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Conflict theories
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Conflict theories are perspectives in sociology and social psychology that emphasize a materialist interpretation of history, dialectical method of analysis, a critical stance toward existing social arrangements, and political program of revolution or, at least, reform. Conflict theories draw attention to power differentials, such as class conflict, and generally contrast historically dominant ideologies. It is therefore a macro level analysis of society. Karl Marx is the father of the social conflict theory, which is a component of the four paradigms of sociology. Certain conflict theories set out to highlight the ideological aspects inherent in traditional thought. While many of these perspectives hold parallels, conflict theory does not refer to a unified school of thought, and should not be confused with, for instance, peace and conflict studies, or any other specific theory of social conflict.
Contents
[hide]
1 In classical sociology
2 Modern approaches
3 Types
4 See also
5 Notes
6 References
In classical sociology[edit]
Of the classical founders of social science, conflict theory is most commonly associated with Karl Marx (1818–1883). Based on a dialectical materialist account of history, Marxism posited that capitalism, like previous socioeconomic systems, would inevitably produce internal tensions leading to its own destruction. Marx ushered in radical change, advocating proletarian revolution and freedom from the ruling classes. At the same time, Karl Marx was aware that most of the people living in capitalist societies did not see how the system shaped the entire operation of society. Just as modern individuals see private property (and the right to pass that property on to their children) as natural, many of the members in capitalistic societies see the rich as having earned their wealth through hard work and education, while seeing the poor as lacking in skill and initiative. Marx rejected this type of thinking and termed it false consciousness, explanations of social problems as the shortcomings of individuals rather than the flaws of society. Marx wanted to replace this kind of thinking with something Engels termed class consciousness, the workers' recognition of themselves as a class unified in opposition to capitalists and ultimately to the capitalist system itself. In general, Marx wanted the proletarians to rise up against the capitalists and overthrow the capitalist system.
The history of all hitherto existing society is the history of class struggles. Freeman and slave, patrician and plebeian, lord and serf, guild-master and journeyman, in a word, oppressor and oppressed, stood in constant opposition to one another, carried on an uninterrupted, now hidden, now open fight, a fight that each time ended, either in a revolutionary re-constitution of society at large, or in the common ruin of the contending classes.
—  Karl Marx & Friedrich Engels The Communist Manifesto 1848, [1]
In the social productions of their existence, men inevitably enter into definite relations, which are independent of their will, namely relations of production appropriate to a given stage in the development of their material forces of production. The totality of these relations of production constitutes the economic structure of society, the real foundation, on which arises a legal and political superstructure and to which correspond definite forms of social consciousness. The mode of production of material life conditions the general process of social, political and intellectual life. It is not the consciousness of men that determines their existence, but their social existence that determines their consciousness. At a certain stage of development, the material productive forces of society come into conflict with the existing relations of production or – this merely expresses the same thing in legal terms – with the property relations within the framework of which they have operated hitherto. From forms of development of the productive forces, these relations turn into their fetters. Then an era of social revolution begins. The changes in the economic foundation lead sooner or later to the transformation of the whole immense superstructure.
In studying such transformations it is always necessary to distinguish between the material transformation of the economic conditions of production, which can be determined with the precision of natural science, and the legal, political, religious, artistic or philosophic – in short, ideological forms in which men become conscious of this conflict and fight it out. Just as one does not judge an individual by what he thinks about himself, so one cannot judge such a period of transformation by its consciousness, but, on the contrary, this consciousness must be explained from the contradictions of material life, from the conflict existing between the social forces of production and the relations of production. No social order is ever destroyed before all the productive forces for which it is sufficient have been developed, and new superior relations of production never replace older ones before the material conditions for their existence have matured within the framework of the old society.
Mankind thus inevitably sets itself only such tasks as it is able to solve, since closer examination will always show that the problem itself arises only when the material conditions for its solution are already present or at least in the course of formation. In broad outline, the Asiatic, ancient, [A] feudal and modern bourgeois modes of production may be designated as epochs marking progress in the economic development of society. The bourgeois mode of production is the last antagonistic form of the social process of production – antagonistic not in the sense of individual antagonism but of an antagonism that emanates from the individuals' social conditions of existence – but the productive forces developing within bourgeois society create also the material conditions for a solution of this antagonism. The prehistory of human society accordingly closes with this social formation.
—  Karl Marx A Contribution to the Critique of Political Economy 1859, [2]
Two early conflict theorists were the Polish-Austrian sociologist and political theorist Ludwig Gumplowicz (1838–1909) and the American sociologist and paleontologist Lester F. Ward (1841–1913). Although Ward and Gumplowicz developed their theories independently they had much in common and approached conflict from a comprehensive anthropological and evolutionary point-of-view as opposed to Marx's rather exclusive focus on economic factors.
Gumplowicz, in Grundriss der Soziologie (Outlines of Sociology, 1884), describes how civilization has been shaped by conflict between cultures and ethnic groups. Gumplowicz theorized that large complex human societies evolved from the war and conquest. The winner of a war would enslave the losers; eventually a complex caste system develops.[3] Horowitz says that Gumplowicz understood conflict in all its forms: "class conflict, race conflict and ethnic conflict", and calls him one of the fathers of Conflict Theory.[4]
What happened in India, Babylon, Egypt, Greece and Rome may sometime happen in modern Europe. European civilization may perish, over flooded by barbaric tribes. But if any one believes that we are safe from such catastrophes he is perhaps yielding to an all too optimistic delusion. There are no barbaric tribes in our neighbourhood to be sure — but let no one be deceived, their instincts lie latent in the populace of European states.
