If black-collared Bhiku Mhatre, counting Shakeel too, were a film star or a banking CEO, he would have been a respectable member of the elite society. As don Chotta Shakeel once lucidly observed (courtesy, Suketu MehtaвЂ™s Maximum City: Bombay Lost & Found), вЂњThere are blue-collar workers and white-collar workers. The city rewards hard work, smartassery, ambition and a hunger to be at the top. Like all crooks, MhatreвЂ™s secret weapon is his wiseguy gloss. In that moment all the Mumbai metaphors are perfectly aligned - thereвЂ™s political-criminal nexus, high-rises in the backdrop, the sea that was used in a curious mixture of poetic doom in Maqbool and at the top, the figure of a Mumbai gangster, a symbol of self-made success who wins our sympathy precisely for that reason. As it turns out, that hellishly enjoyable and critical scene declaring Bhiku Mhatre as having finally arrived also marks his downfall. вЂњBhiku Mhatre!вЂќ Mhatre is the kingpin of Mumbai and of Ram Gopal VarmaвЂ™s scintillating Satya (1998). When flattering replies are not forthcoming the kill-machine supplies the answer himself. HeвЂ™s not just facing the sea but also talking to it. Tossing off his recent mob conquests and flushed with newfound political success, Bhiku Mhatre (Manoj Bajpayee) climbs up on a cliff overlooking the vast jungle that makes up Mumbai, the prize he covets most.

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Balu mahendra movies list