A clash between Sultan (a Qureishi dacoit chief) and Shahid Khan (a Pathan who impersonates him) leads to the expulsion of Khan from Wasseypur, and ignites a deadly blood feud spanning three generations.
After breaking up with his childhood sweetheart, a young man finds solace in drugs. Meanwhile, a teenage girl is caught in the world of prostitution. Will they be destroyed, or will they find redemption?
Based on a real life group of con artists who pulled off many clever robberies during 1980s, and robbed famous businessmen and politicians by pretending to be the CBI or Income tax officers... See full summary »
Shahid Khan is exiled after impersonating the legendary Sultana Daku in order to rob British trains. 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. Written by
The scene featuring a flooded coal mine (just before Sardar Khan is born) is shot in a real coal mine that was actually dry. Using the sound of water dripping and people wading through water, and actors walking as if struggling to cross water, they created the illusion of flooded mine in the darkly lit shot. For the safety of crew, there is not a drop of water inside the mine. See more »
(at around 28 mins) When Danish goes to Rajhans Mansion to kill his father's murderer's apprentice you can see "EZYPAY" poster on the left side of the screen with Mobile's picture in it. At that point of time as per movie even pagers were not around in India it was some years later that pagers were introduced and Faizal comes to know about it and it took some more years for mobile to be known in India. See more »
Every fucker's got his own movie playing inside his head. Every fucker is trying to become the hero of his imaginary film. As long as there are fucking movies in this country people will continue to be fooled.
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The opening credits are in black and white and distorted, to reflect the style of the times in which the opening is set. See more »
It has been nearly 5 years since I went and saw a movie first day first show in the theatres. But such was the level of anticipation with "gangs of wasseypur" that I found myself standing in front of the ticket counter at quarter to nine. The movie, which is 160 minutes long, starts with a shoot-them-up which may be the most authentic shoot-to-kill scene in Hindi cinema. The movie tells the story of rivalries between different sects of Muslims: the butchers, Qureshis, and the Pathans, Khans and extend over a period of three generations. The story starts from the pre- independence era when the British owned the mines in Dhanbad. After independence, these mines pass on to the wealthy landlord who hires an exiled Pathan to act as his strongman. The pathan, the father of Sardar Khan (Manoj Vajpayee) has been kicked out of his village, Wasseypur, after a confrontation with the local musclemen, the Qureshis, and is now forced to work in the mines of Dhanbad. He starts becoming too big for his shoes and is bumped off by the landlord thus beginning a series of killings and counter-killings. The acting by the "star" cast is stunning with Manoj Vajpayee leading the pack in as good as a performance as "Bheeku Mahatre" in Satya. When he stares lustfully at the back side of Reema Sen (here resurrected after being in the wilderness for nearly half a dozen years), you can feel the lust as a physical thing. He is backed by a very strong ensemble cast. The real strength of the movie is its dialogues. The words, replete with the choicest of abuses, feel as if they were wiretapped. The conversation rings true to life and had me laughing at the sheer vulgarity of it. The patois is captured very faithfully. The only negative point about the movie is its length which could have been edited somewhat in the second half when the third generation takes up (like the long Godfather III, if you may). Anurag Kashyap has put his soul into the movie and that is visible from every frame of the movie. The direction is the best I have seen this year in Hindi cinema and will only increase the expectations from the second part of this opus. And that is why I am jealous of the lucky bastards at the Cannes film festival who got to see both the parts back to back. The movie ends at a tantalizing junction and the prospect of meeting with these barely lovable characters for a second outing left me salivating.
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