Slumdog Millionaire - Questions/Glaring hole.

Originally written for Passionforcinema.com. The article has been published here.

Disclaimer: Please avoid this post if you haven’t seen the movie. If you have, come and join in the fun.

Quite a few questions came to my mind after watching the Slumdog millionaire. One thing followed to another and we(PFC authors) started debating on some of the things in the movie. The debate came to an interesting point and we thought of sharing it with everyone. It runs down as follows:

Tanul Thakur:Just watched Slumdog Millinoaire. The first fifty minutes blew me apart. Absolutely brilliant execution. It is both exhilarating and breathtaking. But, after that the film kind of digresses and it became one of the movies that could have been. I have some questions,

-Since Jamal is a street guy, and as we all know the questions asked to him during the show was a part of his journey. And since he is a street boy(young is the point I want to stress), we don’t expect him to pick any subtelities, the facts learnt by him during the period should be ‘told’ to him or experienced ‘first hand’. But, some of the answers told by him looks as if the incident involved the particular thing but I fail to understand how he extracted(or learnt) an answer out of that. For instance, I can still expect that 4,000 Ram Bow-Arrow question, I’m even ready to buy that Surdas waala bhajan(though there is no discussion regarding who wrote the bhajan,when he was with the gang, and I mean why would anyone? It is just a gang who wants to earn money. Or, is it when Jamal grows up he sees the things in that context? Blind children connection to Surdas?).

-Also, his answering that Benjamin Franklin question looked a tad forced to me. I mean first of all why would he give his begger friend $100, when it is not going to be of any immediate use to him? Why not give him a mere 1,000 rupees?(If the intention was to help him). Logical and common sense. And then the boy explaining to him about who is on the note, it again looked a tad forced to me.

-Then the question of who invented the pistol? Only an incident is shown with the gun and his brother involved. How can that be related as to who invented the gun? Who will give a gyaan about who invented the gun amidst all that tension? The point I reiterate is the answer was not ‘learnt’ by Jamal during the incident, as far as I know(If I missed something here, please tell me, my girl friend told something was mentioned!)

-Now, the most important thing. Probably everyone knows this but why did no one touched upon this when analysing the movie. The show ‘Who wants to be a millinaire’ is *not* a live show, so the whole phone call thing, Latika escaping, police arresting, and all that drama is just for the sake of being drama. I didn’t like that. People murder a movie when there is a slight flaw, but this is a gaping hole, in my opinion.

-Why, oh why, is the host of the show shown to be a cunning, two faced sly man? All the hosts of the show(Big B, SRK)put the contestants at ease. SRK occasionally took the case of contestants, but nothing as severe as what Anil does here. Why? Because, he doesn’t want another Slumdog to become a millinoaire? Just like him? So he gives him the wrong answer? Why? Regis Philbin was nothing like what Anil is shown here. This is not ‘Kamzor Kadi Kaun’ or ‘Who is the Weakest link’, and even in these shows the host would like the contestants to win, unlike our Main-Grey-Hoon-Kapoor.So I didn’t see any explanations for Anil’s behaviour. Totally escaped me. And more than that, it comes as a shocker when it is shown that Anil is the man who is responsible for Jamal’s arrest.

-How can you just arrest someone on the mere’suspicion’ that he cheated? Without substantiated proof?(Or, can you? Not very certain on this ground, but still, just arresting and giving 3rd degree on a mere suspicion seems like stretching it a bit too far!) I’m sure the show organisers makes sure that no one cheats. Why weren’t they questioned?
These are some question that didn’t leave me. I would appreciate and be able to see the movie in a better light, if someone answers those questions for me. The first half of the movie is like a breath of fresh air, but these questions just refuses to leave me. Academic? Over analysing? Boring?
I want answers!

Shripriya: Tanul,
- the beggar master says something like “it is his favorite surdas bhajan”.
- he gave the beggar boy $100 b/c that was the note he was given when the driverwallah beat the shit out of him and his tourist buddies gave him the note.
- the bro says something like “my colt will kill you” or some such thing.
- live show thing - yeah. that’s why you need the “willing suspension of disbelief”
Why can’t the show host be cunning? It is a personality thing, not a show thing. It adds to the drama. If the host was a kind uncle type person where’s the added drama? Who cares if Regis and Amitabh are nice cuddly bears?? This guy isn’t and it makes it so much more interesting.
You can arrest anyone for anything if you are powerful enough in India and the person being arrested is a slumdog. That’s reality.

