![]() ![]() Watching Part 1 made me appreciate the film I’d just seen, even more. I’m sure Anurag Kashyap won’t mind that he’s even admitted that he owes the cult status of his films to torrents. I went back home that night and channeled my inner critic to shower praises on the film, posting statuses like “ Gangs of Wasseypur 2 is a rare, visceral classic.” Then, like every honest-to-God engineer, I went ahead and torrented the hell out of Gangs of Wasseypur – Part 1. ![]() I cast a glance at my friend, who had a similar expression on his face. Keh ke lenge uski,” we had our own “I dare you, I double dare you motherfucker, say what one more goddamn time.”Īs the theatre lights came back on after two hours of riveting gangland drama, I was staring at the screen with my mouth agape. In Sardar Khan’s “Maarenge nahi saale ko. Kashyap had finally gone on to do what we’d always expected from him – gifted us a gangster epic we could proudly call our own. Its characters achieved cult status in no time at all. But it was Gangs of Wasseypur that changed the tide. Vidya Balan shone in Kahaani, a masterfully mounted thriller by Sujoy Ghosh, and Ranbir Kapoor outclassed everyone in Barfi, Anurag Basu’s delightful ode to innocence. Great storytelling was at the forefront – Ayushmann Khurrana had come out of his Roadies cocoon to give us Vicky Donor. Here was a director who really took chances, and most of all, knew his characters and wasn’t afraid to put them to hell to make them truly shine.Įight years ago, Hindi cinema was going through what can be termed as a renaissance period. We’d watched Dev.D in college and had our minds collectively explode at the ingenuity of the retelling and Black Friday was sacred to us. We were both, however, great fans of Anurag Kashyap’s body of work. #Gangs of wasseypur – part 1 seriesAt that point, we hadn’t seen the first installment of the series and didn’t even bother to glance at the synopsis. Back in 2012 on an unsuspecting Friday, my friend and I decided to watch Gangs of Wasseypur – Part II in the theatre. ![]()
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