Kolkata features as a location provider, the name of a night-club, and a playground to stage a spectacular tribute to 1970s’ cinema in Ali Abbas Zafar’s Gunday. Zafar’s second movie after Mere Brother Ki Dulhan is a retro tribute that has most of the elements of the Amitabh Bachchan-Shashi Kapoor-Vinod Khanna cinema down pat: good-hearted heroes pushed by circumstance to the wrong side of the tracks, an ultra-glamourous heroine who might lose her nerve but never her poise, a hot-on-the-trail policeman, games of loyalty and betrayal, anachronistic period details, proper introductions for key characters, spectacularly staged action, a pre-climax loo break song sequence, and a pantomime of social commentary. The characters might have been inspired by Bachchan, particularly his Deewaar and Kaala Patthar, but they don’t have a trace of the angst or anguish of his angry young man. Gunday’s muscular leads are fitter and better oiled than the heroes they are supposed to resemble, but they remain just as virtuous, apolitical and virginal. And they are boys, rather than men (the heroine’s words, not ours).