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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!

OH YAARA AINVAYI AINVAYI LUT GAYA (Punjabi) - Another below average film with only a few enjoyable moments provided by B. N. Sharma as the judge. (Review By Bobby Sing).

TANU WEDS MANU RETURNS - An unrealistic storyline made into a thoroughly enjoyable film with a great first half and spellbinding acts from Kangna, Deepak and Zeeshan. (Review By Bobby Sing).

It never happened before in more than three decades of my movie watching experience. (A must read for all true lovers of cinema - By Bobby Sing).

BOMBAY VELVET - Its as if a cliched 70's script is adapted to make a dark, classy but unappealing festival film only to be shown at Cannes and not to the Indian masses. (Review By Bobby Sing).

When an R. D. Burman film had no songs in it. (Did You Know - 85).

KUCH KUCH LOCHA HAI - A terrible comedy and a wrong choice made by Ram Kapoor as well as Sunny Leone. [To The Point (TTP) Review By Bobby Sing].

PIKU - Do watch it for the brilliant, enjoyable performances from every single person featuring in it. (Review By Bobby Sing).

SABKI BAJEGI BAND - An amateurish but disturbing, experimental attempt reminding you of a famous phrase - 'Ignorance is Bliss'. (Review By Bobby Sing).

GABBAR IS BACK - The intentions are noble but the content is all stale except the hospital sequence, few dialogues and two key performers. (Review By Bobby Sing).

KEVI RITE JAISH (Gujarati, 2012) - An enjoyable family entertainer teaching a crucial lesson to the youth about their 'impractical foreign dreams'. (Review By Bobby Sing).

 
 
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May 26, 2015 Tuesday     
Keeping the religion based films apart, at present the Punjabi cinema is having three kinds of filmmakers trying to woo the audience with their distinctive projects. Among these the most significant are the ones who are trying to find the long lost link between the rich literature of the region and its meaningful cinema, widely avoided by the audience considering as something too artistic. Second are those experienced mainstream filmmakers who have got the support of big stars and have also now understood the need of finding fresh subjects to be presented with the much desired novelty to the audience.
But sadly the third are those same old visibly confused makers who somehow still think that anything might work in the name of comedy by bringing in a known name from Mumbai featuring in a film based on some old Bollywood hit revolving around a clichéd rom-com formula. And in this big misconception they simply tend to forget that the people of Punjab are actually the same people who more regularly watch all Hindi movies widely released in the territory that is considered to be one of most important territories of Hindi films distribution.
Unfortunately OH YAARA AINVAYI AINVAYI LUT GAYA falls in this third category featuring Jassi Gill (a Hit Punjabi singer) and Gauhar Khan (of ROCKET SINGH and BIG BOSS fame) as the lead couple. And the storyline straight away reminds you of films like Shah Rukh’s CHALTE CHALTE (2003) with an added angle of divorce and court room drama. The film begins with a song as usual and then offers nothing engaging enough either in its treatment or performances till the intermission. The sequences range between amateurish and below average along with a few catchy songs. But it overall fails to make any kind of impact till we get to see the veteran B. N. Sharma in a few focused sequences of a courtroom in its second half.
In short, the only merit of the film remains the performance of B. N Sharma as the judge providing the much needed relief and enjoyable moments, whereas the film falls down to some weird levels of lows when suddenly Gauhar starts ‘meowing’ like a cat and a RAP song gets explained/performed within the court itself by both the lawyers and the judge himself. As the lead star, Jassi Gill tries hard to give a sincere performance in his badly written role but Gauhar has simply done this film for financial reasons and nothing else. Playing the two lawyers both Karamjit Anmol and Rana Ranbir remain wasted despite having immense capabilities to bring the house down with their witty one liners.
In the end, I would humbly like to address the Punjabi filmmaker/writers/directors about two extremely important departments where Punjabi films are lacking at this particular stage.
The first is the department of background score which shouldn’t be recorded so casually by only adding many comical keyboard sounds here and there to generate a deliberate laughter. And the other is the so careless choice of second supporting cast, i.e. the people, extras or friends of the lead, participating in many crucial scenes of the movie standing along the main characters. In other words we need to choose professional actors in this particular category too in order to present an impressive sequence on the screen and one just cannot cast anyone and everyone (from the relations or friend circle) in such small but visible roles, to get easily caught by even the common man sitting in the theater having his own long experience of watching cinema.
Moreover, specifically talking about OH YAARA AINVAYI AINVAYI LUT GAYA, if a director really wishes to oblige his passionate producer spending all the big money on such a decent budget project, then the most ideal way to do it is by giving him a great film in return, making him a proud producer both in front of the trade as well as the public. In fact that’s the only way to payback your producer resulting in a highly satisfying deal but not by giving him a small role in the film simply ignoring his limited capabilities to perform showering some false praises.
Rating : 1.5 / 5 (Including 1 just for B. N. Sharma alone as the entertaining judge.)
Tags : Oh Yaara Ainvaryi Ainvayi Lut Gaya Review By Bobby Sing, OYAALG Movie Review By Bobby Sing, Punjabi Film Reviews by Bobby Sing, Punjabi Cinema, Jassi Gill In Punjabi Films, New Punjabi Films Reviews at bobbytalkscinema.com, Punjabi films and stars, Punjabi Movie Reviews by Bobby Sing
 
