An endless slog, despite relatively short episodes ranging from 12 to 20 minutes, Spotify’s Gangistan is a pointless crime drama that’s abandoned by basic writing and sloppy production. Starring Prateek Gandhi, Saiyami Kher and Dayashankar Pandey, Gangistan is a by-the-numbers tale of the Mumbai underworld, as if written by Hussain Zaidi.
Scam 1992 Breakout Gandhi presents the show’s only natural performance as a journalist who goes on a quest to uncover the past. Gangistan, otherwise, seems too clearly written to feel authentic. A good podcast can make you feel the smell of the earth and the warmth of the sun; A bad person can put you to sleep even after three cups of coffee. Listening to Gangistan is essentially like having a particularly heavy lunch. As you scrape off the last bite, you lose interest in addition to your appetite.
In Gangistan, an encounter specialist cop is presented as a heroic figure, the villains all speak in ‘tapori’ language, and the journalist at the center of the plot talks about morality, but two for his elders. Doesn’t talk to more than one person. Story about the origin of gang war of Mumbai. One of his sources is a former gangster, who claims he has an epic to tell and is convinced he is a ‘ghost’ looking for ‘salvation’. His name is Pappu, and he likes to hide in the forts of Mumbai because he feels safe there.
Pappu considers himself a ‘film writer’, and perhaps this is the way he narrates his story to journalist Ashu Patel, played by Gandhi. He wants it to be ‘non-linear’, he says – impressive for a common hooligan – but can’t for the life of him remember what the big hotel on the edge of the bandstand is called. To be clear, he must have seen the 1992 Mumbai riots.
Ashu sits down with Pappu for several storytelling sessions, where the former gangster narrates the stories of individuals named Bashir, Haider, Tayyab, Hamid and Malik, and often breaks the fourth wall to admit that people see him on podcasts. are listening. It makes you wonder why they didn’t use it as a framing device in the actual show; Instead, Ashu records their conversation for his column. go figure.
There is a slapstick, performance-heavy quality to the writing that not even an actor of Gandhi’s caliber can polish. Saiyami Kher, meanwhile, spends more time presenting the episodes than actually participating in the story. In a one-off scene, Ashu randomly calls him – an important cop – to inquire about a decades-old murder. She not only remembers it subtly—she probably wasn’t even born then—but she stops her day and tells him all about it. It will only take a small number of changes to make the exchange more reliable, but Gangistan, written by Heer Khant, isn’t really bothered.
Production is simple to a fault; The mix is limited to the clinking of glasses and the rumbling of footprints. The musical cues are too sad for the slightly playful tone that Pappu has adopted in narrating his story. With literally terabytes of choice available, only the most dedicated of Gandhi’s fans might be able to stomach its 48 episodes.