A Movie and A Tale of Turbulence

One generation of hot-blooded and cold-hearted clan leaves behind its legacy for successors to dust it and keep it shinning. Hence, the pandemonium refuses to take a break. Gangs of Wassseypur 2 deals with preponderance of hooliganism turning it into a vivid biopic of betrayal, goriness, love, fear and death. 

Stretching the line that part 1 had drawn, its sequel harps on the theme of revenge, counter-revenge and the fatality of it. Afzal Khan (Nawazuddin Siddique), the eldest son of Sardar Khan (Manoj Bajpai), learns about his father’s death and plunges into bloodfest.  After making a belated debut in the business of bloody hands, sounds of bullets and red smudged clothes, Afzal makes a rapid rise, almost to the level of stardom.  He was on the wrong side of law, but on the right side of love. His tenure as a love-stricken lampooner ended with a wedlock with Mohsina (Huma Qureshi).

The breezy romance between them was sidelined by the overbearing presence of factional hostilities. The film asserts what is considered as an open secret – smaller players decide the fate of crime syndicates. Ganglords are but ceremonial heads who can be toppled if men around them start showing their fangs. Trust deficit and easy virtue make the foundation of entire criminal brotherhood flimsy. Every member of the gang (at least as narrated about Dhanbad) fans self-interest and quick to seize opportunity to elevate.  

Afzal is a ganglord who loves his wife, hugs his mother in resolute affection and decides death of every ‘chu####’. The first step to become a remorseless shooter is to imbibe the quality of selective sympathy. The plot reeks of irony. Those who dole out terror, remain under the shadow of fear. You can expect them to empty entire magazine on a ‘mada#####’, but not to safeguard lives of their close ones.

Gangs of Wasseypur 2 is full of symbols for the viewers to identify. The movie represents a society ready to be devoured by the mad hunger for power, for becoming the object of terror, the hunger for seeing others in submission. The story is an unequivocal essay of how society fans the idea of avenging death and how the entire herd perceives it as life’s greatest errand.

The film, in the process of catching up with the past of Dhanbad, has reinstated the fact that backbone of law and order is not as strong as it appears. System of policing cries for help and greed soils the social fabric.

When most of the characters mostly divide their time between doing crass and chasing nautch girls, you can expect some titillating folk songs. Piyush Mishra’s well-etched lyrics coupled with powerful singing bring out the other facet of Dhanbad. The songs are a happy digression from regular dose of gun shots and grenade blasts.

Prolific cinematography is evident in the form of rustic frame that fits the film so very well. The fire pot on the backdrop of blue evening sky and dimly lit alleys on wintry nights add to the aesthetic appeal of this 160-minute film.

Each character had a dream – the dream to become the ruler. However, their hidden craving was to arrive at a juncture when “Ik bagal mein chand hoga” and “Ik bagal mein rotiyan”. Their errand was not spiteful altogether, but the path they chose was beset with viciousness. Untimely end of their lives makes the case for universal prudence and balanced morality.


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