I love this movie so much

i must have seen a different film!!

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

The movie is about blasts in Bombay (now Mumbai) in 1993. It is about how and why they were carried out. It also puts light on the criminals involved and how justice was obtained.I would like to talk about other factors that came to my mind while watching the movie.Consider love of people belonging to Islam. It is great. During the month of Ramzan (18+1+13+26+1+14) it can be seen in their fasting. Only because of few of them going along the wrong path entire community should not be questioned. When I turned to Atheism I felt most appropriate religion to be that of Islam. I mean somebody coming into dreams and all that. Today I am again not an atheist, I feel what we are presented is stretched a lot in religious texts. A movie came 'Exodus: Gods and kings' where events are drawn the way how they could have been in reality (not stretched).It is really commendable Anurag Kashyap brings this sort of cinema to see for general public.Consider the heinous crime of rape, I don't understand how it is possible to have sex with someone when they are not psychologically involved. Thus I conclude it is more of an animal behavior rather than human. People like me cannot do it. I don't understand how those criminals who do it are built psychologically.In the movie I liked how a True Muslim decides to become a witness and helps in police proceedings.The other thing I liked is that the movie is based on writings of a writer who is Muslim.

Since having somehow forgotten about picking up the film after seeing the DVD being priced at outrageous amounts a few years ago,I was pleased to recently be reminded about the movie from a fellow IMDber,who told me that this was a modern classic that I really needed to catch up to.Prepairing to start searching for the title later that night,I thrillingly found my plans to surprisingly be stopped in their tracks,thanks to a friend telling me that he had recently signed up to an online DVD rental service called Love Film,and that the very first title that was right at the top of his list for films to rent,was Black Friday.The plot:India-1993:Investigating 12 bomb sites in the hope of finding any evidence on either the people or the group that coordinated the attacks,a bomb squad is alerted by a resident in a near by tower block that he has spotted a scooter,which has been parked unattended outside the flats.Carefully opening the scooter,the squad discover that the scooter is filled with explosives,that only failed to go off,thanks to the explosives jamming up the detonator mechanic's.Checking up on the registration details for the scooter and an explosives-filled van,that mysteriously seems to have been left undetonated at the very last moment,a group of Anti Terrorist Squiad police officers, lead by Deputy Commisonar Rakesh Maria uncover the address's that the owners of the van ans scooter are said to be located at.Raiding the location,Rakesh is furious to discover that underworld drug smuggler "Tiger" Memon was a resident of the building until one day ago,when he suddenly "disappeared".Furious over Memon going deep into cover the moment that the attacks began,Maria starts to franticly search for anyone who has even the slightest connection to "Tiger",in the hope of digging out Memon and the other surviving gang members involved in the attacks,along with trying to fully unravel the motives that caused the attack to take place.View on the film:Frozen in time for 2 years after filming by the Indian high court,due to the real life court case of the 1993 Bombay bomb blasts taking place,the screenplay by writer/ director Anurag Kashyap,inspired by S. Hussain Zaidi non-fiction novel Black Friday – The True Story of the Bombay Bomb Blasts reveals that time has been unable to fan the flames of the passionate fire contained within the movie.Bravely keeping away from taking the easy route of siding with either the police or terrorist,and tearing any potential falls into melodrama into shreds,Kashyap plants his feet right in the centre of the horrific Bombay blasts and the percussing 1992 riots,and uses brittle,to the bone dialogue to show in an unflinching vision that chaos becomes a never ending cycle of chaos and death.Separating the 1992-1994 period into overlapping chapters,Kashyap matches his brilliantly brittle dialogue by staying away from any exposition,by instead putting the viewer right in the middle of the characters lives and intelligently allowing for the viewer to make their own full picture of the events depicted in the movie,from a riot that is shown later in the film,which is connected to the riot that a suspected terrorist mentions in a snippet of dialogue right at the beginning,to the contrasting amount of focus that the police put into investigating the 1992 riots,with the 1993 bombings.Elaborating on the multi-threaded,precise nature of the screenplay with his dazzling directing,Anurag Kashyap and cinematography Nataraja Subramanian uses red,blue,yellow and green filters to give the film an extraordinary intense atmosphere,with the red filer giving the police interrogation scenes an extremely gritty,smoking hot feeling,as the police's frustrations over failing to gather evidence for the location of Tiger Memon,boils over into the manner that they treat the people suspected of collaborating with Tiger. Along with the clever use of a red filter for the police interrogation's scenes,Kashyap uses a yellow filter for the scenes between Tiger Memon,the collaborator's of the 1993 bombing and the victims of the 1992 riots,which along with giving the scenes a real grittiness also creates a strong raw feeling of the wounds that the victims of the 1992 riots have been left with,that are impossible to ever become healed.Showing the real cost of the events depicted in the movie,Kashyap closely works with editor Aarti Bajaj to inject the film with moments of archive footage,which along with showing the real people behind the events,also gives the viewer a terrifying glimpse of what actually took place,which leads to Black Friday being a film that no viewer will ever forget.