 
23 May 2015 / bobbysing /
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Tanu Weds Manu ReturnsIn business terms, its pretty safe to make a hit film’s sequel with the same star-cast and an already established theme approved by the majority of audience. But then writing an almost perfect sequel taking the story forward, introducing many new twists and turns surpassing the original is nothing less than a herculean triumph achieved by a talented team. Thankfully TANU WEDS MANU RETURNS can easily be included in the category of those rare sequels that do not let their originals down in any sense. And for many the film might turn out to be one step ahead than its initial part too due to their own loved sequences and characters.
To give you an honest opinion, the film is not a flawless venture as per its unconventional or unrealistic storyline dealing with divorce and re-marriage (discussed later). But giving the makers their much deserving credit, it never lets you think about the missing logic or flaws due to a highly entertaining progression right from the word go. And thus emerges as a thoroughly enjoyable family entertainer for all age groups especially from the related regions of Kanpur, Haryana and Punjab.
Beginning with the complete song “Sun Sahiba Sun” from Raj Kapoor’s RAM TERI GANGA MAILI (1985) being played along the typical marriage video coverage visuals on the screen, it sets the mood brilliantly and then keeps serving many highly enjoyable sequences till the next one hour with a well-paced story advancement introducing the fresh settings. There are witty one liners, realistic portrayals of smaller towns, superb performances and full ‘paisa-vasool’ entertainment in this electrifying opening hour, till an English song comes in putting the first brakes in the momentum going so strong. In short, TWMR proves to be a sure shot winner in its first half and for this the major credit goes to its talented director Anand L Rai and his writer Himanshu Sharma conceiving it so beautifully with the help of their exceptional cast ensemble.
Post intermission the pleasant surprises continue to come for the next 30 minutes but then admittedly the pace drops mainly due to a few unwanted songs and further plot complexities weakening the overall progression. The Chandigarh sequences (the kidnap) do not turn out to be that convincing as expected, plus the climax doesn’t deliver any surprises walking on the same set pattern earlier seen in numerous hit Hindi films based on love triangles. Yet what keeps you purely undisturbed and engrossed is the film’s charming treatment, entertaining (hilarious) dialogues and simply outstanding performances from every single person giving you a good time in the theater without any heavy melodrama or emotional sequences (that was in fact the key feature of its original). The golden oldie “Ja Ja Ja Ja Bewafa” from AAR PAAR (1954) gets incorporated beautifully towards the end and also for the first time one gets to see so many Sikh characters dressed in typical Gharba attire holding dandia sticks.
Cinematography and background score successfully maintain the required mood throughout and costumes certainly attract your attention depicting the diverse cultures (especially the Haryanvi ones). Musically the songs look pretty fine while watching the film, but the soundtrack surely misses that one big upbeat number as enjoyed in its first part. Still “Banno” inspired from a folk traditional track works well and so does “Main Ghani Bawari Ho Gayi” sung by Jyoti Nooran along with the innovative “Move On” and “Old School Girl”.
Coming to the biggest merit of the film, its performances, no doubt this is another ‘eye opener’ performance from the powerhouse called Kangna Ranuat, who keeps on delivering pleasant surprises one after another (including the dud REVOLVER RANI). The girl once again comes up with an act (rather double act) that is sure going to give many more sleepless nights to all big female stars of our Hindi cinema unarguably. Particularly her well adapted dialogue delivery and local accent playing Datto (the Haryanvi athlete) deserves to be included in her career best performances till date after QUEEN. Kangna truly leads the film with her hypnotic twin acts played to perfection and one simply cannot imagine any other girl playing these two contrastingly difficult roles in the same film so impactfully.
