GoW2 befitting end to Kashyap's bloody battle

It’s far more superior to the first part

The ferocious, lanky demons of Wasseypur are back with abang, and how. They are ruthlessly cold-blooded and unremorsefully vindictive, only this time director Anurag Kashyap doesn’t indulge in a labouriously,lengthy narrative in detailing the tussle over power, deceit and vengeance;instead he plunges straight into the bloodshed, armed with one dead man, andhis five surviving sons - 4 legitimate and one bastard.

He merely loads the gen next with ample ammunition and injectsthem with Bollywood mania to kick-start a war that’s unapologetically gory, ladenwith ample humour.

Anurag concludes his epic, gory battle by playing outevery guy’s gun-fantasy in a way that will, literally, blow your mind away.

As Sardar Khan’s olderson Danish takes forward the raging warfare, his second son Faizal prefers to slinkback in a hazy smoke while his big bro sets out on a killing rampage.

But when fatecorners him into taking up the gun, he does it, reluctantly but with finesse. Unlikehis forefathers his bloody antics take a while to develop, and when it doeshe’s unstoppable.

NawazuddinSiddiqui craves an unabashed, rustic charm around Faizal, making him anunlikely hero but one who impressively inherits his father’s innocent charisma andundying madness. Siddiqui plays the coy romantic and the menacing,blood-spattering gangster with equal flair, and wears his vulnerability in hiseyes.

You witness his naïveside, when he blindly hires a notorious recruit, despite prior warning, onlybecause the man has an impressive command over English. He’s also a gangsterwho flaunters and weeps when in pain.

You skip a beat,when you watch him attempt Rajnikanth’s famed, cigarette-throwing antics and apesBollywood fashion in order to woo his ladylove, the boisterous Mohsina. Sheis the only one, apart from his mother, that Siddiqui completely surrendershimself to.

The most endearing moment is when he cheekily asks herout on a movie date, only to be turned down because he doesn’t own up to indulgein some harmless teasing in the dark.

Huma Qureshi matches Siddiqui admirably, lending a rustic charm to theFaizal-Mohsina romance. Although she prefers to doll up, Huma gives Mohsina anedge over the other ladies in the Khan household. She is equally involved inrunning the army, and tunes her husband into never giving up the fight.

The older ladies – Reema Sen as Sardar's mistress Durga and Richa Chadda as Sardar's wife Rajini– are, however, givenjust a few impactful moments in this final script, and they don’t disappoint.

Anurag draws out two peculiarly-named brothers to Faizal –Perpendicular, a razor-mouthed school boy who rideson his big brother’s clout and goes about looting unsuspecting shopkeepers, anda more ambitious half-brother Definite - who add a tinge of insanity to the mayhem. While film’s writer Zeishan Quadri lends fire and passion toDefinite, Aditya Kumar gives Perpendicular a fiery edge.

What links thefirst to the second, apart from the gory past are the aging narrator PiyushMishra, the aggressive rival Ramadhir Singh and insane slaughterer SultanQureshi.

Writers Anurag,Zeishan and Sachin Ladia use Bollywood to set the pulse ofthe film, with famed heroes and mobile ringtones indicating a change in time.There’s everyone from Sashi Kapoor, Amitabh Bachchan, Anil Kapoor, Salman Khanand Sanjay Dutt, who influence his fool-hardy gangsters. Even B-town’s veteranbaddie Yashpal Sharma gets a singing cameo to accentuate Bollywood’s mesmerizinghold on its people during the good and bad times.

In fact, Ramadhir Singh claims the reason he has outlivedhis enemies is because he isn’t blinded by cinema.

Anurag also throwsin the novelty of the pager, and how it quickly makes way for the more sophisticatedmobile phones, to set the timeline of the narrative.

Sneha Khanwalkar’smusic lends the perfect texture and complexity to the incredulously concoctionof romance, laughter and lunacy, to make a bullet-showered, killer finale that should be witnessed by everyone.