The reason movies like Satya,Ardh Satya,Nayakan,Aranya Kandam just from the top of my head work is due to the characters therein looking sweaty,snarly and not very pretty.Of course not ugly ,I mean it IS a visual medium. Manya Surve being from a vendor and laborer background couldve been rather lean and cut.However yes,it is very doubtful he had the brawn,height and features of Abraham. But due to the relative lack of protein due to poor nutrition they tend to ectomorphs(lean muscle) rather mesomorph(brawny like Mr Abraham) To be fair, lots of blue collar guys in India have six packs of sorts. Which Sanjay Gupta is this- the hack plagiarist who made Aatish and Kaaten or the other guy.I dont know much about the other guy but I like him if only he is the other guy! A link to this URL, instead, would be appreciated. This article may not be reproduced in its entirety without permission. Then she opens her mouth and shrieks, and the illusion is gone.Ĭopyright ©2013 Baradwaj Rangan.
(Sample line as he enters a kotha: “ Main woh Bruce hoon jo aath saal se lee nahin.”) Anil Kapoor chips in with his characteristic intensity, and the film’s strangest sight is its imagining of Kangna Ranaut as Rekha. It’s harder to buy Tusshar Kapoor as a gangster, when he seems content clowning round. Surve, here, is shown to be sinned against, at first, but he’s hardly allowed moments of introspection – not when there’s another juicy line of dialogue to be delivered, anticipating whistles and applause. He doesn’t just carry around guns but also scars. When we see Deewar, we see it as the story of a man first, a gangster only later.
#SHOOTOUT AT WADALA MOVIE MOVIE#
That, in itself, is not a bad reason for a movie to exist, especially given Gupta’s penchant for staging stylish mayhem, but I expected more texture, more emotional grandeur – after all, these are real-life events (adapted from the account by S Hussain Zaidi, Dongri to Dubai). It’s hard to take him seriously, and the film never becomes anything more than a proficiently made cops-and-robbers thriller. Abraham, on the other hand, sweats and strains and growls each utterance through a hoarse throat, as if afraid of not being heard by the audience member in the last row. He knows that the line is already laced with gunpowder – there’s no need for him to blow up as well. When a cop asks him to clean up the city, he smiles and says, “ Jis safai ki baat aap kar rahe ho, usey sadkon mein sabun ka pani nahin, khoon bahega.” This is pulp prose at its most purple, and Bajpai delivers it in a matter-of-fact manner. The film is about Mumbai police’s first registered encounter, which resulted in Surve’s death, and Bajpai plays a rival gangster, Zubair Haskar, who sometimes works with the police. It doesn’t help that Manoj Bajpai is at hand to show exactly how this rhetoric should be delivered.
Imagine The Incredible Hulk quoting Yeats and you’ll know what I mean.
It’s impossible not to have these thoughts because Abraham’s body is stretched across the screen at every opportunity, and because if you didn’t look at that body, you’d be forced to concentrate on his rhetoric. How do they maintain it if they’re on the run from the police? Do they simply hide out at the nearest Talwalkar’s, doing bench presses as a henchman holds a gun to a trainer’s temple? And from where do they derive protein? Surely not from the booze and the greasy legs of chicken at the upscale restaurants they always seem to duck into, the kind where a Priyanka Chopra or a Sunny Leone is always around to perform an item number? It’s impossible not to have these thoughts seeing John Abraham play Manya Surve in Sanjay Gupta’s Shootout at Wadala, which is set in the late 1970s and the early 1980s, a time when a gym meant a skipping rope and a set of barbells. There’s something odd about gangsters with a six pack.