By Hindustan Times
Director Dibakar Banerjee spins a drama that may be both, entertaining and thought-provoking. The pace is breakneck and the screenplay is tight. While Abhay Deol impresses along with his restrained performance, Emraan Hashmi is stripped of his lady-killer demeanour, say critics. "THE BEST aspect of Dibakar Banerjee's films is that you simply can't articulate what he'll get a hold of next and the way unerringly he will engage you in his creation. All his movies to this point have picked up issues that concern us, however the temperament was so diverse that, for those who weren't aware, you may not have estimated that they were all helmed by the similar director," writes Taran Adarsh.
"Shanghai is a political thriller woven around much-battered terms 'expansion' and 'development'. This type of a deception has ensued before in various nations/states and it's a lot of these political misdemeanors that Dibakar dabbles with in Shanghai. Shanghai is an affluent murals by a master storyteller. Most significantly, it is a film of our times. It evokes myriad emotions in you. It leaves you horrified, distressed… it will even make you livid. I'd visit the level of pronouncing that Shanghai is among the bravest and most commanding movies of this decade. A MODERN film about our times, our lives," he adds.
"Shanghai works not only as it excels in its genre. But for the folk that you just see within the film – their problems, actions and the situations thrown at them which the audience can easily relate to. The gritty milieu and an equally edgy soundtrack play crucial role in keeping you engaged. Also, the usage of satire is obvious: tragedy and comedy, death and life, exist side by side," writes Vivek Bhatia, Filmfare.
"Banerjee's film borrows from Costa Gavras' 1969 adaptation of Z frequently, with a photographer carrying his camera consistently near his torso, scrutinisingly tight close-ups and a nearly-identical scene with a rest room mirror, but, most critically, he follows the narrative pace almost exactly, and keeps up perfectly, even supposing the brand new version is more dramatic. It's the departures from the blueprint that do not always work, just like the creation of Kalki's character and turning her right into a lone crusader, or the climactic piece of evidence that's impossible to swallow and wraps up the proceedings all too conveniently. And yet Banerjee need to be lauded for not dumbing things down and making a mature, serious film that engages, thrills and amuses," writes Raja Sen, Rediff.
Direction
"Banerjee's genius has always been most visible in his meticulous detailing, and this latest film is expectedly full of beautiful nuance. A minister strikes poses alone sooner than a green screen, his droves of supporters to be chromakeyed in later. An opportunistic hoodlum takes English language classes, desperate to score a role where he can wear a necktie. An IAS officer, in turn, warily slips his tie on just for meetings, and conducts his evening prayers with the assistance of a laptop," writes Sen.
"Dibakar Banerjee’s metier lies in crafting films that make greater than just attention-grabbing noise. In each of his three previous films (Khosla Ka Ghosla, Oye Lucky Lucky Oye and Love Sex aur Dhokha), he addressed a subject of recent relevance with none self-righteous hectoring or unseemly chest-thumping," writes Saibal Chatterjee, NDTV.
"Dibakar Banerjee’s direction is very good. He spins a drama that may be both, entertaining and thought-provoking. His portrayal of the milieu of Bharat Nagar and his understated narrative style deserve kudos. Michael McCarthy’s background score is appropriate," writes Mrigank Dhaniwala, Koimoi.com
"Shanghai, Banerjee’s fourth film, is his best. It’s also an important film, along with being consistently engaging and intensely satiating. Why just make an excellent film, when you've got the wherewithal to make an impressive one? A MOVIE that may change perception; person who could make a statement, and push the envelope," says Aniruddha Guha.
"Banerjee's direction in Shanghai is certain to provoke you with sensuous socialism and capitalism ideologies with a powerful story line. In short, Dibakar succeeds in keeping us engrossed inside the film," says OneIndia.
Screenplay
"Shanghai draws much of its strength from a taut screenplay (Urmi Juvekar and Dibakar Banerjee) that never overplays its hand and leaves so much to the imagination of the audience. It's an immeasurable pleasure to look at a Mumbai film that hinges as much at the unstated or barely suggested because it does on what's uttered and spelt out," says Chatterjee.
"The pace is breakneck. Banerjee and co-writer Urmi Juvekar pen a good screenplay, one who will provide you with little room to breathe, the tale moving swiftly. Shanghai isn't the roughly film where one-liners come thick and fast, yet dialogues have gravity, lots of them soaked in irony," says Guha.
