Cast: Dev Patel, Arni Hammer, Anupam Kher, Nazneen Bondi
Director: Anthony Mars
Lessons can be learned, but the wound has not healed. The horrors are still fresh in the minds of those who make noise and those who look from afar. And there is nowhere for the survivors and the families of the victims. After more than a decade, the re-enforcement of the 26/11 terrorist attack on Mumbai hits multiplexes across India. The question is, is this film likely to serve as saliva for stains or will it only reopen old wounds?
Hotel Mumbai, played by Australian director Anthony Maras of award-winning short films, falls somewhere between those two extreme possibilities. Kind of like this. The tat and gripping film elucidates the traditional thriller Ticks, which presents a restrictive view of the manic mayhem that ten terrorists achieved in the city in the last week of November 2008.
The fact-based plot is complete with moments that could have elicited high-wire acts, but Maras does not fall for the bait. Needless to say, his film is none the worse for it. It was a steady build of slow-moving screws and tension to eliminate the tragedy and trauma of the carriage at the iconic Taj Mahal Palace Hotel 11 years ago.
Hotel Mumbai is a chilling, blood-stained real-life horror show. But it never jumps from the gun and remains firmly focused on the human aspect of the play. Written by Maras and Scottish screenwriter John Collie (whose credits include the Charles Darwin biopic, Creation), the film carries out harvesting events in a manner that prevents it from falling into the realm of exploitative, manipulative spectacle.
The headlines are hotel workers who go beyond the call of duty for a stay - "guest is God" inspired by head chef Hemant Oberoi (Anupam Kher) - help guests with varying degrees of their success, dodge Bullets of four terrorists infiltrating the hotel.
The hotel opens with de rigueur shots of the city of Mumbai, before being taken to the modest house of his wife and daughter, Arjun Singh (Dev Patel), a Sikh employee of the Taj Mahal Palace. He has a young family, so when a man risks his life, we are well aware of the sacrifices he makes.
At the beginning of the film, Arjun is groomed by his boss to work in an inappropriate pair of shoes but, the way things get out of control, such nuances quickly fly out the window. In a warlike situation, it is life or death and there is nothing in between.
Hotel Mumbai brings out the extraordinary valor of ordinary people when death stares them in the face. They are against armed attackers who have nothing to lose. The gunmen, responding to orders with the rude voice of a ruthless handler, go on a rampage inside the luxury hotel, taking guests to the restaurant, rooms, cupboards, a secret lounge for VIPs and all other available nooks and cranes to take refuge in Force it. In the grounds of royal beauty.
Mumbai policemen tried their best to counter the terrorists to handle the disaster situation without any formal training. It is eventually flown commando beletly from Delhi to free the property. Hotel Mumbai touches the lack of preparedness amid allegations of the inadequacy of the security and security infrastructure and intelligence of our cities. But this is not the main area of the film. The big picture remains just a sham.
The narrative casts the spotlight on Oberoi, the only person in the film who models on a real person, besides selfless Arjun and a handful of foreign guests - American architect David Duncan (Arnie Hammer), his British-Muslim heir wife Zahra (Nazanin Boniadi) , Who check into the hotel with their newborn son and nanny Sally (Tilda Cobham-Hervey), and Vasili (Jason Isaacs), a cynical former Russian Special Forces agent.
On its face, Hotel Mumbai is a traditional thriller "based on true events". It is not right to seek the big-bang 'effect' at the expense of the stress of realism, which keeps the tension alive during its two hours and a short time. It does not come out. A large part of the power of this exaggerated narrative of dark deeds and heroic acts, hatred (fueled by indigenization) and resistance (fueled by the human propensity for survival and heroism) stems from the fact that the 26/11 terrorist attack is difficult to forget. And revealing it on screen, even if in some fictional form, is immediately majestic.
Hotel Mumbai led the play to the conclusion that a film is ultimately a scandalous act about terrorism, about which unsuspecting people are caught in an annoying situation and with them for false thoughts in the shop Without fighting in his own way.
Young terrorists, who we initially see as mere ruthless killers, are also allowed to grow into real people with objectives and weaknesses that are as easy to understand as they are to hate. Two individuals, Imran (Amandeep Singh) and Abdullah (Suhail Nayyar), receive a fair amount of footage and two young actors make the most of the occasion.
What the camera catches (DoP: Nick Remy Matthews) is both dynamic and immersive. It is rotating seamlessly from one to the other, between an observer watching from outside and being a unit caught in the middle of a rotating action. Editing (Peter McN Faculty) demonstrates the pace and emotion of action to perfection.
Dev Patel's character is liked by everyone else, even Arni Hammer and Anupam Kher. He brings the right mix of stereotypes and astonishment to bear the role of a man who walks in the most dangerous situations without the slightest air of Bravo. He is a man of substance because he does what is right even if it means putting his life on the line.
Kher plays Oberoi with confidence and sympathy. However, his performance sometimes leans slightly towards Bollywood-style oblivion. But this is only a minor aberration in a film that thrives on working with a limited set of buttons and hitting them - and well.
