Freed from the shackles of reality and contemptuous half-measures, the films of the Indian subcontinent and swarm works unbridled, style without qualification, where all that Western audiences would find too seems to be the norm. This generosity is reflected at all costs at all levels, with the friendly cultural gap is known. 
Bollywood film where anything can happen (including false-fitting day / night).
In general, a false connection is negligence of the crew that only an eye detects. Here's another thing, since between two planes is several tens of cars that change places. You almost forget the basics: the epic battles of heroes.
En général, un faux raccord est une négligence de l'équipe de tournage que seul un oeil attentif décèle. Ici, c'est autre chose, puisqu'entre deux plans c'est plusieurs dizaines de voitures qui changent de place. On en oublierait presque l'essentiel : les combats épiques du héros.
What's good with the Indians is that they are never afraid to do too much. Whatever the limits you think you can attach to the notion of plausibility in film, whatever the point where you situiez the border that separates the good taste of bad, the sound of pure n'import'nawak, be certain that Indians have already gone well beyond. Because the Indians, they are far and they are great!
Listen carefully because I did tell you once ...
I PLAY BAD !!!!! "Since its release, Gunda been a cult following among the pan-Indian audience because of its hackneyed plot, characters absurd, its double-meaning dialogues rhymes inept, his game and his outrageous bill gross low budget film. It is an example of film became popular because it is "so bad that it becomes funny," as well as Hollywood productions like Plan 9 from Outer Space or Manos: The Hands of Fate . " Like other critics in English findable on the web (such as those from the Indian Times and the Mumbai Mirror), this quote from page wikipedia devoted to Gunda gives good measurement of gross work, fascinating to idiocy even for the public to whom it was destined.
The charisma you want in here. Gunda is above all a drama of Shakespearean accents, the sad story of an escalation in violence with tragic consequences. Basically: the revenge of a super super nice cons of super villains. The ultimate villain of Gunda is Bulla, godfather of the underworld to the lush mustache that the first minutes of the film show us consolidate his power by eliminating his main rival at first, then a local politician replaced by another, corrupt, who can thus ensure its protection in high places. The police commissioner of the corner being also a big trash corrupt to the core, nothing seems to hinder the criminal acts of the abject Bulla, to the unexpected intervention of the valiant Shankar.
The detestable Bulla, played by Mukesh Rishi strolling player who exalted with a fury. An actor subscriber roles of super villain, which had already enjoyed the mustache XXL and bulging eyes in " Garv: Pride and Honour "and especially" Vijayendra Varma - Power Of An indian "where his heart pierced Pakistani terrorist ended by an Indian flag pole! Shankar is a hero, a real one. He looks tough, fists clenched and face tanned leather as a drum rhythm that would have a thousand battles. More than Charles Bronson Indian Shankar is equivalent to itself with an army of Dirty Harry, John McLane, John Matrix or Jack Bauer. In a heroic bravery, honesty of any event, a manhood that can not be doubted, it is the last bulwark against the mob. Incidentally, it seems to work as a coolie on both an airport and port cargo, two recurrent sets of the film.
Shankar, our hero. Shankar has the habit of always being there at the wrong place at the wrong time (must also be said that half of the action scenes take place outdoors on the docks or airport where it seems to work), its beneficial actions against the minions Bulla provoke the anger of the latter. And will engage a cycle of attacks and reprisals from crescendo, which will in turn lose Shankar sister Geeta, raped and killed his father policeman, who demanded justice from his corrupt superior, then his fiancée Ganga, only the monkey Tinku evading assassins of Bulla (detail that will be important during the final battle). It was enough, but certainly not least not for Shankar decides to apply a rough justice in the great tradition of film safe .
