HomeCELEBSMumbai Saga movie review: Sanjay Gupta’s latest gangland actioner is slick, loud...

Mumbai Saga movie review: Sanjay Gupta’s latest gangland actioner is slick, loud and predictable

Mumbai Saga movie review: Sanjay Gupta’s latest gangland actioner is slick, loud and predictable. If you have watched Apoorva Lakhia’s Shootout in Lokhandwala (co-produced and produced by Sanjay Gupta), as well as Gupta itself in Wadala, then you know what to expect from Mumbai Saga; and that is exactly what you will get.

Despite having the technical skills and emotions to present the actual show, Gupta still does not trust his audience enough to give us a radically different version of his previous work. The Mumbai Saga thus ends up becoming a diversity of the Gupta field – stylish frames, quick cuts, accent background music, clever characters, works. The day you are in the mood to shop in the hyper-sensory atmosphere of the film, you may enjoy it. One day, when you wish for something real and credible, the same heavy film may upset you.

It is clear that there is a certain type of male audience that Gupta has directed his film to, but there is a chance that those listeners will now move on. The same audience may well be entertained by the same story, but that is handled with a retreat and more effort in creating real characters; while maintaining a smooth taste Gupta is known for it. Unfortunately, the talented author seems reluctant to entertain what is possible.

Mumbai Saga movie review: Sanjay Gupta’s latest gangland actioner is slick, loud and predictable
Mumbai Saga movie review: Sanjay Gupta’s latest gangland actioner is slick, loud and predictable

Gupta unequivocally supported his latest club in Mumbai in the history of the gang Amar Naik and met with expert Vijay Salaskar, who led the way in the murder of mill owner Sunit Khatau in the mid-90s. The angry John Abraham always plays the whole member of the converted music group Amartya Rao, his assassination by Sunil Khaitan (Samir Soni) infuriates hot police officer Vijay Savarkar, played by the terraces Emraan Hashmi.

John Abraham, who discusses the rest of the film, gets a little out of his Amartya story in the first episode, with the support of Mahesh Manjrekar’s Bhau and the Gaitonde’s opposition to Amole Gupte’s Gaitonde. These two players know how the voice works in a masala business like this, so their hamming is well organized. All the other characters are basically combinations of various sunglasses, beards and mustaches, many of which are obviously false. Amidst all the inconsistencies in humanity, the only real character of the character in this film is Kaema of Kajal Aggarwal, Amartya’s ‘love of love’. (Yup, this kind of film.)

He gets mad at her for being a regular gym dealer, doing her job on the train over the bridge, but she becomes her great leader in situations where circumstances force her to make a life of giving. I would like to know more about him and how he got his pick; but I can assure you, this is by no means the film.

However, the first part of the film passes with a blast of action and a trippy twist. Amartya’s rise to prominence is very quick, and you can call him McDon, with the company’s refrigerators – Rohit Bose Roy obviously playing one of them. Amartya Rao quickly began to ‘deepen’ by stretching from Dadar to Byculla, under the hand of a suspicious political leopard like Bhau the leopard. (If you know, you know.)

It all builds on what you know will happen during the break – the entry of a police officer to resist the don. Unfortunately, the second major entry of the film is set in a disappointing way, and from there, the film works on the mill, figuratively speaking. To be honest, the film is 127 meters long, and at a good rate the background after Amar Mohile’s hit will not let you take a nap between fists and gunshots.

Legends of an unholy relationship between criminals, police, and politicians often have the potential to be filmed. But movies like these can only be shared with circular characters, from whom you can invest. Much work has been done to get the details of the timing in the right way, but the Mumbai Saga would have done much more if the inequality between style and material had not been considered much in the first place.

Having looked at all of Sanjay Gupta’s directing works so far – from Aatish and Hameshaa, to Dus Kahaniyaan and Jazbaa, I feel for myself that his most successful work so far is still Kaante, despite the seaside inspiration and exhaustion in the end. Its evergreen colors worked well with all of its emotions and genres, and the film’s dialogue was fresh and sharp in its time. Her last film Kaabil (2017), despite being another ‘inspired’ story, still managed to pack fun for viewers of a certain influence.

If only the director had chosen to continue his play (and relied on today’s audience a bit) instead of going back to the formula he had worked for in the past, the Mumbai Saga would be a film worth returning to the theater; all considered safety measures.

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