Gangs of Wasseypur I è stato distribuito ieri nelle sale indiane. L'afflusso da parte del pubblico sembra in costante crescita e ne siamo davvero felici. Le recensioni sono in generale buone. Ve ne segnaliamo alcune. The Indian Express, ****: 'GOW is a sprawling, exuberant, ferociously ambitious piece of film making, which hits most of its marks. It reunites Anurag Kashyap with exactly the kind of style he is most comfortable with: hyper masculine, hyper real, going for the jugular. (...) Wasseypur is not just a place, but a state of mind. (...) There's history here, of the kind almost never attempted by Hindi cinema, bouyed beautifully by geography: the locations are part of the pleasures of the film'. Faridoon Shahryar, ****: 'GOW invents a new idiom of cinema. It is meaningful yet entertaining, dark but still saddled with several lighter moments. (...) There are many picture perfect moments where the framing is breathtaking. The rawness of a small town with the nakedness of emotions germinating in a butcher's backyard has been captured superbly. The performances are mindblowing. (...) Director Anurag Kashyap is at his uncompromising best. (...) To his credit, he succeeds in presenting an unusual story in a refreshingly unique manner bereft of sentimentality and still having all the ingredients of masala entertainment. GOW is brilliant cinema. Nothing can stop it from being a cult film'. The Times of India, ***1/2: 'Manoj Bajpai, in this fully loaded role, is spectacular. (...) This first of a two-part film, is ambitious indeed; showing promise of brilliance in parts, but not bullet-proof to flaws. With a runtime this long, meandering side tracks and random sub-plots, countless characters, documentary-style narrative backed with black and white montages from actual history, it loses blood in the second half because of the director's over-(self)indulgence. The dialogues are 'killer', adding more quirkiness to this chaos'. Bollywood Hungama, ***1/2: 'Heightened by strong acts by a gifted and assorted cast, the film is ingeniously narrated and has several power-packed sequences that render you speechless. (...) GOW has a capricious first half, but the film advances vigorously post intermission. There's never a tedious moment in the second half of the gangster epic, the plot throws a number of disclosures at you, it dribbles with visual style, laces up with commanding, acidic and witty lines (...). In fact, there's so much that Anurag invests in the movie. Clearly, he has that streak of courage that very few film-makers in Mumbai pride themselves in. But there's a flipside too: the screenplay could've been crisper and taut. It slackens sporadically (in the first hour specifically). Most importantly, the excessive run time makes you fidgety, even though the content leaves you mesmerized and captivated on numerous junctures. (...) On the whole, GOW symbolizes the fearless new Indian cinema that shatters the clichés and conventional formulas, something which Anurag Kashyap has come to be acknowledged for. It has all the trappings of an entertainer, but with a difference. The film prides itself with substance that connects with enthusiasts of new-age cinema'. Business of Cinema, ***1/2: 'Kashyap and his team create a world that is authentic and believable. Though the background score and sound design are intrusive at times, Kashyap brings in a great deal of energy and fun in the way he uses the songs. While the first 45 minutes are a struggle as numerous characters and their connections, times spans and rivalries are established (...), the second half is pulsating. The screenplay is correctly interlaced with romance and humour giving respite from the wholesale killing. Yes, this is a movie where it is impossible to keep track of the body count'. NDTV, ***1/2: 'The smartly filmed vendetta saga tosses and turns convulsively from one shootout to another as a bunch of amoral human bloodhounds sniff around for their next kill in a volatile, lawless landscape. The unbridled violence and fetid language – the expletives fly as thick and fast as the bullets – are, however, only one facet of this cinematically layered shot at a time-honoured and popular genre. (...) GOW benefits immensely from a towering performance by Manoj Bajpai, who immerses himself in the central character of Sardar Khan with such conviction and controlled flair that it becomes impossible to separate the actor from the part'. Hindustan Times, ***: 'Kashyap's material is strong, but there's just too much of it. There is so much plot squeezed into the two-hour-forty-five-minute running time that your head swims. We hardly ever stay with a character long enough to get emotionally invested. (...) GOW is by turns absorbing and frustrating. Watching it feels like gorging on too much good food, leaving you feeling more exhausted than satiated. But there is enough in the sound and fury to enjoy'. Mayank Shekhar: 'So you know Sardar’s the hero, Ramadheer the villain, and the film, a revenge drama seeking poetic