Mumbai Saga forged: 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
A complete yr after the lockdown, I used to be all set to get pleasure from a full-on masala movie — unhealthy guys, bursting machismo, bristling weapons, and rhyming dialogues. However Sanjay Gupta’s Mumbai Saga is yet one more jaded re-retread of acquainted floor.
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 homeowners and new property sharks, and the expansion of the mob, parcelling out town between them. The one technique to justify one other iteration is to infuse it with freshness. What’s that?
Amartya Rao (John Abraham) is thrown off the straight and slender, 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. Simply 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 an eye fixed on massive 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’s 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 that is headed. In Gupta’s higher movies, the unhealthy guys was extra fascinating, the motion was stylish, and there’s been nobody higher than him to organise that traditional 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.
Apart from Gupte, who’s clearly having fun with himself, reminding one in every of comparable roles he has performed earlier than, there actually is nobody who’s self-aware sufficient to hold off this saga. Grover and Shetty, a lot at dwelling in this type of movie, come and go too quickly. Abraham, purple tilak firmly on brow, stalks impassively by the movie; the remaining, regardless of themselves, are simply eye glaze. Even the strains don’t assist. Pattern 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.