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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!

DUM LAGA KE HAISHA - A simple, sweet but hurriedly made film lacking emotional depth with a soundtrack reminding you of the musical 80s & 90s. (Review by Bobby Sing).

QISSA (Punjabi) - A complex tale of an obsessed father and his sickening proud to have a son ruining many lives. (Review By Bobby Sing).

BADLAPUR - Though its second half & climax is bound to meet mixed responses, still do watch it for the director's crafty execution & all intense performances as a must. (Review By Bobby Sing).

MSG THE MESSENGER - Its actually not a movie but a 3 hour long, tacky 'Showreel of the Dera' made for its existing and would-be followers alone. (Not A Review By Bobby Sing).

ROY - For what kind of target audience you actually made this dear film-maker? (Review By Bobby Sing).

The three introspective lines in THE BEST EXOTIC MARIGOLD HOTEL (2011) - (Life Teaching Dialogues / Songs from Films (3) - By Bobby Sing).

SHAMITABH - An uneven film made on a fresh concept that deserves to be seen for its polished performances, few well written highs & a thoughtful climax. (Review By Bobby Sing).

EH JANAM TUMHARE LEKHE (Punjabi) - Watch it as a must to honour the lesser known blessed soul BHAGAT PURAN SINGH and the underrated powerhouse of talent PAWAN MALHOTRA. (Review By Bobby Sing).

HAWAIZAADA - A tiring, comical execution stressing more on frames, songs & romance ruins the actual seriousness of the subject & performances. (Review By Bobby Sing).

RAHASYA - Do watch it if u love 'whodunit' suspense movies or novels & don't reveal the secret as a responsible movie-goer. (Review By Bobby Sing).

 
 
