Anurag Kashyap was born on September 10, 1972, and has received several honors, including four Filmfare Awards. Anurag Kashyap not only has brought about the essential changes in Hindi film, but he has also given it a new identity that we can be proud of. Along with Ram Gopal Verma, Vishal Bhardwaj, Dibaker Banerjee, and Tigmanshu Dhulia, he faces Indian cinema’s new wave.
Anurag Kashyap has directed some of the finest Bollywood films of the twentieth century. Anurag is maybe India’s only modern-day director who creates realistic films with excellent entertainment value. Anurag Kashyap’s films are recognized for their Tarantino-style violence and satire. Kashyap has acquired the capacity to make audiences laugh amid the deadliest of sequences over the years.
Without further ado, here are the top Anurag Kashyap movies-
1)Gangs of Wasseypur
Before Wasseypur, Anurag Kashyap had directed three excellent films. But Gangs of Wasseypur is his final masterpiece. Gangs of Wasseypur, which was released in two parts, is Anurag Kashyap’s most ambitious film to date. It is an epic gangster saga that spans seven decades and depicts the life and times of a tiny Indian village. It will be remembered as an essential film in Hindi cinema for decades to come.
This film travels through generations of violence for the sake of vengeance and rivalry, from the man of few words Shahid Khan to the colorful and merciless Sardar Khan to the passionate and fragile Faizal Khan. The Qureshi and the men from Singh Mansion are on the other side of the ring.
Each of them wins a round or two, but the film isn’t about who wins the battle because everyone here is a criminal with different ideologies; rather, the film is about a place, a hellhole that is constantly changing its landscape, a place that is constantly becoming more violent by the minute, regardless of who is the proprietor of violence. Gangs of Wasseypur is, in fact, a love letter to the Crime Genre, and it will remind you of every classic in the genre.
2)Gulaal
Gulaal is a multifaceted picture in which each subplot stands on its own. Yet, they all come together to form a compelling tale that supports the central theme. If you want to go further, there are several references to real-life characters amusingly done subtly. The eccentric poet Prithvi Bana, portrayed by Piyush Mishra, is Gulaal’s ace in the hole. Mishra’s music and lyrics are magnificent, and they serve as a spark for the movie. This is a highly remarkable and sophisticated piece of Indian film that tells a unique narrative.
Gulaal begins as a socio-political melodrama. It depicts a maze of humanistic beings who have never been more engaged with themselves, their people, or the state’s political apparatus. Their vengeance now turned into a vendetta, they’re just interested in power, and their battle against the wrong done to the Rajputana community has been clouded by greed, hypocrisy, betrayal, and deception.
Except for Dileep, all of the characters are rather repetitive; their personalities do not fluctuate. We witness topics such as college ragging, student activism, and caste prejudices through Dileep’s eyes. In this ‘actor-studded’ picture, he, ironically, comes off as the worst performance.
3)Black Friday
The 1993 Mumbai Bombing, which killed hundreds of people and wounded thousands more, expresses religious hatred between the Hindu majority and the Muslim minority on Black Friday. The nicest part of Black Friday is that it never takes sides, whether it’s for a character or a faith, and it never tries to explain anyone’s actions. Without sensationalizing or praising any character or the event itself, Black Friday oscillates brilliantly between pre-blast and post-blast phases.
It delicately depicts the minds of Rakesh Maria, Dawood Ibrahim, Tiger Memon, and one of the major bombers, Baadshah Khan, without attempting to elicit sympathy for any of them. Black Friday is a picture that we should all be proud of, a film that epitomizes reality, a courageous film to utilize actual names and locations, a film that deserves to be nominated for an Oscar Nomination.
Also Read, Best Bollywood Movies That Revolutionized the Content of The Film Industry
4)Ugly
The subject of Ugly is not new. We have already seen Child Abduction in films such as Ben Affleck’s ‘Gone Baby Gone and Denis Villeneuve’s ‘Prisoners.’ However, in such films, the focus is always on what happened to the missing child, making them a gripping thriller to watch. Ugly, on the other hand, is a very different film. It doesn’t go into great detail about discovering the missing girl, instead of focusing on the major players’ ever-changing mindsets. The tale focuses on the parents’ characters, their divorce, the stepfather, the father’s buddy, and the uncle. Each of them sees the kidnapping as a way to profit from it in some way.
The majority of them are out to make some filthy money, while some are using the situation to settle old grudges. Of course, some people care about her, but she isn’t a top concern. The Kid is the focal aspect of the story, as the kidnapping reveals the dark qualities of all these individuals. After Paanch and Black Friday, Ugly is the third film. Anurag Kashyap presents a relentless Bombay with all its splendor and glitz.
5)Raman Raghav
Raman Raghav 2.0 begins in chapters; it doesn’t abuse the gimmick of jumping back and forth in time to trap you in an unneeded mystery. Kashyap’s picture takes a basic ‘serial-killer plot arc and turns it into a strong, darkly delectable tale of insanity, rage, and self-discovery. It’s a terrifying character study of two people, one on the edge of total psychological disorder and the other on the lighthearted aftermath, where no relationships, feelings, religion, or tragedy matter.
Where obtaining a Godly figure in the harshest sense is the ultimate and last goal. Raman Raghav 2.0 by Anurag Kashyap is dark, crazy, and aesthetically wonderful. It leaves no stone untouched and is a real Kashyap picture in every way.
6)Mukkabaaz
On the surface, Mukkabaaz is a romantic drama about an amateur boxer named Shravan Singh from Bareilly. His love of boxing is eternal. In one moment, Shravan’s father mocks him by demonstrating how meaningless the winning cup is. Shravan furiously retaliates that boxing is his love, and he doesn’t know what else to do with his life.
Sharavan’s whole passion crescendo symbolizes Anurag’s continual battle to survive and convey the things he wants to tell in his voice in this financially driven Bollywood “business.” That might be one of the reasons why seeing Shravan get punched, both literally and symbolically, crushes your heart.
7)Manmarziyaan
Manmarziyaan is a technologically outstanding film. It catches every setting well, from the beginning to the conclusion. Tracking and close-up views are used extensively, particularly in intimate scenes. The music is amazing. There is no song and dance number. Instead, it fades into the background and becomes a part of the story, driving it along. Manmarziyaan is a display of talent both on and off the screen.
It was well-acted and technically polished, and it had the potential to be one of the year’s best pictures. Unfortunately, the film’s plot falls short. As it plods along to its conclusion, it loses its grip on you in the second half and never regains it. In this film, there are so many distinct elements to admire. Unfortunately, Anurag Kashyap fails to bring them together in a compelling package to create a lasting impression.
