Gangs of Wasseypur Part 2, released shortly after Part 1, is even more violent. Directed by Anurag Kashyap, the film presents a world of characters where violence is common. The film explores themes of revenge and redemption, with characters living on the edge.
The police in Kashyap’s films are often viewed cynically. For instance, there’s a wry joke where Faizal is carrying his brother’s body. The police stop him and request he go with them.
“Don’t you see I’m taking my brother home?’ Faizal shouts.
“We understand,” says an officer. “Why don’t you hand over the body to us and come with us?”
This portrayal of the police is common in Hindi cinema. Kashyap incorporates many inside jokes, creating an ode to street violence. The gang wars are portrayed realistically. The exaggerated violence reflects the political situation in North Indian towns.
The violence is emphasized by the soundtrack, with folk songs and 1980s film songs. Even in the 2000s, the characters are rooted in the 1980s. The use of caller tunes from the 80s and 90s is a notable feature. Yashpal Sharma’s singing provides a touch of dark humor. The humor in the film often stems from the violence. The series of miscommunications among assassins is a prime example.
Kashyap also satirizes gangsterism. In one scene, an assassin is given the wrong address before being killed. The film was shot in Varanasi, even though the setting is Dhanbad.
Violence is a constant, presented in funny, tragic, and tragicomic ways. The film is fast-paced and intense. Nawazuddin Siddiqui delivers a powerful performance, with Richa Chadda and Huma Qureshi also delivering remarkable performances. The performances are impactful, and the violence is depicted in a chilling manner.
The relationships between the characters are often intertwined with mainstream cinema. When reflecting on the making of Gangs of Wasseypur, Manoj Bajpayee noted its uniqueness. He also highlighted the collaborative spirit. Bajpayee also mentioned an eighteen-year gap in his relationship with Anurag Kashyap.
