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.


SULLY (English/2016) - A must watch exceptional classic that will reinstate your faith in both GOD and CINEMA together asking for a standing ovation. (Movies To See Before You Die - Biographical).

31st OCTOBER - Well-intentioned may be, but sadly another filmy take on the subject without any informative, educative or enlightening vision to portray. (Review By Bobby Sing).

BEIIMAAN LOVE - This should ideally be one of the last projects of Sunny Leone's India Tour before slipping into the avoidable new-age HUMA KHAN mode. (Review by Bobby Sing).

SAAT UCHAKKEY - Despite a mix of deliberate & natural acts along with lots of forced abuses, its still watchable and partially enjoyable too. (Review by Bobby Sing).

INFERNO (English) - Offers nothing fresh or exciting in a strictly routine or rather poor mystery thriller. [TTP (To The Point) Review by Bobby Sing].

LOCK (Punjabi) - An appreciable attempt from an honest & bold director who wished to break the set pattern of comedies but couldn't due to his evident limitations of a big star, producers and the fear of conservative Punjabi audience. (Review By Bobby Sing).

SHUTTER (Malayalam - 2012) (Movies To See Before You Die - Thriller/Drama).

MIRZYA - They killed MIRZA again after centuries, they just killed him once again like the betraying SAHIBA. (An unapologetic review by Bobby Sing).

TUTAK TUTAK TUTIYA - A surprisingly clean, comic-horror drama that keeps hanging between a below average & watchable film, yet again ruining two old cult Punjabi tracks. (Review By Bobby Sing).

GANDHI the film and paper planes flying in Chanakya theatre in Delhi. (Those Cherished Cinematic Moments : 2) - By Bobby Sing.

