HOTEL MUMBAI

Australia/India, 2018, 123 minutes, Colour.
Dev Patel, Armie Hammer, Nazanin Boniadi, Tilda Cobham-Hervey?, Anupam Kher, Jason Isaacs.
Directed by Anthony Maras.

The 2008 massacre of Indian citizens at a railway station, restaurant, and local staff and international visitors at the Taj Hotel in Mumbai was shocking at the time – especially for such a jihadist massacre to take place in India. However, as the years have gone on, it becomes just another tragedy in a series of massacres from France to New Zealand.

While there had been a documentary about the events, Surviving Mumbai, this is a realistic portrait of the events as well as creating dramatic fictional characters based on actual persons. Audiences are dramatically immersed in the events, trapped with so many of the people in the hotel, experiencing their shock and fears, their dreads, witnessing the callously indiscriminate killing for the sake of a fanatical religious cause.

The film also incorporates film and newsreel footage from the events, enhancing the authentic feel – as well as its being a device to keep the audience (and those trapped as well as onlookers) informed as to what was happening in the local response, the limitations of the authorities and police in Mumbai and the need for flying in expert troops from Delhi.

Audiences who have visited Mumbai will appreciate this portrait of the city, its views, its people, The Gateway, It is with dismay that we watch 10 young men, trained jihadists, keeping in radio contact with their handler, referred to as Brother Bull, a manipulative voice, a commanding tactician, speaking in the name of Allah and the Koran, making exceptions to Koranic law for expediency’s sake, delighting in the number of deaths, wanting the taking of rich hostages, preferably American, for ransoms.

On the one hand, there is the local story of Arjun, played by Dev Patel (on loan from the exotic Marigold Hotel), who works at the Taj, has a family, his wife pregnant, who serves the wealthy guests but also has a strong presence, helping to lead a number of guests to safety in a concealed clubroom, working in the CCTV surveillance room, instrumental in saving many guests. There is a strong affirmation of the hotel chef who contributed to leadership and safeguarding.

The film also focuses on several guests, a smug Russian official (Jason Isaacs) who does achieve some heroism at the end. The main focus, however, is on a family, a friendly American played by Armie Hammer, who is married a Muslim Indian woman (Nazanin Boniardi), with the young son and a nanny, Tilda Cobham-Hervey?. Their story provides a great deal of dramatic tension.

Audiences attuned to race issues might be tempted to think that there is too much emphasis on the Americans – but, they are central, as is the Russian, to the raid, locals being killed, rich foreigners to be exploited for money.

The raid does not go as planned, leading to a final stand by the Jihadists, ruthless even as they die, still listening to and loyal to Brother Bull. Nor does it go as hoped because of so many victims, especially in the staff caught so unawares, but also for some of the foreigners.

This is a first film by the director, a considerable achievement, the collaboration between India and Australia. And, sadly, it is a vivid reminder, taking the audience into a massacre experience, that there have been many such attacks since then.

1. The film based on facts? Mumbai, November 2008? The massacre and its motivations? The killers and their control? The response of the police and authorities? The railway station, the restaurants, the streets? The Hotel Taj, the staff, the guests?

2. The film seen in the light of atrocities and massacres, especially since 9/11? Jihadists? The war on terror? And in the light of racist extremists and their attacks?

3. The setting, the city of Mumbai, the vistas of the city, the Gateway, the railway station, the streets, the poorer areas, restaurants, the hotel and the exteriors and interiors? The recreation of the events? The use of newsreel and film footage?

4. A close-up of events, the audience immersed in the experience?

5. The background, 10 young men, their training, jihadist? Their trainers? Arrival, the bag of weapons, the set targets, getting the taxis, going to the destinations? The radio contact, the directions of Brother Bull? The control, the tactics, action?

6. Young, radicalised, callous? The jihad, attitude towards infidels, laws and the Koran? Mowing down people? Yet as persons, the curiosity about the food, the joking? Their curiosity, the flushing toilet? The wounded killer, phoning his parents, their pride, his dying? The man arrested, the others killed? No apprehension of the organisers all the controllers?

7. The victims of the railway station, the victims of the restaurant, the couple hiding under the tables, escaping into the streets? Going to the hotel and getting entry?

8. The range of the guests, the style of the Taj? Wealthy guests, the treatment by the staff? The Russian, his background, arrogance, alcohol, the different menus for food and women? Later, his confrontations, arrogant manner, attracted towards David’s wife, helping her, the discovery of his identity, his tripping the killer, his death?

9. The American couple, her Muslim background, David and his enthusiasm, the young boy? His wife leaving her parents and religion? The love? The baby and Sarah, as nanny? Their suite, the meals, waited on, his faux pas about the beef burger in India, apology? Dislike of the Russian?

10. The range of the staff, reception, their manners, the preparation of the rooms, the staff who had been there for decades? Pink or blue for the baby? The range of personnel, men and women?

11. Arjun, Sikh background, his family, pregnant wife, the son, losing his shoe, the bike to the hotel, running late? The lineup, the detailed inspection, hands, by the chef? The discussion about who would serve the Russian, the young man and his mispronunciation of wine? His going out, the clash with the taxi driver – and his later being shot?

12. Arjun and his working for the couple, helping serving, the protection? His role in helping survivors go to the club, the hidden room, secure doors? The reaction of the group, the upset woman and the suspicion of David’s wife on the phone in her language? The suspicions of Arjun and his headdress? His gentle and patient explanation, her response, relying on him? Getting the people out, helping the hysterical wounded woman, the encounter with the police on the stairwell? His taking them to the surveillance women? Going to the club, the plan for escape, the service stairs, further action? Free?

13. The attack, seemingly inexplicable, people’s fears, the shooting at the reception, in the foyer, indiscriminate, their going upstairs, the corridors, knocking on doors and killing, the old lady taking refuge in the room with Sarah?

14. Sarah, with the baby, having the shower, the intrusion of the woman, the killers, her hiding in the closet, the fear for the baby crying? The contact by phone and texting? David, taking the risk, returning to the room? His wife staying in the club? The contacts? In the corridor, David being taken, not killed, wanted for an American ransom? The wife, wanting to get out, the help from the Russian? Their both being taken, ransom, bound on the floor? The difficulties with the siege, Brother Bull and his decision that the ransom victims be killed? The wounded killer and the wife and her reciting the Koran, his not wanting to kill her? His respect for the law, Brother Bull and his stating exceptions (and also with the killer urged to search the woman and touch her breast, his revulsion)?

15. Sarah, with the baby, with the group, getting out?

16. The film showing the hours since the beginning of the attack? The police and the group getting inside, surveillance, being killed? The local police? The special forces having to fly from Delhi?

17. The role of the media, television – and this being incorporated into the narrative so that the audience was also watching this coverage?

18. Sarah, the wife getting out, the making contact?

19. The siege, the deaths, grenades, dowsing the hotel, the fire?

20. Arjun, the escape, the scenes of the locals watching the television, the anxiety of his wife? Her washing her son, the reconciliation?

21. The reconstruction of the hotel and the celebration at its reopening?

22. The final information, real characters, blended fictional characters, the heroism of the chef and his control of the people in the room, leading them to safety?

23. The sad reality that this was one massacre in the line of many?