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Old 1st March 2011
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Bold, energetic and by turns both deliberately vulgar and sharply incisive, Kolkata based director Q is sure to turn heads with Gandu - a film that straddles a heretofore unnoticed line between Danny Boyle's Trainspotting and Gaspar Noe's Enter The Void. If nothing else Gandu makes on thing very, very clear: should he have the inclination and backing to do so Q could very easily become India's answer to Gaspar Noe.

Gandu means asshole and it is the name applied to and adopted by the film's lead character. An angry, aimless, lower class young man, Gandu lives in an apartment provided to his mother by a wealthy businessman who keeps her as a mistress. Though the relationship between his mother and her keeper is entirely consensual and seemingly quite positive, Gandu cannot see past the fact that his mother fucks for money and his anger is slowly poisoning him.

Gandu ekes out a meager existence - buying lottery tickets with money stolen from his mother's lover's wallet while they have sex, dreaming idly of the girl who is a regular at the local cyber cafe, masturbating to hardcore pornography - spending his days on his own, his one real retreat his skill for beatboxing and angry freestyle rap. He has nobody else, not until a chance encounter introduces him to an unusual rickshaw driver, a Bruce Lee obsessed young man who is every bit as much an outcast as is Gandu himself and their shared isolation forms a bond between them. A bond soon bolstered by Rickshaw's supply of freebase drugs.

For the first hour Q plays Gandu very straight, shooting it as a black and white verite style character piece. His performers are fearless, the world they live in tangible, and the entire thing is infused with a sense of nervous, crackling energy - an energy that breaks loose whenever Gandu breaks into a rap, which he does frequently. The musical element is a major strength to the picture. Gandu's style falls somewhere in the neighborhood of early era Beastie Boys but faster, the rap sequences used in a classical musical style to illustrate some larger point about the character or the world he lives in.

But after letting his characters and their world take center stage for the first block of the film, the hour mark ushers in the chance for Q to really flex his stylistic muscle. Once the film makes its turn into the final act the style changes notably. Major sequences - such as the one which provided the still image above - are shot in high gloss color, the sex moves from explicit and grimy to explicit and fetishized, and the entire experience becomes a little bit slippery. Whether the film has simply gone meta or whether Gandu (the character) has retreated into fantasy or an extended drug trip as an escape from his squalid life is never entirely clear, which I suspect is entirely the point. Dream, reality and hallucination all blend together to create a film more experienced than understood.

A potent piece of work that announces Q as a significant talent on the world stage the sad truth is that Gandu is such a niche piece of work that it will almost certainly never receive any sort of commercial release on any format. For proof of this, go to your local video store and count how many contemporary films shot in black and white they stock. Then see what percentage of those are foreign. And if they stock any Indian film at all, what percentage of those are non-Bollywood. You get my point. All the more reason, then, to get out and see / support this while you have the chance.

Last edited by arko2008 : 1st March 2011 at 06:25 PM.

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GANDU (THE LOSER) Review


For a country with one billion residents, it is sort of strange that the cinematic culture of India seems so homogeneous to the outside world. Bright and colorful musicals dominate the international community's view of Indian cinema. For the most part, they are right to think that way, however, this is largely a function of many political factors and censorship laws. I mentioned in a previous news article that the Indian censor board is very strict, and that there are really only three ratings that will garner cinema hall showings in the country. First there is the "U", or unrestricted rating (equivalent to G or PG ratings in the US), "U/A", which is like the PG-13 rating, and the much more restrictive "A", or adult rating which is equivalent to R, NC-17, etc...

Q's Gandu would not fit any of these ratings. Gandu is graphic and loud. Gandu feels real, which is not a characteristic of many big Indian films. It is a very intense and kinetic story. There are times in the film when it feels as though style takes precedence over substance, but it all comes together in the end. The style is the substance, each editorial decision is made to provide further context for the actions in the film. If something appears to be random, I assure you, it is not, it perhaps hasn't drilled its way through your brain yet. I'm certainly not ashamed to say that it has taken me several days to begin processing this film, and I still don't think I am completely through with it.

It isn't a story of gangsters or real criminals like Slumdog Millionaire, or any of the litany of "kids gone bad" films we have seen. In fact, the characters in this film wouldn't even be given any lines in a typical, or even an atypical Indian studio films. These are real people, poor people, desperate people, people living lives completely within themselves and apart from their surroundings. Gandu, the title character, is one of these people. He spends his days following a routine: breakfast with Mom, wait for Mom and her boyfriend to get down to business and steal from boyfriend's wallet, use proceeds to gamble daily, visit Internet cafe, lather, rinse, repeat. However, Gandu seethes.

