loading
loader

A warm welcome to all friends visiting the site with a loving invitation to read my personal expressions on movies, music, poetry and life.

Music and Movies are like Ears and Eyes to me and if you also feel the same, then you are going to enjoy every moment spent on my works here, for sure.

Do send in your valuable comments and suggestions as they would be my guide for all the future works.

ENJOY!

 
 
  Directors I Love  
  Alfred Hitchcock  
  Mehboob Khan  
  Woody Allen  
  Akira Kurosawa  
  Basu Chatterjee  
  Bimal Roy  
  Charlie Chaplin  
  Chetan Anand  
  Govind Nihalani  
  Gulzar  
  Guru Dutt  
  Hrishikesh Mukherjee  
  Kamal Hassan  
  Ketan Mehta  
  Mrinal Sen  
  Quentin Tarantino  
  Raj Kapoor  
  Richard Attenborough  
  Sai Pranjpe  
  Satyajit Ray  
  Shyam Benegal  
  Steven Spielberg  
  Vijay Anand  
  Ram Gopal Verma  
  Ashutosh Gowariker  
  Mani Ratnam  
  Aleksandr Petrov  
  Saeed Akhtar Mirza  
  Shekhar Kapoor  
  Yash Chopra  
  Frank Capra  
  V. Shantaram  
  Billy Wilder  
  Rajkumar Hirani  
  Vishal Bhardwaj  
  Tigmanshu Dhulia  
  Dibaker Banerjee  
  Rajkumar Santoshi  
  Majid Majidi  
  Ritwik Ghatak  
  Clint Eastwood  
  Prakash Mehra  
  Manmohan Desai  
  Shoaib Mansoor  
  Anurag Kashyap  
  S. S. Rajamouli  
  B. R. Chopra  
  Stanley Kubrick  
 
  Also Active at  
  Gurmat Darshan.com  
  At Youtube.com  
  At Wordpress.com  
  At Facebook  
  At Twitter  
 
 
 
FROM THE GOOD
OLD DAYS
 May 2016 (15)
 April 2016 (17)
 March 2016 (10)
 February 2016 (10)
 January 2016 (9)
 December 2015 (11)
 November 2015 (10)
 October 2015 (10)
 September 2015 (11)
 August 2015 (12)
 July 2015 (15)
 June 2015 (10)
 May 2015 (15)
 April 2015 (16)
 March 2015 (12)
 February 2015 (10)
 January 2015 (14)
 December 2014 (11)
 November 2014 (10)
 October 2014 (10)
 September 2014 (12)
 August 2014 (12)
 July 2014 (21)
 June 2014 (23)
 May 2014 (24)
 April 2014 (23)
 March 2014 (21)
 February 2014 (26)
 January 2014 (28)
 December 2013 (10)
 November 2013 (14)
 October 2013 (16)
 September 2013 (14)
 August 2013 (14)
 July 2013 (12)
 June 2013 (11)
 May 2013 (23)
 April 2013 (10)
 March 2013 (14)
 February 2013 (14)
 January 2013 (15)
 December 2012 (18)
 November 2012 (14)
 October 2012 (15)
 September 2012 (14)
 August 2012 (15)
 July 2012 (12)
 June 2012 (14)
 May 2012 (16)
 April 2012 (15)
 March 2012 (10)
 February 2012 (11)
 January 2012 (11)
 December 2011 (10)
 November 2011 (11)
 October 2011 (15)
 September 2011 (10)
 August 2011 (11)
 July 2011 (11)
 June 2011 (13)
 May 2011 (16)
 April 2011 (14)
 March 2011 (11)
 February 2011 (10)
 January 2011 (12)
 December 2010 (10)
 November 2010 (12)
 October 2010 (11)
 September 2010 (11)
 August 2010 (12)
 July 2010 (12)
 June 2010 (11)
 May 2010 (14)
 April 2010 (15)
 March 2010 (14)
 February 2010 (12)
 January 2010 (15)
 December 2009 (12)
 November 2009 (14)
 October 2009 (15)
 September 2009 (18)
 August 2009 (14)
 July 2009 (16)
 June 2009 (18)
 May 2009 (16)
 April 2009 (18)
 March 2009 (20)
 February 2009 (19)
 January 2009 (20)
 December 2008 (20)
 November 2008 (17)
 October 2008 (21)
 September 2008 (19)
 August 2008 (22)
 July 2008 (23)
 June 2008 (21)
 May 2008 (25)
 April 2008 (22)
 March 2008 (25)
 February 2008 (22)
 January 2008 (22)
 December 2007 (24)
 November 2007 (22)
 October 2007 (22)
 
