Archive for Anurag Kashyap

Qalandar Reviews MANMARZIYAN (Hindi; 2018)

Posted in the good with tags , , , , , , , , , , on September 16, 2018 by Qalandar

This review contains spoilers.

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Manmarziyan opens with a shot of the Golden Temple, the sort of thing that in recent times has been one of the lazier clichés in Hindi cinema: if Sikhs are involved (and sometimes even when they aren’t), Amritsar’s sacred shrine is a given.  However, the vantage point here is a bit different, enabling the viewer to take in not only the iconic building, but also an incongruous neon sign perched on top.  One is almost tempted to say it doesn’t belong, except that in India, it sort of does.

That opening shot, if re-visited after the end credits have rolled, tells you a lot about director Anurag Kashyap’s aims in taking up one of the most hackneyed Bolly-genres of all – The Love Triangle – and in trying to give it his own twist.  That is, Kashyap scrupulously adheres to the genre’s conventions in several respects Continue reading

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Qalandar’s Note on GANGS OF WASSEYPUR II (Hindi; 2012)

Posted in the good with tags , , , , , on August 14, 2012 by Qalandar

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I hadn’t thought there would be much to write on Gangs of Wasseypur II; in the sense that I’d thought it would be just like the first film (my review HERE; discussion thread HERE) — indeed director Anurag Kashyap had gone to some lengths in stressing that we were dealing with one film here, and that the second film was simply the latter half of a whole. This, to my mind, and especially because I had enjoyed Nawazuddin Siddiqui’s character the most in the first film (he looked to be the lead protagonist in the second), was, in my mind, a good thing.

Ouch. I didn’t enjoy the second outing very much. Continue reading

Qalandar Reviews GANGS OF WASSEYPUR (Hindi; 2012)

Posted in the good with tags , , , , , , , , , , , , , , , on July 14, 2012 by Qalandar

Updating this post as Qalandar’s piece has now been published on the Outlook site

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Gangs of Wasseypur opens with two of my pet peeves: a voiceover, and an explanation of where we are and how we got there (it’s cinema, people, show me, don’t tell me!). But – and I’m not sure how he does this – director Anurag Kashyap uses these clunky props to pull off some of his best filmmaking yet, in a fantastic hour that situates us in Dhanbad, in Bihar’s (now Jharkhand’s) coal belt, the casual and systematic brutality of its mining industry, and the complicity of the state (both pre- and post-colonial) in all manner of oppression. Marking incident, place and time is Piyush Mishra’s gravelly voice, informing us that our special Purgatory is Wasseypur in the 1940s, south of Dhanbad, a Muslim-village locked in permanent struggle between the Qureshis (butchers by trade) and every other kind of Muslim. Continue reading