Vengeance little corner. In the role of Shankar, Mithun Chakraborty found, one of the most popular figures of Indian cinema of the past 30 years. Having started in 1976 in "Mrigaya", a film for which he won the trophy for player of the year in India, Mithun has really gained a large cult stardom thanks to " Disco Dancer "(1982) and its avatars," Karne Wale Ki Kasam Paida "(1984) and" Dance Dance "(1987), before specializing gradually in the roles of urban vigilante in perpetual struggle with the mafia and corruption. In the mid 1990s, being has-beenisation acute, he suddenly decides to leave Bombay / Mumbai for the tourist resort of Ooty, where he manages a hotel complex, and therefore cut the circuit Bollywood productions "high range. Mithun but does not stop the film so far, quite the opposite: taking advantage of his notoriety rot in rural India, he continued at a rate of Stakhanovite small productions in Hindi but also Bengali, Bhojpuri and Oriya, turning in over 80 films series B, C or Z in the space of ten years! It will eventually comeback in the mainstream Bollywood industry in 2005. This explains the presence of a slightly compromising featured as Mithun Chakraborty in a production that also ragged and hungry "Gunda", dated 1998.
Mithun, the vigilante bicycle. The director Kanti Shah is itself a genuine hack, the less noble sense of the term, which IMDB just to identify all the packages (to have seen "Khoon Shaitan" and "Pyaasa Haiwan" by the same filmmaker, author of these lines can you confirm the constancy of the gentleman in annulment uninhibited). An artist who seems to have banished the words "end" and "light" from its vocabulary in favor of a single motto: you always offer more with less. Hence a great propensity to pay his home in the bombast permanent, systematic overbidding at the expense of all probability.
An anthology of false connection among others. Here we are at the beginning of a sequence where Shankar is facing an armada of vehicles that stop in front of him and cut the engine.
Middle of the sequence: the vehicles are suddenly aligned in two separate columns.
End of sequence: the same vehicles now form a sort of circle disordered. Thus, Gunda takes place in a very different reality from that in which we live you and me. In Gunda, each interaction between two bodies is accompanied by a thundering sound effects. For example, when one puts his hand on the shoulder of someone, it produces a noise close to the slamming of a car door (in fact, a car door sound effect). In Gunda, when a character is knocked down, it may well be faced in executing a somersault defying all laws of gravity, as if his fall had been ironed inside out (which is certainly the case ). In Gunda, when you fight against the wicked, there is nothing surprising that the scene changes several times like that, right in boxing: hop, I'll stick a wad-pif on an airfield! And presto, I continue on a headbutt in a sand pit! Flip-flap, I'm finished with kicks on the docks of a cargo port. In Gunda, the scenery is a bit like a wallpaper on his computer: something that used to be pretty and that you can change whenever he wants, so, on a whim . In Gunda, it is possible to wash over you see dozens of vehicles and he did fall a total of ... six henchmen (a situation that occurs when even twice!).
Gunda is stronger than you. False connections, ellipses, shortcuts, and other facilities capillotractées bifurcations accumulate at the point of sowing doubt: would it be poetic license? One is almost tempted to believe, as Gunda sometimes takes on the appearance of capturing live shows, with its protagonists lined up facing the camera as a theater, declaimed his dialogues sounding artificially twists and terrifying candor bordering little just repeat the comic (emphasize that the actions of the villains are almost always disturbed by the arrival of Shankar bouncy and quirky, landing in full fuss like a bad piece of street).
An input stage leaping and impulsive which Mithun was the secret. Also earned by the obsession of one-upmanship, dialogues pour in a shoddy lyricism, and reflect a constant search for the metaphor that kills. As a piece selected, we imagine Shankar facing his enemies and an index pointing to them ominous: "As the station, the train arrives, begins to vibrate and tremble, even you will begin to tremble when he saw me coming! ". To win in dramatic intensity, the aftershocks that brighten the joyous competition briefs are routinely amplified by a "reverb" kind "cave" or "concourse," which completely destroy any trace of subtlety.
"He Must Be On The baked pan of Death!" (Must be cooked on the stove death)
"Your situation before us is like a piece of fabric against a pair of scissors!"
