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.


HAPPY BHAG JAYEGI - A below average, feel good romantic comedy made on a repetitive predictable plot, once again trying to encash PAKISTAN as a comic element. (Review By Bobby Sing).

The inspirations behind SWADES (2004), including a '90s TV series where the director himself played the role of SRK. - By Bobby Sing (BTC Exclusive) (Did You Know - 87).

RUSTOM - Where the first half presents the real life case sensibly, the second half purposefully uses it as a spoof, resulting in a one-time watch crime drama that should have been just between Akshay and Pavan alone. (Review By Bobby Sing).

MOHENJO DARO - Its criminal to choose & agree to this kind of poor script for such a scale, investment and collective efforts by all. (Review By Bobby Sing).

GELO (Punjabi) - Despite its visible shortcomings, this is an appreciable attempt reviving the rich Punjabi literature & its inspiringly bold vision, especially for the young viewers. (Review by Bobby Sing).

BUDHIA SINGH BORN TO WIN - A well-made film on an amazing real life story that leaves you with a severe shock & many unanswered questions in mind raising an important debate. (Review By Bobby Sing).

FEVER - An overstretched thriller that stresses more on long conversations and steamy scenes than its mystery element. (Review By Bobby Sing).

THE LEGEND OF MICHAEL MISHRA - Once again a weird film forcing you to think that how such projects get approved and then made too without any alarm raised in time. (Review by Bobby Sing).

CHAUTHI KOOT (Punjabi) - A perfect example of cinematic art of storytelling with a thoughtful depiction of the dark times in Punjab, without any typical provocative inclusions or the usual biased stuff. (An overview by Bobby Sing).

The smart move of presenting old cult compositions as fresh Punjabi film songs to the unaware viewers. (A BTC Exclusive by Bobby Sing).

