Shootout at Wadala: A Welcome Overdose of Bombay, Brutality, and “Bhai-giri”

Note: To those unfamiliar with names/events/terms specific to South Asian culture & gangland history, there is a glossary of terms in the post before this one. The word preceded by an asterisk  word will be elaborated upon in the entry ‘Glossary for SAW Movie Review.’

Whenever a novel or a portion of it is adapted onto celluloid, the book is always better 80 percent of the time. The same goes for last weekend’s release Shootout at Wadala which selectively draws from 65 pages of S. Hussain Zaidi’s book, Dongri to Dubai: Six Decades of the Mumbai Mafia.

Upon viewing the first SAW trailer via YouTube and reading reports of factual inaccuracies, I dropped all hopes for a truthful adaptation. Wishing for an honest cinematic depiction of events remotely connected to the years *1992-1993 is like writing a long letter to Santa Claus.

Back in February I devoted a whole post regarding the authenticity of the second Shootout feature. Initially Director Sanjay Gupta claimed that the film contained no fictionalization, but stories citing former *ACP Isaque Bagwan’s disapproval of excessive dramatization prompted character name changes and a disclaimer before the start of the movie (which fortunately stated ‘the film is a hybrid of fact and fiction’). Therefore, I will not delve into the myth vs. reality facets of the motion picture. Read Dongri to Dubai and Mafia Queens of Mumbai if you want to separate the fact from flack.

The spectacle starts off with gangster Manya Surve (John Abraham) being thrown into the back of a police van after taking 11 bullets from Afaque Bagran (played by Anil Kapoor, modeled upon Bagwan). Thanks to his immense strength, Manya still has some endurance to converse with the ACP during his final moments. Through flashback, he narrates how a broken justice system coupled with unfortunate circumstances transformed him from a brilliant college student to a ruthless, cunning hoodlum. Bagran also recounts the raging gang warfare between the *‘Mastan’ syndicate and the *Haksar Brothers (Manoj Bajpai as Zubair and Sonu Sood as Dilawar) amidst the backdrop of the same corrupt justice system. The audience watches the story of how the very first encounter came to be from the perspective of two men on opposite sides of the law.

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SAW is not for the faint of heart as the colorful language, grandiose violence, and lewdness would even make Quentin Tarantino squeamish. While the obscene language will require adults to earmuff their kids, viewers will also be treated to the most eloquent lines that any thespian would die to deliver. Thereby, Milap Zaveri’s dialogues are alone worth the ticket price.

The stunt sequences choreographed by Tinu Verma and Allan Amin take you back to the action of the 80s minus the ridiculous sound effects and high flying antics. The sheer physicality and violent blood baths have become staples of Sanjay Gupta films. Do not go into the theater expecting anything less.

The screenplay is fast-paced but it lacks the in depth analytical examination of the Mumbai Underworld featured in the 11 chapters from the source material. Although Surve’s image as Bombay’s first educated gangster is highlighted, his status as “Mumbai’s Hadley Chase” is completely ignored. Through inspiration from James Hadley Chase books, this Master Strategist robbed money from a government milk scam and plotted the assassination of the stealthiest Dons. Then again with SAW being a commercial flick for the masses, the tactician attribute of Manya’s personality would not resonate with every moviegoer.

Sanjay Gupta does a fabulous job of recreating the seedy Mumbai of the 70s and 80s. A grittier and comparatively realistic interpretation of the underworld’s formative years was long overdue for hardcore crime fiction buffs. He has done away with the awesome yet fantasized renditions of the mafia, a la Once Upon a Time in Mumbai. The slick editing (Bunty Nagi) and cinematography (Sameer Arya) make for some visually appealing cinema.

The performances will bring tough competition at numerous awards ceremonies next year. John Abraham has catapulted himself to the big leagues with his explosive portrayal of Manya Surve. Action Abraham puts his money where his mouth was when he compared his acting to that of Sanjay Dutt’s in Vaastav. Anil Kapoor offers the most powerful yet nuanced performance and he shows why he is still around. Sonu Sood is fantastic and really shines in the second half. Earlier Manoj Bajpai declared that he did not put much work into his role. That should come as no surprise as he naturally sinks into the skin of Zubair Imtiaz Haksar.