—  Gumplowicz (1884), [5]
Ward directly attacked and attempted to systematically refute the elite business class's laissez-faire philosophy as espoused by the hugely popular social philosopher Herbert Spencer. Ward's Dynamic Sociology (1883) was an extended thesis on how to reduce conflict and competition in society and thus optimize human progress. At the most basic level Ward saw human nature itself to be deeply conflicted between self-aggrandizement and altruism, between emotion and intellect, and between male and female. These conflicts would be then reflected in society and Ward assumed there had been a "perpetual and vigorous struggle" among various "social forces" that shaped civilization.[6][7] Ward was more optimistic than Marx and Gumplowicz and believed that it was possible to build on and reform present social structures with the help of sociological analysis.
Durkheim (1858–1917) saw society as a functioning organism. Functionalism concerns "the effort to impute, as rigorously as possible, to each feature, custom, or practice, its effect on the functioning of a supposedly stable, cohesive system,"[8] The chief form of social conflict that Durkheim addressed was crime. Durkheim saw crime as "a factor in public health, an integral part of all healthy societies."[9] The collective conscience defines certain acts as "criminal." Crime thus plays a role in the evolution of morality and law: "[it] implies not only that the way remains open to necessary changes but that in certain cases it directly prepares these changes."[10]
Weber's (1864–1920) approach to conflict is contrasted with that of Marx. While Marx focused on the way individual behaviour is conditioned by social structure, Weber emphasized the importance of "social action," i.e., the ability of individuals to affect their social relationships.[11]
Modern approaches[edit]
C. Wright Mills has been called the founder of modern conflict theory.[12] In Mills's view, social structures are created through conflict between people with differing interests and resources. Individuals and resources, in turn, are influenced by these structures and by the "unequal distribution of power and resources in the society."[12] The power elite of American society, (i.e., the military–industrial complex) had "emerged from the fusion of the corporate elite, the Pentagon, and the executive branch of government." Mills argued that the interests of this elite were opposed to those of the people. He theorized that the policies of the power elite would result in "increased escalation of conflict, production of weapons of mass destruction, and possibly the annihilation of the human race."[12]
Gene Sharp (born 21 January 1928) is a Professor Emeritus of political science at the University of Massachusetts Dartmouth.[13] He is known for his extensive writings on nonviolent struggle, which have influenced numerous anti-government resistance movements around the world. In 1983 he founded the Albert Einstein Institution, a non-profit organization devoted to studies and promotion of the use of nonviolent action in conflicts worldwide.[14] Sharp's key theme is that power is not monolithic; that is, it does not derive from some intrinsic quality of those who are in power. For Sharp, political power, the power of any state—regardless of its particular structural organization—ultimately derives from the subjects of the state. His fundamental belief is that any power structure relies upon the subjects' obedience to the orders of the ruler(s). If subjects do not obey, leaders have no power. Sharp has been called both the "Machiavelli of nonviolence" and the "Clausewitz of nonviolent warfare."[15] Sharp's scholarship has influenced resistance organizations around the world. Most recently the protest movement that toppled President Mubarak of Egypt drew extensively on his ideas, as well as the youth movement in Tunisia and the earlier ones in the Eastern European colour revolutions that had previously been inspired by Sharp's work.[16]
A recent articulation of conflict theory is found in Alan Sears' (Canadian sociologist) book A Good Book, in Theory: A Guide to Theoretical Thinking (2008):[17]
Societies are defined by inequality that produces conflict, rather than which produces order and consensus. This conflict based on inequality can only be overcome through a fundamental transformation of the existing relations in the society, and is productive of new social relations.
The disadvantaged have structural interests that run counter to the status quo, which, once they are assumed, will lead to social change. Thus, they are viewed as agents of change rather than objects one should feel sympathy for.
Human potential (e.g., capacity for creativity) is suppressed by conditions of exploitation and oppression, which are necessary in any society with an unequal division of labour. These and other qualities do not necessarily have to be stunted due to the requirements of the so-called "civilizing process," or "functional necessity": creativity is actually an engine for economic development and change.
The role of theory is in realizing human potential and transforming society, rather than maintaining the power structure. The opposite aim of theory would be the objectivity and detachment associated with positivism, where theory is a neutral, explanatory tool.
Consensus is a euphemism for ideology. Genuine consensus is not achieved, rather the more powerful in societies are able to impose their conceptions on others and have them accept their discourses. Consensus does not preserve social order, it entrenches stratification, a tool of the current social order.
The State serves the particular interests of the most powerful while claiming to represent the interests of all. Representation of disadvantaged groups in State processes may cultivate the notion of full participation, but this is an illusion/ideology.
Inequality on a global level is characterized by the purposeful underdevelopment of Third World countries, both during colonization and after national independence. The global system (i.e., development agencies such as World Bank and International Monetary Fund) benefits the most powerful countries and multi-national corporations, rather than the subjects of development, through economic, political, and military actions.
Although Sears associates the conflict theory approach with Marxism, he argues that it is the foundation for much "feminist, post-modernist, anti-racist, and lesbian-gay liberationist theories."[18]
Types[edit]
Conflict theory is most commonly associated with Marxism, but as a reaction to functionalism and the positivist method may also be associated with number of other perspectives, including:
Critical theory
Feminist theory: An approach that recognizes women's political, social, and economic equality to men.