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October 26, 2016 Wednesday     


Based on the miraculous event witnessed by America on a cold morning of January 2009, when a US Airways flight had to make an emergency landing on the Hudson River instead of the nearest New York airport, SULLY is one of those rare exceptional films which makes you rethink about life and the unseen force behind it we preferably love to name and remember as THE GOD.
Moving into the must watch list of BTC for its excellence achieved, SULLY is realistically executed and has a very subtle, effective but ‘no overly dramatized’ presentation with no intention of sensationalizing the scary event for the obvious reasons. Becoming a perfect example of a film that strictly remains focused on the subject recreating the incident in a horrifying yet sensitive manner (with an excellent cinematography and sound) it takes you into the minds of its two main protagonists who were actually responsible for all those crucial decisions made in the nick of time, particularly the Captain Chesley “Sully” Sullenberger played by Tom Hanks.     
Though many might find the film not as exciting and explanatory as it ought to be, I would still love to strongly recommend SULLY to the readers for a few of my own reasons that you might not find in any of the film’s review or the usual write-ups.
First of all SULLY simply amazes me as a near-to-perfect project conceived and visualized by an extremely gifted creator living his eighth decade of life, when most of the human faculties are normally not at their best, making way for many physical and mental complexities moving towards the final destination. Directed by the 86 years old maverick CLINT EASTWOOD with an incredible vision, well-supported by his lead actor TOM HANKS of 60 with an splendid ease, SULLY reminded me of our own DEV ANAND, who though didn’t churn out any quality films at all (since the 80s), but still kept working right till the last day of his life at the age of 89 as desired.
Pointing towards probably the most precious gift for a person from the humble existence, Eastwood sets a fine example with his SULLY, making us realize that such gems are even possible at the age of 86.
Secondly, the film makes you recall a very popular saying in India as “Jaako Raakhey Saaiyan, Maar Sakey Na Koye” – meaning “If that Supreme Power has decided to save a soul, then nothing in this universe can cause it any harm (not even a plane crash)”. And what better example can be there to prove this truthful saying. A plane hits into a big flock of geese only 3 minutes post its take-off resulting in failure of both the engines, an emergency landing needs to be made anywhere around with no time to reach the nearest airport, the pilot decides to make it land on the Hudson river in an extremely cold weather, the whole crash happens in just a few minutes and yet not even a single casualty is there with all the 155 people on board rescued well in time by the ground forces coming for an immediate help.
Now what better example can be given to prove the Indian saying?
Thirdly, this one incident makes it pretty clear to the entire world led by the amazing technical advancements, that any kind of man-made machine CANNOT be compared to a human mind at all, especially in those life threatening decisive moments of crises when some immediate decisions need to be made within a few seconds without caring about what’s actually written in the prescribed manuals by the experts.
The film and its real-life case clearly proves the supremacy of a human mind over the machine quite evidently.
Lastly but most importantly, SULLY reminds us about a brutally alarming truth that along with these amazingly helpful developments enhancing our living standards, we certainly have lost one important quality of life and that’s the ability of TRUSTING the other, without any hidden doubts.
The fact is boldly visible in the film when despite the unbelievable miraculous landing on a river saving each and every life on the plane by its two pilots, they are still not trusted by the authorities and made to face an insulting trial investigating the actual happenings of the crash instead of honouring them for the same.
Perhaps the whole world has changed post the 9/11 and we have lost the ability to ‘Trust’ valuing ‘Profit and Loss’ a lot more than the real valuable things.
Anyway moving over the sad truth, do watch SULLY at the earliest as the film does have the power to reinstate your faith in both GOD and CINEMA together asking for a standing ovation. Among the best scenes of the film is the one where a female hotel manager is called in to take care of the two Captains staying in the hotel. And seeing Captain Sully, she hurriedly comes forward to hug him with love saying an emotional ‘Thank you’ straight from the heart.
Interestingly the film did remind me of another ‘not-to-be-missed’ classic titled FLIGHT (2012) featuring Danzel Washington as the saviour captain caught in a similar situation. FLIGHT is also included in the ‘Must Watch List’ at the site. So do try to watch both….. if possible.
Directed by Clint Eastwood
Starring : Tom Hanks, Aaron Eckhart and more.
Tags : Sully Movie Review by Bobby Sing, Sully Film Review by Bobby Sing at BTC, New English Film Reviews by Bobby Sing at bobbtalkscinema.com, Must See Movies List by Bobby Sing at bobbytalkscinema.com, Denzel Washington, Don Cheadle, Not To Be Missed Movies List by Bobby Sing, Worth Watching Movies List at bobbytalkscinema.com
23 October 2016 / bobbysing /
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When a film is planned specifically talking about an ugly communal chapter of our history post three long decades, then the makers are ideally expected to come-up with something relevant to say, adding into the already known, reaching out the younger audience in particular born in the years after. Moreover an important subject like this essentially needs to be handled with an exceptional extra-care without provoking or misinforming the present generation of the actual violent events, maintaining the peace & harmony.
Unfortunately 31st OCTOBER doesn’t turn out to any important film as mentioned above. On the contrary it neither serves any purpose of information nor is willing to make any strong convincing comment on that particular time period ruining the opportunity given. In fact it’s nothing different form just another routine Friday movie simply interested on focusing on its lead couple’s miraculous (filmy) escape from the attacking goons and therefore deserves no brownie points for its chosen subject rudely screwed through its ineffective, feeble and predictable onscreen portrayal.
In other words, spending a good 25 minutes on the casual build-up in its 102 minutes of duration, 31st OCTOBER is a too simple film made on a too complicated and horrifying subject talking about those ghastly attacks on Sikhs beginning from the evening of 31st October (around AIIMS, South Delhi) and continuing till the next 3 days in the city, putting the entire nation to shame.
As a matter of fact, it’s not only a simple film but also a poorly conceived, written and researched project which marginally works only due to the emotions involved in a few sequences in its second half. The film neither has any fresh angle to reveal nor has any exceptional vision to convey the history to the younger generation of the country born after the mid-80s.
In short there seems to be no other purpose or vision behind the making of this film except a personal attachment with its subject of its emotional producers, who most probably wished to make a film on ‘Delhi-84’ as some kind of duty to be fulfilled towards their own people and community.
However I seriously wish they could find a better, mature and knowledgeable team researching, writing and making the project, performing much more than just some professionals hired for a job.
Anyway without going into the details of those ‘ugly days’, would like to mention why 31st OCTOBER fails to reach the level of even an average project made on a still burning religion-based subject unexpectedly.