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March 02, 2015 Monday     
If a film reveals almost everything about the storyline in its 3 minutes trailer itself, then there is only one way it can win over the viewer and that’s with its extra ordinary execution, performances and music. Thankfully DUM LAGA KE HAISHA does exactly the same moving over its predictable drawback, presenting itself as a short (111 minutes), simple and sweet film that can easily connect to its audience with the realistic card played quite well.
No doubt the film leaves you in a less satisfied state as it ends contradicting to the expectations raised by its enjoyable beginning. But giving the producer, writer, director & the performers their deserving due, allow me to mention its entertaining features first before the avoidable ones.
Beginning with the biggest name in the project, DLKH is a pleasant surprise coming from the reputed banner of YRF and as per my opinion, this is their second appreciable project post ROCKET SINGH not depending upon any clichéd romance between the stars playing the lead characters. At first the film reminds you of NASEEB APNA APNA (1986) made on a related subject but then (moving on a different path) its proceedings take you back in those musical decades of 80s and 90s with all those cassettes, ribbons, their entangling, cassette to cassette recordings, big speakers and the times when we used to bring a Colour TV, a VCR and four Video Cassettes of different films on hire for the whole night. The voice of Kumar Sanu superbly used by Anu Malik (in the same way as it used to be in those hit songs of that era) makes you feel the nostalgia and so does the sound of “Miley Sur Mera Tumhara” running in the backdrop. Also the “Shaakha” reference reminds you of the days when RSS Shaakhas were quite active in the mornings, inviting all from every age group ranging from 10 to 60.
Introducing another first in a YRF film, here we have an unknown “heavy weight heroine” instead of the inviting glamourous one, who actually carries the entire film on her shoulder alone, ahead of her known lead hero. The highly relatable family, their lovable interactions and the collective middle class ambience pulls you in before the intermission and the impressive spell continues in the second half too (with the court sequence and more), till it all moves down to a highly predictable and unconvincing section of ‘The Game’ ending on a quite less impressive note along with a smart cameo of Kumar Sanu keeping the nostalgia intact.
In other words, DUM LAGA KE HAISHA majorly works due to its realistic local feel, lively characters, melodious music and performances. But it certainly should have worked more on these same elements with few stronger insertions in its storyline making it a bit longer ending on a different note than the game. For instance the English exam sequence added deliberately fails to make any kind of impact on the viewer, the lawyer speaking long lines in English with the girl's family looks weird and the climax game too doesn’t turn out to anything close to reality or natural.
Further apart from the storyline, the second disappointment is felt when we don’t find the songs incorporated in the film in their complete form as it used to be in the 90s (since the film is based in that era only). Yes, director Sharat Kataria does deliver a notable product with many fine performances and all the ‘time related detailing’ worked beautifully with his cinematographer and art director. But why he didn’t work on the story adding more twists and didn’t include the melodious songs in the film’s narration was really puzzling for me quite honestly. In fact it was highly disheartening seeing “Tu” and “Moh Moh Ke Dhaage” used as a backdrop and “Dard Karara” coming with the end credits while people were moving out of the theatre leaving it in the mid.
In the performances, it completely belongs to the debutant Bhumi Pednekar and Ayushmann Khurrana in this particular sequence only. Though its tough to comment upon her future film career as such but Bhumi shows her talent superbly and helps the film a lot as a complete natural or flawless performer. Ayushmann once again is decently good but at the same time looks like repeating himself at many places that needs to be taken care of urgently. In the supporting cast we once again have Sanjay Mishra and Seema Pahwa (after ANKHON DEKHI) along with Sheeba Chaddha and more. Their individual acts are all fine but I couldn’t find that simplicity and natural ease witnessed in the similar homely characters of ANKHON DEKHI. Putting it clearly, they all seem to be playing their natural middle class acts with a visible effort that was not actually there in ANKHON DEKHI and perhaps that's the difference caused by a director’s exact instructions and vision.
May be due to this very reason only the film looks like a hurriedly made project, lacking the depth it should have in its various portrayals missing that much required emotional pull or feel. It’s as if the producer’s instructions were, that just make a light hearted film with not so heavy emotions, hanging in between a romantic and comedy product that has more commercial viability in today’s changing times.
So made exactly as per the above probable instructions, DUM LAGA KE HAISHA does provide that light entertainment largely due to its nostalgic ambience, good performances and a comeback soundtrack by Anu Malik. But don’t look for any emotional depth or some exceptional storyline here offering something extra than what was there in its trailer. It’s a simple and sweet film intentionally made to make you smile without much thinking, sobbing or heavy hearts. So do give it a try if the description interests you.
Rating : 3 / 5 (Including additional 0.5 for the few catchy tracks and Kumar Sanu.)
Tags : Dum Laga Ke Haisha Review By Bobby Sing, Dum Laga Ke Haisha Film Review by Bobby Sing, YRF Films, 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 February 2015 / bobbysing /
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Post winning several awards and unanimous praises in the festival circuit, thankfully QISSA reached the theatres here in India after a long wait with a novel strategy, wherein the film was simultaneously released in cinemas (only a few selected screens), on VOD (Video on Demand at net) and in home video market (DVD) too on the same date.
Looking at this collective release on all the three platforms, many might not approve the move thinking about its box office prospects in the first week itself as per the ongoing trend. But considering the strategy with a realistic viewpoint, it was indeed a very intelligent step taken by the makers since the film honestly is not the one that could have achieved any instant box office success due to its limited appeal to the masses who are more interested in a much simplified subject and entertaining narrative when it comes to a Punjabi film in particular.
