With cues from Hollywood gangster cinema-- Coppola, Scorsese, and Tarantino-- Director Anurag Kashyap uses these landmarks-- and especially his outrageous, stylish violence-- for his unique, gonzo style to reverse crime film thematic platitudes, giving unique insights into societies that use crimelords as a cultural symbol, asking us if they, like the cycle of vengeance in the film, are simply damned from the start.
Personally feel it's a better film than Part I - and craftwise, the peak in Kashyap's career till date. But it earns its irony too easily, and inspite of being pretty entertaining, really doesn't hit home. Kashyap's shirking away from a moral/emotional ground ensures that it'll be a guilty pleasure to return to, only because it's too goddamned well-made.
8 - Even better than the first half, with the same strengths and weaknesses plus a hell of a final act. Taking "Gangs of Wasseypur" as a whole was a great experience; it displays both an abundance of western archetypes filtered through eastern eyes, and the devolution of the criminal paralleled with the evolution of society; from folk hero, to gangster, to film villain aspirant, always with the same bad blood.
The completion of a multi-generational crime dynasty story which leaves room for more believe it or not but leaves everything in a satisfactory place. A little lighter than the first film it still shows that history repeats itself and legacies and vendettas continue in some shape or form. Plus the shootout at the end was pretty good.
This film was a completely new take on the epic crime drama. Bollywood films were always hard to watch for me, they always seemed messy, and the musical numbers out of place. But they always had a sense of fun to them. This film brought that fun to realism, and influenced the style. It enjoyed getting revenge more than leading to it. Every hour got me more involved in the story and characters. Catch it if you can!
"As the story grows ever more byzantine, Kashyap gets bogged down.... But as a rich and exuberant character-driven crime saga in an idiom you absolutely have not encountered before, and a dense, unsentimental portrayal of the collision between democracy, capitalism and gangsterism on the frayed margins of the post-colonial world, GOW is a signal achievement in 21st-century cinema." - Andrew O'Hehir, Salon.