Black Friday is the Indian film network's desperate attempt to drag their industry into the 21st Century and to exemplify their ability to keep up with modern cinematic trends of the rest of the Western world. They've done this with what they seem to think resembles a fast; cutting; biting police procedural thriller that it would like to think cracks along at a mile a minute, but just ends up to speed what a lap-dance at a strip joint does to a performance of Swan Lake at The Royal Opera House. Therein, one observes the obvious inspirations drawn from Brazilian film City of God, as this slum-set and often canted crime-inclined multi-stranded thriller plays out; further-still, this post-Heat wave of thieves and those trying to apprehend them at once both being human with room for the criminals to come across as a little more humane than that of the people out to apprehend them. The film is, at the end of all the talking, a vile; ugly looking; repetitive and deeply unjudged piece covering too many characters consisting of several strands that don't ever creep above the level of terrifyingly dull and flits wildly from being this relatively lightly played, causality driven procedural thriller to this distasteful series of cop induced torture sequences.The film in no way represents an Americanisation of any sort of branch of popular Indian cinema, moreover it is more broadly akin to the feeble attempts that might mirror the local playground's weedy kid and his attempts to look credible alongside several other established juvenile figures, of whom have already put across their credibility through whatever means of character and venture. Released in the year of Greengrass' The Bourne Supremacy, and more broadly reflective on an aesthetical level of whatever smatterings you may have seen of Bay's then-recent Bad Boys II, Anurag Kashyap's film covers the very long and very arduous fallout of a series of Bombay bomb attacks in 1993 induced by a rouge terrorist cell, causing both great strife and beleaguerment. Shot through an ugly series of green; yellow and blue filters, Kashyap tries to tell the story (several, in fact) of how everything happened, but mostly consists his film of poorly played interrogation sequences; cops chasing down suspects through streets; suspects trying to cut themselves loose of the situation and how one cackling chief villain watched on from the sanctuary of the United Arab Emirates.Sadly, and this is more than likely the film's greatest sin, one needs to look deeper into the events around which Black Friday revolves in order to fully appreciate the work effort and general sociological affect everything had on the Indian people, much less rely on the quality of the film to understand any of this. The film lacks any sort of weighty, hearty core around which the events therein may transpire - Kashyap too often relying on the fact that these terrorist attacks happened and exploiting them so as to act as the heartfelt and tragic undercurrent to the fallout of this frantic search for the perpetrators and one or two of the terrorist cell member's own guilt trips. Let it be known that an hour in, one needs to think hard in order to recount that Black Friday's catalyst was what it was and that this is not the situation which befalls us when we watch something along the lines of 2006's World Trade Centre.The film covers varying people across a varying number of strands, some of whom are responsible for the attacks; some others of whom are charged with finding them – the whole thing constructed around a very sub-Traffic approach of varying hues; lens' and focus techniques masking what is essentially a mere series of scenes consisting of enquiring and apprehending. Kashyap bookends what eventually comes to form chapters of various people being detected and caught with graphics on how the real arrests played out, thus destroying any sort of suspense in the subsequent scenes. There is no nucleus around which things may revolve, merely the shooting of the same basic premise to a scenario several times that often descends into the sort of scene that sees police officers happily break a suspects fingers with a hammer and then ask them to sign some important forms. If he can't, which of course he can't since his digits are practically bent back the wrong way, they hurt him somewhere else.Rather uncomfortably, Kashyap packs more style into the above sequences than anything else and there is a growing sense throughout the film of a genuine shifting from depicting to humanising to sympathising with the terrorist cell and its members as being these humane and often flawed people doing what they do. Counteract that with the police, who are these nasty; horrid and brutish people continuously trying to track them down and implement unto them all manner of nasty things in an evil and mechanical way, and you have an ill-judged cocktail offering a way out to terrorists and a suggestion that respected figures of authority exist to be demonised. The film lacks the finesse of something like 1995's Heat in this regard, where blue tinted night set exterior shots of Los Angeles in tow with soothing electronic music acted as the cushion to the often brutal ground set shootouts and emotional angst imbued within the central characters. I read and hear that there have been a great number of Indian films from recent years, a string of which in the form of "Ishqiya"; "LSD" and "Harud" were broadcast on British television, which look to 'Western' codes and conventions for inspiration away from Indian filmic traditions. Where those remain to be seen, the likes of "My Name is Khan" and "The Japanese Wife" represent the more meekly tolerable of this ongoing "wave" – Black Friday epitomises the more unbearable.