 
 
 
 
May 31, 2016 Tuesday     

Waiting Review

In the last two decades we haven’t seen many REAL Hindi films talking about the actual realities of life, DEATH in particular, with an insightful vision expressed in its thoughtfully written dialogues featuring a talented cast. Therefore WAITING can easily be called a refreshing film exploring a subject that Hindi cinema has intentionally stayed away from, since here we are actually more concerned about entertaining our viewers instead of enlightening them.
Revolving around only two characters (with a big age difference) and their mutual conversations about life, waiting for their beloveds to get well soon in a hospital, the film has a subject that makes an instant connect with the viewers as we all have faced our own tragedies sitting in that waiting area praying for our loving family members or friends. Coming straight to the point within its first five minutes itself, one finds invested in the two characters on screen and their personal trauma, and then gets pulled in by the meaningful lines they keep delivering one after another like many small precious gems to be taken along.
Personally I really loved the way Naseer explains the various stages of ‘Grief’, the definition of ‘Twitter’ given by Kalki, a senior doctor briefing his new interns and the concerning interaction of both Naseer and Kalki with their doctor individually. Yes at times they do seem to be getting into too much talking, missing the beauty of SILENCE that duly understands the pain felt by the other without saying even a single word. But the way they express their feelings in extremely well written dialogues (coming constantly) doesn’t let you think that way for long and you easily get involved in the proceedings waiting for some positive news.
Having a focused and delightful direction by Anu Menon, WAITING wouldn’t have been possible without Naseeruddin Shah as the old loving husband and Kalki Koechlin as the newly married girl meeting at the hospital lobby. Naseer is truly a delight to watch in his every single scene coming up as a complete natural, with an adorable dignity added to his character of a constant sufferer, not finding the courage to give his permission to take off the ventilator from his wife lying in comma from long. Kalki as the young girl married just a few weeks back, fits perfectly to her given role and successfully delivers an appreciable matured performance in front of an institution called Naseeruddin Shah, which certainly is nothing short of an achievement in itself.
Providing his solid support in short but important role, we have Rajat Kapoor playing the doctor who is (thankfully) more concerned about his patients than the management and additional medical bills. In fact the film gets elevated with every new scene of Rajat Kapoor talking to Naseer or Kakli with an amazing patience and charm infusing a new life into the narration, otherwise walking on a straight, monotonous path. Ratnabali Bhattacharjee brings in some good sarcastic humour as Kalki’s friend believing in ‘positive living’ and Rajiv Rajendranath excels in her short comical role as the office colleague (loved to know his name too reminding me of my favourite comic icon from the past). Plus both Suhasini Maniratnam and Arjun Mathur are just fine playing the patients, emoting well in their few scenes included as the flashbacks.
A visually soothing film, WAITING is far ahead than director Anu Menon’s previous ventures including a fine song high on emotions with apt lyrics as "Tu Hai To Main Hun" expressing the situation well. However the film could have been a rare classic made on a novel subject, if the writer-director had taken care of some crucial points in the script making it more Indian and relatable.
Mentioning the decisive drawbacks, as a Hindi film talking about all Indian characters, its hard to believe the parents of the young boy (struggling for life) not being informed and called in at such a crucial time. Besides it was strange to see English being used as a key language even in the most important scenes of the film, restricting its reach to just a selective set of audience even in the multiplexes. Further avoiding any shocking twists in the second half, Menon actually takes the easier path in the climax ending it on a positive note, whereas the film could have easily been a brutal eye opener focusing on Kalki’s decision representing the changing value system of our crumbling social structure.
Anyway, in spite of these avoidable problems, WAITING still deserves to be seen at the earliest for its novel theme, its key performers and the questions it raises about the right time to let it go leaving the rest on that Supreme Power. So do try to give it a chance, even if it is being shown at a theater far away from your place at some odd timings.
Rating : 3.5 / 5
For friends who are willing to read something beyond a review, this is what I personally feel about the rich backdrop of the film that might force you to think about the changing scenario of our films since the last two decades.
Before the new millennium, Hindi cinema used to make films for just the Indian audiences, for the common man who cannot even think of going anywhere else than the government hospitals. But now since these films are being made keeping an eye on the international market as well as the upper income group of the society able to pay more than 300 Rupees for a ticket, so the common Indian man has simply vanished. And at present, even such realistic issues need to be conveyed focusing on two rich, well off protagonists waiting in the lobby of a state of art five star hospital ignoring the big majority of our Indian population struggling in the government centres.
So now we are making films showing only one side of the coin targeting the multiplex audience, forgetting all about the other darker side representing the lower class of our society, who face no such issue of whether to take off the ventilator or not as they cannot even afford to get a one in their local hospital.
In other words, the tables have actually turned just the opposite, as earlier such thought provoking subjects were showcased focusing on the extreme poor living in the rural areas or slums and now they are purposefully being designed focusing on the higher income group to be seen along with munching the costly popcorns or nachos sitting in the comfortable multiplexes.
Obviously, who will be interested in watching the poor labourers waiting outside the hospital on roads, in a multiplex buying the costly ticket? So the directors have to place their characters as the RICH waiting in a stylized café, staying in posh hotels reaching out to the target audience who again doesn't include anyone called the common man.
So the balance is still missing as always having its own reasons!
(Just a thought from a concerned viewer (and not a reviewer/critic) who is witnessing this drastic change of values in our cinema since last many years)
Do Give It A Thought if possible!
HIS BLESSINGS
Tags : Waiting Film Review by Bobby Sing, WAITING Movie Review by Bobby Sing, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
 
