quite a bit about films
            Even stuff like ray that I haven’t seen
            Happy ! :-)

          • whats your problem …

            one is calling others name and other is busy in saying what others knows or not

            if you don’t like what it is written then contradict or rebuke it with point rather than keep smamming or extending it with personal overtones …. its a basic common sense that others will reply back but ya there is a thin line between common sense and nonsense

            i am stopping it here

          • Thanx for ‘stopping it here’ :-)
            I personally feel that though I can see where the angry rockstar is coming from and know he is a sensible person–
            But his ‘idiot’ comment @ anjali should be deleted..

          • @ rockstar i am sorry for my comment. i meant them in reference to ur talk of kashyap.
            just tell me how many times u have repeated that… no smoking is based on quitters by stephen king?
            you have nothing more to add about no smoking other than this piece of information from the wiki?
            i have personally encountered this comment at least a dozen times!
            quitters inc is a short story by stephen king..u must be knowing stephen king is a science fiction writer. kashyap has added a lot of things to that story and the kafkesque….existential angle given by kashyap(which is the theme of no smoking)…is kashyap’s own.
            quitters is pulp fiction….not literature…has no existential,soul searching angle to it. stephen king is a popular science fiction writer..he is not a camus or kafka.
            by the way have you read quitters?
            Your favorite satyajit ray made most of his films based of proper literary bengali novels..of celebrated novelists.

          • here we go again:

            aamir khan has made that word famous though in a +ve sense(remember 3 idiots) and ya it comes from typical indian mentality (typical bollywood staple diet)

          • i hope u knew quitters is a small short story…or yu were thinking it is a film?

          • thats better anjali(coming up with content)

            he did but satyajit ray learnt to give credits to others (even though he made changes)which in case of no smoking wasn’t and one knows from where basic crux of this story and it inspired various others western teleserial and short film

            btw that information is not available on net so its not a copy paste

          • and its not that kafkaesque films are coming from ages…

            even the hugely popuar minority report or the evergreen dark city

          • and ya just a personal opinion gulal was a much superior Kafkaesque product than no smoking which was a mismatch

          • remember the centracter k in no smoking

            http://en.wikipedia.org/wiki/The_Trial

          • Ok I finally saw this… Rockstar I’m editing this comment.. don’t get so personal in the future..

      • Agree with anjali there..
        @ rockstar: u surely have viewed lots of stuff and appreciate that includes ray /benegal/ Stephen king etc
        But find it strange how I see nothing more in dev d or kashyap than that..
        Anyhow u are entitled to your opinion
        Ps: didn’t know about that in the ‘the girl in yellow boots’–u do give choicest references lol

        • aa : some have the tendency to acti like a glorified chamcha rather than stickings to their opinion and advicing others they should first lean to contradict others opinion rather than taking personal potshots

          and ya i am not that gentleman enough to take this nuisance..just a reminder

          • Thanx 4 the reminder rockstar
            We are ‘scared’
            Now cool down :-)
            I know u are a sensible person …

          • its not about being scared or lovable ….

            unnecesary if someone jump in between he should be be ready to face the music

          • Have no problems in ‘facing the music’
            Play it on
            I love music :-)
            C’mon rockstar : why r u an ‘angry young man’ today though…lol

  20. and thing is kashyap has used the media and branded him which he accuses other stars of doing time and again

    his site pfc(passion of cinema) when it was active only touched upon his or camp’s glory and now carefully using film festivals to generate the hype and self promotion…….

  21. It is Saturday go enjoy Jism-2 , instead of arguing here! ;)

  22. Ok guys cool it, no need to start fighting about this stuff.

    also try and limit the overall comments (this applies especially to Alex!) because an excessive number of short comments drowns out the thread and the forum even if they’re otherwise sensible. Take two more minutes and collect your thoughts!

  23. also try and limit the overall comments (this applies especially to Alex!)
    this rule should apply to rockstar also especially in this thread.