justice. And yet the worst mistake you’re likely to make is to walk into this film thinking like that. It’ll kill your fun. In fact, it’s advisable not to even perceive this as a feature film. It’s more of a multi-part mini-series. (...) Your patience is likely to wane after a point. And yes, it does. Yet, just as it does, the makers manage to successfully slip in an inspiring scene, an entertaining snippet or a limited twist in the plot and you go back to engaging with the picture all over again. (...) The film gets the atmospherics, beats and nuances just right. This is quite rare for movies placed in provincial towns. (...) GOW is fictionalised, blood-soaked, demented history that alternates between sharp grittiness and delicious grotesquery. Movies have a gender. This is animalist, male. Given how easy it is to kill off people in this picture, it’s a miracle that they’re all not dead yet!'. DearCinema: 'Anurag Kashyap’s GOW is a magnificent saga and a visual delight! (...) The film is full of gut-wrenching violence, bloodbath and expletives. Despite that, it hardly evokes a tear of pity for the victims or anger for the perpetrators. That is how GOW falls short of being a masterpiece, it fails to connect emotionally all the while retaining its visual grandeur and colossal scope. There is constant bombarding of new characters and rivalries while the old ones don’t get enough time to sink in and grow on one'. Filmfare: 'GOW is grand in terms of scale. (...) Kashyap has successfully managed to add depth to the story and soul to his characters. As if on ecstasy, once the film begins, it refuses to slow down. The snappy narrative technique works like a double-edged sword. While multiple sub-plots and almost a dozen central characters turn the film into a tangled web, the considerable usage of time lends the characters sufficient space to emerge as real people'. Box Office India: 'It’s a Herculean task to hold the audience’ attention but Anurag Kashyap manages, for the most part. After a point, the film gets confusing. The tone is also a little patchy, where a poignant scene is followed by, say, three dull scenes, which is followed by comic punches or dialogue that keeps you glued. (...) Each actor portrays their respective character with ease and a mystic magnetism that keeps you hooked. Kashyap has executed a few scenes with aplomb but his penchant for including too many elements might mar the film’s prospects. The script is appealing in bits and parts. It’s smart but should have been compact. The dialogue is tight and includes some witty one-liners. (...) The depth of each character infuses every scene with a spectral energy. (...) The pace in the second half drags. In fact, 20-25 minutes could have been deleted. Cinematography is spectacular. The inclusion of sepia and black-and-white flashbacks has given the film a unique charm, which works wonderfully on the big screen. Rediff, **1/2: 'And the yawns are the primary issue with Anurag Kashyap's GOW, an impressively ambitious - and excellently shot - collection of memorable characters and entertaining scenes, set to a killer soundtrack. The film never recovers from the unforgivably tedious first half-hour, and despite many laudable moments and nifty touches, never quite engages. This is (...) mostly because Kashyap is defiant in his self-indulgence, piling on more and more when less could have done the job more efficiently. (...) His film tries too hard to be more: more than just an actioner, more than just a drama, more even than a bloodied saga. This overreaching desire to be an Epic makes it a film that, despite some genuinely stunning individual pieces, fails to come together as a whole. There is much to treasure, but there is more to decry. Entire sequences that could be compressed into clever throwaway lines are staged in grand, time-consuming detail; while genuinely sharp lines are often repeated, as if too good to use just once. The characters are a wild, fantastical bunch of oddballs and trigger-happy loons, but attempting to do each fascinating freak justice with meaty chunks of screen-time may not even be film's job. Wasseypur may have worked better as a long and intriguing television series, one deserving a spin-off movie only after six seasons. Here it feels too linear, and even too predictable: scenes themselves often surprise, even delight, but the narrative is cumbersome and unexciting. (...) Yet it is the excess that suffocates all the magic, originality dying out for lack of room to breathe. Kashyap gets flavour, setting and character right, but the lack of economy cripples the film'. Vi segnaliamo anche l'intervista concessa da Anurag Kashyap, Manoj Bajpai, Richa Chaddha e Huma Qureshi a Screen, e l'intervista concessa da Manoj Bajpai a Rediff e a Bollywood Hungama (prima e seconda parte). Per le recensioni internazionali di GOW I&II in occasione della proiezione a Cannes, per altri articoli dedicati al film e per altre interviste concesse da regista e cast, consultare l'argomento ANURAG KASHYAP.