Mumbai Saga solid: John Abraham, Emraan Hashmi, Mahesh Manjrekar, Prateik Babbar, Rohit Roy, Kajal Aggarwal, Suniel Shetty, Samir Soni, Shaad Randhawa, Gulshan Grover, Anjana Sukhani
Mumbai Saga director: Sanjay Gupta
Mumbai Saga ranking: 1.5 stars
An entire yr after the lockdown, I used to be all set to get pleasure from a full-on masala film — unhealthy guys, bursting machismo, bristling weapons, and rhyming dialogues. But Sanjay Gupta’s Mumbai Saga is one more jaded re-retread of familiar ground.
We’ve misplaced depend of the actioners stuffed with Mumbai bhaus and bhais, loudly declaring their allegiance to the Supremo and his Sena, wading into conflicts between old-time mill house owners and new property sharks, and the expansion of the mob, parcelling out the town between them. The solely method to justify one other iteration is to infuse it with freshness. What’s that?
Amartya Rao (John Abraham) is thrown off the straight and slim, solely to embrace the unhealthy life. Mentors and rivals encompass him. There’s the jovial Gaitonde (Amol Gupte) who controls his gang from inside a jail cell. There’s the highly effective Bhau (Mahesh Manjrekar) who resembles the actual life Bala Saheb within the seems division. Just in case we didn’t get it, he’s proven sketching cartoon figures. Geddit now? There’s the ‘Harvard-returned’ son (Samir Soni) of a mill-owner, who has a watch on huge cash. And there are Amartya’s devoted lieutenants (Rohit Roy and Shaad Randhawa), one quantity old-time hood (Gulshan Grover), loyal spouse (Kajal Aggarwal), chota bhai (Prateik Babbar) who is compelled to develop up ‘shareef’ however has a yen for the wild aspect.
When a smart-mouthed encounter specialist (Emraan Hashmi) reveals up, issues begin to unravel, and we all know the place all of this is headed. In Gupta’s higher movies, the unhealthy guys was once extra attention-grabbing, the motion was once elegant, and there’s been nobody higher than him to organise that basic cash shot — a row of sharp guys in black, strolling slo mo in direction of us. I can watch Kaante once more only for that one scene.
Except for Gupte, who is clearly having fun with himself, reminding one of comparable roles he has performed earlier than, there actually is nobody who is self-aware sufficient to hold off this saga. Grover and Shetty, a lot at house on this type of film, come and go too quickly. Abraham, purple tilak firmly on brow, stalks impassively by the film; the remaining, regardless of themselves, are simply eye glaze. Even the strains don’t assist. Sample this, from Amartya to a baddie: ‘Yeh lakshman rekha Sita ne paar kari toh Ramayan, aur tumne toh Mahabharat’. The baddie cowers and runs. So ought to have we.