There aren't many fresh ideas in Bambai Meri Jaan's retelling of the Dawood tale.

Because there have been so many accounts of the development and rise of the feared D Company and its top boss, Dawood, it is necessary for yet another one to provide a new perspective on a story that has been told many times before. However, there is very little in the ten episodes of the online series based on 'Dongri to Dubai: Six Decades of the Mumbai Mafia' by S Hussain Zaidi, that we haven't seen a variation of previously. Zaidi is a prolific profiler of the Bombay underworld.

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The Dawood tale in 'Bambai Meri Jaan,' which was directed by Shujaat Saudagar, is only vaguely based on real events, to the point where the film might just as easily have utilized the real names of the characters. Haji Maqbool (Saurabh Sachdeva), Azeem Pathan (Nawab Shah), and Anna Mudaliar (Dinesh Prabhakar) play the roles of the infamous three of Karim Lala, Haji Mastan, and Varadarajan Mudaliar, who divvied up Bombay in the 1970s and who managed their illegal operations like well-oiled machinery. This trio was responsible for dividing up Bombay. And Dara, played by Avinash Tiwary, is Dawood, complete with those sideburns and those enormous shades, cloaked in cigarette smoke and a sense of impending doom.

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The story of these thugs, who rose to prominence with the assistance of the government and the cops who were on their payroll, are revealed in flashbacks and contemporary scenes during the course of the series. But the primary struggle, which is where the majority of the show's power comes from, is the one that occurs between the honorable police officer Ismail Kadri (played by Kay Kay Menon) and his always-taking-the-short-cut son Dara.

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The scenes between the father and son are reminiscent of so many similar face-offs in our movies, going all the way back to Amitabh Bachchan and Dilip Kumar in 'Shakti': the playing out of off this filial relationship against the backdrop of the rising crime graph of the city makes us recall many similar films which a faced similar challenge — how do you not romanticize the allure of the gangster and his power when you are intent on keeping it real? Which side of the film do you want to watch? Is it comparable to the adoration that Ram Gopal Varma shows for his villains in the film "Satya," or to the superb replication of the D Company story that was featured in the film "Company?" Or to the penetrating documentary-drama eye of 'Black Friday' director Anurag Kashyap? Or about a straight-up crime thriller along the lines of Milan Luthria's "Once Upon a Time in Mumbaai"?