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Even though Tushar Kapoor enacts his part with gusto, he just does not physically fit the bill of *Sheikh Munir with his boyish looks. His role was tailor made for someone like Nawazuddin Siddiqui. Kangana Ranaut delivers a controlled performance as the object of Manya’s affections. Ronit Roy, Sanjeev Chadha, Siddhanth Kapoor, Karan Patel, Raju Mavani, and Raju Kher lend able support. The music is definitely memorable but the risqué item songs are totally redundant. Only one item number was necessary but as always, nothing sells like sex these days.

Whether you reside in Jersey City, NJ or Dadar, Mumbai, head to the nearest theatre to catch this compelling fare which offers a cinematic take on history. Aside from the truth which was promised awhile back, you cannot ask for more from this flick. A third Shootout film installment based on the incident that turned one of Mumbai’s premier hospitals into a mafioso warzone seems inevitable. Shootout at JJ Hospital? Bring it on!

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Gentrification: The practice of displacing Indian slum dwellers AND below median income North Americans

Last week I was watching a news story about Mumbai-based social activist Medha Patkar’s stand against the Shivalik Builder’s Golibar slum demolition. A 13 year old cousin of mine who was watching along told me, “illegal slum demolition and displacement would never happen in a country like the United States where the government doesn’t disregard basic rights of its citizens by pandering to builders.”

Although my teenage cousin has yet to become world weary, I still felt the need to kindly refute his naive statement. Before explaining my reasons for disagreeing, I read a Fountain Ink piece by freelance journalist Javed Iqbal to find out what exactly transpired in Golibar, Mumbai. After reading the article, it is easy to draw parallels between the Golibar slum gentrification and a more tactful version of the practice I observed in the Washington D.C. area.

American developers (or builders as they are referred to in India) are just as guilty of leaning on state/local governments so their construction projects can see the light of day. In India the removal of poor residents obstacles for the builder’s ambitious structures is done by overtly dubious means. However, American developers resort to more sophisticated methods rather than forced expulsion.

If politics is the business of building bridges where there are no rivers, construction is the act of using politics to erect properties where people already maintain their humble abodes. The Indian builders’ methods range from public land grabbing to forced removal with the help of political figures. The ones displaced by the builders are the very helpless voting constituents of these politicians. On the other hand, destroying an occupied residential complex to coerce eviction would not fly well in a North American law and order landscape. Hard evidence of outright forgery and land grabbing supported by public officials would prompt instant legal action against the perpetrators. It has been established by the Indian citizenry that the construction-politics nexus exists to the detriment of many. In the western world, the construction-politics cabal is not referred to as such. It is diplomatically deemed as a public-private partnership of sorts.

Outside of D.C. in the town of Alexandria, the more politically correct brand of gentrification is underway through the Beauregard Redevelopment Plan. In May 2012 the predominantly Democratic Alexandria City council unanimously voted to let developers who own 5,000 apartments to demolish half of them in order rebuild more pricey living quarters. With the rebuilt and more expensive residences, the remaining 2,500 apartments’ rents will increase due to the rising values of the new surrounding apartments. As a result of those higher property values, the leftover tenants cannot afford the elevated rents. Hence, they are gently forced to move out.

Soaring rents are intended spillover effects from the presence of plush apartments, healthy climates for upscale businesses, and mass transit projects that many developers lobby for. A single new high end apartment complex, fancy designer boutique, or local train stop is enough to boost surrounding property values in a low-income area. When politicians appropriate funds towards infrastructure (mass transit, improved roads, and etc.), they indirectly displace the low-income and minority population.