    • I addressed everyone to start it off. But Rockstar is not here as often. There’s not even a comparison. And Rockstar also doesn’t add tons of comments that are nothing but humor. I wouldn’t have an issue with all of this if there were a way of not burying other discussions. Unfortunately there isn’t! So I’m not saying there’s anything uncivil going on otherwise (except when it is!).

  24. Thanx anjali ;-)

    • Btw Satyam:
      I’m not a big fan of kashyap
      But the moment this thread was made, one could see numerous attacks on kashyap ‘die hard’ fan(s)
      Some have mentioned stuff like ‘cowdung’, ‘manure’ on certain films
      And some have even called a female ‘idiot’. !
      Whilst Im no less an offender in these things and jokes etc (lol) but I’ve never abused anyone..
      I’m a bit surprised that after all that, this was what your ‘resolution’ was instead of deleting purely ‘abusive’ comments …
      Anyhow it’s your blog and your take…
      Just my opinion on it
      Ps: as for abuses, i didn’t take the ‘temptation” of following suit though some have probably seen ‘trailers’ earlier of how I can sometimes give it back …and such that certain people never return ever !!

      • I was going to but in the end saw you guys had made up and there were a lot more comments that followed. I try to avoid doing this where I can.

        • It’s your choice satyam
          Btw there was only one genuine ‘female’ kashyap fan here on this thread
          Someone threatening to ‘strangulated’ anyone discussing kashyap
          Whilst I have no real stake in kashyap, that’s when I joined…
          While its great that people are allowed to post here, its better of they ate protected from such ‘threats’ :-)
          I repeat though : I’m no less an ‘offender’ in many jokes etc but abuses and ‘threats of strangulation’ is a bit much..
          Though u are well within your right to tell the ‘strangledm to restrict their comments
          And just ‘think’ about deleting stuff like ‘idiots’…

          • I don’t know who made those comments Alex, that’s not appropriate, I don’t know if they were made in jest or not. In any case I didn’t see them. whoever did it should desist from it. I just did a word search and couldn’t find the comment. Too tired at the moment to look into it more extensively.

            I don’t have any stake in any particular discussion either. I was just talking about the flow of comment traffic earlier! And yeah it looked like there were some heated comments between Rockstar and Anjali today. I was skimming through these and told them to cool it, then I saw they had ‘made up’!

      • Also, people like us have been advised to ‘GROW UP.’ I was just waiting for your intervention there but did not see it….Not that I need it; I do not retaliate and I just withdraw and never speak again with anybody that turns condescending..

        Just wondering… is it’s OK if a cyber – ‘male’ is called an idiot?

        I have nothing against your interventions AA; just hoping that you turn an EQUAL OPPORTUNITY INTERVENTIONIST one day…

  25. When originally this blog was started, it was and still is a collection of very intelligent and eclectic brains on cinema such as Satyam, GF, Q etc, What goes on threads like this (the excessive brain dead comments and humor) is certainly diluting the brand. Like some one said we don’t want to reduce this to NG.

  26. omrocky786 Says:

    Namrta Joshi, Kansyap, Slob,– they are all lal jhola group……
    it is funny how kansyap has a tweet about Ramsena ( quoting tehlka), but not a single word on Azad Maidaan…

  27. Barring a couple of films, find AK quite self-indulgent. I have seen a trail of these ‘sabse bade fans’ of Amitabh – who talk out of turn when not attended to by the Big One!

  28. hmm…tension is in the air! Not that they need any defending- they are more than capable of defending themselves- and neither have anyone accused them of anything, still for some reason I feel like speaking on behalf of Alex, Anjali, and Utkal. I feel they’re valuable voices on SS.

    Anjali can be a bit abrasive at times, but she has an original fresh voice. I find her take on many topics quite refreshing.

    Utkal, one may accuse him of being hyperbolic. However in his defense I’ll say he’s very passionate about movies and music, and if you can go past the hyperbole many a time there is an eloquent voice to be found. Also despite some goading and personal barbs, he has not reacted to them- has been a perfect gentleman.

