There's no room for dull moments in Gupta's storytelling. The mood in the cat-and-mouse game is forever defiant and belligerent. To his credit, Gupta knows this world of internecine wars as minutely as Coppola knew his Sicily. The body-count matches the exacerbated emotions. Men pull put guns and knives as the background music (by Amar Mohile) settles scores. Mumbai as seen through Gupta's expertly sketched images, is a kingdom of the damned. He is in a tearing hurry to sweep us into the vortex of his violent kingdom. This is director Sanjay Gupta's return to direction after a longish hiatus. These are attention-seekers whose moms should have delivered solid spankings during their childhood. They fight, scream, throw tantrums and draw blood when all fails. The men in Sanjay Gupta's film are actually boys who never grew up. Here's to the celebration of phallic freedom. "Because it's so old and yet it stands so erect!"Īhem. At some point in the trigger-happy proceedings he explains why if he was Shah Jahan he would have built the Qutub Minar instead of the Taj Mahal. Take a character with an unmentionable name, played with energetic fervour by debutant Siddhant Kapoor. Wordsmith Milap Zaveri, who is the real hero hero of this film about fascist solutions to the conundrum of urban chaos, pulls out all stops to spread out an orgy of rhetorics and rhetorics all across the narrative.Įveryone speaks as if they are reading out a copywriter's wisdom from billboards and hoardings. They sport the right clothes dialogues and attitude. They all mean business in the business of being mean. The characters are all hardened players of the underworld from the 1970s. Babli is not the only one who's a badmaash here.