MOVIE-shootout at wadala
The Bottom Line
The ‘80s-set Bollywood cops vs. criminals tale sets new standards
for brutality.
Opens
May 3, 2013 (Eros International)
Cast
John Abraham, Anil Kapoor, Tusshar Kapoor, Manoj Bajpayee, Sonu
Sood, Kangana Ranaut
Director
Sanjay Gupta
John Abraham as gangster Manya Surve is the highlight of the
film, while Anil Kapoor puts his heart and soul into reliving the honest ACP
Aafaque Bagraan
Bollywood’s fascination with the underworld and
glorification of real-life villains (of 1970s and 1980s particularly) on the
silver screen is known to all. The underworld has been a source of inspiration
for several filmmakers who have sketched meaty characters based on dreaded
gangsters, especially Dawood Ibrahim. Unlike most renowned gangster flicks,
Sanjay Gupta’s Shootout at Wadala (SAW) doesn’t majorly focus on Dawood Ibrahim Kaskar (who is
one of the prime characters), but another ruthless gangster not known to many –
Manya Surve – who decided to take on Dawood and challenge his supremacy over
Mumbai.
The story of Manya (John Abraham)
starts in a flashback narration when he recites his tragic tale to ACP Aafaque
Bagraan (after surviving not less than 8-10 bullets!) of how he transformed
from a college boy Manohar Surve to gangster Manya Surve. It showcases how the
focussed Manohar gets wrongly accused of a murder that drastically changes his
life for the worse, as he gets imprisoned for life. In jail, Manya befriends
Sheikh Munir (Tusshar Kapoor) who helps him escape and Manya forms his own gang
– Hindu gang, to be precise – and challenges ruling underworldbhais –
Dilawar Imtiyaz Haskar (Sonu Sood) and his brother Zubair Imtiyaz Haskar (Manoj
Bajpayee). In between, Manya and his cronies drive all over Bombay during the
night, smoking, drinking, dancing, dancing, dancing (there are three item
numbers – Priyanka Chopra, Sunny Leone and Sophie Choudry) and uttering mc-bc
words.
Based on a true 1982 encounter between Aafaque and Manya in
the premises of one of the city’s oldest colleges, SAW obviously
takes considerable liberty with its storyline. What’s more interesting is the
unabashed glorification of the ruthless criminals and the rather desperate
ineffectiveness of the helpless cops portrayed aptly by Anil Kapoor,
Mahesh Manjrekar and Ronit Roy. This combined with an over-the-top amount of
gunfire and brutally intense physical violence makes SAW as
troubling in certain parts as surprising. Having said that, it makes it one of
the most realistic representations of the famous encounters the Indian
judiciary or the police records have ever witnessed.
The first
half of SAW is relatively slow
but considering it’s a multi-starrer, due credit to Gupta for keeping the
screenplay and script precise and establishing his characters deftly. The
second half is more engaging with the actual one-upmanship game between Manya
and the Haskar brothers, and the actual shootout plan devised by Aafaque.
Gupta has
religiously followed From Dongri to Dubai –
the book on which the film is based – and taken great care to ensure his
movie looks set in late ’70s and ’80s. Everything is authentic – right from the
trousers worn to the car used to the buildings shown. SAW successfully takes us back to the
bygone era. Also, writer Milap Zaveri does a good job with the dialogues and
the actors have done an equally good job delivering them. There are quite a
number of powerful dialogues deserving whistles and claps… even better
than Once Upon A Time in Mumbaai like ‘Zung hathiyaaron ko lagta hai, iraadon ko nahi‘
or ‘Itna marunga ke aisa dard hoga body mein ke dard ko bhi samajh mein nahi aayega kahaa se
baahar niklu‘! But be
warned, there’s a big dose of cuss words that will make you cringe.
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