An eye for an eye makes the whole world blind.A message of Mahatma Gandhi, the line that begins the movie is all about the very essence of it. As per records, it's a 2004 film but it is sad to know that the release of this was delayed till Feb 9th 2007. Such is our censor board and government that was afraid of releasing a film that takes names of all involved in 1993 Bombay (now Mumbai) Blasts.Bravo Anurag Kashyap for directing this uncompromisingly with a vision that is so very rare in an industry like us. It's surely the most courageous attempt to make a film on an account of a real crime happened in 1993. More kudos to Hussain Zaidi, the original writer of the book who wrote actual facts and presenting reason for each doing of a character.The film is about investigation's done by Mumbai Cop Rakesh Maria (Kay Kay Menon) that unravels the Mumbai blasts plot setup by the dastardly un human Tiger Memon (Pawan Malhotra). Everything about the film is purely raw and makes you not audience but a participant of the activities happening on screen, they make you feel as a bystander on a blast as a silent observer of an investigation.Everything is right about this movie, the emotions portrayed by the accused Asgar Muqadam or Badshah Khan or those by inspector Dangle or MN Singh everyone brought life to the character they played.Anurag, the director captured every emotion be it trauma or a feeling of guilt or even of triumph everything was brought out well. The screenplay goes so very intelligently taking you through the whole incidents and the cinematography and art direction transform you to an era that you will believe is Bombay of 1993 where there were no mobile phones, no communication channels as email. And yet, so much was to be communicated in so little time from dubai to Pakistan to India's bombay.The best scene for me was Dawood's entry. It lasts hardly a minute but the impact it made was terrific.The music, oh my god he used it so very effectively be it a Bharam Bhaap Ke or a Bande ( a subtle message oriented philosophical song for end credits) or the whole background music, just beautiful may be the right word.The monochromatic red interrogation scenes make you feel eery and present an insight to the minds of all those doing it. All are great dialogues and apt ones but the most impact making one comes from Kay Kay when he describes that the culprits are actually victims.The editing had to be sharper coz at 2 hours and 40 minutes, the viewer may tend to slip off but this drama held me so very tight that I watched it for 3rd time without moving elsewhere. Be it a theatre or my computer, it just makes me sit and watch. This is how a gripping drama should be told.I dare say, in last decade, I have not seen a movie more raw, more realistic and more dramatic than this.When I first saw this film on first day in Fame Theatre in Pune, I remember that hardly 10 people would have seen this. Such is our appreciation for a movie that's easily one of the best made films. Having said that, so be it as long as there are movie goers who are passionate in watching films, this shall be remembered.I rate this 5/5 and give it best film made from 2000-2010. How many ever may come and go. This shall remain in memory for a long time, if seen once. This is the kind of film we should be nominating for every foreign award including Oscars. Sadly, our government has a different view on such films that are straight telling and bold.Thanks all for making it the film it stands today and I will revisit this again later.