    Alex- I suspect he’s fallen in love or how else do you rationalize his turn to good guy-ism. He functions like a social gadfly and stirs the pot sometimes. Quite an intelligent and perceptive person, he suffers from the British malady of distrusting intelligence, so tries too hard to camouflage his own intelligence by often making less than serious, jokey remarks. Anyway someone who makes you think twice before using words like ‘big’ and ‘coming’ while posting here is always a valuable member!

    • LOL, agreed with most of what you’re saying. I don’t have issues with anyone. I sometimes have issues with certain kinds of views, I challenge people on them and that’s it!

  29. ROFL matrix– whatta comment !!
    Many thanx for my ‘gadfly’ comparison to ‘Socrates’ !
    Socrates/ Plato : I’m in esteemed company … :-)
    As for utkal uncle and anjali: they surely are among the best commentators here..content and originality wise..
    I don’t need any ‘favors’ etc so speak my mind usually …
    Have never ‘queued up’ to register my ‘blind support’ to a cohort lol
    Ps: Btw I don’t really need ‘defence’ -probably others do need to be ‘defended’ from me..lol
    What an entertaining day today here after watching ETT -some fun action here.. Enjoyed it ..

    • well I’ve already put you in the company of shakespeare once! No one can match the Bard for sexual innuendo other than yourself!

      • ^^^ Thanx folks–I am being compared to Socrates, Plato and now to Shakespeare!!
        While I’m thankful and humbled, let’s not kill those dead greats again lol
        Ps: this ‘praise’ won’t stop me for ‘exposing’ and ‘countering’ all nefarious spins :-)

  30. Btw matrix : u also are quite an intelligent sharp individual…
    Anyhow: let’s ‘camouflage our Intelligence’ and enjoy some crass lyrics and lets dissociate it from the Kareena horror images
    “Night ki naughy kahaani
    Yeh Halkat jawani.. Yeh halkat jawani
    hai namkeen pani
    Yeh halkat jawani.. Yeh halkat jawani”
    Ps : a somewhat embarrassingly hooky tune…but something one shouldn’t be seen/heard listening to …enjoy

  31. My ek rupaiah chaar aana on the topic:
    To me, a regular mainstream ‘daal-bhaat’ viewer of desi cinema, who has grown up on masala, indeed GOW was a striking experience. I have seen BF, DD, NS, Gulaal and GOW. IMO, only BF and GOW will age well, the former due to its historical significance for all times, and the latter for its chutzpah (exhibited mainly by its stellar cast of Bajpai and Siddiqui). DD was good but, IMO, has not aged. Gullal was great in flashes, but just crashed and burned by the end of its storyline. NS was pathetic.

    I do not know what his future projects are, but to be frank, he seems to have exhausted all the desi realism that he could display in his films thus far.
    Perhaps he should try his hand at the mainstream escapist fare for a change. So therefore, in summation, Kashyap, while having started off with creating this alternate road, which drives a viewer through realism in cinema, will eventually have to come to the center if he wants to not die a pauper.

  32. Utkal Mohanty Says:

    The Hinterland strikes back

    “The aspirations and imagery of small town India are being played out on celluloid like never before. While Mumbai continues to be the filmmakers’ muse, the action has shifted to Delhi over the last few years. But now, the industry’s lens has zoomed even further inward. Shyam Benegal’s Welcome To Sajjanpur (2008) was set in a fictitious village in central India. Anurag Kashyap’s Gangs Of Wasseypur I and II is rooted in Dhanbad, Jharkhand. Tigmanshu Dhulia’s Paan Singh Tomar (2012) finds its hero in Chambal, Madhya Pradesh. Abhishek Chaubey’s Ishqiya (2010) sees much of its action in Gorakhpur, Uttar Pradesh and Habib Faisal’s Ishaqzaade (2012) gives Almor (a fictitious village in UP), its three hours of fame.