A. The film doesn’t work as it tries to present everything in a typically filmy style, adding (sad) songs right in the middle of all tension-filled sequences along with many clichéd characters and last minute miraculous escapes of the hero that don’t appear to be realistic or natural from any angle. In fact throughout the film you just feel like watching a highly dramatized filmy version of the terrifying events far away from anything close to the scary actual happenings. 
B. Adding a few look-alike faces like a one with black glasses (pointing towards H. K. L. Bhagat) and another with French-cut beard (reminding you of Jagdish Tytler), the makers try to sensationalize the issue without incorporating any noticeable brave sequence or some powerful revealing dialogues. Probably it was all done keeping in mind ‘The Censors’. But if you are fearfully making an attempt with such obvious concerns in mind then there is no use of taking up a subject like ‘Delhi-84’, delivering an ineffective and weak film unclearly and timidly pointing towards ‘the justice promised’, when even generations have changed of those hundreds of unfortunate, victim families.
C. In the entire film the director keeps trying to recreate the scenario within his limited budget using a group of 20-25 men roaming around shoddily designed sets (unlike Delhi), generating a feeling of nothing significant or drastic happening on screen like a typical B-grade Hindi film showing some road-side killings. A few of the goons also have big scars on their faces holding a sword just like any trashy movie.
And this only remains the biggest drawback of 31st OCTOBER unintentionally misguiding the young viewers about the actual magnitude of the brutal killings, loots and shameful sins committed on the Delhi streets in those 3 unforgettable days of November 84.
In cinematic terms, if budget constraint is there then you ought to find a different symbolic way of recreating the similar tension and bloodbath on screen justifying the crucial subject. But you cannot and should not conceive those sequences with only a group of 20-25 people attacking the unaware Sikhs, when in reality there were hundreds and thousands of well instructed men coming in trucks from ‘God knows where’ to attack the already known addresses and shops in the market.
In more clear words, either you show it ‘as it is’ on screen in ‘a similar measure’ or try to convey the same through some other intelligent means as seen in film AMU. But its nothing less than a criminal and unforgivable mistake portraying the unbelievable SCALE of killings with such a miniscule vision, misguiding and wrongly informing the youngsters painting a relatively smaller picture.
Explaining it further, if you are portraying an inhuman genocide of more than 4000 people on roads (in the capital of a country) including men, women and small kids burned and thrown away like dead animals on roads to be later picked up as trash, then the viewer should strictly get the same solid impression in mind or else there is no use of making it, wasting both your time and money.
D. As said earlier, if you wish to educate and enlighten the present generation about those black days of our history, then just poorly showing the unexpected political assassination and its after effects doesn’t work, unless you tell them at least something about the backdrop of ‘Blue Star Operation’ and more, may be, with some still pictures and a voice-over mentioning the specific sequence, which is nowhere to be found in the film confirming its unclear vision or purpose.
Coming to the research, writing and art direction of the film – Don’t know how many people with personal experience of those days were involved in the film’s research and art direction. But it was quite disappointingly done, unable to provide any kind of realistic touch to the movie hampering its overall impact. 
E. Was surprised to see Tilak Nagar area of Delhi and its lanes in the year 1984, presented as a remote village of Punjab with heritage kind of buildings used for living. In reality the region never looked that way in 1984 at all (as experienced personally).
F. There was a difference between DTC buses and private buses running under permit in Delhi at that time wherein DTC buses were owned by the government having a particular look and colour different from the private ones. But a sequence still shows the goons spotting a DTC bus owned by a Sikh setting it on a fire immediately.
G. The writers give Vir Das and Soha Ali Khan a mixed language to speak with words from both Hindi and Punjabi merged together, which becomes the major reason why they both always look like uncomfortable playing the given role of a Sikh couple rendering a weird kind of lingo.
H. In one of its scenes mentioning the choice of religion, a character says,
“I was also a clean shaven boy like you, but my Sikh uncle always used to tease me. So I also kept long hair and beard ……. became a Sardar……What big deal?”
In exact spoken words he says, 
“Bas Rakh Li Kesh Aur Daadhi….. Aur Ban Gaye Sardar..... Ki Pharak Penda Ae”
Now what kind of pathetic writing was that, I honestly cannot even comment upon!
I. Further tackling the religious aspect on screen, in one of its tension filled sequence Vir Das looks upwards towards the Almighty and says “Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh” asking for help.
Here although at personal level one might say anything to that Supreme Power. But in a film, the expression should have been either “Waheguru Mehar Karin” or simply “Satnam Waheguru” asking for a timely help looking towards the sky.
Because probably the writers were not aware that actually “Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh” is a phrase to be used as a mutual greeting by two Sikhs meeting each other like an official salutation. Yes, “Sat Sri Akal” is also used as a common phrase by all, but the more prescribed way of salutation is “Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh” in Sikh religious circles (strangely used in the film while addressing the supreme power!)
J. At a fewplaces a complete dialogue has been muted by the Censors and something else has been dubbed in a hurry. But in one particular dialogue the word ‘Hindu’ gets muted abruptly, whereas there wasn’t anything objectionable in the dialogue expressing the reality. And the line is,
“Sikh Kaum, Hindu Dharam Ki Raksha Ke Liye Bani Thi”  (with Hindu muted).
Perhaps now everyone is willing to rewrite the known proven truths of our ‘collective-proud-past’ for their own vested interests.
K. Surprisingly the film has been directed by Shivaji Lotan Patil, a National Award winning Marathi film director who probably wasn’t aware of the scale of killings seen on the those four days starting from 31st October, 1984. But even if one gives him the benefit of doubt, the film’s overall feel, the below average performances, the irritating background score and the forced songs thrown right in between the tense sequences isn’t anything even close to the expected results from a National award winning director to be straight.
In all no doubt there must have been noble intentions behind the project of its concerning producers. But the end product cannot even be recommended lacking the desired depth and vision representing 31st October. Sadly, sincerity and honesty alone cannot make a solid, thought provoking film reaching its target audience.
Rating : 1.5 / 5
Apart from the Review:
For friends really interested in knowing more about those times and the brutal, unspeakable killings in the capital itself. Please watch AMU (2005) directed by Shonali Bose, which till date remains the most appreciable and thought provoking film made on the issue and that too by a non-punjabi director understanding the pain, anger and the loss in a much better and relatable manner.
AMU is also included in Movies To See Before You Die List at BTC. And here is the link to the write-up for all new friendly readers.
One of the film's sequences also shows a school bus of "Guru Harkrishan Public School" coming for picking up the kids, where I used to study in that period in the Vasant Vihar branch. And what a big mob did to our school on the 1st of November 1984, will probably be there in details soon in one of my next write-ups.

