Bombay Velvet movie review: Watch it only for Ranbir Kapoor!

First off, a thank you to director Anurag Kashyap for giving us the feel of the striking Bombay in the 1950-60s . But this alone cannot make up for the confusing mixture of sorts in the movie that he has dished out.

As they say, too many cooks spoil the broth - too many actors without any substantial part have done the same here.

Bombay has been the centre of money-making business because of its mills and proximity to docks. So, capitalists and builders were hooked onto turning Nariman Point skyline into one like that of Manhattan, facing revolt from the oppressed classes.

Set in the 1960s ( and which looks like maverick filmmaker Martin Scorsese's setting) the story begins with Balraj's (Ranbir ​Kapoor) obsession with becoming a `big shot'. Having lived on the streets, and fighting poverty, Balraj and his friend Chimman grow up to be small time goons. Balraj, as a street-fighter looks no less than a cupcake, ready to be eaten, but is still a knock-out despite swollen eyes. Their ambition of making it huge is met when they are brought to Kaizad Khambatta (Karan Johar), a media baron who fuels Balraj's passion.

Khambatta, the shrewd, manipulative English-speaking scamster, finds a submissive man in Balraj, who he leaves to deal with his enemy – Jimmy Mistry (Manish Choudhary). Eventually, Balraj becomes the right hand of Khambatta, and goes on to become the manager of his hotel. He falls madly in love with its star jazz singer – Rosie Noronha (Anushka Sharma). The story has Rosie and Balraj's love tangled in fiery passions.

The story is so full of street fights, bloodbaths and cold-blooded murder, that one could lose count of these in the three-hour long film.

Moving back to 1960s - the crux of `Bombay Velvet` lies in the clash of ideologies between Khambatta, his capitalist gang of rich cricket club members and Jimmy Mistry along with his several mill workers bearing socialist ideas of running Bombay on their own terms.

From here, the action of endless killings, scams, dirty business dealings and betrayal begins. And the murders bring detective Kay Kay Menon on the forefront. Despite his cool demeanour, the actor has nothing more to offer.

Towards the second half, the focus of the movie shifts to Bollywood clichés – gangster seeking love, needs revenge. 

The `big shot` relevance is just ironical – as the movie ends with the same dialogue as in the beginning.

Ranbir Kapoor, it can be safely said, is the saving soul of the crumbling storyline with loopholes. Anushka Sharma as a jazz singer, appears to be a 'wannabe' and doesn’t show the conviction of 'NH 10'. But she is the obsession for Ranbir's character in the movie – for whom, he can kill. Anushka's character has several layers - of serving men, of exchanging love for money, before she meets Ranbir and finds `true love`.

The madness in their love has no explanation, no sanity. The strive for power, turns the lead into a `gangster`.

Ranbir lusts for more money than he has dreamt of and in no time his confidante Karan Johar turns foe. Karan, reminds me more of the yesteryear actor Ajit, who was famous for `sara industry mujhe Lion ke naam se janta hai`. But may be Kashyap, could have opted for a more ruthless villain than KJo. No doubt, he is sarcastic, manipulative and shrewd but you can't just bring yourself to hate him on-screen.

Anushka's driver Tony, played by Vivaan Shah is again a waste, as his role is not justified and not utilised properly. A big applause to the background score, the editing by acclaimed Thelma Schoonmaker and the jazz numbers.

Despite Gyan Prakash's adapation of `Mumbai Fables, the history of `BV` loses ground in the middle of the movie. Apart from guns and roses, love and hate, the disappointment in the end is evident. Though it’s an ode to the city, there is nothing of significance about the city it gives tribute to.

Apart from Ranbir's conviction as a suave goon, a fierce lover – don't go expecting too much from it.