Tanul Thakur: - One more point. Regarding ‘English’. Had they used English from start to beggining(as in, the characters conversing with each other), it would have been fine. Because, in that case, what it would have meant that the characters are just interacting, english is only a ‘medium’ to showcase what they are thinking/speaking. But, the movie wants us to see the young Jamal speaking in Hindi and couple of years later speaking in ‘correct english’ , that seemed more like a transition to me, without any proper explanation. How did he learn english during the period?( He could have, but the sudden turn around in the mode of communication didn’t sit pretty well). Same for his brother, Latika.

Tanul Thakur: Shripriya,
Ok, I might have missed the point of the first three questions. But, I don’t quite agree with the ‘willing suspension of disbelief’, I didn’t went in expecting a fairy tale.
And why should the host be cunning? Just to add drama for the heck of it? Logically speaking, it doesn’t make any sense why would anyone want to piss the contestants off and jeopardise their own TRP’s(I may be taking it a bit too far, but still he didn’t ring very true and consistent to me). Zabardasti drame baaji, didn’t work for me.

Shripriya: I think the suspension of disbelief is required to some degree to enjoy any fiction (here’s the history on the term - http://en.wikipedia.org/wiki/Suspension_of_disbelief)
The host doesn’t *have* to be cunning. But why should he be bland?? You think hosts are bland b/c of Regis. But why can’t a host be vicious and mean spirited - wanting to pull down others? He’s not pissing off contestants. He is two faced. So, to the contestant, he seems like a nice guy. But in reality, he only wants them to go “so far”, but no further. Let’s say Jamal believed him and picked B, Ricky Ponting. What would Jamal do later - say the host lied to me? Who’d believe him? So, the host has an airtight way in which to get him.
Now, as to why the host does not want someone to succeed… from what I could get it is that he’s a rags to riches guy and he wants to be the only rags to riches guy around (for now anyway). He doesn’t want someone else to take the glory, the press and the adulation that comes with such a story. Is that strong enough motivation? I agree that it seems a bit stretched, but still within the realm of possibility for me. [Edited to add: His TRPs are guaranteed even with someone getting that far - a win is not needed]

OM: Tanul..i too had a problem, coz there was no explanation, as to what was the motive behind AK to be cunning…but, then i made myself believe that, he is an individual..and every individual behaves differently in different situation…so no explanation was needed..it is how you take it. Others are answered by shripriya pretty precisely…
If you notice the film carefully..all the answers given by him to the questions posed to him..had life changing experience wrt to jamal..and if YOU too had to list 5 things in your life..you wud remember somethinh which had an effect on your life and not wat u ate at a restaurant, nai? plus..it was destiny as was made clear at the begining it self

OM: “Now, as to why the host does not want someone to succeed… from what I could get it is that he’s a rags to riches guy and he wants to be the only rags to riches guy around”
Shripriya..this could be a very interesting topic to discuss and i was talking about it with my roomie too…the chracter that AK plays..is lying so much or conning or being mean..so, it could also mean that he as well might not have been the rags to riches guy..it was just a way to fool..it could be either ways..hence i loved AK’s character so much..there is soo much ambiguity in it…its a trip.

OM: “why should the host be cunning? Just to add drama for the heck of it? ”
why does the sun rise from east? why is garvity downwards? why are villians always mean? why does rama has to win against ravana?
its a story yaar…thats the way you projected your characters..

Tanul Thakur I do get the fact about the Suspension of disbelief, but when the whole movie hinged around it(especially the climax), it was just a tad difficult for me to gulp. Anyways, thanx for the answers!

Mitch Guys its magic realism. If your looking for logic you won’t find it.It’s majorly influenced by Midnight’s Children and I think that Jamal will be a better Salim Sinai than even the authorized version.

Tanul Thakur @OM: Yaar, I still believe that Anil Kapoor waala angle was kinda forced. They could have done away with that ambiguity. Had they only left at the host being cunning, it would have been still okay with me. But, Kapoor making sure Jamal is arrested is really stretching it a bit too far. I mean he is a millinoaire, why the hell should he be bothered about a slumdog?( Or, was it *this* eccentrity in Kapoor’s character they wanted to portray). Escaped me. Totally.

OM - ” I mean he is a millinoaire”
that was not explained..how did you get that?Tanul ThakurHe himself tells it in the bathroom. And is that too difficult to guess? A guy hosting Who Wants to be a Millionaire would surely be a guy with better standing!