The only place where Gandu feels like a success is in his own words. He is a rapper, and a good one at that. In fact, the only words we hear from his mouth for the first third of the film are his raps as he will break into a scene with bombastic rhymes set to guitar and bass-fuzz driven beats. Gandu has no need to talk to the people around him, we can tell through his poetry that he sees no need for them, and despises most of them. We, the audience, see what Gandu is capable of, but no one else in the film does. He lives within his own mind, and he feels very little impetus to move outside of that small place, because he looks around and sees that success is not something that happens to people in his world.

This all begins to change when he finds a friend in a Bruce Lee worshiping rickshaw driver, whom Gandu appropriately refers to as "Rickshaw-walla", "walla" being the Indian suffix for any position of manual labor. "Walla" at the end of someones name not only denotes what they do, it kind of denotes caste, in a country where caste still plays some part. Gandu doesn't even have a caste, though we can assume through his motivations that he is looking to rise. As Gandu and Rickshaw-walla ricochet between fantasy and reality, Gandu starts to realize that he is what stands in his way, and he needs an epiphany. Soon enough, the gods take pity and his daily lottery pays off, which sends Gandu on a journey of self-realization.

This is where the film bursts from its conventions and starts to really shine. At the suggestion of his friend, and following the ingestion of some potent drugs, Gandu surges out to seize his day. This leads to a remarkably colorful, sensual, sleazy, gritty, and real encounter with a woman, a prostitute perhaps, which helps Gandu find his groove. The sex scene is extended and graphic and is probably meant as much to challenge the viewer as it is to push the story forward. No punches are pulled, and nothing is hidden. Following this encounter all of Gandu's fantasies begin to coalesce and turn, bit by bit, to reality. The style changes, in fact, a whole new set of opening credits appears halfway through the film, marking the division. This is very daring stuff.

One of the great stylistic tools used by Q in creating Gandu was the decision to shoot in black and white. More than just an aesthetic choice, his vision allows the viewer to experience this film and its characters free from prejudice. India is a very colorful country, even in its poorest parts, and allowing those colors to intrude onto what is a very personal story would have lessened its impact. The choice to remove color from the equation is critical in getting Q's film to work. We have to see these characters in their own world, how they see it, and to me, it doesn't seem all that colorful. The editing of the film is really very jarring most of the time, but in a very effective way. The film cuts back and forth across characters, often with no regard for story or plot, but that really isn't what the film is about. We feel off-kilter, just like Gandu, his world is small and he tries to make it bigger.

This could be seen as a metaphor for how Q feels about Indian cinema. Making a film like this in a country like India takes balls. Certainly Q understood that the film would most likely never get public release, but this was his film, the film he had to make. This film is almost like a political statement, a revolution in South Asian film. Everything that mainstream South Asian film is, Gandu is not. It is not colorful, it is not polite, it is not fantastical, it is not modest in any way. The film has its faults, but even those can plausibly be chalked up to stylistic choices.

Todd said in his review that Gandu is the kind of film that is unlikely to see any kind of wide release, and he is right. It certainly won't see release in India, and even its value on the art film market is limited by a number of factors. None of these likelihoods make it any less worthy of viewing. If you are in the area, definitely check this one out, it will give you a new perspective on what Indian film is capable of. This kind of boundary pushing work deserves support, if for no other reason that to support the free speech and clarity of artistic vision that some people still have to leave their homelands to exhibit.

I think this could be the birth of a new and different voice in international cinema. We are seeing it here in its infancy, but it shows great potential. The sad thing is that if it isn't nurtured, it may not survive, films like this need a home outside of India before they can be accepted inside. The word "transgressive" has been tossed around a lot in the last couple of years when it comes to films, but no film I've seen recently deserves that title more than Gandu.

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Note : Promo contains nudity and foul language

http://www.youtube.com/watch?v=QczaNf6KRLQ

video posted by exbii member ....

http://www.xossip.com/showpost.php?p...20&postcount=2

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Quote:
Originally Posted by arko2008 View Post
GANDU (THE LOSER) Review

< image >
For a country with one billion residents, it is sort of strange that the cinematic culture of India seems so homogeneous to the outside world. Bright and colorful musicals dominate the international community's view of Indian cinema. For the most part, they are right to think that way, however, this is largely a function of many political factors and censorship laws. I mentioned in a previous news article that the Indian censor board is very strict, and that there are really only three ratings that will garner cinema hall showings in the country. First there is the "U", or unrestricted rating (equivalent to G or PG ratings in the US), "U/A", which is like the PG-13 rating, and the much more restrictive "A", or adult rating which is equivalent to R, NC-17, etc...