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August 27, 2016 Saturday     
If a project doesn’t have anything fresh to offer in terms of storyline or concept then the only thing that can work is an outstanding execution forcing the viewers to forget about the clichés and just enjoy all similar ‘seen before’ sequences in a different or novel manner.
Unfortunately the above cannot be said about this week’s HAPPY BHAG JAYEGI as the film doesn’t turn out to be any great laugh riot or a fine entertainer revolving around a familiar ‘border-crossing’ subject that was recently seen in FILMISTAN (2014), WELCOME TO KARACHI (2015) and SARABJIT (2016) too (though based on a sad, tragic real life account of a poor victim).
Coming straight to the point, HAPPY BHAG JAYEGI isn’t any badly made or unbearable movie to be honest. But it isn’t any highly entertaining or a great laugh riot either, contrary to the impression created by its wisely cut trailers featuring the most enjoyable scenes.
Giving the director his deserving due, this is certainly a much better attempt by Mudassar Aziz in comparison to his DULHA MIL GAYA released in 2010. Mudassar purposefully keeps it light and bright without including any drama or heavy emotional moments. But that is exactly the reason why every relationship seems to be so superficial and unconvincing on screen without any emotional depth. On the other hand he does score some positive points by not allowing any jingoism or unnecessary political comments in its various sequences happening in Pakistan.
Produced by Anand L. Rai, the film has some big similarities with the characters seen in his TANU WEDS MANU that might be unintentional. But revolving around a runaway bride, a few sequences strongly remind you of films such as JAB WE MET (its over talkative Punjabi girl Geet), SHUDDH DESI ROMANCE (its opening moments) and more.
Beginning on an impressive note with kids playing cricket in the locality, a Punjabi family celebrating their pre-marriage function introducing the would-be couple and the bride running away shocking them all, HAPPY BHAG JAYEGI actually works fines as a decent, average entertainer till intermission mainly due to some well written dialogues & sincere performances bringing in the timely smiles.
However the way writer-director tries to make you laugh with all casual, forced sequences in the second half frankly derails the fine progression unexpectedly and the film turns into a routine, repetitive fair ruining a potential base. As a result all you get to see in the second half are the usual mad chases, a silly kidnapping, everyone crossing the border without any hassles, unrequired complications and a laughable presentation of police and politicians in Pakistan treating them as some silly comedians.
For instance, a supposedly funny sequence over the tea (post intermission) clearly reveals the difference between a naturally conceived comic scene and a forcibly created artificial one by the writer. Further a Hindu marriage sequence involving a disguised Pandit in a big political event organized by a known Pakistani politician in Pakistan itself comes as an amazingly laughable insertion before the obvious climax.
Surprisingly in a film titled HAPPY BHAG JAYEGI, Happy actually vanishes for a good amount of time in the middle with the focus shifting to all other characters. And that was really strange to notice since the story was supposed to be of Happy and not of Abhay Deol or others to be precise. In the technical department both the cinematography and the background score try hard but are not able to lift up the film due to a completely unexciting second half. Using the short versions of its few songs playing in the backdrop, the director doesn’t let them hamper the pace. But there still isn’t any great track that forces you to search for the song or look for its complete original soundtrack online. 
Playing the lead role Diana Penty returns to the screen after a gap of four years post COCKTAIL (2012), but her act isn’t anything superior than what we had earlier seen in her first film. No doubt she tries her best as the free spirited chatterbox  Punjabi girl, yet the faulty accent and a confused focused of the script doesn’t let her outshine her previous performance to be honest. On the cost of being harsh, though she looks great on screen in both western and Indian attires having an adorable smile, but that magnetic charm still isn’t there that can justify three men falling for her in India as well as in Pakistan.