    The films may be set in the hinterland, but are nothing like the stereotypical village stories of old Bollywood – no village belles in short, ghera skirts; no tales of famine, and definitely no dancing on crushed glass. This time, the locations are real, the plots believable, the details authentic. It’s a world where the new idea of entertainment is Huma Qureshi telling Nawazuddin, “Permeeson to lo! Aise kaise touch karoge?” in small-town Hinglish. It’s changing the way the stories are being told, and larger cities appear to be lapping it up. “We are tired of living our cinematic dreams abroad,” says author and film critic Anupama Chopra. “Filmmakers have explored the world, set stories and characters in New York and London and anywhere else fancy. This concept has done its time.”

    http://www.hindustantimes.com/Brunch/Brunch-Stories/The-Hinterland-strikes-back/Article1-915063.aspx

  33. infact shyam benegal the orginal trend setter was here to :

    well done abba was a tad better than sajjanpur and it got national award and rest followed with more commercial element rather than beleivable

  34. these are tried and tested stuff and others follow it and do their self promotion:

    http://en.wikipedia.org/wiki/Suraj_Ka_Satvan_Ghoda

    Suraj Ka Satvan Ghoda (Seventh Horse of the Sun) is a 1992, Indian Hindi film directed by Shyam Benegal and based on a novel of the same name by Dharmavir Bharati. It won the 1993 National Film Award for Best Feature Film in Hindi. The movie has also been known for its a subversive take on the ‘Devdas’ syndrome

  35. Thanx utkal uncle: wow what a link…
    Btw what is your top ten ( think it should be top twenty!) rehman tracks….

  36. Utkal Mohanty Says:

    Kyunki Saas Bhi Kabhi Bahu Thi kicks off GOW1, and introduces the gang wars of Dhanbad. Here, killings are perfectly timed with the popular soap, gangsters watch it daily with their families—as much a ritual as their knocking people off. This opening scene unfolds from another perspective midway through GOW2, but the foibles and frailties of the hoodlums stay. They get an added dose of the idiosyncratic. So you get characters like Perpendicular, who lisps and kills with a blade hidden in his mouth, but fumbles over slippers after looting a jeweller. There’s the intriguing Definite, on whose origins an entire sequence is devoted.

    Yes, there’s sweep, span and spectacle in GOW2 but it’s the irreverent attitude that sets it apart. Violence abides but not gore. The wit is in the dialogue, seeped in the quirky characters and the pulsating, hilarious chases on dysfunctional scooters. There’s something insanely funny in the killing where two phone calls and random chatter on litchi, banana and jackfruit almost play spoilsport. Nawaz, the pencil-thin Faijal lost in dope, dressed in a harmless lungi, shoots people and avenges his father’s killing. The hatred in his eyes and smile on his lips are as scary as they are splendid. The womenfolk are equally on top of things. The mother goads the son to seek revenge (tumhare haath se kab goli chalegi) and the wife participates in his mafia business as though it was as easy as watching a film with him. Then there is Saiyyan kala re, a song wherein a woman’s gaze, her romantic celebration of the man’s villainy, gets a touch of coal politics.

    When the film follows this ironic, cynical, wry path, it works. The minute emotions slip in, it flattens and turns filmi. Like when Faijal regrets having taken to crime. The voiceover that explains everything; down to Jharkhand’s formation. The operatic high of the last killing. It’s here that the wildly entertaining acquires revenge drama predictability and GOW2 loses its identity, becoming an extended climax of the prequel. The probability of a GOW3 then doesn’t seem exciting enough. Unless it goes wholly tangential and eccentric. I don’t want to shed tears for the anti-heroes, or leave with a lump in my throat.

    http://www.outlookindia.com/article.aspx?281979

    • Thank Lord !!!