Q's Gandu would not fit any of these ratings. Gandu is graphic and loud. Gandu feels real, which is not a characteristic of many big Indian films. It is a very intense and kinetic story. There are times in the film when it feels as though style takes precedence over substance, but it all comes together in the end. The style is the substance, each editorial decision is made to provide further context for the actions in the film. If something appears to be random, I assure you, it is not, it perhaps hasn't drilled its way through your brain yet. I'm certainly not ashamed to say that it has taken me several days to begin processing this film, and I still don't think I am completely through with it.

It isn't a story of gangsters or real criminals like Slumdog Millionaire, or any of the litany of "kids gone bad" films we have seen. In fact, the characters in this film wouldn't even be given any lines in a typical, or even an atypical Indian studio films. These are real people, poor people, desperate people, people living lives completely within themselves and apart from their surroundings. Gandu, the title character, is one of these people. He spends his days following a routine: breakfast with Mom, wait for Mom and her boyfriend to get down to business and steal from boyfriend's wallet, use proceeds to gamble daily, visit Internet cafe, lather, rinse, repeat. However, Gandu seethes.

The only place where Gandu feels like a success is in his own words. He is a rapper, and a good one at that. In fact, the only words we hear from his mouth for the first third of the film are his raps as he will break into a scene with bombastic rhymes set to guitar and bass-fuzz driven beats. Gandu has no need to talk to the people around him, we can tell through his poetry that he sees no need for them, and despises most of them. We, the audience, see what Gandu is capable of, but no one else in the film does. He lives within his own mind, and he feels very little impetus to move outside of that small place, because he looks around and sees that success is not something that happens to people in his world.

This all begins to change when he finds a friend in a Bruce Lee worshiping rickshaw driver, whom Gandu appropriately refers to as "Rickshaw-walla", "walla" being the Indian suffix for any position of manual labor. "Walla" at the end of someones name not only denotes what they do, it kind of denotes caste, in a country where caste still plays some part. Gandu doesn't even have a caste, though we can assume through his motivations that he is looking to rise. As Gandu and Rickshaw-walla ricochet between fantasy and reality, Gandu starts to realize that he is what stands in his way, and he needs an epiphany. Soon enough, the gods take pity and his daily lottery pays off, which sends Gandu on a journey of self-realization.

This is where the film bursts from its conventions and starts to really shine. At the suggestion of his friend, and following the ingestion of some potent drugs, Gandu surges out to seize his day. This leads to a remarkably colorful, sensual, sleazy, gritty, and real encounter with a woman, a prostitute perhaps, which helps Gandu find his groove. The sex scene is extended and graphic and is probably meant as much to challenge the viewer as it is to push the story forward. No punches are pulled, and nothing is hidden. Following this encounter all of Gandu's fantasies begin to coalesce and turn, bit by bit, to reality. The style changes, in fact, a whole new set of opening credits appears halfway through the film, marking the division. This is very daring stuff.

One of the great stylistic tools used by Q in creating Gandu was the decision to shoot in black and white. More than just an aesthetic choice, his vision allows the viewer to experience this film and its characters free from prejudice. India is a very colorful country, even in its poorest parts, and allowing those colors to intrude onto what is a very personal story would have lessened its impact. The choice to remove color from the equation is critical in getting Q's film to work. We have to see these characters in their own world, how they see it, and to me, it doesn't seem all that colorful. The editing of the film is really very jarring most of the time, but in a very effective way. The film cuts back and forth across characters, often with no regard for story or plot, but that really isn't what the film is about. We feel off-kilter, just like Gandu, his world is small and he tries to make it bigger.

This could be seen as a metaphor for how Q feels about Indian cinema. Making a film like this in a country like India takes balls. Certainly Q understood that the film would most likely never get public release, but this was his film, the film he had to make. This film is almost like a political statement, a revolution in South Asian film. Everything that mainstream South Asian film is, Gandu is not. It is not colorful, it is not polite, it is not fantastical, it is not modest in any way. The film has its faults, but even those can plausibly be chalked up to stylistic choices.

Todd said in his review that Gandu is the kind of film that is unlikely to see any kind of wide release, and he is right. It certainly won't see release in India, and even its value on the art film market is limited by a number of factors. None of these likelihoods make it any less worthy of viewing. If you are in the area, definitely check this one out, it will give you a new perspective on what Indian film is capable of. This kind of boundary pushing work deserves support, if for no other reason that to support the free speech and clarity of artistic vision that some people still have to leave their homelands to exhibit.

I think this could be the birth of a new and different voice in international cinema. We are seeing it here in its infancy, but it shows great potential. The sad thing is that if it isn't nurtured, it may not survive, films like this need a home outside of India before they can be accepted inside. The word "transgressive" has been tossed around a lot in the last couple of years when it comes to films, but no film I've seen recently deserves that title more than Gandu.


can u give torrent of this movie...or website to download this movie

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Old 27th July 2011
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Pls post the torrent for this movie.

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Old 2nd September 2011
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when it gonna be release?

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