Still, the first half of the film passes by in a breeze of action and trippy transitions. IвЂ™d have loved to know more about her and how she got her pluck but I assure you, this is definitely not that sort of film.

SheвЂ™s mad at him for being a regular, gym-going vendor plying his trade on a rail over-bridge, but becomes his biggest cheerleader when circumstances force him to undertake a life of don-dom. Amid all the hypermasculinity, the only true gangster of a character in the film is Kajal AggarwalвЂ™s Seema, AmartyaвЂ™s вЂlove interestвЂ™. The rest of the cast is basically an ensemble of various kinds of sunglasses, beards and moustaches, a number of them obviously fake. These two actors know what pitch works in a masala enterprise like this one, so their hamming is fine-tuned just right. John Abraham, who is hulking it up further with every film, gets a bit of an origin story for his Amartya in the first half, ably supported by Mahesh ManjrekarвЂ™s Bhau and antagonised by Amole GupteвЂ™s Gaitonde. A perpetually-outraged John Abraham thus plays everymuscleman-turned-gangster Amartya Rao, whose murder of Sunil Khaitan (Samir Soni) earns him the ire of hotshot cop Vijay Savarkar, played to the galleries by a grinning Emraan Hashmi. Image tweeted by loosely bases his latest Mumbai mob flick on the chronicles of gangster Amar Naik and encounter specialist Vijay Salaskar, pegged around the murder of mill-owner Sunit Khatau in the mid-90s. John Abraham in a still from Mumbai Saga. Unfortunately, the talented writer-director seems unwilling to entertain that possibility. The same audience can perhaps be thoroughly entertained by the same story, but thatвЂ™s treated with a defter hand and more effort in crafting authentic characters while still retaining the slick flavour Gupta is known for.

There ostensibly is a specific kind of male audience Gupta has targeted his film at, but thereвЂ™s a possibility that even that audience has now moved on. On another day, when youвЂ™re craving something more real and believable, the same glam-heavy film might annoy you. On a day when youвЂ™re in the mood to buy in to the hyper-sensory spirit of the film, you might enjoy it. Mumbai Saga thus ends up being garden-variety Gupta вЂ“ stylish frames, fast cuts, emphatic background music, wisecracking characters, the works. If youвЂ™ve watched Apoorva LakhiaвЂ™s Shootout at Lokhandwala (co-written and produced by Sanjay Gupta), and GuptaвЂ™s own Shootout at Wadala, then you know what to expect with Mumbai Saga and thatвЂ™s exactly what youвЂ™ll get.Дespite having the technical skills and sensibilities to put on a real show, Gupta still doesnвЂ™t trust his audience enough to serve us a more evolved version of his previous work.

Last gangland movie