"If I am a piece of cloth, I'll be your shroud!" This series of comic dialogue and messy bastons is only interrupted by the inevitable song and dance sequences, unfortunately without much interest except to act as breathing. Briefly choreographed, filmed on a dreary, with sets and costumes kept to a minimum: it is clearly not what most interests the director, which we guess it is just a fold here specifications. What interests, Kanti Shah is shooting the bad guys do the nasty and vigilante justice be done, with a maximum of screams, blood and sound effects that give a headache. On one invoice laborious and could not be more rudimentary (basic frame, photo does not exist, mount the machete, hideous colors, loud music and rough cast soundtrack), Gunda is an Indian production of low extraction, closer to what is the side of Lahore in neighboring Pakistan, that all-from the Bollywood production. In addition to this taste for noisy and hysterical movie, Gunda also shares with the production Lollywood a certain attraction for female characters, plump with this busty and these wide hips own good breeding.
Yellow chick, our hero Shankar, Charles Bronson kind of curry sauce.
In fuschia, his bride Ganga, post-modern version of steatopygous from the Paleolithic.
A mismatched couple if not, finally ... In sum, watch Gunda is immersed in a happy world where everything is underlined, highlighted, pressed, with stereotypical characters, narrative structures stable situations clear, clear antagonism. In Gunda, nuance, ambiguity does not exist. The hero is perfectly good and right, the villain perfectly vile and disgusting, the victim still innocent and vulnerable, the traitor knave so perfectly. The World According Gunda is a violent world, but governed by simple power relations, rooted in a basic Manichaeism never wavered.
"I am a hater of crime, for the honest and light a flame for the hooligans."
"I am a hero for the Poor and a villain for people like you. My name is Shankar. Gunda I am No. 1!" At banquets where they drank mulled wine mixed with water, the ancient Greeks wept hot tears listening to her sing the bard of phorminx adventures yet they knew by heart. Also today, the Indian masses will see and review a show that is always the same: the triumph of Good against Evil, Love, Hate and cons, in the case of film secure the triumph of a vigilante popular wounds that affect their daily lives.
Gunda is also a nanar populist discourse, which offers some fine lines like "Politics and hooliganism are Two Illegitimate offspring of The Same father"! Whether they Gunda, Garv or Shahenshah (the "Indian Punisher" with Amitabh Bachchan), the pattern remains unchanged and treats its function as an outlet. Through the character of Odysseus, the Greeks reaffirming their identity by celebrating the triumph of their hero and their civilization on the baroque and cruel savagery of the world - the sirens, the Cyclops, the lotus eaters etc.. Nearly 3000 years later, the Indians meet them in dark rooms to forget their problems time a movie together and celebrate the triumph of Mithun on violence, poverty and corruption. And, indirectly, that of director Kanti Shah on his enemies to him: subtlety, refinement, sobriety and good taste, that it will still be able to flank a good thrashing!
Kalashnikov, rickshaws and 'stache XL: Welcome to Moustachistan ... Nanar bitter tonic and as a quid of betel, Gunda is located halfway between Garv and Badmash Te Qanoon or, in language a little less crypto-referential, the crossing between the cream of Indian film safely down the front rough and skill of Pakistani cinema. In other words - to be more explicit - a film that should scare wise girls like images, and delight boys unruly fans noisy entertainment and regressive. Bulla, khullam khulla!
Mithun, quiet strength. In terms of anecdotes, mention that Gunda had trouble with censorship of his country, as we learn from an article in Indian Express dated 24 September 1998. In its uncut version, the film was unceremoniously rejected by the censorship board, following which the producer Anil Singh proposed a less mounting gratin who won the green light for an exhibition. Except it turned out that the original version uncut, uncensored, was projected in some cinemas in Mumbai (Bombay) at the film's release September 4, 1998. The swindle was discovered after receipt by the censorship board a letter of protest sent by a group of students, who was indignant of the film's content in terms of violence, sex and obscene language. After investigating and finding that it was the uncensored version that was exploited, Gunda was removed from the poster and copies seized by police. Difficult to know with certainty if the DVD version viewed for the purposes of this column is the censored version, but the presence of a capital on the certificate of the censorship committee present at the beginning of the film like any Indian production, suggests that yes.
