Their relationship gradually changes from friendship to love. The only person who comforts her when she's feeling low in far-away Seoul is Aakash, a singer in an Indian restaurant. Simran is an alcoholic, heading towards doom. Of course, there have been gangster films in the past, but GANGSTER is, without a shred of doubt, one of the best gangster films Hindi cinema has produced.Ī film like GANGSTER proves the power of pen and coupled with bravura performances, razor-sharp and acidic dialogues and brilliant execution, this one's a winner all the way.Īll said and done, this gangster makes you surrender to its charm due to its rich emotional appeal, not gunpowder. Their new effort, GANGSTER, charters into an alley that has rarely been visited by Bollywood. Post MURDER, the Bhatts have produced a number of noteworthy films, but the ones that stood out were ZEHER and KALYUG. It's at this point that you realize the power of a great screenplay because the serpentine twists and turns in the plot catch you completely unaware. Does that make GANGSTER a love triangle? In GANGSTER, the woman is torn between two men, who love her unconditionally.But GANGSTER is more of a love story than a violent saga.
Is it one? GANGSTER talks of a dreaded gangster and there are sequences that depict violence. Or, perhaps, it abounds in inter-gang rivalry. The title GANGSTER may give an impression that it's a violent film. Continuing with the practice of making films within limited budgets and casting new talent, their new endeavor GANGSTER also relies on a robust storyline than extravagant/grandiose sets or star power.īut let's clear a few myths pertaining to GANGSTER first and foremost… In posing the questions with carefully measured doses of humour, Michael has crafted a bold and confident film which deserves to be viewed as a true original.Mahesh and Mukesh Bhatt have always believed in the power of content. We, the audience, can ask ourselves whether we should really be rooting for Castor, a resilient underdog who frequently proves himself to be a heartless assassin. This has nothing to do with the film’s plot, but it is spellbinding.Īs in all gangster films, questions surround the characters’ warped loyalties and morality codes. In a style reminiscent of the Coen Brothers, the writer/director does not flinch from taking diversions for the sake of oddball characters, most memorably with a barman, shot mainly in close up, telling the anecdote of “Geraldine’s big toe”. Guttenberg, graduate of the Police Academy franchise and star of other American hit comedies of the 1980s, plays it solidly for laughs, but otherwise, Michael’s comedy is more subtle and never overstated. Looking more like Ozzy Osbourne than Al Pacino, he brushes aside his flowing blond locks to reveal a menacing grin. The film also marks a welcome appearance by Steve Guttenberg, giving a delicious cameo performance as the story’s Mr Big, Jean-Baptiste Philippe (“he’s got class and he’s not French”). An eclectic music soundtrack adds layers of irony to the settings and the story and rare glimpses of goodness stand out, as when a solitary smile breaks Castor’s deadpan expressions. Much of the action takes place on calm London streets of Edwardian villas and lush green spaces, captured by Andreas Neo’s vivid cinematography, but the expected middle class residents are nowhere to be seen. Michael treats gangster culture less as operating in a universe parallel to “normal” life than as the outcome from a successful alien conquest.
His step up to a world of drug dealing and evil organised crime has begun.
I am gangster movie review serial#
His life had been spared by Milo (Ian Reddington), one of his parents’ assassins and, years later, the uneducated young man turns to a reluctant Milo, a hit man and serial abuser of his wife Maria (Isabele De Rosa), as his hero and mentor. He is left outside the system, foraging in bins for food to survive, sleeping rough and mingling with the dregs of society. Like Messrs Copperfield, Nickleby and Twist before him, Castor is orphaned as a boy. The narrative arc has a Dickensian flavour. The film is awash with explicit violence, corpses and rampant misogyny. This is a savage, pitiless black comedy in which human warmth surfaces only fleetingly, like an unwelcome guest. However, writer and director Savvas D Michael’s Original Gangster shows little of the underlying affection for its characters that marks Martin Scorcese’s classic. When the voice of Castor (Alex Mills) begins to narrate his life story of affiliation to London’s underworld, we feel that a British equivalent to Goodfellas is in prospect.
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