Concluding it with an important observation,

reading many online reviews and write-ups I found that almost every critic/correspondent/interviewer has used the word SIKH RIOTS of 1984 in his or her article on the film 31st October released this Friday……… which means that even the educated need to be re-taught the actual meaning or definition of the word RIOTS.
It was not SIKH RIOTS dear respected, knowledgeable writer friends...... it was SIKH GENOCIDE.
So now onwards whenever you read, discuss or talk about those four dark days beginning from the evening of 31st October 1984 till the 3rd November, please ensure that they are referred to as SIKH GENOCIDE and not SIKH RIOTS in particular, since there were no two sides clashing with each other as per the definition of the word RIOT.

There was only one side on the receiving end…………….. still waiting for the JUSTICE to be served…….. even after 32 years.
Tags : 31st October Review by Bobby Sing, 31st October Film Review by Bobby Sing, Sikh Riots-Genocide Debate, Hindi film inspited from Real life events, 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
21 October 2016 / bobbysing /
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As mentioned in the earlier reviews of films featuring the infamous Sunny Leone, this is yet another project that seems to have begun once the lady said YES to its producers doing the legal signings. And who needs a fresh story or some great actors when Sunny is ready to be there in almost every frame of the film and its sensuously shot songs delivering the much obvious.
Interestingly here the most amazing and honest fact remains that in these kind of projects both the makers as well as the actors very well know that why this film is being made and what are they supposed to do in it, without worrying about anything else in terms of performance, talent, cinema or creative satisfaction to be straight.
So in BEIIMAAN LOVE, we once again have the same rotten storyline of a bet between the friends to win over a beautiful girl, a mother with an undisclosed shameful past, a guilt-ridden suicide thrown as a twist, a second marriage arranged with a questionably modern girl (and a father too) and then the revenge planned by the victim heading towards a supposedly innovative but pretty badly executed climax contributing nothing.
Beginning with a song right away focusing on Sunny - the only ‘so called’ asset of the film, BEIIMAAN LOVE is full of ridiculous dialogues, painfully clichéd sequences and many poor performances featuring Rajneish Duggal in the male lead and Sunny’s real-life husband Daniel Weber too (reminding you of the 90s when Bhagyashree used to force the producers to take her husband Himalaya as the hero of her every film).
In short there is no filmmaking here to be straight and ‘the product’ is not even enjoyable for the ones looking for some sleazy kind of entertainment in return of their money spent. In fact this should ideally be one of the last few projects of Sunny Leone’s India tour and she will have to take a decision before she slips into the mode of becoming the new-age HUMA KHAN signing such pathetic ventures.
Overall if EK PAHELI LEELA can be rated Sunny’s best ‘Hindi’ film till date, BEIIMAAN LOVE can easily be called the worst and she will have to seriously think of something exceptionally great to make a comeback from here.
Rating : 0.5 / 5 (And that too strictly for its few above average songs with some catchy beats)
Tags : Beiimaan Love Review by Bobby Sing, Beiimman Love Film Review by Bobby Sing, Sunny Leone in Hindi Films, Best and Worst Hindi film of Sunny Leone, 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
17 October 2016 / bobbysing /
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