Sanjay Gupta is known for his gangster-dramas like Kaante, Shootout at Lokhandwala (writer), and Shootout at Wadala. So, when he decided to direct a film titled Mumbai Saga, a gangster drama set in the 80s and the 90s, moviegoers were excited to watch it on the big screen.
The film was supposed to release last year, but due to the pandemic it was postponed, and now, it has finally released today.
Mumbai Saga is about Amartya Rao (John Abraham), a simple Mumbai guy who sells vegetables. But once he gets into a fight with members of a gang, and later, he makes his own gang and becomes the famous gangster Amartya Rao. He one day shoots industrialist Khaitaan (Samir Soni), the owner of Khaitaan mills. After Khaitaan dies, his wife announces that if a police officer kills Rao, she will give him 10 crores (100 million), and then enters Vijay Savarkar (Emraan Hashmi), an encounter specialist who decides to kill Amartya Rao. Further, it’s a cat and mouse game between Amartya and Vijay.
The story of Mumbai Saga has nothing new to offer. The first half of the film is dull, the screenplay and the narration fail to keep us engaged. The movie becomes better in the second after the entry of Emraan Hashmi, but the pre-climax and climax are just not up to the mark.
Two elements about the film that impressed me are the dialogues and action. The action in the film is desi and raw, and some of the dialogues are damn good.
Talking about performances, Emraan Hashmi is fantastic as the encounter specialist Vijay Savarkar. He gets the cop act right. John Abraham is good in his part as gangster Amartya Rao. Kajal Aggarwal fails to impress. In the supporting cast, it is Amole Gupte and Rohit Roy who impress us. Both the actors are damn good in their respective roles.
Coming to music, the songs in the film are strictly average, and even the background score isn't great.
Overall, Mumbai Saga is an average film with some good action and dialogues. However, the movie is full of clichés.
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
Not really. But people are getting sick of obvious bait. Recent launches lean into warmth and inside jokes rather than feeding headlines. White set, gold couch, or a stage full of noise, it doesn’t matter. You just want to sit there, listen, get pulled into their stories, like a campfire you can’t leave. We watch, just curious, hoping maybe these stars are a little like us. Or maybe we’re hoping we can borrow a bit of their sparkle.
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