Mai: Set in 1990s, the story spins around a normal man from Bareilly, Nawab also known as Hero (Parth Samthaan) who shows up in Mumbai for certain exceptional fantasies about becoming showbiz royalty in his life by any means necessary.
Hailing from Bareilly, Nawab comes to Mumbai with his dad and a bagful of dreams. At first, he joins his uncle’s business and starts selling pilfered tapes of films, and maintains a satellite TV business. Quickly, he turns into a rising criminal, who under the direction of the wear of Mumbai—Lala (Arslan Goni)— changes into the ruler of the hidden world. He enters Bollywood too to bring in cash where he met his first love, Laila (Patralekha Paul). As Lala is additionally keen on Laila, this effects the elements among Lala and his protégé. Consequently the story changes into an adoration triangle with Mumbai’s (then, at that point Bombay) underside as a background.
Helmed by Siddhartha Luther and composed by Suparn S. Varma, this 13-section arrangement is a drawing in pack war inexactly dependent on genuine episodes, particularly a specific hoodlum who might enjoy blackmail of the film organization during the 90s. Yet, the idea of a conventional person who overcomes all chances and turns into the new lord of the city—alongside making life surprisingly difficult for his opponents and hounding the nearby police—isn’t new for the watchers. It has every one of the components of an effective wrongdoing adventure: from firearm discharging, road battles, gore, and retribution kills that are needed for a definite shot recipe for a blockbuster of this classification. Be that as it may, the activity successions neglect to keep the energy going as they look misleadingly arranged, particularly the battle scenes among Nawab and experience trained professional and Chief of Mumbai wrongdoing branch, Sachin Kadam (Ankit Gupta). The discoursed (by Saarthak Juneja) are stacked with unequivocal, and more often than not they are suddenly instilled alongside the typical, conversational exchanges. The foundation score by Udbhav Ojha impeccably mixes with this story and makes it an engaging watch, infact, the music of the arrangement is at time a way more charming than what being carried on screen.
With first class acting and another symbol, Parth Samthaan’s (referred to for his job as Anurag from Kasautii Zindagi Kay second portion) makes his computerized debut as Nawab. His looks and discourse conveyance are great, and with his long hair and colorful printed shirts, he takes after a lot more youthful entertainer Sanjay Dutt from the 90s. In light of everything, he isn’t the ideal decision for such a part as onscreen he looks more like a chocolaty fellow than some hooligan. Possibly that is the reason he continues to consider himself a legend and not the hoodlum he should project. Ankit Gupta has made a splendid showing as Sachin Kadam. There is a discourse, “Police hain mumbai ka naya gunda,” which consummately summarizes his character. Patralekha Paul raises the oomph factor as Laila, who longs for turning into a renowned Bollywood courageous woman one day, and offers a sizzling science with Parth. Arslan Goni is exceptional as Lala. He figures out how to make the quality of a criminal alongside Mastaan Bhai (Chandan Roy Sanyal).
In the event that you have seen Bollywood wrongdoing films like ‘Sometime in the distant past in Mumbai’ and ‘Shootout at Lokhandwala’ then this OTT wrongdoing show has the same old thing to bring to the table as it’s a similar story of a hoodlum who needs to lead Mumbai, abuse his Bollywood association, is caught in an affection triangle and an inescapable pack war. In general, it’s an exemplary instance of old wine served in an old jug. Be that as it may, in the event that you haven’t seen those movies or you wish to investigate hoodlum classification then ‘Mai Hero Boll Raha Hu’ will be a respectable starter for you.