"While the viewer is engrossed within the story, he identifies with the ethical dilemmas that various characters face. What the script doesn’t let them do is to take sides, and in that it holds a mirror to the contemporary situation of the Indian state. Greater than this, the screenplay works on the plot level. Incidents that happen within the second half not just shock the audience but in addition makes them await the epilogue. The climax doesn’t disappoint. The dialogues are first-rate," writes Dhaniwala.
Editing
"The narrative is propelled by Namrata Rao’s deft editing (with Ishqiya, Band Baaja Baaraat,Kahaani, and now Shanghai, she’s emerging as one in all our best), and Mikey McCleary’s background score. The sound of dhols to indicate celebration whilst life seems brittle elsewhere is a neat trick," feels Guha.
Performances
"Finally, Emraan Hashmi has let go. Also of hot scenes, hot babes and Himesh-isms. Dibakar can take a bow for that. With crude body language, a pot belly, stained teeth and mawali moves, he perfectly looks the part and pulls off an act he have to be proud of," says Madhureeta Mukherjee, TOI.
"Abhay Deol thoroughly impresses together with his cold, restrained and authoritative performance. Add to that a subtle Tamil accent. He doesn't lose grip of his character for even a fleeting moment," she adds.
"Kalki has few dialogues that probably prompt her panicked expressions throughout. With a personality sketch that hints at an ambiguous past; she doesn't reveal much - in performance or otherwise. Prosenjit, in a short lived role leaves an impact. Farooq Sheikh adds gravitas to this gritty drama. Pitobash Tripathi as a herd-following morchawaala, Bhagu, stands out," Mukherjee says.
"Abhay's character is authoritative, unprejudiced, calm and uncomplicated. He gets the entire nuances of his characters right. In lots of ways Abhay's character is the vertebrae of the movie. He clutches it together. The endearing actor sinks his teeth into the nature and springs up with a triumphant act," feels Adarsh.
"Though Kalki has depicted distressed characters in films like SHAITAN, THAT GIRL IN YELLOW BOOTS and in addition in DEV D, she skillfully performs the a part of an absolute outsider and brings on a undeniable susceptibility, that is the prerequisite demand of her characterization. Kalki is actually awe-inspiring and enacts her part with flourish," he says.
"Prosenjit Chatterjee is efficacious in a short lived role. Farooque Sheikh adds numerous weight to the proceedings. Pitobash is outstanding. Supriya Pathak gets limited scope, but she's competent. Anant Jog is remarkable. Tillotama Shome is super," the movie critic opines.
"The performances, especially those by Abhay Deol (despite his dodgy Tamilian accent) as a person who can clearly see what's wrong but is prevented by bureaucratic red tape from spilling the beans and Kalki Koechlin because the woman who seethes in anger but, like any the others in her camp, is utterly helpless, add to the consistently edgy quality of Shanghai," feels Chatterjee.
"Emraan Hashmi, stained teeth and slouchy gait, is stripped of his lady-killer demeanour. He’s none the more serious for it," he adds.
"Abhay Deol is solely superlative because the straightforward IAS officer. His South Indian accent is so well-done that it's impossible to assume him as not being the nature of Krishnan. Emraan Hashmi is boisterous as Jogi Parmar, the sleazy but well-meaning videographer. His look may be commendably authentic. He does a gorgeous job. Kalki Koechlin emotes beautifully. Farooq Sheikh, as Kaul, is a delight. Prosenjit Chatterjee may be very natural and believable as Dr. Ahemadi. Pitobash Tripathy (as Bhaggu) does an outstanding job. Supriya Pathak (because the chief minister) is excellent in a brief appearance. Anant Jog as Jaggu is natural. Kiran Karmarkar (because the CM’s coalition partner) looks as if the quintessential politician. Tillotama Shome (as Mrs. Ahemadi) and others offer adequate support," feels Dhaniwala.
Conclusion
"On the whole, Shanghai is undeniably one of the politically astute films ever made. It keeps you involved and anxious right from its inception to the harrowing culmination. This isn't your usual Bollywood masala film, but a major movie that has a voice, that makes you think, that makes a surprising impact. A must watch!" Adarsh concludes.
"On the whole, Shanghai is a significant movie that has a voice, unlike the standard and usual masala movies. Shanghai promises you a large number of social drama, ruthless and brutal politics and the realism of society that can change your insight towards many social aspects," says OneIndia.
"To sum, Dibakar Banerjee’s Shanghai walks the skinny line between mainstream and meaningful cinema, and does so beautifully. The rare, well-deserving Rs100cr film? Who cares! There’s more to cinema than box office records and opening weekend numbers; Shanghai is the very best example. Watch," says Guha.