 
30 May 2016 / bobbysing /
leave a comment
 
Hindi cinema hasn’t got many worth watching psychological thrillers since the genre never got any big encouragement either from the viewers or the makers ever since the origin. And I still recall the pleasant surprise I had watching Nargis’s National Award winning performance in RAAT AUR DIN, based on the split personality disorder performed brilliantly as her final appearance on screen in 1967. In the last few decades, Urmila shined brightly in Ram Gopal Varma’s KAUN playing the obsessed psychopath in 1999, and now we have Radhika Apte entering into that elite list giving a worth applauding performance in PHOBIA as an artist suffering from severe agoraphobia post a tragic incident, developing fear of people, market places and public interactions leading to some serious consequences.
Interestingly, the initial moments of the film dealing with a ‘sexual assault’ and its traumatized victim straight away reminded me of Konkona in 15th PARK AVENUE (2005) and Rekha in GHAR (1978) too for a moment. But the similarities ended right there as the film moved into a completely different direction with elements of horror and black comedy smartly incorporated in its otherwise ‘mind-related’ theme giving it a distinctive edge.
As a psychological thriller directed by Pawan Kriplani (of Ragini MMS fame), PHOBIA works superbly in its first half mainly due to Radhika’s fabulous act and the unpredictable story progression that keeps you guessing throughout creating an enjoyable tension. However when many big loopholes get visible in the second half and some major questions remain unanswered in the climax (ending on a confusing note), the film loses the chances of becoming ‘a masterpiece thriller’ and remains a more than decent one time watch, especially for Radhika alone.
Delivering a knockout performance in her first full length lead role in a Hindi film, Radhika Apte carries the complete movie on her strong shoulders and makes it worth watching for the viewers interested in this specific genre, without any slightest of doubt. The girl is simply sensational and highly impactful playing the suffering character and that too without any sensual sequences usually found in such ventures defying the set format.
Providing her a perfect support we have Satyadeep Mishra effectively playing the close friend, Yashaswini as the energetic college going girl and Ankur Vikal as the suspicious weirdo neighbour doing complete justice to their given roles. Cinematography, background score and editing successfully add a lot into the film’s overall impact and so does the catchy song ‘Roke Na Ruke’ used well, without disturbing the pace.
However it was really unfortunate to see the film slipping in its writing post a taut and engaging first hour contradicting its own conviction. And these visible flaws honestly didn’t match the master vision found in the script’s initial impressive moments. For instance, how can such a serious as well as dangerous (self-destructive) patient of agoraphobia be left alone in a new and big house by her own beloved so carelessly and how can the boy even leave a knife and all similar appliances openly lying in the house despite knowing his girl’s severe condition and intentions? Moreover when it suddenly ends without giving clear explanations of all the illusions, premonitions and hurting events happening in its final hour, one doesn’t feel like highly satisfied while leaving the theatre as if gone through an incomplete experience largely saved by the lead performer.
Having said that, despite these unanswered questions and a good dose of unpleasant blood and gore served with the pinch of horror, PHOBIA still deserves to be seen for Radhika Apte alone, who now officially announces her arrival as the mainstream Hindi film heroine, far ahead of many known names of the industry relying on their family bloodlines.
Rating : 3 / 5
(For friends interested in knowing more about Nargis’s RAAT AUR DIN, here is the link for the article including the references of its foreign inspirations too in details.)
Cheers!
Tags : Phobia Review by Bobby Sing, Phobia Film Review by Bobby Sing, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
 