Postmodern theory: An approach that is critical of modernism, with a mistrust of grand theories and ideologies.[19]
Post-structural theory
Postcolonial theory
Queer theory: A growing body of research findings that challenges the heterosexual bias in Western society.[19]
World systems theory
Race-Conflict Approach: A point of view that focuses on inequality and conflict between people of different racial and ethnic categories.[19]
See also[edit]
Sociology portal
Psychology portal
Social and political philosophy portal
Conflict management
Game theory
Pure sociology
Social defeat
Sociology of peace, war, and social conflict
Socionics
Notes[edit]
Jump up ^ Marx and Engels, The Communist Manifesto, introduction by Martin Malia (New York: Penguin group, 1998), pg. 35 ISBN 0-451-52710-0
Jump up ^ Marx A Contribution to the Critique of Political Economy, http://www.marxists.org/archive/marx/works/1859/critique-pol-economy/preface.htm
Jump up ^ Fifty Key Sociologists: the Formative Theorists, John Scott Irving, 2007, pg 59
Jump up ^ "Communicating Ideas: The Politics of Scholarly Publishing", Irving Louis Horowitz, 1986, pg 281
Jump up ^ "Outlines of Sociology", pg 196
Jump up ^ "Transforming Leadership", James MacGregor Burns, 2004, pg 189
Jump up ^ "German Realpolitik and American Sociology: an Inquiry Into the Sources and Political Significance of the Sociology of Conflict", James Alfred Aho, 1975, ch. 6 'Lester F. Ward's Sociology of Conflict'
Jump up ^ Bourricaud, F. 'The Sociology of Talcott Parsons' Chicago University Press. ISBN 0-226-06756-4. p. 94
Jump up ^ Durkheim, E. (1938). The Rules of Sociological Method. Chicago: The University of Chicago Press. p. 67.
Jump up ^ Durkheim, (1938), pp. 70–81.
Jump up ^ Livesay, C. Social Inequality: Theories: Weber. Sociology Central. A-Level Sociology Teaching Notes. Retrieved on: 2010-06-20.
^ Jump up to: a b c Knapp, P. (1994). One World – Many Worlds: Contemporary Sociological Theory (2nd Ed.). Harpercollins College Div, pp. 228–246. Online summary ISBN 978-0-06-501218-7
Jump up ^ "Gene Sharp: Author of the nonviolent revolution rulebook". BBC News. 21 February 2011.
Jump up ^ Gene Sharp biography at Albert Einstein Institution web site. Archived 12 January 2010 at the Wayback Machine.
Jump up ^ Weber, Thomas. Gandhi as Disciple and Mentor. Cambridge University Press, Cambridge 2004[page needed]
Jump up ^ "Shy U.S. Intellectual Created Playbook Used in a Revolution". The New York Times. 16 February 2011.
Jump up ^ Sears, Alan. (2008) A Good Book, In Theory: A Guide to Theoretical Thinking. North York: Higher Education University of Toronto Press, pg. 34-6, ISBN 1-55111-536-0.
Jump up ^ Sears, pg. 36.
^ Jump up to: a b c Macionis, J., and Gerber, L. (2010). Sociology, 7th edition
References[edit]
Library resources about
Conflict theories
Resources in your library
Stark, Rodney (2007). Sociology (10th ed.). thomas wadsworth. ISBN 0-495-09344-0.
Lenski, Gerhard E. (1966). Power and Privilege: A Theory of Social Stratificaion. McGraw-Hill. ISBN 0-07-037165-2.
Collins, Randall (1994). Four Sociological Traditions: Selected Readings. Oxford University Press. ISBN 0-19-508702-X.
Thio, Alex (2008). Sociology: A Brief Introduction (7th ed.). Pearson. ISBN 0-205-40785-4.
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Gangs of Wasseypur – Part 2
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Gangs of Wasseypur – Part 2
Directed by
Anurag Kashyap
Produced by
Atul Shukla
Anurag Kashyap
Sunil Bohra
Written by
Zeishan Quadri
Akhilesh
Sachin Ladia
Anurag Kashyap
Starring
Nawazuddin Siddiqui
Richa Chadda
Piyush Mishra
Tigmanshu Dhulia
Huma Qureshi
Pankaj Tripathi
Jameel Khan
Zeishan Quadri
Rajkummar Rao
Reemma Sen
Aditya Kumar
Narrated by
Piyush Mishra
Music by
Sneha Khanwalkar (soundtrack)
G. V. Prakash Kumar (score)
Cinematography
Rajeev Ravi
Edited by
Shweta Venkat
Production
company
Anurag Kashyap Films
Jar Pictures
Pigment Motion Pictures
5014
Distributed by
Viacom 18 Motion Pictures
Cooking Pictures
Release date
May 2012 (2012-05) (Cannes)
8 August 2012 (2012-08-08)
Running time
159 minutes[1]
Country
India
Language
Hindi
Budget
₹9.2 crore (equivalent to ₹12 crore or US$1.9 million in 2016)[2]
Box office
₹23.96 crore (equivalent to ₹32 crore or US$4.9 million in 2016)
(8 weeks domestic nett)[3][4][5]
Gangs of Wasseypur – Part 2 (stylised as Gangs of वासेपुर II ) is a 2012 Indian crime film co-written, produced and directed by Anurag Kashyap. It is the second installment of the Gangs of Wasseypur series centered on the coal mafia of Dhanbad, Jharkhand, and the underlying power struggles, politics and vengeance between three crime families. Part 2 features an ensemble cast with Nawazuddin Siddiqui, Richa Chadda, Huma Qureshi, Tigmanshu Dhulia, Pankaj Tripathi, Rajkummar Rao and Zeishan Quadri in the major roles. Its story spans from the 1990s to 2009.