Both Abhay Deol and Ali Fazal perform their given roles with a natural ease and the same can be said about the Pakistani debutant Momal Sheikh along with the veteran Jawed Sheikh. However Kanwaljeet is just okay playing the ‘not-so-disturbed’ father of a young runaway bride who has somehow reached Lahore. In other words, the two actors who actually contribute the most are Jimmy Sheirgill and Piyush Mishra offering some fine enjoyable moments in their individual scenes. Interestingly where I felt sorry to see Jimmy yet again playing a character who always loses the girl in the end with a painful smile, it was great to see Piyush’s fabulous portrayal of a Pakistani cop with a fine diction of Urdu language and an impressive comic timing (though the multi-talented actor always performs remaining so close to the thin line of overdoing it.)
Overall with a much better first half, HAPPY BHAG JAYEGI strictly remains a below average, feel good rom-com made on a repetitive, predictable plot that is certainly going to be more enjoyable if seen on a TV channel without spending a heavy amount on the tickets making some extra effort to go and visit the multiplexes.
Rating : 2 / 5
Tags : Haooy Bhag Jayegi Review by Bobby Sing, Happy Bhag Jayegi Movie Review by Bobby Sing, Inspired Movies, Similar Movies, Runaway Bride Movies, 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
19 August 2016 / bobbysing /
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Though SWADES (2004) was not a major box office charmer as per the expectations raised, yet it successfully won hearts and is widely considered as one of the finest works of three creative men namely, Ashutosh Govariker, Shah Rukh Khan and A. R. Rahman.
Apart from its heartwarming subject, lead performance and a melodious soundtrack, another contributor who silently left a mark on almost every single viewer watching the film remained Gayatri Joshi, who looked gorgeous in her first and only appearance as an effortless actress playing the role of Geeta. In fact such was the impact of her adorable act that the girl and her only film appearance is still remembered as one of those most lovable performances by many Hindi cinema enthusiasts including myself.
Receiving widespread critical acclaim, SWADES was also regarded as one of the finest films of the decade and along with CHAKK DE INDIA is often quoted among the career best performances of Shah Rukh Khan in an off-beat experimental film, other than his more famous ventures.
However not many are aware of the fact that the basic idea of its storyline or rather the exact idea of its major content came from a TV series aired at ZEE TV titled “Yule Love Stories” in the year 1993-95. And you are sure to get amazed reading the following pointers revealing the specific references taken from the two particular episodes of the series titled VAAPSI.
A. The director Ashutosh Gowariker himself played the character of a foreign returned young man in the serial that was enacted by SRK in SWADES using the same name as Mohan Bhargav.
B. In the serial too, Mohan first visits an old age home to meet his Kaveri Amma (the name remains the same in the film), but finds that she had already left the place a couple of years back and is now living in a small village with her young grand-daughter.
Yule Vapsi
C. Next there is the book shop sequence as seen in the film where Mohan agrees to sit behind the counter for a while on a request made by his owner friend. A customer steps on the books, a girl confronts him pointing out his mistake, Mohan watches them both, the girl brings a lot of books to the counter, keeps telling the right total while Mohan is calculating and then forgets to collect the change before leaving.
D. Post the book shop sequence, the lavish caravan features in the serial too and Mohan travels in it to the village Kaveri Amma is supposed to be living.
E. He reaches there and surprises Kaveri Amma exactly in the same manner as Shah Rukh Khan greets her in the film and then meets Geeta - the girl he had earlier met in the bookshop. (Again having the same name as used in the film)
Yule VapsiF. The story keeps proceeding on the similar lines and among other exactly identical scenes (as seen in the film) we have Mohan living in the caravan itself, an innocent postman/postmaster getting confused over the unknown inventions like FAX (it gets converted to E-mail in the film), Geeta angrily talking to Mohan while he is taking a bath, Mohan visiting the school and sitting in Geeta’s class as a student, his confession of love made in the classroom itself (standing next to the blackboard) and then both Geeta and Kaveri Amma not agreeing on leaving the village to get settled abroad.