However another undeniable truth remains that TANU WEDS MANU RETURNS would not have been the same without Deepal Dobriyal posing as the backbone of almost all enjoyable sequences with his quick (superbly written) one liners and amusing comments. For instance just watch out the scene where in Madhavan’s father breaks the tubelight and he is just sitting between the father-son (and mother too constantly speaking in the backdrop), or the sequence where he at once poses as a crippled person in front of his long-time Sikh friend in the marriage pandal.
Along with Kangna and Deepak the third strong pillar of TWMR is Mohammed Zeeshan Ayyub giving a terrific performance as the unwanted tenant of the house. And then are the adorably cool and underplayed acts of R. Madhavan and Jimmy Sheirgill as the two leading stars of the film looking for their respective girls. Swara Bhaskar in her small role of Tanu’s best friend plays her part well and the same can be said about the entire supporting cast adding their own impressive bits in the enjoyable proceedings.
Talking about the illogical flaws (many friends would not be interested in), the film actually begins on a quite weird note where the couple is strangely discussing their divorce case in front of a team of people/doctors of a mental asylum or a psychiatric hospital (Now what they have to do with the divorce cases?). Further a person (Madhavan) is taken in as a sick case and then taken out as a normal man from the mental asylum so easily, as if it was a hotel where Madhavan had simply checked in for just a few days.
Secondly, the whole script unrealistically revolves around the second marriage of the hero and he is even shown going for the ‘Saat Pheras’ in the climax, whereas he has not even taken an official divorce from his earlier wife making it all illegal, against the marriage act.
Thirdly, there is a huge mess in age difference in the characters where at one end both Madhavan and Jimmy Sheirgill are probably 30-35 in age (as per the storyline) and Datto, the girl they are willing to marry studies in a college, putting her in the age group of 18-20, resulting in a big age difference of about 12-15 years between the couple.
Fourthly, the song “Main Ghani Bawari Ho Gayi” is surprisingly sung by the foreign returned Tanu in the film whereas the Haryanvi language is supposed to be the forte of Datto who is getting married at that specific time of the film. So we have strange role reversals in terms of language in this particular song.
Lastly and most importantly at one end Datto’s uncle (Rajesh Sharma) gives us the message of women liberation in the film, talking about their higher education, freedom and equal status in the society. But on the other is eagerly willing to marry his ‘young athlete’ niece of mere 18-20 years to an over-aged (30-35 years old), yet to be divorced person just after a few days of interaction so childishly (following the same old sick mindset of our society).
Anyhow as I mentioned above, the flaws are certainly there but they also need to be ignored for a change to enjoy the big positive features of the film offering you a great time in the theater. I personally enjoyed it a lot watching in a single screen premises where the viewers love to participate whole heartedly with their comments, seetis, taalis and laughs. Plus just one line from the film made me love the project even better, when Jimmy annoyingly says about Madhavan,
“Yaar Kamaal Ke Aadmi Hain, Original Bhi Inhi Ko Chahiye aur Duplicate Bhi Yahi Rakhenge”
In fact that was the key line of the film giving you the exact gist of its basic, well written idea of a double role. 
In all if you loved watching TANU WEDS MANU, then chances are that you would love TANU WEDS MANU RETURNS even more. But in case you find the emotional factor missing in this worth watching sequel, then also it will not disappoint you at all with enough in store fulfilling the basic needs of a viewer, of getting thoroughly entertained. So do opt for it at the earliest and have a great time.
Rating : 3.5 + 0.5 / 5 (Including an additional 0.5 for the beautiful insertion of two golden songs of the past “Sun Sahiba Sun” and  “Ja Ja Ja Ja Bewafa” in the film)
Tags : Tanu Weds Manu Returns Review by Bobby Sing, TWMR Movie Review By Bobby Sing, Worth Watching Sequel, Kangna Best Performances, 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
 