Both parts were originally shot as a single film measuring a total of 319 minutes and screened at the 2012 Cannes Directors' Fortnight[6][7][8] but since no Indian theatre would volunteer to screen a five plus hour movie, it was divided into two parts (160 mins and 159 mins respectively) for the Indian market.
The film received an Adults Only certification from the Indian Censor Board but is still unusually explicit for Indian standards as it contained vulgar lingo and violence generally suppressed by mainstream Indian movies.[9] The film's soundtrack is heavily influenced by traditional Indian folk songs tending to be philosophical and liberal with its heavy use of sexual innuendos. Part 2 was released on 8 Aug 2012 across India and had some paid previews on 7 August 2012.[10]
Both parts of the film were acclaimed by the critics upon release. The combined film won the Best Audiography, Re-recordist's of the Final Mixed Track (Alok De, Sinoy Joseph and Shreejesh Nair) and Special Mention for acting (Nawazuddin Siddiqui) at the 60th National Film Awards.[11] The film won four Filmfare Awards, including Best Film (Critics) and Best Actress (Critics), at the 58th Filmfare Awards[12] Although not a huge hit by any financial standard, the meagre combined budget of ₹18.5cr allowed the 2 films to be commercially successful, with net domestic earnings of ₹50.81cr (of the 2 parts combined). It is regarded by many as a modern cult film.
Contents
[hide]
1 Plot summary
2 Cast
3 Production
3.1 Development
3.2 Filming
4 Marketing
5 Release
5.1 Critical reception
5.2 Box office
6 Soundtrack
7 Differences from Actual Events
8 Sequel
9 References
10 External links
Plot summary[edit]
The film resumes with the murder of Sardar Khan by Sultan Qureshi and three of his men. When Danish (Sardar's eldest son), Faizal (Sardar's second son) and Asgar (Sardar's cousin) go to retrieve his body, Danish instantly kills the lone captured killer and vows to kill the other three. Danish and Asgar explain to Faizal that his friend Fazlu Ahmed had doped Faizal with marijuana the night before Sardar's death and had informed Sultan that Sardar would be travelling without bodyguards the next day. Faizal later meets Fazlu, and overhears him on the phone talking to another of Sardar Khan's killers, Saggir. Faizal learns that Saggir would be at the shopping centre the next morning. The next day Danish and Asgar go to the shopping centre, and Danish kills Saggir. Sultan and Fazlu then kill Danish outside a courthouse. At Danish's funeral, Nagma doubts Faizal's ability to exact revenge, but Faizal promises her that he will.
Faizal lies low and waits for right opportunity. When Fazlu wins a local election Faizal meets him on the pretext of congratulating him, but instead beheads him. By doing so, Faizal makes his mark and becomes so feared that illegal iron traders become his cronies. Faizal then makes a truce with Ramadhir Singh. According to their agreement, Ramadhir would provide political support to Faizal's business in Wasseypur on the condition that Faizal would not avenge his father, brother and grandfather. As Faizal's business grows, he marries his sweetheart Mohsina Hamid. Faizal's gang then determines the whereabouts of Sardar's third killer, Khalid, through an aide. Faizal has Khalid's head shaved and then shoots him, enraging Sultan.
Babu Khan (Sardar's third son, known as Perpendicular) and Definite Khan (Sardar's son with Durga) are then introduced. Perpendicular is a 14-year old who manages to get away with looting shops because no one is willing to testify against him in fear of Faizal, and Definite is an up-and-coming goon. Meanwhile, Wasseypur has spawned a new generation of money squandering lobbyists that turn into gangsters overnight. A small-time goon named Shamshad Alam has his own transport business and then moves to trading iron, in doing so making an alliance with Faizal. Shamshad offers to increase Faizal's profits with his astute knowledge of the scrap iron business. However, Shamshad begins to keep increasingly significant portions of the profit for himself. When this is revealed to Faizal, Shamshad goes to the police and provides phone calls as evidence of Faizal's involvement in the illegal iron trade. Meanwhile, local shopkeepers lose their patience with Perpendicular's antics and hire Sultan to kill him. Ramadhir meanwhile is losing his faith in his son J.P's ability to run his empire and J.P often finds himself in line of fire for his inability. This results in waning of J.P.'s prominence and influence.
Sultan's men chase Perpendicular and his friend Tangent after they watch a film. Tangent manages to get back to Faizal's house but Sultan catches Perpendicular and kills him by some railway tracks. Faizal and his gang arrive at the scene and as they are removing Perpendicular's body, the police turn up and arrest Faizal. With Faizal in jail, Definite decides to kill Shamshad before Shamshad tries to fill Faizal's vacant position. However, Definite's pistol jams in the middle of the assassination attempt and he is forced to run. Shamshad and his friend chase him, but Definite manages to jump onto a train. However, the train is full of Indian Army soldiers and Definite is arrested. He is sent to jail, where he meets Faizal.