G. However in the serial it all ends when instead of flying back Ashutosh decides to stay in the village along with Geeta and Kaveri Amma.
H. Considering the rural environment, amazingly even the house of Kaveri Amma in the serial reminds you of a similar one seen in SWADES and if I am not wrong then even after a gap of almost a decade, it’s the same actress (Kishori Ballal) playing Kaveri Amma in the film too who actually enriched the serial with an immensely likable warmth and natural ease.
Hence a major part of SWADES more or less remained exactly identical to the storyline and execution of these two-episodes of the series titled VAAPSI produced by Odyssey Video Communications Ltd. for Zee TV. Unfortunately the recently uploaded episodes (at Zee's OZEE app and website) don't have any credit details as such but according to an unconfirmed information available at a link it was Anand Subramanium who directed the two episodes in the mid 90s. Interestingly in case of the film SWADES, the credit of Story has been given to M. G. Sathya & Ashutosh Gowariker whereas Screenplay has been credited to only Ashutosh Gowariker.
Coming to the final section of the film related with the problem of electricity in the village, it was highly inspired from a real life incident when a NRI couple returning from abroad actually built a power generating unit in a village of Maharashtra.
The two social activists were Ravi Kuchimanchi and Aravinda Pillalamarri who returned to India with a mission to serve the country and through the collective efforts of the local villagers and other social organisations (Narmada Bachao Aandolan) were able to build a small power generating unit in the village of Bilgaon, Maharashtra in 2003. The successful initiative soon became a benchmark in the field of rural development and gained even more popularity around the states post the film’s release in 2004.
But unfortunately three years later in 2006, an unexpected flood washed away the innovative, inspiring project coming as a big blow to the villagers and the entire region again went back into the same decades old forgotten era of the ugly darkness.
As per the latest news reports, the project lies abandoned today due to various reasons including lack of water-flow in the river, no revival initiative by the state authorities and the usual hiccups. (Details of which can be read in the links shared towards the end of the write-up)
Among the other worth mentioning features of this new age classic:
1. The film begins with the quote of “Mahatma Gandhi” and interestingly its lead actor is also named as Mohan, most probably inspired from the real name of Gandhi as ‘Mohandas’. And the worth contemplating quote is,
“Hesitating to act because the whole vision might not be achieved, or because others do not share it, is an attitude that only hinders progress”
2. The Opening titles also mention a book "BAPU KUTI: Journey In The Rediscovery of Gandhi" by Rajni Bakshi as an inspiration, since it’s about the people who courageously left their respective corporate careers only to work for the community following the principles of Mahatma Gandhi.
And you can also spot the book lying on the desk in the scene, when Shah Rukh Khan is preparing a carry bag for Gayatri in the book shop.
3. Beginning with the sequences of SRK working in NASA, SWADES is the first Indian film to be shot in the premises of NASA Research Centre and the project SRK is working upon in the film is also an actual NASA project as reported. (The opening credits duly thank the Centre in details.)
4. The soundtrack of the film has a unique instrumental version of the song “Yeh Jo Des Hai Mera” with the lead melody played by a Shehnai, a short phrase of the same melody repeated throughout and a continuous chorus kind of sound that seems to be clipped from another track of the album (quite innovatively). Certainly an exceptional attempt made by A. R. Rahman that actually becomes a major highlight of the music album, probably being the only official instrumental version of a film song using the Shehnai.   
5. Lastly in another track “Pal Pal Hai Bhari” where the act of Ramleela is being staged in the second half of the film, one of the male voices singing the song is of director Ashutosh Govariker himself.
No doubt with such interesting lesser known features SWADES has a lot that can truly inspire many young creative minds as a worth watching new-age classic of Hindi Cinema.  
© Bobby Sing (Harpreet) – Bobbytalkscinema.com
17th August 2016
(With A Big Thanks to CHRIS for reminding me of the subject in his valuable comment) 

