Now, when I look back at the entire 6 hours odd that I have spent in Wasseypur, I will say that it was time well spent. Watching a movie that establishes benchmarks in Cinema and is eons ahead of the competition is definitely a treat to the senses, and Kashyap truly deserves a standing ovation for having the gall and the guts to create this one. Wasseypur is flawless in each and every aspect of film-making, and I will try to justify why.
Script - You cannot run an express train without fuel, and GoW doesn't attempt to deliver on chaff either. Thus, the story and the concept are both written on a large canvas, with carefully weaved in detail. I was amazed, and at times overwhelmed at the kind of detail which could have been overlooked and nobody would have noticed. Consider for example, the film poster of DTPH and the mention of DDLJ during 95-97. Also, the fixation with 'Kyunki Saas Bhi Kabhee Bahu Thi' in 2004, and the introduction of pagers. Also recall, in the first part, how Ramadhir's wife gets flummoxed when he invites Sultan for Lunch.
Screenplay and dialogues - To go over-the-top in Indian cinema is considered granted, and film makers get awfully craptacular in the name of providing visual extravaganza. Cars blow up 50 feet in the air as a matter of routine. Women are glammed up and men beefy.
Another place where GoW retains the authentic/rustic feel of the place where it claims to belong to. I am in absolute love with the accents and the dialogues, like the one where Faisal Khan assures his mother that revenge would be sought. And boy, does Ramadhir Singh get it right when he exclaims, "Jab tak Bharat me saneema rahega, log ch***a bante rahenge !" Anurag and Zeishan certainly know how to entertain and insult the audience with one-liners as crisp as this one.
Direction - That Kashyap is India's best amongst his contemporaries can be proved by one scene, and one scene alone: Faisal moving his family and subsequently himself during a murderous attack on their home. The camera continuously tracks the actor for the entire scene, and it looks as if the shot has been canned in one continuous take. This delightful sequence is a personal favorite and certainly a first for Bollywood. A similar moment in the first film is the last one after Sardar Khan is shot. Which leads to the question, "Why does everybody else find it so bloody difficult to combine cinematic excellence with realism ?" Certainly doesn't seem to be an issue with Anurag Kashyap.
Starcast - This is no ordinary group, but a motley bunch of actors who are the best of Bollywood. Want to make your own film ? GoW makes it awfully easy by giving you the list of winners from a national acting competition. Each actor, starting from the leads Nawazuddin Siddiqui and Manoj Vajpayee to the wedding/funeral singer Yashpal Sharma require separate reviews and articles for themselves, and there is no point delving deeper into their capabilities.
And finally, the music. It blows your socks off, with bang-on-target lyrics. The best of the lot for Wasseypur 2 is 'Taar Bijli' and 'Chhi Chha Ledar'(sung by aTh 12 year old).
The only problem with Wasseypur is that it becomes emotionally taxing and mind numbing. I zoned out for some time, affected by the absolute mayhem being unleashed.
Take a bow, Mr Kashyap for the best film series of Bollywood. I am going to be a fan all my life.
PS - On the GOW wiki page, the director is named - "Anurag JI Kashyap" :-D.
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