Ramadhir advises Shamshad to bail Definite out of the jail and then instigate him against his own brother for his empire. Durga worked as a cook for Ramadhir after Sardar's death, and thus Ramadhir feels that he has the influence to put Definite up against Faizal. Faizal is aware of Shamshad's plan and cautions Definite before he leaves the jail. Definite visits Shamshad's office and throws in a grenade, causing Shamshad to lose his leg. Sultan, who was also at Shamshad's office, chases Definite and goes to Faizal's house looking for him. There Sultan doesn't find Definite but finds his sister Shama instead. Although Shama is happy to see him, Sultan shoots her in the head and she falls into a coma. When Faizal is about to be released from jail, J.P cautions Sultan and advises him to kill Faizal in a pre-emptive strike. Sultan along with his gang attacks Faizal's house, but Faizal and his entire family have a lucky escape. As Sultan's gang is leaving, they find a police checkpoint waiting for them and realise that they were double crossed by J.P. Sultan escapes in the ensuing firefight. A few days later, Sultan's men kill Nagma and Asgar in a market in broad daylight. Definite and some other members of Faizal's gang track Sultan to Bhagalpur and kill him. Upon realising that Definite has avenged Danish, Shama, Nagma and Asgar, Faizal tells him to surrender to cement his reputation. With Definite in jail, Ramadhir then aims to create a rift between Definite and Faizal.
Iqlakh, an educated English-speaker, enters Faizal's gang. Iqlakh actually wants wants to exact revenge and is Ramadhir's mole. Iqlakh's father raped a Wasseypur woman in 1985 and when Sardar Khan found out, he forced Iqlakh's father to divorce his wife and marry the woman he raped (depicted in Part 1). Iqlakh is his father's son with the first wife, whom he divorced. Faizal is initially impressed with Iqlakh's skills and is later made aware of Iqlakh's background, but decides to ignore it. Iqlakh has an astute knowledge of business and bags scrap auctions by force. This brings in a lot of profit for Faizal without any risk, and causes him to neglect Definite. Iqlakh advises Faizal to enter politics in order to provide political protection to all his activities. Faizal decides to contest from Ramadhir's constituency to exact his own revenge.
Ramadhir, feeling threatened, tries to use Definite against Faizal. He releases Definite from jail and sends J.P to broker a deal. J.P, however, is tired of his father's insults and wants to use Faizal to kill him. Ramadhir's plan is that Iqlakh will kill Faizal on the polling day and if he is unable, Definite will take the shot. Definite goes straight to Faizal and informs him of the plan. On the polling day Definite's gang disrupts the elections by force in an effort to prevent Faizal from winning. Iqlakh leads Faizal to an isolated place and tries to kill them, but Definite arrives, double crosses Iqlakh and kills him. Definite explains that Ramadhir changed the plan.
Faizal decides to attack Ramadhir. He knows that Ramadhir is meeting with Shamshad in hospital. Faizal, Definite and other gang members take an ambulance with a large cache of weapons and head towards the hospital. They enter the hospital, and Faizal kills all of Ramadhir's men as the police arrive. He lets other civilians out of the hospital but kills Shamshad. Faizal then finds Ramadhir in a bathroom and kills him, emptying multiple magazines of ammunition into his body. In the meantime the police kill most of Faizal's gang. Faizal and Definite, the only survivors, are arrested. En route to prison the police halts at roadside restaurant for refreshments, leaving Faizal alone in the police van. Faizal is then shot dead by Definite. It is revealed that J.P was the architect of the massacre and Definite is seen free, walking towards his mother.
Four years later, Mohsina and Nasir have moved to Mumbai with Faizal's young son. Definite now rules Wasseypur. Nasir describes that Wasseypur was not affected by Ramadhir's and Faizal's deaths and concludes that it is still a battlefield like before.
Cast[edit]
Nawazuddin Siddiqui as Faizal Khan
Richa Chadda as Nagma Khatoon
Tigmanshu Dhulia as Ramadhir Singh
Piyush Mishra as Nasir Ahmed
Huma Qureshi as Mohsina Hamid
Zeishan Quadri as Definite Khan
Reemma Sen as Durga
Aditya Kumar as Babu "Babua/Perpendicular" Khan
Jameel Khan as Asgar Khan
Vineet Kumar Singh as Danish Khan
Anurita Jha as Shama Parveen
Satya Anand as J.P Singh
Pankaj Tripathi as Sultan Qureshi
Murari Kumar as Guddu
Rajkummar Rao as Shamshad Alam
Yashpal Sharma as Occasional Singer (Guest Appearance)
Vicky Nanavare as Sardar Khan's unnamed son
Production[edit]
Development[edit]
Anurag Kashyap had wanted to make a film set in Bihar with the name 'Bihar' for some time, but the project didn't take off. In 2008, he met Zeishan Quadri, writer of GANGS who told him about Wasseypur's story. The lawlessness of Dhanbhad and Wasseypur captured his imagination. Zeishan narrated a wide panoply of stories but what really attracted him was not the gang war itself, but the bigger story of the emergence of the mafia. According to Kashyap, telling the story through the eyes of a few families is what interested him but that also meant a longer reel. "We all know mafia exists but what they do, how they operate, why they do we don't know and that is something which forms the basis of the film".[13] Anurag Kashyap celebrated the success of Gangs of Wasseypur – Part 2, by throwing an iftaar party at a suburban hotel at Bandra in Mumbai on Friday, 17 August, late evening.[14][15][16]
Filming[edit]
While filming in Varanasi in December 2010, the film's chief assistant director Sahil Shah was killed on shoot while performing a stunt scene.[17] The Movie has been dedicated to Sahil Shah. Initial parts of the movie were shot in madhankhorchi , Kerla. The film finished production in late March 2011, with Anurag Kashyap moving on to direct his next film immediately due to the accident.[18] Major portions of the film were shot in villages near Bihar.[19][20] Shooting of film also took place in Chunar.[21] Anurag Kashyap, who co-produced the film with Sunil Bohra, has said that it is his most expensive film and he reportedly had to spend ₹150 million on paying the actors.[22] Both parts of Gangs of Wasseypur together cost just ₹ 184 million to make, which makes one film at ₹92 million. Anurag Kashyap, the director of film has declared on Twitter: "45 crores as reported in the media is false." ₹260 million was spent on marketing the film.[23]
Marketing[edit]
Actors from the film, Chadda and Qureshi(right) in 2012.