      No Critic is saying Its some Kind of Masterpiece and Kashyap is Modern Prophet as some here proclaim and others floating brains ready to second it :)

    • namrata joshi has not understood even 2 percent of this film.
      its a shame such juvenile heads get to review a film like GOW.
      i have often found it funny…the way people born and brought up into a more conventional way of thinking label original works as merely idiosyncratic,irreverent,wry…ironic….as if these words are explanatory of the mind space of the director which he is projecting in his art.
      for me these labels are a form of escape from tackling the inherent complexity of the artistic creation in a minute and thorough fashion.what to say if someone reviews a novel like trial of kafka as merely idiosyncratic,irreverent,wry…ironic?…the reviewer is not wrong……but is not adding any insight.
      it would be better if she sticks to reviewing films like kya super cool hain hum,etc…

  37. Utkal Mohanty Says:

    Bliss: So me one film about which Namrata has this good things to say, ” Yes, there’s sweep, span and spectacle in GOW2 but it’s the irreverent attitude that sets it apart. Violence abides but not gore. The wit is in the dialogue, seeped in the quirky characters and the pulsating, hilarious chases on dysfunctional scooters. There’s something insanely funny in the killing where two phone calls and random chatter on litchi, banana and jackfruit almost play spoilsport. Nawaz, the pencil-thin Faijal lost in dope, dressed in a harmless lungi, shoots people and avenges his father’s killing. The hatred in his eyes and smile on his lips are as scary as they are splendid. The womenfolk are equally on top of things.”

    Or one film about which Rangan has this good things to say, (except for ‘ Delhi Belly’ ) :
    ” On a formal level, this is easily Kashyap’s most fascinating outing… The film unfolds as a series of voiceovers, a flurry of dates and names, a cavalcade of memorable scenes… [This] is a diffuse epic, content to coast around the revenge plot instead of making it the thrust of its narrative – and what the film loses in terms of dramatic power, it gains in texture…”

    Or one film or filmmaker about which Mihir Fadnavis has this kind of thins to say: “Still, the scale that Kashyap explores is epic enough to let most of the snags slide. His visceral style, aided by the stunning way cinematographer Rajeev Ravi shoots Bihar’s streets without falling for shanty-porn, ensures the film retains its freshness. Not to mention the oddball humor of it all, where a Bollywood obsessed mafia boss wearing Technicolor clothes smokes up and giggles, a jammed pistol turns the hunter into the hunted on a malfunctioning Bajaj scooter, and everyone’s phone ringtone is from the 80’s cinema. It is unabashed pulp, but to watch it is to witness a master filmmaker continuing to refine his talent.

    Best enjoyed as a single viewing, Gangs of Wasseypur 1 and 2 are Kashyap’s double barreled shotgun blast in the rotting belly of Indian commercial cinema; unless you have an absolutely horrible taste in movies, you should watch them on a huge screen.”

    Or one film in t which Jai Arjun has found ‘ so may brilliant things”, : Consequently Gangs of Wasseypur can be a confounding film to watch. There are so many brilliant things in it (and regardless of everything I say here, I look forward to watching Part I and Part II back to back on DVD at some point). There are the performances, notably by Manoj Bajpai, Richa Chadda, Tigmanshu Dhulia, Nawazuddin Siddiqui and especially the film’s co-writer Zeishan Qadri in an (ahem) author-backed part as the imperturbable Definite. There is Sneha Khanwalkar’s versatile music score, ranging from the 1940s-style ballad “Ik Bagal” (written by the multitalented Mishra) to the reggae-hippie song “I am a Hunter” (which incorporates elements from Trinidadian music with what sounds – to my ears – like a hint of the classic children’s song “Nani teri morni”).”

    Do the critic has to spoon-feed you and tell you that a film is a ‘ masterpiece’ or that a filmmkaer is ‘ prophet’ to know that we have a genius among us a and a masterpiece of a film? Can’t we read between the lines and join the dots? Can’t we think for ourselves based on the diverse thoughts expressed by diverse critics?