Director: Anthony Mars
 |
| Hotel Mumbai |
Lessons can be learned, but the wound has not healed. The horrors are still fresh in the minds of those who make noise and those who look from afar. And there is nowhere for the survivors and the families of the victims. After more than a decade, the re-enforcement of the 26/11 terrorist attack on Mumbai hits multiplexes across India. The question is, is this film likely to serve as saliva for stains or will it only reopen old wounds?
Hotel Mumbai, played by Australian director Anthony Maras of award-winning short films, falls somewhere between those two extreme possibilities. Kind of like this. The tat and gripping film elucidates the traditional thriller Ticks, which presents a restrictive view of the manic mayhem that ten terrorists achieved in the city in the last week of November 2008.
The fact-based plot is complete with moments that could have elicited high-wire acts, but Maras does not fall for the bait. Needless to say, his film is none the worse for it. It was a steady build of slow-moving screws and tension to eliminate the tragedy and trauma of the carriage at the iconic Taj Mahal Palace Hotel 11 years ago.
Hotel Mumbai is a chilling, blood-stained real-life horror show. But it never jumps from the gun and remains firmly focused on the human aspect of the play. Written by Maras and Scottish screenwriter John Collie (whose credits include the Charles Darwin biopic, Creation), the film carries out harvesting events in a manner that prevents it from falling into the realm of exploitative, manipulative spectacle.
The headlines are hotel workers who go beyond the call of duty for a stay - "guest is God" inspired by head chef Hemant Oberoi (Anupam Kher) - help guests with varying degrees of their success, dodge Bullets of four terrorists infiltrating the hotel.
The hotel opens with de rigueur shots of the city of Mumbai, before being taken to the modest house of his wife and daughter, Arjun Singh (Dev Patel), a Sikh employee of the Taj Mahal Palace. He has a young family, so when a man risks his life, we are well aware of the sacrifices he makes.
At the beginning of the film, Arjun is groomed by his boss to work in an inappropriate pair of shoes but, the way things get out of control, such nuances quickly fly out the window. In a warlike situation, it is life or death and there is nothing in between.
Hotel Mumbai brings out the extraordinary valor of ordinary people when death stares them in the face. They are against armed attackers who have nothing to lose. The gunmen, responding to orders with the rude voice of a ruthless handler, go on a rampage inside the luxury hotel, taking guests to the restaurant, rooms, cupboards, a secret lounge for VIPs and all other available nooks and cranes to take refuge in Force it. In the grounds of royal beauty.
Mumbai policemen tried their best to counter the terrorists to handle the disaster situation without any formal training. It is eventually flown commando beletly from Delhi to free the property. Hotel Mumbai touches the lack of preparedness amid allegations of the inadequacy of the security and security infrastructure and intelligence of our cities. But this is not the main area of the film. The big picture remains just a sham.
The narrative casts the spotlight on Oberoi, the only person in the film who models on a real person, besides selfless Arjun and a handful of foreign guests - American architect David Duncan (Arnie Hammer), his British-Muslim heir wife Zahra (Nazanin Boniadi) , Who check into the hotel with their newborn son and nanny Sally (Tilda Cobham-Hervey), and Vasili (Jason Isaacs), a cynical former Russian Special Forces agent.
On its face, Hotel Mumbai is a traditional thriller "based on true events". It is not right to seek the big-bang 'effect' at the expense of the stress of realism, which keeps the tension alive during its two hours and a short time. It does not come out. A large part of the power of this exaggerated narrative of dark deeds and heroic acts, hatred (fueled by indigenization) and resistance (fueled by the human propensity for survival and heroism) stems from the fact that the 26/11 terrorist attack is difficult to forget. And revealing it on screen, even if in some fictional form, is immediately majestic.
Hotel Mumbai led the play to the conclusion that a film is ultimately a scandalous act about terrorism, about which unsuspecting people are caught in an annoying situation and with them for false thoughts in the shop Without fighting in his own way.
Young terrorists, who we initially see as mere ruthless killers, are also allowed to grow into real people with objectives and weaknesses that are as easy to understand as they are to hate. Two individuals, Imran (Amandeep Singh) and Abdullah (Suhail Nayyar), receive a fair amount of footage and two young actors make the most of the occasion.
What the camera catches (DoP: Nick Remy Matthews) is both dynamic and immersive. It is rotating seamlessly from one to the other, between an observer watching from outside and being a unit caught in the middle of a rotating action. Editing (Peter McN Faculty) demonstrates the pace and emotion of action to perfection.
Dev Patel's character is liked by everyone else, even Arni Hammer and Anupam Kher. He brings the right mix of stereotypes and astonishment to bear the role of a man who walks in the most dangerous situations without the slightest air of Bravo. He is a man of substance because he does what is right even if it means putting his life on the line.
Kher plays Oberoi with confidence and sympathy. However, his performance sometimes leans slightly towards Bollywood-style oblivion. But this is only a minor aberration in a film that thrives on working with a limited set of buttons and hitting them - and well.
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