 
28 May 2016 / bobbysing /
leave a comment
 
A deadly sandalwood-ivory smuggler and the most wanted criminal in India in the last four decades; a criminal for whom the costliest and the longest capturing operations were undertaken by the authorities of Tamil Nadu and Karnataka; an extremist who had LTTE chief Prabhakaran as his inspirational idol and the killing machine who didn’t even think for a second before shooting a group of people together, certainly deserved an intense, informative as well spine chilling biographical movie unarguably.
So when I heard that RGV is planning to go for the same with a docu-drama style of making similar to his worth watching THE ATTACKS OF 26/11, then I was both glad and excited together being an ardent fan. And further when his KILLING VEERAPPAN (majorly revolving around Operation Cocoon) became a Hit in Kannada language getting rave reviews (to the extent of saying RGV is back) then the excitement got even bigger, waiting for its Hindi adaptation to be released soon (in the same year).
However, it’s really sad that the much awaited Hindi version VEERAPPAN doesn’t turn out to be anything exceptionally great or novel allowing us to declare ‘he’s back’. So the man is not really here with any great movie, but thankfully does manages to deliver an average straight forward biographical film that’s (at least) much better than many of his recent awful attempts in comparative terms.
Interestingly this time it’s the amazing-scary resemblance of its lead actor (to the real VEERAPPAN) that works big time for the movie, much more than any famous directorial touches, out of the box narrative or supporting performances. In other words VEERAPPAN works only when Sandeep Bhardwaj captures the screen as the killing machine and not in any other moment at all to be straight. Though even Sandeep doesn’t display any wide range of expressions throughout the long duration, yet its his strong presence alone that largely saves the film from becoming another forgettable venture from the once ‘trendsetter of our cinema’.
Apart from Sandeep, there is only Usha Jadhav who shows a decent sincerity in her portrayal as Veerappan’s wife along with some new faces towards the end, whereas the rest of the cast boldly exhibits its peculiar standard of acting following a ‘trashy’ mode. For instance, Sachin Joshi confidently keeps conveying I am the hero of the film-as I am the producer too, in his every single scene with a similar expression and Lisa Ray keeps making weird faces into the camera playing her own games. Plus it was really strange to see the gang members running along the man, treated as some unimportant extras called in just to stand in the frame.
Technically generating a ‘deja-vu’ kind of feeling through all familiar sequences, camera angles, character movements and jaded chases, VEERAPPAN isn’t any breakthrough film from a director back in form, crushing all the big expectations raised by some recent ‘must watch’ interviews, like the one taken by Anupama Chopra.