    • Utkal,

      I dont like Quoting ( selective) to prove my point. I can Quote same Rangan and Jai arjun for the films you despise and reject and call useless and than you will say same old note, ” they didn’t get the essence and blaha blaha ”

      Read my comment carefully, as usual you are meandering into hyperboles and what I never said. My ‘operative’ word was Masterpiece and Prophet and I never said its not a Good film even though I commented on GOW 1 after seeing it as per my little knowledge….

      about your last para, I can say just that, every fan thinks alike and they are all ready to join dots( which only their eyes can see) as per their own convenience to show its masterpiece and hail someone as Prophet

      I don’t buy hyperbole’s as you dole them so freely and easily, its now like media doles out great and legend for every celebrity :)

      To end it with Quote, which you like to do most of times, legendary( pun intended) Editor of Guardian Mr Scot so truly said,

      ” Comments are Free, Facts are Sacred”

  38. Utkal Mohanty Says:

    Rockstar: Suraj Ka Satvan Ghoda a subversive take on Devdas syndrome? That’s the first time I am hearing this? can you enlighten us a little what the film has got to do with Devdas?

    • Utkal Sir, have u written any thing on Om-Dar-Ba-Dar? If u haven’t could u atleast put ur thoughts abt it- it’s a film i had liked a lot.

    • i am surprise you haven’t as its part of one of the best indian cinema had in terms of story telling

      bhansali version was distorted one and the recent dev d was subversion of it and had nothing do with original lierature

      originally its based on a hindi(sksg) novel which itself subverts the original one where main character times and again quote the devdas and in end totally goes against literary version and more the satirical version of devdas…

      http://www.tribuneindia.com/2008/20080210/spectrum/main1.htm

      • and ya national book trust is also not a fool to think that

        http://www.financialexpress.com/news/literature-that-walks-talks-and-sings/919798/2

        • here is one of the best i have seen on this:

          http://anuradhawarrier.blogspot.in/2012/05/suraj-ka-satvan-ghoda.html

          When he pooh-poohs Devdas as not being relevant to the times because it is not rooted in the economic struggles of the people, a question is thrown at him – what has love, or love stories got to do with socio-economic or class struggles? Manek is unrepentant – all good love stories have their foundations in class.

          Shyam Benegal follows a non-linear approach to story-telling, allowing the three disparate strands to weave themselves together at different points. What we get is not only three different stories (it finally turns out to be just one), but each story being told to us from the perspectives of the different characters. And so as each story is told us, we see the same events, the same characters weave in and out, playing themselves, and we hear the same dialogues; only, the emphasis changes. At the end, we, as much as Manek’s friends are at a loss to decide how much is fact and how much is fiction.

          Rajeshwari’s Jamuna is a curious mixture of romantic idealism, native intelligence, and a strong core. She is willing to fight for what she wants; even when she is defeated by the social norms of the day, she makes her own rules (and flouts others) to find a way to attain her goal. She mothers Tanna, bullies Manek, and finds ways to assuage her growing loneliness.

          • Pallavi’s Lalita / Lily is a woman who holds her own in a world not of her own making. She gives in once, but learns quickly enough that she will never get the support she needs from the men in her life. Neither Manek nor Tanna have the courage to stand up for their love. And so, she leaves both men behind to make her life as a single mother. Who needs men, she scorns, secure in the knowledge that she has her wealth to fall back upon. She can be independent, and independent she will be

            The strongest, yet most exploited is Satti / Neena Gupta. Hers is the most poignant of the stories because she is betrayed by the one person in whom she places her trust. Her affection for Manek is based on their friendship; she is willing to pay for his education, and wants to see him succeed in life. There is the knowledge that there can be no other relationship between Manek and the likes of her. She is resigned to the fact that she was raped; there is no hand wringing, no shame – not until she sees Manek’s reaction. It is not her fault she was raped, and she knows it.

