Each murderous son stars in a section of the story highlighting his outrageous misdeeds and amorous pursuits.
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Nagma, Sardar’s first wife, bears him four sons including the gangsters Faizal, Danish and “Perpendicular” Khan, while his Hindi wife Durga belatedly contributes the fearsome “Definitive” Khan. There are only four female characters in this boys’ club, all beautiful firebrands whose bloodthirsty ambition for their offspring would put Ma Barker to shame. His passion for two women who will become his wives gives him a human, even comic, side. Shahid’s hot-blooded son Sardar shaves his head, vowing not to grow his hair until he exacts revenge for his father’s death. Back in 1941, the mythic robber Sultana Daku looted British trains he is later imitated by the sadistic Shahid Khan ( Jaideep Ahlawat), who is eventually murdered by the young owner of the coal mines, Ramadhir Singh, setting off a power struggle between the two clans that lasts till the final reel.
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An omniscient narrator, who survives throughout the film, explains how, from time immemorial, Muslims have fought other Muslims in the area, not for religious reasons, but out of pure evil. In the first half of the film, the early history of Faizal’s family is told, beginning with the rise of his grandfather Shahid Khan in the days when coal mines represented wealth and power. The do enough damage to believe him dead, but the audience will be rightly suspicious that his body is not among the rubble.
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The film opens with a teasing flash-forward to the end of the story, when a gang armed to the teeth with bombs and machine guns blast their way into the palace-fortress of the reigning don, Faizal Khan. Vengeance, blind ambition and greed oil the wheels of a long-running blood feud between competing godfathers in the Bengal mining towns of Wasseypur and Dhanbad. No moralizing or regrets trouble their consciences, nor are they likely to bother the young male demographic that will account for the lion’s share of the audience. Though the testosterone level is pumped to the max, there’s still room for funny jokes, fooling around and vibrant film characters that spring to life with mythical deeds and single-minded passions. Less successful is the screenwriters’ attempt to embed the tale in a historical and political context, which simply doesn’t have room to emerge amid all the mayhem. Tipping his hat to Scorsese, Sergio Leone and world cinema as well as paying homage to Bollywood, writer-director-producer Anurag Kashyap ( Black Friday) fashions a kind of “Once Upon a Time in Bengal”, a piece of violent entertainment that never seems to run out of invention or bullets. PHOTOS: Cannes Day 7: Brad Pitt’s ‘Killing Them Softly’ Premiere, ‘Le Grand Soir’ Photocall Its bow in Cannes’ Directors Fortnight met with rousing consensus, but it’s still an exotic taste at a delirious length. Split into two parts, as it will be released in India, this epic gangster story spanning 70 years of history clocks in at more than five hours of smartly shot and edited footage, making it extremely difficult to release outside cult and midnight venues.
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All of this bodes well for cross-over audiences in the West. An extraordinary ride through Bollywood’s spectacular, over-the-top filmmaking, Gangs of Wasseypur puts Tarantino in a corner with its cool command of cinematically-inspired and referenced violence, ironic characters and breathless pace.