Shripriya - @Mitch - oh yeah!! That is totally spot on. He would be a great Salim! I hope they pick him!!

OM- @ Tanul“He himself tells it in the bathroom. And is that too difficult to guess? A guy hosting Who Wants to be a Millionaire would surely be a guy with better standing! ”
ahahha..that answers your question brother…its waht you let yourself to believe..it is waht Shripriya says about willingness to suspend urself…and the thing he says in bathroom..is what he says to Jamal…he could as well have been lying..but its your willingness to believe it..and as i said..it was ambiguity of that character…would you believ such a cunning man or not..that makes it so much more interesting…
not trying to convince you, which is not possible, not just to you but anyone with a different pov, but, certain things one as a viewer takes it for granted, others dont, and others accept it in the whole milieu of situation..and there are others who dont bother abut it as there is more of much more importance happening around
but i am loving this debate here…plssss tanul take this to the main..you can quote me as it is…

Tanul Thakur @OM: It is not about what I want to believe but that is what things *are*. Why would anyone but a celebrity host a show as famous as Who Wants to be a Millionaire. He has to be a known figure and thus, a celebrity. Even if he hadn’t told this in the bathroom, would it have been too difficult to guess? Or, for that matter, who hosts(or have hosted) the ‘major’ game shows on TV? It is/has been the stars.

Ikiru

Orginally written for Passionforcinema.com. The article has been published here. I suggest you read the article at the link given because that one is a tad complete!

Watnabe knows he will die. Soon. But, it is not death that scares the wits out of him. It is life. His life. A lifetime of wasted opportunity. A life of failed expectaions would have been still better. His was a life of no expectations. A life wasted behind the pile of emotionless papers. He didn't miss even a single day of his office in the work span of 29 years, 11 months. Stamp after stamp after stamp after stamp after stamp after stamp...

A life that carried out recursive functions, without any goal and purpose in sight. A life that associated no joy or sorrow with the rising sun, with the star studded night, with anything. A life that was so listless, that it was not even life at all. These things come rushing back to him, when he is diagonised with stomach cancer and he knows, he only has half a year or year at maximum. To live.

Now, he desperately wants to cling on something. Anything. He doesn't know how. He wants to decorate his life in all the ways he possibly can. The miser even withdraws his hard earned 50,000 yen, because he wants to enjoy. At any cost. He goes places for seeking that elusive thing, happiness. No matter how transient or superfecial it may be. Places, he would have never even imagined going. Because, he hadn't given his life even a chance before. He had closed the doors to happiness ages ago, and when now life is actually closing door on him, he wants to sneak through and live it. Live it all. Like never before.

He meets the girl from his office who is a bundle of exuberance, and exudes contagious joy. Watnabe is both envious and happy to see her. She unconsciously leads Watnabe to discover himself, what he really wants to do the rest of his life. Of doing atleast one thing in his life he is proud of.

Kurosawa's sensitive lens meets Hashimoto's poignant story in this stunning movie. Such is Kurosawa's brilliance that he doesn't speak much, but even then he speaks volumes. I had merely heard about the art of silence, with Ikiru I have experienced it. Kurosawa's brilliance is not only mind numbing, it is also heart warming in the same breath. The penultimate shot shows Watnabe, hours before his death, on a swing, with a smile on his lips. Lively than ever before. The smile of a satisfied man. The satisfaction of having atleast lived a live. The satisfaction of him being able to provide something of value to others.

Because, that is what Ikiru is all about. It is not about death, it is not about questioning it's inevitability. It is about life. It is about having a purpose, it is about keeping the flame alive in our hearts. It is about the skip in our walk, it is about still being a kid at heart. It is about embracing those little things that we so forget in our busy, daily lives. It is about having a dream, and then doing anything to fulfill it.

Below is the lyrics of the song, that Watnabe sings during some of the scenes of the movie:

life is brief.

fall in love, maidens

before the crimson bloom

fades from your lips

before the tides of passion

cool within you,

for those of you

who know no tomorrow

Coming Soon!

I have 1,000 ideas swarming in my head at the same time, but I generally I lose out on them during the course if time. So, for my benefit I would list out the following things I would be writing on.

1. Good Friend, Bad Friend
2. Movies I would have loved to watch first day, first show.
3. Dada, Jumbo and the Gen-X of Indian cricket.
4. Why A Wednesday is a far superior movie than Rang De Basanti.

Phew!

