If violence was a piece of music or art, it would look like GOW 2.Yes,gore can be a glorious bloodbath when a magnetic actor like Nawazuddin is handed an endless supplies of guns which rain bullets endlessly on a blood spewing body, orchestrated by direction maestro,Anurag Kashyap who is all out to break every boundary in Indian cinema.
The entire film, including the prequel justifies its epic format as soon as the build up towards the climax, begins in the last 20 minutes. A gang of men surround a house and open fire.Inside, a camera follows a lungi clad Nawazzudin slowly, almost lazily, in long tension filled moments as he calmly dodges bullets, gives orders on his cell phone while pushing his large family into a room, crawls to the terrace, jumps across to another, stifles his cries of wrenching pain in his foot and slowly limps into the dark. Following this, the climax scene that takes mindless violence to a level of mindful orchestra, leaves you in awe of cinematic power more than horror.
GOW 2 though predictable and over cluttered like GOW 1, is more engrossing and entertaining. The dead Sardar’s (Manoj Bajpai) four sons from the first wife and one son from the second wife follow each mother’s revenge missions. The beginning sets the blood path tone with Sardar’s killers Sultan (Pankaj Tripathy) and Ramadhir Singh (Tigmanshu Dhulia) killing Sardar’s first son, Danish Khan. Faizal (Nawazuddin Siddiqui)) snaps out of his stupor from the lost, Gaanja smoking ,romantic movie buff, moving on to a ruthless gangster and greedy businessman as soon as he promises his mother,”Baap ka,dada ka,sabka badla lega Faizal”. Blade churning brother, Perpendicular and step brother, Definite (Zeeshan Qadri) are more ruthless than Faizal.Halfway; Faizal calls a truce with Ramadhir Singh, which is foiled by Sultan and Definite, forcing Faizal to be dragged into a vicious revenge gore.
Zeeshan Qadri’s story is structured better in GOW 2 by Zeeshan, Anurag, Sachin, Akhilesh .The script neatly weaves in the beginning of GOW 1 into the ending of GOW2.There are nuances and details galore. The changes over the years in GOW 1 were shown by Richa’s character using the new refrigerator and a vacuum cleaner. In GOW 2, we see Nawaz discovering the pager and moving on to a cell phone. Bihar hinterland with ample use of gulley names like ‘Aara mod’ and everyone speaking in typical Bihari accent, brings the place alive for the viewer. People’s fascination for Hindi cinema is extended to bring out humour and philosophy in lines like “Jab tak Hindustan mein sanima banega,public ch***** banti rahegi ”. Funny chase sequence with characters discussing vegetables and fruits on their phone while following the victim and moments where Definte’s name is brought up, provide some good comic relief.
GOW 2 is a talent goldmine in every area, especially the performances. Nawazuddin electrifies the screen as always with his mere presence. His easy body language, raw energy and sharp eyes along with a completely natural dialogue delivery, simply redefine acting. Richa Chadda and Reema Sen easily slip into their characters of older, toughened mothers raising hard core criminals. Huma Qureshi as Nawaz’s wife oozes charm. Zeeshan Qadri (also the writer)is deadly as the sly Definite. Every single actor fits in amazingly, including a thanedaar with a perpetual grin on his face.
Rajeev Ravi’s cinematography captures the dark, gruesome drama with unabashed relentlessness along with a slick edit by Shweta Venkat Matthew.Terrfic action sequences by Shyam Kaushal lifts up the script every time it slips into predictable areas. The wonderfully original, authentic music by Sneha Khanwalkar is used extremely well, especially in the end with Piyush Misra’s haunting lyrics playing “ek bagal mein chaand hoga..”
GOW 2 like GOW 1, at best, can be immensely admired as a cinematic experiment but not necessarily liked as it remains overall, a pointless story.