          • for record guy who was lead who done a cerain boymesh bakshi on dd some year back and now dibikar banerjee next is based on that

            i will see another big hyperbole wow thats innovative which is basically another remake according to me atleast sujoy ghosh was innovative with kahani

            compare jamuna and so called coming of age mahie gill ands one know where the original inspiration coming from

  39. Utkal Mohanty Says:

    Saurabh, I had written years back. Trying to locate it. If I don’t find it soon, I will put dowm ny thoughts. Another film that you may like to check out is ‘ Herbert; by Suman Mukhopadhyay. There are the only two Indian films using magic-realism as far as I know.

  40. Utkal Mohanty Says:

    Anjali, no, not seen Gandu yet. Have to catch hold a copy from friends who have it.

    • A sincere request Mr. Utkal:

      You took your family to GOW. I guess then you have no issues with watching a MCBC film with the family. However, first see Gandu the ‘film’ alone and then decide if you wish to share it with your family.

      Just fyi…

  41. Utkal Mohanty Says:

    An Jo. If a film is good enough for me, it is good enough for my family. So I guess if Gandu is a genuinely good film, ta great piece of art, where the artistic value overrides the sexually explicit content, then sure, I will see it with my family. If not, I myself would not like to watch it.

    • Sure; as I said, it was just fyi….

    • gaandu should not be watched with a family.
      it is not a mere “om dar ba dar” or “herbert” type of subversion….the movie is very very angry.

      how to explain that movie?
      recently i came across a very repulsive video on u tube.it was some kind of a vulgar spoof on all things respectable.
      a guy(foreigner) is shown sneaking up to well dressed women in public places….like a mall,public park, busy street,etc….and he is shown forcibly undressing her (he is an expert at this and gets the women naked in a few strokes.. so to say)….the naked woman is left with an angry,violated,embarrassed look on her face as the hooded guy runs away….
      the whole video is a series of that man’s adventures involving several women….
      a few of the bold ladies in fact run after him with a menacing look(half naked)….but he is too fast….
      the song that was playing in the background was a bihari one:
      “Bahut kiya samman tumhari maa ka Chx#$%”

      I think the movie gaandu is doing the same thing with our artistic sensibilities.

  42. Spare a thought for poor namrata joshi, folks :-)
    In the name of kashyap and GOW, she has been…..

  43. Phul phutuk na phutuk, aaj Boshonto
    Shaan-badhano footpath-ey
    Pathorey paa dubiye
    Ek katth-khotta gachh
    Kochi kochi patae
    Paanjor phatiye hashchhey.

    Translation:

    “Whether flowers bloom or not, it’s Spring today
    Standing on the concrete pavement
    Dipping his toes into the rock
    A curmudgeonly tree
    Decked out in new leaves
    Laughs his heart out.

    Lovely poem by the bengali poet Subhash Mukhopadhayay.

  44. Sho shweet…thanx
    Do u know bengali ?
    Even without understanding it, can say that Bengali is one of the sweetest languages :-)

  45. After Garm Hawa, Muslims for the first time in Kashyap’s Wasseypur have been shown symbolizing the nation they live in

    After Saeed Mirza’s Salim the Lame of ’80s, Indian Muslim finally finds his voice in Anurag Kashyap’s Wasseypur

    An exile never achieves full reality- Reinaldo Arenas

    In cinema, the most potent and liquid of arts, it’s easy to exclude. In Bollywood, the perverse form of entertainment that masquerades as cinema in India, it’s a breeze to make an outcast of entire communities and present them, if it all, in a flat and dumbed-down fashion that does not do any justice to the communities but is good for the health of cheap pastiche that is the bedrock of Bollywood.
    …..

    http://articles.economictimes.indiatimes.com/2012-08-20/news/33287770_1_muslims-wasseypur-pakistan

    http://economictimes.indiatimes.com/news/news-by-industry/media/entertainment/entertainment/after-saeed-mirzas-salim-the-lame-of-80s-indian-muslim-finally-finds-his-voice-in-anurag-kashyaps-wasseypur/articleshow/15650064.cms?

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