Of middle class, insignificant things and growing up with Indian Cinema.

Originally written for Passionforcinema.com. The article has been published here.

Cinema is still frowned upon in many of the middle class families; it is only logical when the first concern is fuelling the stomach, fuelling the heart comes at a much, much later stage. Though I grew up in a milder version of the aforementioned setting, I, like any other movie enthusiast watched movie after movie every Friday. Those were not the days of multiplexes, but hot, suffocating theaters. No nachos at the oh so swank counters, instead there was a huge clank of bottles with the bottle opener seconds before the intermission, accompanied with Thanda, Thanda.

I grew up watching a host of movies; good, bad, ugly, boisterous, boring, bullshit. 90’s was an interesting decade for lots of things were happening simultaneously at the same time, Mithun Da’s Aai-Yaee , Akhsay Kumar crushing the genitals of all the baddies and proclaiming I do all my stunts myself. And this used to be the talking point at our school. Saala kya hero hai. There were few actors, only heroes and heroines. Barring Aamir Khan, almost every ‘hero’ had the same weird hairdo, the shoulder long length hair, and mouthing dialogues which even their kaam waali would have cringed upon hearing. Even the goddamn interviews were the same; it’s a very different role. I’m sure I must have missed the interview, where someone would have said, the role was very challenging for me. I play a different rapist.

But that was cinema in those days; it was so detached from the real life. Barring few movies, almost every other movie seemed to follow a certain pattern. Religiously. Six-seven scenes cut to a song, then again six-seven scenes, cut to a song, and so on. It looked as if the movies were being made by a group of programmers paid to execute certain instructions. So I watched and watched and watched. And waited, and waited.

Week after week, it was the same stuff, same Switzerland, same snow, same hero, different heroine. (I swear on god, I have no problems with the chiffon sarees, and the sleeveless blouse amidst the snow capped peaks, the only problem I have is everything should gel with the story. Does anyone remember the Europe that DDLJ showed us? That was not Europe for the heck of it. In a similar vein Kuch Kuch Hota Hai was honest enough).

On the other hand, there was the same corrupt police officer Shinde, same corrupt, flawed ‘system’, same nobler than thou hero sometimes as police inspector, sometimes as the nobody. To quote Norton from Fight Club, everything was a copy of a copy of a copy. And the sad thing is, back then, I even used to enjoy some of them, not because they were good movies, but because I had no choice. If you have never seen Tendulkar bat, you would start liking Ashraful’s batting someday. I can bet on that.

So basically that was it, I had started wondering, is this what cinema is all about? Is it only about certain particular things? Does it have to be shown in a particular way? Why everything that is shown to us is perfect? Why are families always happy? And even if things are wrong, why are they so obviously wrong, that it makes me puke? Not at the wrongness, but the crassness in which it has been delineated. Why does everything oscillate in extremes? When would someone capture the simple delights of life, or was it an unimportant chapter ignored while writing the ‘rulebook’ of Indian cinema in that decade?( I didn’t know at that time, that movies like Saaransh had been made and forgotten long ago).

The late 90’s still produced some watchable movies, thanks to one man. Ram Gopal Verma. There was an instant connection with his movies. His most talked about work, Satya, was also about gangsters as thousands of other movies in the same decade were. The similarity ended right there. The execution just blew everyone. ‘Kyun be maarna tha? Ae Amitabh Bacchan marega kya? With Rangeela he changed the way heroines would be presented, and followed it up with absurdly funny Daud. Everyone had enough of the cheesy lines, and the Ram Rajya being shown on the screen, the tryst with realism had to begin somewhere.

I’ve had various moments in the cinema hall, where not the movie but the people watching it were the source of entertainment. The most recent one that I can remember goes something like this:
The movie was Mission Istanbul’lshit’, where in one of the scene, they had shown a look alike of George Bush. Cut to the conversation in back –

A “Saala, lagta hai bahut paisva kharcha kiya hai. Dekho, Jorj Boos bhi acting kar raha hai.”
B – Pagla gaye ho ka? E to pirated hai.”
( Translating the above, would rob all its charm!).