The Gangs of Wasseypur franchise promoted a fake electoral campaign through the streets of Mumbai and Delhi to market the second instalment of the political thriller. In several areas of the two cities, political posters had been plastered, in which the two opposing contestants from the movie Ramadhir Singh and Faizal Khan, vied for votes.[24][25]
The main cast of Gangs of Wasseypur – Part 2 shot with the cast of Afsar Bitiya. Actors Nawazuddin Siddiqui (Faisal Khan) and Huma Qureshi (Mohsina) made a special appearance on the show.[26][27][28] The show was aired on 7–8 August 2012.[29]
As a part of the marketing campaign, the 'Wasseypur Patrika', a fictitious newspaper was made available online.[30]
Release[edit]
Critical reception[edit]
India
Gangs of Wasseypur – Part 2 received mostly positive reviews. It is rated 7/10 on the Hindi film review aggregator website ReviewGang.[31]
Mayank Shekhar rated the movie 4/5 stars on Daily Bhaskar[32] and his review at theW14.com reads, "This is India's equivalent of; take your pick, Sergio Leone's Once Upon A Time in America (1984), or Robert Rodriguez's Once Upon A Time in Mexico (2003), though I suppose it could possibly be better than both. It's the definitive "litti western" to borrow the stock phrase "spaghetti western" for Leone's film. With 320 minutes broken into two parts, allows Kashyap the scope to seriously self-indulge and unabashedly entertain. The reason you prefer this sequel to the first installment, besides it being more contemporary is, well, this is where the beginning ties up with the end. You get a full sense of the film's ambitions."[33]
Jaykumar Shah of Planet Bollywood gave the movie 8.5/10 stars, saying that "All in all, this is the best movie to come out from India this year so far. It is gritty, well-paced, extremely well-acted, genre defining, path breaking work of art. The movie is not for the ones who are not comfortable with violence being depicted graphically. If you can digest violence on screen, it is a sure winner."[34]
Taran Adarsh of Bollywood Hungama gave the movie 4/5 stars, saying that "On the whole, Gangs of Wasseypur – Part 2 is an Anurag Kashyap show all through and without an iota of doubt, can easily be listed as one amongst his paramount works. An engaging movie with several bravura moments. Watch it for its absolute cinematic brilliancy!"[35]
Saibal Chatterjee of NDTV gave the movie 4/5 stars, stating that "The revenge, filmed with an operatic slo-mo rhythm, is bloodier than anything you would have seen before. But if you liked Gangs Of Wasseypur, there is no reason why won’t have another blast watching Gangs of Wasseypur – Part 2. But be warned: be sure that your stomach for blood and gore doesn’t give way."[36]
Blessy Chettiar of DNA India gave the movie 4/5 stars, commenting that "Guns speak where abusive language fails. Patience and a real kaleja will see you through this fast-paced, exhilarating blood fest. Kashyap makes sure the gore is beyond redemption. If you’re turned off by it, not his fault."[37]
Madhureeta Mukherjee of Times Of India gave the movie 4/5 stars, saying that "With excellent performances, a screenplay that's strung together beautifully (Zeishan Quadri, Akhilesh, Sachin Ladia, Anurag Kashyap) a revenge story that touches a dramatic crescendo and music that plays out perfectly in sync with tragic twists of tale – ' GOW II' is an interesting watch, for the brave-hearted. Like the first part, the movie slows down at times (with pointless pistols, hordes of characters and wasted sub-plots); the length needs to be shot down desperately. But otherwise, it's revenge on a platter – served cold (heartedly) and definitely worth a 'second' helping."[38]
Ananya Bhattacharya of Zee News gave the movie 4/5 stars, concluding that "While watching ‘Wasseypur’, the entire film takes your life away! Gangs of Wasseypur 2 is a film, which, with its predecessor, is one that is here to stay, to break conceptions, to demolish structures. With the history of Wasseypur, ‘Wasseypur’ has created another history." [39]
Raja Sen of Rediff gave the movie 3.5/5 stars, stating that "Anurag Kashyap shines once again in the concluding part of Gangs of Wasseypur even though the film is a tad too long. For all its folly – and the fact that an hour could have been lopped off its running length, easy – Gangs Of Wasseypur II provides enough cinematic memorabilia to single-handedly last us the summer." [40]
Kunal Guha of Yahoo! gave the movie 3/5 stars, commenting that "While it would be nice to inherit the right amount of angst for this revenge sequel, this one intermittently recaps what led whom to get where and why. In fact, the first part wasted a lot of time in flagging historical landmarks, in introducing characters and was much scattered with the number of elements and periods to be covered. This one has characters ready to dive into action with a quick backgrounder for new additions, leaving much time to weave a tighter and telling story. Chhi Chha Leather, definitely one that weathers."[41]
