What Is the Story About?
Once a much-feared gangster, Murshid Pathan has left crime for good, spending much time in his philanthropic activities in Mumbai. He is forced to return from exile when a nemesis Farid plots to kill his son Junaid in the middle of a gang war. From teaming up with a rival political party to strategically eliminating Farid’s close aides, Murshid and his loyal men do what it takes to save Junaid.
Performances?
Kay Kay Menon is a perfect choice to play an ageing gangster with an aura, someone with a glorious past, who gives up on the world of crime, only to be sucked into the rabbit hole again. Beneath the rootedness in his performance is a charisma that he should’ve brought to the fore more often. Zakir Hussain cakewalks through his mean portrayal of Farid, Murshid’s nemesis.
Tanuj Virwani, after a brief sabbatical from the OTT space, is back in form in a meaty role as a cop with a traumatic past. Rajesh Shringarpure, in the shoes of a shrewd prince, Jayendra Rao, needed better styling (though his performance is good) while Karamvir Choudhary and Anang Desai fit the bill as political patriarchs. Vedika Bhandari has the good looks, though the scope of her role remains restrictive.
Analysis
Barely a year after Bambai Meri Jaan, another gangster saga set in Mumbai, Murshid, explores the delicate nexus between the underworld and the establishment. The story, a delicious mix of fact and fiction, is about a father’s attempt to save his son from the clutches of an arch-rival. While he fights for a personal cause, the show emphasises that ‘personal’ is indeed ‘political’.
Shravan Tiwari, the editor-director behind several indie films like Aazam, 706 and Kamathipura, has a potent premise at his disposal revolving around a former don’s shrewd mind games to plot the downfall of his nemesis Farid, to save his son and return to the throne with a bang. Murshid may be in a world of crime, but he’s a complex beast – trustworthy, generous, power-hungry and someone who enjoys the goodwill of many.
Murshid’s urgency to save his son is established well initially. He tries his best to evade the idea of violence again but is forced to alter his ways when his enemies don’t give him much of a choice. One never gets to see any lengthy flashbacks of his past – you’re just offered a few glimpses of a man who earned the respect of many during his prime.
Though sluggish to take off, Murshid tackles several complex subplots with finesse and clarity. The tone of the show is intentionally subdued – be it the grim lighting and colour palette, the underplayed background score or the controlled performances. Slowly but steadily, you’re sucked into a world of power, betrayal, angst, redemption within a vulnerable city.
Even though the understated storytelling doesn’t suggest it directly, Murshid has the ideal material for a solid masala potboiler set in the underworld. As you see it, the story is about a gangster’s return to form – another opportunity to show the world who the real boss is. The filmmaker displays a deep-rooted understanding of interpersonal relationships and emotions – invaluable for a gangster tale.
Why does Murshid’s idea of heroism work? It is because the protagonist’s mettle is put to the test psychologically, not relying on lazy hero-elevation sequences. Murshid never has it easy – from the cops, politicians, goons, loved ones – and is placed in tricky situations, but finds a way to outsmart them every time. His strained equation with the adopted son is among the high points of the show.
While the show begins as a tale around gang wars involving henchmen, goons and terrorists, the story gradually shifts to the political stage, focusing on the power tussle between two parties in Mumbai and why Murshid’s presence matters in the pre-election scenario. The crooked ploys of the politicians to stay in power send chills down your throat.
Murshid mostly succeeds in warranting one’s attention, thanks to the authenticity of the ambience. Yet, on many occasions, you end up feeling that the show never truly reaches the heights it aims to. The shortcomings are not glaring but Murshid misses the tadka, a sense of charisma that could’ve lent more enthusiasm to the storytelling.
Music and Other Departments?
Kunal Karan, the composer, entrusted with dense material, never allows the show’s tone to blow out of proportion, preferring to be low-key in his approach to the score, even when some flamboyance wouldn’t have hurt. Parvez Pathan’s visual texture encapsulates the gloom in the ambience, while the editing (by Shravan Tiwari himself) is neat, ensuring a cohesive narrative.
Highlights?
Authenticity in the backdrop
Impressive writing
Kay Kay Menon’s performance
Drawbacks?
The dull start
The inability to exploit the full potential of the material
The understated treatment tests your patience after a point
Did I Enjoy It?
Yes, with reservations
Will You Recommend It?
If you’re a fan of gangster/political dramas
Murshid Review by Binged Bureau
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