It is troubling that the Democratic council members are of the party which supposedly caters to the working class and minorities. Most of the 2009-2012 term council members promised to work with developers who plan new projects in providing affordable housing for current residents. Refer to the issues section on the websites of certain Alexandria city officials for their false assurances. Here are the respective links for Frank Fannon (D), Rob Krupicka (D), and Del Pepper (D). Is it not ironic that these champions of racial/socioeconomic diversity approved a redevelopment plan that will discreetly homogenize Alexandria? It is almost like they support cleansing of this caliber but do not want to admit it.

There is a stigma that the political right plays dirty politics to thwart government-funded ‘growth initiatives’ for transportation projects. The hyper partisan political climate (on local, state, and federal levels) has only further galvanized liberal coalitions to support these growth campaigns solely due to conservative opposition. The mainstream media paints conservatives as the party detrimental to the middle and lower class. While that is somewhat true, at least the right wingers have explicitly disclosed their intentions towards socioeconomic minorities. However, the left leaning council in Alexandria has subtly revealed to the public how they feel about minorities. Nevertheless, I commend former Independent Councilwoman Alicia Hughes since she abstained for the final Alexandria redevelopment vote.

There are those who mistakenly claim that gentrification is not about the haves kicking out the have-nots. To them as regions transform and economies gradually require college educated workers, gentrification will continue to occur in areas that Gen-Y wants to live in. They are of the mindset that if a local is concerned about being displaced, he/she should push their kids towards education. If the kids are well-educated, the children can afford to live in their childhood locality once their area undergoes gentrification.

To assume that locals do not place emphasis on their children’s’ education is a myopic fallacy.  Protester Veronica Carzava asserted during the Beauregard Tenants association candlelight vigil, “we’re fighting for the right to have a house to live in, I don’t know where we would go and I have two children, and they go to school here, and I want they [are] educated here.” If that is not proof of a local’s desire to educate his kids, I do not know what it is.

Regardless of the party affiliation of builders or the policy makers they lobby to, affected Alexandrians took to the streets to protest much like the hard working people in Golibar, Mumbai. Does this mean that all property developers and policy makers are out to remove minorities and below median income populations? Absolutely not. I am sure there are many builders around the world who kept their promises of rehabilitating those who were in some way affected by their lofty projects. Now that is what I call real development.

Still think there is little or no similarity between the construction-politics cabal and the public-private partnerships? Sound off below!

Shootout at Wadala: Once again, another round of ‘true’ rumors

“January 11 1982, till that day nothing so memorable like this ever took place between the Bombay police and the underworld. I had that longing to rewrite history. My name, Manya Surve.” Manya’s Achilles-like wish to etch his place in history would come true through his own death. A death which gave birth to the brutal but necessary and sometimes abused evil euphemistically dubbed as the ‘encounter.’ Now comes a motion picture rendition of arguably the most formative years in the history of the Mumbai underworld which predated the first ever police extra-judicial killing.

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The minds behind Shootout at Wadala (namely Director Sanjay Gupta and Producer Ekta Kapoor) will attempt to chronicle nine years of the Bombay underworld’s history based on the S. Hussain Zaidi authored novel pictured above. For the full 60 years and beyond, grab a copy of Dongri to Dubai: Six Decades of the Mumbai Mafia. It is worth a read for anyone fascinated by the multi-national enterprise that is D-Company and the Indian law & order landscape. While Zaidi is an accomplished crime journalist due to his vast networks comprising of the stewards of Mumbai’s underbelly, some will take his narrative with a grain of salt. With the movie however, I am definitely going to take the whole salt shaker as the book’s cover contains endorsements from the glamorous Shootout at Wadala star cast rather than distinguished intelligence/law enforcement figures. To be fair though, the talented crime reporter’s buddy and brilliant author, Vikram Chandra, wrote a glowing legitimate preface for the book. Why wouldn’t he? Chandra’s marvelous novel, Sacred Games, drew heavily fom Zaidi’s research and repertoire.