Conversely, Prathamesh Jadhav of Bollywood Life gave the movie 2.5/5 stars, saying that "In totality, Anurag Kashyap’s Gangs Of Wassepur II is murkier than its first outing, but it certainly isn’t spicier."[42]
Roshni Devi of Koimoi gave the movie 2/5 stars, stating that "It’s only the actors and the music of Gangs Of Wasseypur 2 that would make it worth the watch."[43]
Martin D'Souza of Glamsham gave the movie 1.5/5 stars, concluding that "In short, Part 2 'Definitely' does not have a 'Perpendicular' rise. It is off 'Tangent'!"[44]
Gaurav Mokhasi of SecondBaseCritics heaped praise on Part 2 saying, "One needs to realise that GoW was never meant to be the expeditious Lamborghini that speeds past you in an instant and leaves you gasping. Rather, it is the Rolls Royce that cruises slowly by your side, instilling in you a prolonged feeling of awe. The movie deliberately slows down on more than one occasion as the director indulges in it and draws you into his larger than life vision."[45]
International
International critics have given Gangs of Wasseypur, the first mainstream Bollywood film to be selected for the Director's Fortnight, rave reviews following its world premiere at the 65th Cannes Film Festival. Gangs of Wasseypur premiered at the 65th Cannes Film Festival on the evening of 22 May 2012 as the most highly anticipated Indian film. Deborah Young of The Hollywood Reporter called the film "an extraordinary ride through Bollywood's spectacular, over-the-top filmmaking".
Kashyap, whose reputation as a screenwriter and controversial director reach a culmination in this film, is the real behind-the-scenes godfather, never losing control over the story-telling or hundreds of actors, and allowing tongue-in-cheek diversions in the second half that confirm his command over the sprawling material. In the spirit of Bollywood, Rajiv Ravi's lensing is fast on its feet, with a continually moving camera that always seems to be in the right spot to capture the action. Referring to the violence and pace of the film she says "Gangs of Wasseypur puts Tarantino in a corner with its cool command of cinematically-inspired and referenced violence, ironic characters and breathless pace".[46]
Maggie Lee of Variety notes Kashyap never lets his diverse influences of old-school Italo-American mafia classics a la Coppola, Scorsese and Leone, as well as David Michod's taut crime thriller "Animal Kingdom, override the distinct Indian color. Calling the film "the love child of Bollywood and Hollywood," she felt the film was "by turns pulverizing and poetic in its depiction of violence."[47]
Lee Marshall of Screen International writes "the script alternates engagingly between scenes of sometimes stomach-churning violence and moments of domestic comedy, made more tasty by hard-boiled lines of dialogue like “in Wasseypur even the pigeons fly with one wing, because they need the other to cover their arse” ". He describes song lyrics "as if mouthed by a Greek chorus of street punks" commenting sarcastically on what's happening onscreen.[48]
Gangs of Wasseypur holds a current rating of 89 on the popular critic website Metacritic, thereby receiving a "Universal Acclaim" status from it.
Box office[edit]
Gangs of Wasseypur – Part 2 opened to a poor to medium response at most places in the country . The opening was around the 30% mark on average.The business of two days including paid previews is ₹55.0 million (US$860,000) nett. The film showed a little growth on its third day and collected around ₹32.5 million (US$510,000).The film has collected around ₹185.0 million (US$2.9 million) nett in nine days plus paid previews. The first part of Gangs of Wasseypur was not a huge hit and this has led to the second part doing lesser business.[49] Its net collection stands at ₹229.6 million (US$3.6 million) Although not a huge hit by any standard, the meagre combined budget of ₹185 million (US$2.9 million)[2] allowed the 2 films to be commercially successful, with net domestic earnings of ₹508.1 million (US$7.9 million) (of the 2 parts combined). Even on its own, the net domestic collections of ₹229.6 million (US$3.6 million) far exceeds the individual budget of Part 2 i.e. ₹92 million (US$1.4 million), making it a successful commercial venture.[50][51]
Soundtrack[edit]
Main article: Gangs of Wasseypur - Part 2 (soundtrack)
Music composed by Sneha Khanwalkar, with lyrics by Varun Grover. Music is on T-Series.
Track list: part-II
No.