These are exciting times

I woke up at 8 in the library, and checked my mail sleepy eyed. It was one of the most beautiful mails I had ever read. It was from PFC, they had invited me to become an author on their site. I was ecstatic. It meant I would be sharing space with people like Anurag Kashyap,Sudhir Mishra,Kundan Shah,Revathy, and hosts of other film makers and film journalists whose works I have only admired from a distance. I was contributing articles through their Project-I-View and it was absolutely wonderful to interact with some of the most passionate and knowledgeable people across the world. It is one forum where I am myself, and I can speak my mind without the risk of sounding a highly boring person. In real life, it is generally pretty tough to find people who are as passionate as you about certain things, and since the choices doesn't match, the conversation never goes into the depth, you wish they go. So, you compromise and talk about things you don't even know or want to. Because, who wants to be alone?

Everyone has got some crazy ideas, but when you don't meet like minded people it feels as if your ideas, and thoughts are bolted. Locking up ideas within yourself can be poisonous and frustrating at times. That was the prime reason I had started blogging. But, that news came as a sweet shock to me. I feel like a four year old. I'm delighted. Happy. Excited. This is the beggining of a new journey, and I don't even know what the destination is, but who cares about the destination when the journey itself is so beautiful.

My space small space in this mad, mad world.
http://passionforcinema.com/author/tanul/
:)

The (najayaz) Baap of all movies: Gunda

Originally written for Passionforcinema.com.

Disclaimer: This post has lots of profanity. Acche ghar ki bahu, betiyan are advised to skip this post.

"There are three kinds of movies in this world. Good. Bad. And Gunda" - Ancient Chinese proverb.

I can't claim to write anything new( or refreshingly fresh) about this classic. But, that is what great things are about, it graciously shelters every one and gives each its own space. This is my humble dedication to GreatBong, the followers of this cult classic, and last but(t) certainly not the least, Prabhujee.

There are some movies which pushes the envelope of cinema to an extent that when you are done with the film, you are speechless. You don't know what just happened, were you thrown into an illusionary world of madness where nothing is what it seems? Has it ever happened with you? It has happened with me only two times. Once, when I watched Fight Club(David Finch's) and the other when I saw Gunda. Gunda is not only a movie, it is an epic, it is an epitome of what an ideal Bollywood movie should be. Never before has a movie seen such nicely etched characters, where their names not only rhymes with their motives, but also their appearnces. When was the last time world cinema saw such nicely etched characters? Don't you ever say movies like Reservoir Dogs, here the five goons(in one of the scenes) introduce themselves with some breathtaking dialogues. Not only the dialogues mirrors the demented state of this world, they are lyrical and poetic in nature. For a second, I was confused, whether this was Rime of the Ancient Mariner or the movie. But, that is the brillance of the dialogue writer Bashir Babar. He shows why S.T.Coleidge can never be Bashir Babar, but it is not the other way around. The dialogues rhymes with such efforltess ease that it elevates the movie to a level where movie makers can only see it, can never ,ever dare to go near it. Sample this video where each of the characters introduce themselves. http://www.youtube.com/watch?v=i4uiQMI3riE.

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Mukesh Rishi - Naam hai mera Bulla rakhta hun khulla.

Shakti Kapoor - Mera naam hai chuttiya, acchi acchon ki khadi karta hoon main khatiya. bulli kahan hai teri ungli, bulla bhai ab hoga hulla gulla. police aur hukumat karegi hai bulla, hai chuttiya. Sab bolenge hai chttuiya, hai bulla. Arre dhoondho dhoondho kahan hai chuttiya,pakdo pakdo kahan hai bulla.

Mohan Joshi - Mera naam hai pote, jo apne baap ke bhi nai hote. Jaljala jaag utha hai, ab sabko pata chalega ki gang war start ho chuka hai. lashein aise tapkeingi jaise nanhe munne ke nunni se peshab tapakta hai. TAP. TAP.

Harish Patel - Mera naaam hai Ibu Hatela, maa meri chudail ke beti, baap mera shaitan ka chela, khayega kela?

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The above dialogues clearly gives you an insight on how layered the script is. Not only does it gives you a peek into the history of each and every character, the great Kanti Shah also pays homage to some of his favorite movies.

Sample this, when Ibu Hatela says, "Maa meri Chudail ki beti, baap mera Shaitan ka chela.:" He clearly means that his baap is an IAS officer who works for the corrupt ministers( and thus, Shaitan ka Chela), and since his mom is Chudail ki beti busy shaking legs(and god knows what!)with fellow chudailins, this poor hatela guy is all alone. So alone is this guy that he is dangerously close to violating the line of sanity, as depicted in Scorsese's Taxi Driver. Thus,Ibu Hatela's character is Kanti Shah's homage to this Scorsese classic. So this hatela guy's life is colorless until one fine day he realises that 'kela' is just not a fruit, but how 'fruitfull' it can become. So he starts social servicing his kela to ward off his lonelineness.