There were numerous myth versus reality complaints after the first awesome Shootout movie, Shootout at Lokhandwala. Will this upcoming film be the truthful outlier among the police-underworld dramatizations even with Gupta’s friendship with seal of approval from S. Hussain Zaidi? That is highly debatable because early reactions from the trailer have prompted the name changes of pivotal characters such as the Kaskar brothers and Isaq Bagwan. Even Bagwan, the man who carried out the first encounter claims that the film is not devoid of inaccuracies.  Apparently, Ekta Kapoor deliberately kept the original character names when filming in spite of Gupta’s protests that the names ‘Dawood’ and ‘Sabir’ would rub new salt on old wounds. This new buzz concerning these changes makes me second guess Gupta’s due diligence with respect to the facts. Well, it certainly would not be the first time. Plus, the first trailers with original names may have been used only to create a fake controversy so that news of these changes could further publicity.

As crazy as this may sound, it is almost as if pre-production for this movie began before the completion of Dongri to Dubai. For all you know, the fictionalized version of the 1992 JJ Hospital shooting (where D-Syndicate Lieutenants Sautya and Chota Shakeel turned one of Mumbai’s premier hospitals into a battleground to assassinate the killers of Dawood’s brother in law) is in development right now. Another interesting piece of information is Hussain Zaidi’s disdain for Bollywood itself as explained in a New York Times India Ink Blog Interview. When asked by blogger Malavika Vyawahare regarding his writings that divulged the Bollywood-Underworld nexus, he replied, “The film industry people are shameless people — anything they do or say is like water off a duck’s back.” This is the same film industry that has cemented Dawood Ibrahim Kaskar as the national Bin-Ladenesque villain indirectly associated with most terrorist activity in India.

Look no further than Once Upon a Time in Mumbai, a very ‘fantasized/non reality based’ account (according to Gupta himself when he proclaimed that Shootout at Wadala is more geared towards the truth) of the monster named Shoaib created by the Mumbai police to topple principled smuggler Sultan Mirza. Shoaib was obviously nothing more than an alias for Dawood whereas Sultan Mirza was modeled after Haji Mastan with shades of Madrasi gangster Varadarajan Mudaliar and Pathan Don Karim Lala. Who produced that movie? That person would be none other than Ekta Kapoor. Mastan, Mudaliar, and Lala did stick to their ‘old-school’ values by not crossing the lines Dawood did, but their Robin-Hood images have always been exaggerated. On celluloid, they are portrayed as: 1) thieves with principles 2) the voice of the voiceless and 3) averse to drugs and prostitution, a la Vito Corleone. The Varda Bhai-Haji Mastan duo made fortunes not just from smuggling goods imposed with unnecessary import duties, but from anti honorable thief operations like prostitution and illicit liquor. This by no means detracts from their philanthropy and generosity towards the underprivileged nor does it absolve Dawood of his crimes.

Nonetheless, Bollywood never fails to cash on old school gangs’ legacies as the lesser of the two evils forsaken by the police for the greater evil that is the D-Company. When asked who Mumbai’s misunderstood gangster was in another interview, even Mr. Zaidi reluctantly retorted, “Misunderstood and gangster don’t go hand in hand. Gangsters make themselves understood very well! If you insist, then Haji Mastan who was Scrooge personified but portrayed as a magnanimous Raja Harishchandra of his times.” While Dawood may have initially been the illegitimate child of the police’s agenda to subdue the Pathan stronghold on Mumbai, politicians are just as guilty of nurturing the D-Company regime (cough cough Sharad Pawar). You never see Bollywood depicting that do you?

Zaidi’s first book Black Friday: The True Story of the Bombay Bomb Blasts and its cinematic adaptation were not the usual desi-masala fares. Although same cannot be said for Dongri to Dubai and Shootout at Wadala. Regardless of whether Director Sanjay Gupta and Producer Ekta Kapoor may be exceptions to his stance on the Indian film industry, Hussain Zaidi’s journalistic and literary profile is sure to receive a boost on May 1, 2013. Not in the slightest way should this be interpreted as a knock on the S.A.W. team’s cinematic talents or efforts as it looks like one heck of an action flick. If not for the facts, this movie will be one to watch for some solid entertainment.