Title
Singer(s)
Length
1. "Chhi Chha Ledar" Durga[52] 04:08
2. "Kaala Rey" Sneha Khanwalkar 05:09
3. "Electric Piya" Rasika D Rani 04:35
4. "Bahut Khoob" Kids of Musahar Village 02:00
5. "Taar Bijli" Sharda Sinha 06:52
6. "Aabroo" Piyush Mishra, Bhupesh Singh 04:34
7. "Perpendicular (Theme)" Instrumental 01:54
8. "Moora" Sneha Khanwalkar, Robbie Styles 05:12
9. "Tunya" Bulbultarang With Baal Party 01:22
10. "Bahut Khoob 8 Bit" Kids of Musahar Village 02:55
11. "Electric Piya-Fused" Rasika D Rani 04:27
12. "Moora-Morning" Deepak Kumar 05:36
13. "KKL" Piyush Bhatnagar 03:26
Total length: 52:16
Sneha Khanwalkar had been nominated for various awards for the music of the 2 parts, including the prestigious Best Music Director award at the 58th Filmfare Awards.[53]
Differences from Actual Events[edit]
The film mainly draws its story from the real life gang wars that took place in the Dhanbad area. There are several events in the film which differ from the actual documented events. The character of Faizal Khan, played by Nawazuddin Siddiqui, dies in the climax. The character is based on Fahim Khan, who was not killed but is currently in jail in Hazaribagh and has been sentenced to life imprisonment.[54] In the film, Sardar Khan marries a Bengali Hindu woman but in real life, the woman was maintained as a mistress. Most of the gang wars were between the gangs of Wasseypur and not with the Singh family led by Ramadhir Singh (played by Tigmanshu Dhulia) as depicted. The Singhs had been instrumental in instigating the gang wars, but never participated in them.[54]
Another scene in the movie depicts a Muslim girl being kidnapped by Singh’s men. In reality, the victim was a local Hindu girl and the kidnappers were a few goons from Wasseypur. Members of the Singh family threatened all Wasseypur residents with retaliation if the girl was not returned within 24 hours. The girl was eventually returned as the Singhs were regarded with fear in Wasseypur.[54]
The character of Ramadhir Singh is based on Surajdeo Singh. In the film's climax, Singh is brutally killed by Faizal Khan but in real life, Surajdeo Singh was poisoned in his native village during an election campaign in June 1991. Allegedly, Suresh Singh had him poisoned both to avenge the murder of BP Sinha and so that Suresh could become the undisputed coal king of Dhanbad.[55]
The character of Faizal Khan's friend Fazlu is based on Sabir Alam. In the film, Fazlu is killed and decapitated by Faizal Khan. In real life, Sabir Alam and Fahim Khan were childhood friends turned enemies. Sabir was awarded the life sentence in 2007 for the murder of Fahim Khan's mother and aunt, and is currently out on bail in Wasseypur.[56]
The mafia's downfall in Dhanbad didn't come from gang wars but rather it came from the differences between Kunti Singh, the widow of Surajdeo Singh, and his three brothers – Baccha Singh, Rajan Singh and Ram Dhani Singh – which gave others an opportunity to make space for themselves.[57]
Sequel[edit]
Director Kashyap confirmed there will be third part of the franchise, named Gangs of Wasseypur 1.5.[58]
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Jump up ^ The Rise of the Mining Mafia
Jump up ^ http://mumbaimirror.indiatimes.com/entertainment/bollywood/kahaani-and-gangs-of-wasseypur-to-get-third-installments/articleshow/55970127.cms
External links[edit]
Official website
Gangs of Wasseypur – Part 2 on IMDb
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v
t
e
Anurag Kashyap
Film directed
Paanch (unreleased)
Black Friday (2007)
Return of Hanuman (2007)
No Smoking (2007)
Gulaal (2009)
Dev.D (2009)
Mumbai Cutting (2010)
That Girl in Yellow Boots (2011)
Gangs of Wasseypur – Part 1 (2012)
Gangs of Wasseypur – Part 2 (2012)
Bombay Talkies (Murabba) (2013)
Ugly (2013)
Bombay Velvet (2015)
Raman Raghav 2.0 (2016)
The Brawler (2017)
Films written only
Satya (1998) (screenplay & dialogues)
Kaun (1999)
Shool (1999) (dialogues)
Paisa Vasool (2004)
Yuva (dialogues)
Water (2005)
Fool & Final (2007)
Udaan (2010)
Hasee Toh Phasee (2014) (dialogues)
Films produced only
Udaan (2010)
Michael (2011)
Shaitan (2011)
Aiyyaa (2012)
Luv Shuv Tey Chicken Khurana (2012)
Tasher Desh (2012)
Peddlers (2012)
Monsoon Shootout (2013)
Shahid (2013)
The Lunchbox (2013)
Lootera (2013)
Hasee Toh Phasee (2014)
Queen (2014)
NH10 (2015)
Hunterrr (2015)
Masaan (2015)
Shaandaar (2015)
Udta Punjab (2016)
Wrong Side Raju (2016)
Ghoomketu (2017)
Bhavesh Joshi (2017)
Shorts
Last Train to Mahakali (1999)
That Day After Everyday (2013)
Kali-Katha (2015)
See also
Anurag Kashyap filmography
Anurag Kashyap Films
Phantom Films
Retrieved from "https://en.wikipedia.org/w/index.php?title=Gangs_of_Wasseypur_–_Part_2&oldid=807210602"
Categories:
2012 films
Hindi-language films
Films directed by Anurag Kashyap
2010s Hindi-language films
Films set in the 1990s
Films set in the 2000s
Films set in the 1940s
Indian films
Indian crime films
Indian drama films
2010s crime drama films
Indian crime thriller films
Gangster films
Indian epic films
Films about revenge
Films set in Bihar
Films set in Jharkhand
Films set in Mumbai
Films about organised crime in India
Films about corruption in India
Films shot in Bihar
Film scores by Sneha Khanwalkar
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