Now, when Bulla says Naam hai mera bulla rehta hun main khulla, it implies how uncluttered his mind is. That Bulla is so innocent that he is unaware of the decitful ways of this world. You culd have easily found him talking stupidly with one of the ladies waiting for their buses, and saying My Momma said stupid is who stupid does. Yes. Bulla's character is homage to the one of the most innocent characters in Cinematic world, who was always khulla(read transparent or innocent).Forrest Gump.( You shouldd see the incoence dripping from Bulla's eyes when he kills anyone!)

When Chuttiya says, Naam hai mera chuttiya, acche acchon ki khada karta hun main khatiya. khadi karta hun main khatiya, clearly means that he is unable to sleep, the insomniac behavior, the same problem which Norton was suffering in FightClub, the dig at the white collored jobs. Chuttiya is Shah's homage to Tyler Duren's character.

And when Mohan Joshi says, naam hai mera Pote jo apne baap ke bhi nai hote, shows the concept of selflessness, that whatever be, the 'self' shouldn't be sacrificed, the belief in the power of "I". No prizes for guessing, Pote is homage to Rand's hero Howard Roark.

This is a descripition of just many of the wonderful scenes.Each and every frame of this epic ought to be discussed, because this movie is equivalent to a painting, the different colors fusing with each other to give us something we can cherish for. Let's look at this scene now: from 4:55 to 6:18. http://www.youtube.com/watch?v=P3BMCgNFd80&feature=related.

The najayaz son of Terminator II wants to rape the oh-so-awesome-touch-me-not-plant sister of prabhujee. She runs for one and a half seconds and then falls, and waits for 4 seconds so that the najayaz son of Terminator II can fall on her. Now, intense fight and bacha bachao, the calisthenics of Terminator II and his facial contortions make me believe that lady is raping him, not the other way around. Some second later, the hero comes(no, not prabhujee, some local disciple) and kicks the fuck out of the guy being raped. Then, the normal shukriya and crap follows, the guy asks, "Tum iss veerane me kya kar rahi ho?" If you see the video you would get the setting, it is a fucking desert, with only one electric pole(or something which resembles that, no double meaning here, if you count all the pole it would be two, as the hero is also standing besides her, but mind you, I'm a good boy!)in the vicinity. And the girl replies, "Main to college ja rahi thi." College in a desert? Yes, that is Kanti Shah's take on our educational system. Why there are nocolleges in the desert? In the jungles? When would institutes like IIT,IIMs come to desert? Why there is such a disparity?Why are educational oppurtunities not equal? You never know,but soon after that, a place in Rajasthan(close to the deserts),coaching institues begun to spring in large numbers in a place called Kota. Huge number of people are making it to the esteemed IIT's from that place now. Such was(and is, and will be)the power of Gunda.

The movie also corrodes our conscience on one very important thing. Rape. Kanti Shah's epic almost hoarse its lungs out - Why is Rape not a fundamental right? Why is Rape considered wrong? When will all the horny men of this world get a 'realise'? Why is being horny wrong? Cows have horns, they are not wrong, we worship them. Then, why adding a mere 'y' makes it so abominable? Also, there is an almost unwritten rule in Prabhujee's movie( this applies only to his sisters). The rules are:

1. If you are prabhujee's sister, you should, and you would be raped. Don't ask why. Ask when.

2. If you are prabhujee's sister, and you have not got the priviledge of being raped, contact the higher authorites as soon as possible and inquire when the needful would be done.

3. If the aforementioned points do not apply, you are not prabhujee's sister. Yes, it is true. Better luck next time.

I can go on and on, but go and cherish the masterpiece for yourself. As they say, ye to bas trailer poori film abhi baaki hai. Also, to make this masterpiece even more exciting, you can do a tarantino to Gunda. That is, you watch the last scene first, then see some random scenes in the middle, and then watch it from the first scene. Trust me on this, it won't make even an ounce of a difference, as comapred towatching it linearly. Isn't that one of the many intriguing things about this movie? Watch it for yourself, and I'm sure you would find lots more. The lovers of cult classics, my humble offering to you. Lastly,inspired by the poetic Bashir Babar I would leave you with two lines I cooked up on my own for the sheer love of my favorite movie.

Agar G**nd me hai gudda

To zaroor dekhna Gunda