The 2008 Mumbai attacks were of 9/11 savagery and comprehensiveness, yet have faded from Western consciousness. Hotel Mumbai recreates them with stunning alacrity, moving quickly from the Islamist terrorists coming ashore in rubber boats to starting to shoot-up train stations, restaurants and especially the legendary Taj Hotel, where most of the movie is then set. It’s a well rounded and highly dramatic tableau.
Most insightful is the guidance the young terrorists receive via satellite phone from their handler back in Pakistan. He cajoles, flatters, reprimands and reassures them — a literal voice of evil in their ears.
On a cinematic level, Hotel Mumbai is a terrific disaster movie. It starts quickly, revs to one higher gear after another, and keeps us on tenterhooks about which sympathetic victims will live, and which will be executed in cold blood. Plus, there are several turnabouts where brave hostages and police give us something to cheer. In short, Hotel Mumbai is highly entertaining in a macabre way, even as it is required historical viewing that does honor to the victims and survivors of one of Islamism’s most heinous travesties.
Dev Patel anchors the movie as a waiter who rises to heroism. Playing a Sikh who must explain to a terrified Westerner that he’s not Muslim and therefore couldn’t be an Islamist, Patel once again proves to be highly relatable across cultural divides, in part because of his down-to-earth nature.
First time feature director Anthony Maras deserves more big-time directing jobs after succeeding so well with Hotel Mumbai.
Hotel Mumbai has one curious omission: avoiding any mention of the Jewish community center that was one of the main targets of the terrorists. While the movie had to make editorial choices, the attack on the Jewish center was unlike the other targets, making its exclusion notable.
That omission aside, the movie is studded with insightful nuggets.