Yes, we do get some glimpses of the maverick in the brutal killings, scenes of ripping off ivory tusks from the dead elephants, the hiding with the kid and the waterfall sequence. Yet the script doesn’t have any grand narration on the subject knocking you down with its every next scene like the RGV we remember from the 90s. It keeps proceeding on the same pace without building any kind of mystery around the controversial figure and then simply ends missing that much awaited exciting thrill or extreme characterization mostly seen in the director’s innovative films. As a matter of fact, Ram Gopal Varma’s JUNGLE (2000) had a much better suspenseful mystical aura built around a similar negative figure with a different name.
In addition, I personally found the presentation quite confusing as it was not clear, how the writer-director actually wished to portray Veerappan before his audience. To give you an example, at one end he is shown to be brave as hell, whereas on the other he quickly runs away without caring about his unarmed wife when the police attacks their hideout unexpectedly. Besides, watching Lisa Ray standing in a police interrogation room right behind the person being beaten to death honestly forced me to think that, was this really a scene from a Ram Gopal Varma film?
Moreover the background music that always has been a forte of RGV ventures, disappointingly turns into loud scary score after a fine start and I really wish the veteran had used “Veer veer veer veer Veerappan” repeatedly in the film just like he did in his earlier gems (instead of going for an unnecessary variety).
Summing up, this is neither any century nor a 50 hit by our not-in-form famous batsman. But it isn’t a duck either and the man does score a good 30-40 runs showing that he has still not lost the touch and is bound to get back soon in the coming years.
Rating : 2 + 0.5 / 5 (with the additional 0.5 just for the perfect lead casting that couldn’t be any better.)

[And now I would honestly like to know what actually went wrong in this Hindi version falling way short of its original Kannada hit KILLING VEERAPPAN in comparison.]
Tags : Veerappan Review By Bobby Sing, Veerappan Movie Review by Bobby Sing, Hindi Version of Killing Veerappan in Kannada, Hindi biopics, Biographical movies in Hindi cinema, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
 
 
27 May 2016 / bobbysing /
leave a comment
 
 
 
Reviews in All (739)

 
 
 
Inspired Hindi Movies
Alphabetical
List (455)
 
 
 
 
Articles on Music,
Poetry & Life (89)
Did You Know! (85)
Few Life Inspiring Words! (21)
Nostalgia (Books on Cinema,Vintage Magazines, Scans & more) (27)
 
 
   
   
   
   
   
   
   
   
   
   
 
 
 
   
 
   SEARCH
 
 
 
 
   
 
   
 
Page copy protected against web site content infringement by Copyscape
Google Analytics Alternative
 
 
 
The site is a collection of personal expressions of the writer to share his own views on different mediums of art, with no intention of hurting any person or organisation in particular. The site is also not responsible for any inappropriate acts practiced by the third party links added here only for information purposes.
   Visit bobbytalkscinema.com for Bollywood Movie Reviews, Inspired Cinema, Movies To See Before You Die, Amazing Bollywood Facts, Articles On Cinema, Music, Poetry & Life
 
Site Best View At 1024 X 768 Resolution & Above