The staff, the guests, and the families at home all get their moments, and Maras does a fine job of allowing our sympathies to shift.
Same goes for a Russian operative named Vasili (Jason Isaacs), who acts like an ogre and grossly sets up a party with prostitutes up in his suite. The bathtub water must be the exact right temperature for David (Armie Hammer), who travels with his wealthy wife, nanny, and baby. His boss, the head chef (Anupam Kher) suffers no fools as he puts his staff through strict paces. We meet Arjun (Dev Patel) a waiter who has a pregnant wife and child, and heâ(TM)s late to work. Soon, we move on to the Taj, a 5 Star hotel, where we watch the staff preparing for the arrival of some elite guests. Their dinghies wash ashore in Mumbai and they instantly get to work by first opening fire at the main train station. The film opens from the perspectives of the terrorists themselves as they take orders from their unseen commander known as The Bull. Iâ(TM)m convinced some things remain better off left unseen. Why, then, did I feel so terrible when it was over? Precisely for the same reason I wished I had never watched UNITED 93. Every gunshot, every grenade explosion has impact, and the script even manages to tell the story of the class differences and the unity required to survive the horrors.
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With dozens of characters and a never-ending series of set pieces, the film succeeds as a blistering pile-up of suspenseful action sequences filled with never-ending dread and violence. Its director, Paul Greengrass, tried it again with last yearâ(TM)s 22 JULY, and as viewers, we come to these stories with a completely different set of eyes.Īustralian director Anthony Maras, in his feature debut, along with his co-writer John Collee, bring a similar Greengrass style to the telling of the 2008 series of terrorist attacks on the city of Mumbai. Post 9/11, a different type of disaster film resurfaced, starting with UNITED 93, which took great pains to bring all of the above to a docu-style narrative. Somewhere around ROLLERCOASTER, the appetite for such fare seemed to fade, and the attempts at a revival didnâ(TM)t quite set the world on fire (Yes, Iâ(TM)m looking at you DAY AFTER TOMORROW and SAN ANDREAS). One after the other, THE POSEIDON ADVENTURE, THE TOWERING INFERNO, and EARTHQUAKE, all featured all-star casts, multiple storylines, and big action set pieces.
The disaster movies of the 70s worked as fantasy spectacle, allowing us to face certain fears within the comfort of a sometimes soapy, fictional story. THE TOWERING INFERNAL - My Review of HOTEL MUMBAI (3 Stars)
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