But keeping that for the later part of the review, I would first like to reveal its basic thought which actually showcases the ugly Indian psyche of a family being obsessed with only sons instead of daughters for many obvious reasons. Set in the post-independence era the subject still remains relevant in India and more specifically for regions like Punjab, where Girl foeticide is one of the key problems even in this much educated and more aware society of the 21st century.
A bold plot for Punjabi as well as Indian Cinema (released with English subtitles), QISSA certainly gives you the feeling of watching something brutally honest that has never been tried before here with such impactful intensity. Yes, it does remind you of the masterpiece from Pakistan titled BOL as far as the obsession for a son is concerned, but then finds its own individual path different from the one witnessed in that ‘not to be missed gem’ to clear the visible doubts.
Directed and co-written by Anup Singh, it’s a disturbing tale of an eccentric father Umber Singh who after having a fourth girl in the family doesn’t want to kill her but forces her to grow up, dress and behave like a boy only, ignoring all her bodily changes happening with the time in a much weird manner. The film begins with the bloody event of our Partition when the family has to shift to the Indian part after losing everything they had. And then focuses on the relationships alone going through many unexpected twists and turns leading to a serious shock coming just before the intermission as a director’s master-stoke. The second half brings in a strictly unexpected supernatural turn for the viewers making the film a bit slow and sad too, taking away the hold it displayed in its initial hour especially for the common man sitting in the theater not able to grasp the multi-layered projection ending on a more thoughtful note.
In other words, despite being a visual cinematic experience, a first of its kind - bold subject in Indian films having a well-conceived (unusual) storyline and all brilliant performances, QISSA arguably remains more appealing to a specific section of viewers only appreciating the meaningful cinema as personally experienced watching the film in theater with some 30 odd Punjabis, who probably had only come listening the word ‘Partition’ and seeing ‘Irrfan Khan playing a Sikh’ in its promos as I strongly felt.
To be honest, its still time for the Punjabi audience to accept such a path breaking film converting it into a big box office success showing a leaping growth. In fact the trial of releasing such experimental films in theatres had earlier failed badly with the national award winner ANHEY GHODEY DA DAAN and QISSA is certainly not going to be the odd horse here in any case.
Having said that, I was really glad to see that even though the film was not about anything those 30 Punjabi speaking people had come for, it still successfully kept them engaged to its unique storyline in its first half, wherein they were all simply awestruck watching its twisted lead character and his insane intentions worrying more about the society instead of his own family.
However the scenario wasn’t the same post intermission with the ‘ghost component’ thrown in (slowing down the pace to a large extent) which actually couldn’t impress anyone among them and they began showing the restlessness by chatting loudly and checking their mobile phones shining bright in the almost empty theatre. The complex philosophical metaphors in the film’s second hour couldn’t reach them as desired missing the emotional connect and I even heard one in the group clearly categorizing the project as an “arty festival film – not for them”. So if one wishes to know about how QISSA is able to woo the general audience or the masses, it simply fails to do so post interval.
Now talking about the brave attempt from the other technical & cinematic perspective, its indeed a well-shot, splendidly conceived and superbly acted film having an unconventional plot probably inspired from some true life events as it seems. And no doubt Anup Singh had to struggle hard convincing the financers before he thankfully got hold of his foreign producers and NFDC agreeing to pool in. 
The writer-director is able to write his poetry on the screen with the help of all fabulous performances from a well-chosen cast that actually owns the film from the front. Irrfan Khan (as Umber Singh) playing the eccentric wicked father performs the bizarre act convincingly, though one feels his Punjabi accent a bit compromising in some particular sequences. The exceptional actor actually wins you over completely in the first half much more than the later due to the reasons mentioned above. In fact the best part of his portrayal is that you never hate him for what he does to his family since he also loves them all from heart despite having that society-oriented wish to have a son.
Tillotama Singh (as Kanwar – the son/daughter) is equally effective as the suffering girl coming out of her shell towards the end playing it soulfully. Her cross gender act looks deliberate at first but then sinks in as the film progresses towards a more moving climax focusing on the two girls. Rasika Dugal (as Neeli) is simply outstanding playing it expressively as the innocent one standing in between the father and his son/daughter. Plus Tisca Chopra underplays the weak mother perfectly who is not able to protest against her husband’s impractical moves as a typical Indian lady suppressed by her own upbringing.
Cinematography, background score and the soundtrack beautifully capture the right mood and essence of the tough subject pulling you into the world of its torn family. And few particular scenes don’t easily get off your mind like the one where Umber Singh catches Neeli running away at night and then Kanwar baring her naked body to everyone passing by in despair.
Further, though beginning from the time of India’s Partition, QISSA has nothing to do with the historical land partition in details. But it does deal with the sick partition in our minds thinking about a man and a woman or a son and a daughter as two unequal social identities with one owning the other even in this present so-called evolved society.
Moreover the film is sure going to have contradicting interpretations from different sections of viewers once again drawing an evident line between commercial and artistic (festival) cinema, a classification many don’t like to agree with. Because where at one end it is bound to be considered as a masterpiece classic by a few, it will fail to convince the common man on the other, not willing to think about the social issues through such an experimental take incorporating the hard to believe and much artistic ‘ghost element’.
Personally I too loved the initial part of the film a lot more than the later one and really wish QISSA could have reach the masses connecting with them in a much emotional manner. Since it does have an important message for the social sickness we are facing today, trying to save our present and would-be daughters from the cruel unsocial structure and its insane mindset.
Rating : 3 / 5
Tags : Qissa Movie Review by Bobby Sing, Qissa 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
 
