Directed By Anthony Maras
Starring – Dev Patel, Armie Hammer, Nazanin Boniadi
The Plot – A gripping true story of humanity and heroism, the film vividly recounts the 2008 siege of the famed Taj Hotel by a group of terrorists in Mumbai, India. Among the dedicated hotel staff is the renowned chef Hemant Oberoi (Anupam Kher) and a waiter (Patel) who choose to risk their lives to protect their guests. As the world watches on, a desperate couple (Hammer, Boniadi) are forced to make unthinkable sacrifices to protect their newborn child.
Rated R for disturbing violence throughout, bloody images, and adult language
– Picture perfect documentation of the real life events. There are many different variations of heroes in this story, and the movie’s dedication in taking time to cover every end of the respective spectrum from this hellish nightmare is something that I commend Maras’ style of filmmaking greatly for. In addition to following our big name actors throughout this hotel, the film brings along no fewer than ten other pivotal characters, each with their own obstacle to face as a result of this terrorist group, and all of which inbedded with extreme engaging qualities from personality to heart that makes each of their tiers to this story feel vitally important. Most movies can’t carve out two interesting characters, but “Hotel Mumbai” brings for the single best ensemble that I’ve experienced so far this year. In addition to this, the film is obviously based on real life, so the predictable factor and endless cliches are thrown out the window in favor of finely tuned vulnerability all around, and it further elaborates that the less you know about this story, the better it will be for your indulgence in its unraveling.
– Versatile shot composition. The deviation from handheld to still frame is something that normally feels uncanny to me in the worst kind of way, but here it utilizes and stitches together both aspects fruitfully, thanks to pacing in photography that never overstays the benefits of either. The unnerving angles and sequencing add strong anxiety to the movie’s developments, crafting a sort of mouse maze within this hotel, in which two sides of the moral compass are heading down two different hallways that will eventually meet up, and only us the audience see the future on this inevitable confrontation. It tiptoes on this trepidation repeatedly throughout, and never grows stale or repetitive because the heartbeat of the action remains firmly gripped with what’s transpiring.
– Sizzling social commentary. Beyond the night’s mental tug-of-war that keeps each guest and employee on their toes, the inclusion of racism in the form of spiritual symbolism in clothing is something that I appreciated the screenplay greatly for, in its ability to turn the mirror of reflection against us, the very same people who displayed it towards the innocent after 9/11. This side thread is really just that: A momentary hiccup in the film’s much bigger picture, but its mere mention offers a poignant open door that helps us further realize what the victims deal with on a daily basis, which only provides yet another obstacle for them to contend with in their lives. I commend any film that takes valued minutes to try to carve out a better and more conjoined world, and it reminds us of the valued connection that movies can serve if we only stop to listen at what’s being said.
– A unique approach. I’ve always said that the best kind of antagonist is one whose intentions are clearly defined and given ample time to comprehend for us the audience. That couldn’t be more true here, as the film’s opening five minutes begin by following this terrorist group to India, as they prepare for the dangerous mission that awaits them. They all know that death is inevitable, yet because of everything they feel they’ve had robbed from them by supposed money hungry corporations and business time greed, we see the line of visibility in understanding. We are put in their shoes: hearing the message of hate from an unforeseen leader, and seeing what clues only further allude to such preaching by him. In a strange sense, the group themselves are the main character’s of the movie, and this mindset goes a long way in understanding the who as well as the why in a way that other films aren’t brave enough to capitalize on.
– Transcendence of film. A special touch that blends the worlds of real life and film seamlessly is the use of real life footage taken from the unfolding scene itself, which constantly reminds us that there’s a world much darker than the one that takes place in that magical realm of fantasy. The combination of news broadcasts and cell phone footage helps rivet these impactful scenes exceptionally so much more than actors and convenient editing ever could, and the choice to include chronologically with the transpiring film speaks volumes to such a tragic event holding such a place with the world that even 11 years later hasn’t been forgotten.
– Hard-R material. The violence is certainly there, even with the gunshots taking place with a wide angle lens, but the coveted rating does more for the dialogue and enhancement of the personalities in terms of distinguishing each character’s respective demeanor with the crippling drama that surrounds them. Jason Isaacs character is probably my personal favorite because of it. Here’s a guy who coerces prostitutes in the most charmless of methods, as well as insults hotel patrons unapologetically, and it humanizes the interaction aspect between these people much clearer and synthetically than a lesser rating more than likely would allow. Likewise, the make-up work gets a lot of time to shine, garnering enough wounds and dislocations to document the effect after the cause. This is the best kind of way to harbor an R-rating, and it cements the thought of how much weaker its devastating punch would be if it were taken down a letter or two.
– Technical achievements. The cinematography by Nick Remy Matthews is every bit as gritty as it is suffocating, emitting that overall dirty feeling of needing to take a shower after seeing it. Likewise, the tight angles and claustrophobic compositions speak volumes to the confines of the hotel patrons limited spots of relief from their pursuers. Finally, the editing is precise, keeping the consistency in entertaining pacing of each scene firmly gripped through two hours of pulse-setting action and conflict that constantly helps elevate the redundancy in material. I went into this film dreading it because of the questionable run time that I didn’t think possibly matched what transpired at the scene, but each scene included holds valued significance to the integrity of the victims, and brings forth the single easiest two hour sit that I’ve had in years.
– Featured players. It’s great to see Hammer and Patel again, as they’ve become two of my more sought after actors for the variety in projects they attack with two prestigious careers. Hammer is once again given a chance to play an action role, but this one really sees him commanding more of the Bruce Willis vibes involved with rescuing family and outsmarting terrorists that the story treats him to, while Patel juggles enough heart and nuance to establish himself as the glue that holds the story and group together. Without question though, the breakout is Tilda Cobham-Hervey as the babysitter of sorts for Hammer and Boniadi’s child. She doesn’t have a major role in the script, but the emotional stratosphere of this woman is something that simply cannot be ignored, displaying a command of endless tears and shook demeanor that truly echoes the effects of this invasion. Her more than anyone articulately taps in to the victim mentality, and it’s something that provided a roller-coaster of range that frequently covered my arms in goosebumps.
– Contrast to originality. I mentioned earlier that the film focuses primarily on that of the antagonists, and one backlash from this different style of following comes from the protagonists feeling so brutally underwritten that other than the tragedy itself, you find it difficult to indulge in any of their characters. When you really think about what you’ve learned from each of them, you come to understand that exposition in each of them before they ran into the hotel is deemed unimportant, and it’s a big mistake, as I feel that focus is needed to better draw out the drama in some of their untimely passing. Without it, the ambiguous victims in the film don’t fully realize the intended reaction required to sell the weight in consequences, unfortunately leaving over one hundred victims left without a character outline.
– Of the three films covering this touchy subject matter, “Hotel Mumbai” is the one that covers the most ground, yet ironically is the most assuming of the trio. What’s dangerous about this is it blurs the line creatively as to what’s legitimate and what’s speculation, forcing me to dig a little deeper if I want to disprove what is created just for the sake of the screen. I understand that there’s really no way to solidify the complete spectrum of events that took place with something behind closed doors, but I wish a film wouldn’t try as forcefully to force what doesn’t fit. In this exception, plot holes are appropriate, because I’d rather not tread where eyes and ears haven’t, if it means respect to those unable to speak.
My Grade: 8/10 or B+