Piyush Mishra's Candid Critique: Why Anurag Kashyap's Film Endings Spark Debate

Veteran actor, writer, and musician Piyush Mishra recently ignited a lively discussion within the film fraternity by offering a stark assessment of Anurag Kashyap’s directorial style. Mishra, known for his unfiltered honesty, didn't mince words when he declared that the second halves of Kashyap’s films are, in his opinion, often 'rubbish.' This candid remark, delivered during a chat with Humans of Cinema, has brought to light a fascinating and surprisingly acknowledged struggle faced by the celebrated filmmaker.

Mishra elaborated on his critique, suggesting that while Kashyap excels in setting up compelling narratives and building intricate worlds, he consistently falters when it comes to delivering a satisfying conclusion.

'Kashyap's problem is that he can't complete the second half of his film; it's rubbish,' Mishra stated emphatically. He further highlighted that this perceived weakness is not a new observation, having been a topic of discussion between them for over two decades. 'Even in his early days, 20 years ago, when he used to narrate scripts to me, I used to tell him that his first half is brilliant but he struggles to complete the second half,' Mishra revealed, underscoring the long-standing nature of this creative challenge.

What makes this revelation particularly intriguing is Anurag Kashyap's own response to Mishra’s blunt analysis.

Far from defending his work or dismissing the criticism, Kashyap has openly conceded to this very point on multiple occasions. He has publicly acknowledged that developing effective and satisfying second halves for his films is indeed a genuine and persistent problem he grapples with. This self-awareness from a director of Kashyap's stature adds a layer of depth to Mishra's comments, transforming them from mere criticism into a shared understanding of a specific artistic hurdle.

The collaboration between Piyush Mishra and Anurag Kashyap spans several iconic films, most notably the 'Gangs of Wasseypur' saga, where Mishra not only acted but also contributed significantly to the dialogues and lyrics, including the unforgettable 'Ik Bagal.' Their professional history is rich with creative synergy, yet it also permits a rare level of candour, allowing Mishra to voice his unvarnished opinions without jeopardizing their mutual respect or friendship.

This openness is a testament to the strength of their relationship, built on years of working together and a shared passion for cinema.

Mishra's remarks, while sharp, are not intended as an attack, but rather as an honest appraisal from a peer who deeply understands the craft. It highlights a fascinating aspect of the filmmaking process – that even the most acclaimed directors can face specific creative blocks.

Kashyap’s willingness to admit this vulnerability further humanizes the often larger-than-life image of a filmmaker, showing that the pursuit of cinematic excellence is a continuous journey fraught with its own set of unique challenges. This ongoing dialogue between two stalwarts offers valuable insight into the creative struggles and the honest, sometimes brutal, feedback loop that shapes the art of cinema.