 
22 May 2015 / bobbysing /
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Watching lesser known, meaningful or award winning movies in the film festivals organized by various authorities has been a part of my passionate love for cinema since decades. But what I experienced watching two Kannada films together in the National Film Festival 2015 held at Sri Fort Auditorium, New Delhi, was pleasantly the most satisfying as well as shocking experience till date, expressing it honestly.
HarivuGiving you a brief introduction of these gems, HARIVU (meaning The Flow) was the first film in the afternoon that began with some thoughtful sequences showcasing two fathers (one of them being a poor farmer) and their sons of different age groups in its initial sequences. But then, it ended leaving every single person sitting in the theatre with moist eyes and a crying heart that could be seen clearly as the lights came back. Admitting it frankly, I am still finding tough to pen down even a paragraph as HARIVU’s awaited review. Yet, would like to convey the power of this disturbing, cinematic classic in a line, that had the director Manso Re been there in the theater at the time of its screening, I would have certainly rushed to hug him, congratulating for making such an emotional masterpiece of our present times.
In honest words, it was not easy to recover from the upsetting impact of HARIVU in those few hours after its end credits stopped rolling. But since I didn’t wish to let go the opportunity of watching another award winning gem being played next, I entered the theater again to witness the second extraordinary effort made by the entire team with the title NANU AVANALLA AVALU (meaning I am not a He, but She).
Naanu-Avanalla-AvaluBased on the real life account of an artist/activist (Living Smile Vidya) who himself decided to live as a woman instead of a man, the film is simply a stunner in terms of performances, execution and realistic depiction of the tough, neglected life of eunuchs. In short the moment, its lead performer gets introduced as an adult, he grabs your complete attention strongly and never lets you take eyes off the screen to say the least. And while walking out of the theater, I was simply forced to think, that how could he even do all that in front of the camera with so much ease, perfection and conviction. No doubt the man got the Best Actor National award of the year as an actor representing Kannada Cinema (after a long time) quite deservingly.
Now coming to the most astonishing part of the write-up, watching these two amazing cinematic gems in a day was certainly a highly satisfying experience for a mad movie-buff like myself. Plus it was great to know that both the Kannada films had won prestigious awards at the 62n National Film Awards with HARIVU fetching ‘The Best Kannada Film’ and NANU AVANALLA AVALU getting ‘The Best Make Up Artist’ and the reputed ‘Best Actor Award’ given to Sanchari Vijay for his eye-opening, unbelievable kind of performance as a transgender.
Still somehow the gifted actor of the second film was the only one playing with my mind while walking back to the metro station in late hours of the evening, when suddenly I got the insight or the realization which I hadn’t got in the entire day while watching both the film’s together.
And the insight was that it was the same actor, yes, it was the same actor playing the lead role in both the films HARIVU as well as NANU AVANALLA AVALU and I truly couldn’t get that. I simply couldn’t recognize that the sad, silent, traumatized farmer of HARIVU was the same person playing the unbelievably realistic transgender or the eunuch in NANU AVANALLA AVALU too so effortlessly.
In other words, the actor par excellence Sanchari Vijay, truly deceived me with his two different acts in entirely contrasting films seen one after another and that had never happened before in more than three decades of my movie watching experience, accepting the clear defeat.
Yes, the two films being from an unknown language, region and cast might be the reason for this rare instance of missing the connecting link. But in all honesty Sanchari Vijay genuinely became the winner here with his two out of the world, distinctive performances getting deep into the skin of his given characters as very few artists have proved to be capable of.
Hence the actor admittedly taught me a good lesson of cinema that day since I simply couldn’t catch that the eunuch performing those typical claps and smiles on the screen was the same farmer of HARIVU fighting with his ill fate.
And for this both Sanchari Vijay and his directors (Manso Re & B. S. Lingdevaru) rightly deserve a big, respectable salute from Bobbytalkscinema.com indeed.
Cheers!
Tags : Never Before Cinematic Experience, Articles on Cinema by Bobby Sing at bobbytalkscinema.com. HARIVU and NANU AVANALLA AVALU, Kannasa Award Winning Films, National Award Winning Kannada Regional films, Worth Watching Cinema, Must Watch Indian Regional Cinema.
 
 
18 May 2015 / bobbysing /
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