 
23 February 2015 / bobbysing /
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BadlapurDirector Sriram Raghavan has certainly got a solid fan following among the lovers of crime thrillers since his brilliant crime-noire films EK HASEENA THI (2004) and JOHNY GADDAR (2007). His fascination with novels of James Hadley Chase (and more), Hitchcock classics, old Hindi thrillers, director Vijay Anand or Ram Gopal Varma is already known to many. But the reputation did take a beating with his AGENT VINOD in 2012 through which he visibly tried to play the commercial cards more, probably on the instructions on some well-known established names. Anyway the good news is that the director is back to his original genre/form with BADLAPUR that though might not surpass the brilliance seen in his first two films, but still becomes a must watch ‘out of the box’ revenge thriller mainly due to its crafty execution and intense performances.
To give you the most important instruction of watching BADLAPUR which in fact is mentioned in its tag line too, the film needs to be seen from its very first scene itself like a mandatory clause. Putting it more directly for the ones who reach the theatre late, you might not be able to feel the pain felt by its characters or relate with the revenge taken by its main protagonist more intensely, if you haven’t seen BADLAPUR right from the beginning, witnessing its very first action sequence (in the first 5 minutes only) giving you a severe emotional shock like never before. So please take a serious note of it to feel the movie in its entirety for sure.
Clearing another speculation about the project, it isn’t that bloody dealing with the gore as expected and has its own lighter moments too entertaining the viewer through some black humour. Emphasizing on an emotional backdrop, it does have few brutally painful action and sex sequences bringing you on to the edge of your seat and thus remains a strictly ADULT movie too, putting it straight.
Revolving around an all routine revenge storyline, BADLAPUR actually deviates from the usual stuff because of its finely tuned, unpredictable script progression and a highly engaging execution, focusing just on its subject right from its first frame to the last. All the compromises seen in Sriram’s AGENT VINOD are thankfully not there and the film simply wins you over in its first half due to all noteworthy performances led by Nawazuddin & Varun, a well written wicked humour and the suspense factor kept intact introducing a couple of new characters just around the interval.
The excellence continues post intermission with another talented lady Radhika Apte leading it from the front and she is truly superb in her few strong sequences to say the least. The unexpectedly bold and shocking insertions keep coming at regular intervals till the film starts losing its grip somehow towards the end going into a longer length than required. And then a (sudden) meaningful climax redefining vengeance with a novel twist (that is bound to meet some mixed reactions) actually turns the film into something that would be appreciated by a selected section of audience only, more into watching western and world cinema to be precise.
No doubt the sex related sequences in its last hour, offer enough material to the viewers to get shocked as well as entertained quite weirdly. Yet at the same time, it offers some unconvincing points too that remain unanswered till the end hampering the overall solid impact of the film quite honestly. (Spoliers Ahead)
For instance, everything seems to be going in Varun’s favour unconditionally in the script and the film also portrays all its woman characters in a questionable suspicious grey shade other than Yami. Further the body dragging act becomes confusing with the sudden cut after a scene with Divya and then one is forced to think that how come only a mercy application from a victim can help a hard-core criminal come out of the jail who has already got a dubious record of making several attempts of jail-break in the gone years? Moreover Varun killing the innocent girl Radhika, who was not even involved or knew anything about the crime committed long back before her love marriage also looked quite unjustified & strange?
In other words, watching a comparatively weaker second half, I felt as if the director was deliberately focusing on the individual thrilling (read entertaining) sequences and the surprise factor more than the required amount of passion backing the vengeance. As a result where the first half strongly makes you feel the pain felt by Varun losing his entire family in just few minutes, the last hour is not able to take that feeling to a crescendo converting it into a real gem, that in fact reminded me of a another similar revenge based English film titled DEATH SENTENCE (2007).
Having said that, what still makes BADLAPUR a worth appreciating and worth watching movie is its great performances from the entire cast and the director’s engaging execution who successfully keeps the viewer glued to the screen through many unforeseen twists and turns like a fast paced crime novel heading towards an experimental climax. The film without any doubt belongs to both Nawazuddin and Varun together wherein Nawazuddin obviously scores much higher giving another sparkling performance of his career depicting the exact psyche of a born criminal who possesses the same twisted mindset forever despite his growing age. And the best thing about his portrayal is, that the viewers both hate and love him together unintentionally, for which the credit entirely goes to the talented director alone.
Varun Dhawan truly deserves praises to try such an unconventional character at this stage of his young career with conviction. He looks great in most of the sequences showcasing the rage, anger and depression. But also looks too young to play it at a few places lacking the required depth as I personally felt. Yet his sincere effort to play the tough character is indeed worth applauding moving ahead on the path of becoming a great actor in the coming years. In the supporting cast I truly loved the new get up of Vinay Pathak playing it real well and the short cameos of both Murli Sharma and Gopal K Singh.
Talking about the ladies in the film, its really a treat to watch them all led by Huma Qureshi and Yami Gautam as the two big names. But where Huma makes the best of the opportunity given playing the cunning prostitute, I really felt bad seeing Yami once again doing the same small role as seen in her last film ACTION JACKSON. Divya Dutta, Ashwani Khalsekar & Pratima Kazmi are good as usual playing a NGO activist, the detective and Nawaz’s mother respectively, but the one who manages to stay in your mind for long remains Radhika Apte, leaving a teasing impact with only a few of her wicked scenes unarguably.
Anil Mehta's cinematography supports the film superbly and so does the background score and minimal use of few good tracks composed by Sachin-Jigar coming just at the right moments without affecting the narration. Sadly, the same cannot be said about the editing that does play the avoidable spoilsport in its final hour.
In all, with a more fine-tuned second half taking care of the pace & flaws together surely would have turned it into a rare, path breaking masterpiece on the lines of EK HASEENA THI (2004) and JOHNY GADDAR (2007). Yet in the present avatar, BADLAPUR is a performance driven film led by Nawazuddin, Radhika and Varun, proving to be one of the better projects of the recent times that should ideally taste box office success to support the much desired change in Hindi Cinema.

(And once again reminding - Don't miss the beginning for anything.)
Rating : 3.5 / 5

(Note : The film is based on the novel "DEATH'S DARK ABYSS" by Massimo Carlotto)

Tags : Badlapur Movie Review by Bobby Sing, Badlapur 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
 
 
20 February 2015 / bobbysing /
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