Useful links for interested readers:
Tags : Swades Inspirations, Swades inspird from Yule Love Stories, Swades inspired from Zee TV Serial, Swades inspired from real life inspired event at Bilgaon Maharashtra, Swades and real life project at Bilgaon, Swades and Shehnai song, Swades Bapu Kuti, Swades and Mahatma Gandhi, Swades and NASA, Swades as a must watch inspiring film.
17 August 2016 / bobbysing /
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Bringing back a more than fifty years old ‘trend changing’ famous case of 1959, RUSTOM is a cunningly made film that purposefully exploits the controversial proceedings and tries to please its majority of unconcerned or unaware viewers turning it into a comic one.
Surprisingly a much better attempt by director Tinu Suresh Desai post his forgettable 1920 LONDON, the film has been written (screenplay, story and dialogues) by Vipul K. Rawal and together the writer-director present a completely Bollywoodish interpretation targeting the galleries, instead of any praiseworthy, brave or enlightening film about our judicial past. Further working on the present Hit image of Akshay Kumar, they also spice it up with a deliberately added ‘Patriotic Angle’ too, which actually looks foolish and spoils the entire spirit of the film taking it far away from a thought provoking case of infidelity, raising many important questions of ‘Gender Bias’ in our society.
Sharing my thoughts while watching the film in the theatre, at first I was in a good mood of appreciating RUSTOM till interval, as the first half sensibly represents the real life inspired incidents re-discovering a ‘landmark case’ of the late 50s focusing on its key characters. Yes, the director takes too long to establish relationships in this very first hour that could have been avoided. Yet the film does have some engaging moments to offer (before interval) and it doesn’t really disappoint despite the extra length.
However what happens post intermission as a court room drama simply reduces the film to a silly or rather dumb presentation of the case, where instead of exploring the emotional state of its various characters, the director desperately tries to win over the viewers with all cheap tactics turning the opposition lawyer (Sachin Khedekar), the witness (Usha Nadkarni), the newspaper editor (Kumud Sharma) and even the honorable judge (Anang Desai) into mere comedians with dialogues specially written to simply please the masses.
As a result a worth contemplating case gets sacrificed for a forcibly added heroism, a pointless angle of corruption and an unrelated spirit of patriotism just thrown in to encash the timely release and nothing else. In fact a few insertions are so illogical and hilarious dealing with the corrupt officers, that you wonder how the writers actually got those approved, like the 5 crore transfer in the Swiss account (deposited for what?), confirmation of which is even given by passing over a Receipt making it completely official.
In specific words, the second half completely shattered my excitement to watch a good film and within minutes I forgot all I could appreciate in its first half. But at the same time, I also noticed people in the theater enjoying the film as An Entertaining Courtroom Comedy instead of An Intense Crime Drama to be precise. And I really have no idea why Neeraj Pandey allowed such a mindless twist given to a sensitive track in a film that was doing just fine before the intermission focusing on the right elements.
Coming to the technical department, the art director tries too hard to present the gone era that looks lousy and highly artificial except the eye-catching costumes. The cinematography and background score keeps adding to this ‘Plastic Feel’ of the film throughout and the editor makes no effort to make it sharp and crisp right till the end. Wisely not including the songs just for the sake of it, the soundtrack does have a couple of above average numbers used in the beginning, but again its not anything highly melodious or compelling to take back home.
Continuing with his ‘intelligently chosen’ image of a new-age ‘Bharat Kumar’, Akshay yet again delivers an impressive ‘no smiling’ performance in RUSTOM playing a Naval Officer for the first time. But despite presenting him in a pleasing navy uniform defending his own case in the court, the film doesn’t prove to be any patriotic project at all giving you a clear picture. So this ‘patriotism feel’ is all forced and unreal, unlike his last attempts as HOLIDAY, BABY and AIRLIFT stressing on this major feature. Besides, his character also has nothing to do with the Parsi community in the film other than the name given.
Among the rest, Ileana D'Cruz as Akshay’s wife is decent and so is Arjan Bajwa playing the victim playboy. Esha Gupta gets loud in almost her every single scene as the vamp and Kumud Sharma looks like a comedian in the role of a clever, opportunist newspaper editor interested in only his ‘copies sold’. However the one person who truly lifts up the film in the first half is none other than the ever dependable Pavan Malhotra, shining bright as the clever, investigating officer Inspector Lobo. And how I wish RUSTOM was made focusing on the clash between Akshay and Pavan alone woven around the infamous case.
In short, what we get to see in the tediously long RUSTOM is a strong potential base of a ‘significant court case’ converted into a comedy, making no effort to enlighten the viewers about how it became a reason for ‘the landmark change’ in the judicial system of our country ‘abolishing the jury system’. As a matter of fact the way a jury is horribly presented like a bunch of idiots in the film clearly reveals that the producer/director actually had NO intentions to make any ‘important film’ and just wished to deliver another decently earning ‘Casual public pleasing’ movie using this specific case.
Having said that, the other bitter truth about RUSTOM remains that in spite of mocking at the crucial court case of the past, the film still might get liked by a majority of viewers who actually don’t know anything about the particular case and may be are not interested in it too due to their own reasons.
Consequently where it may not work for the section well aware of the controversial case, the film might successfully be a fine one time watch for others due to its typical filmy second half playing to the masses …….. pointing towards our social irony.
Nevertheless ending on a distinctive note, for a moment just think about the case and try to assume that,
What if it was the lady serving the county in one of our defense forces in the place of the husband?
A wife who picks up the gun and shoots the other woman thrice, having affair with her husband living alone while she was on duty serving the nation for a few months or may be years.
Now in such a case, will the lady be also looked upon as a strong positive personality doing the right thing as RUSTOM or she will be treated as a WITCH....... (wished to write the other word you very well know).
Just give it a thought and accept the cruel reality of our ‘gender biased’ society always thinking from a male's perspective.
Rating : 2.5 / 5
Note: Addressing the repetitive issue of ‘Unfair increase in ticket price by the Multiplexes’.
Though my site and write-ups might be too small in front of the big runners and my voice raised against this MULTIPLEX MAFIA also might not get heard or reach anywhere.
But what nobody can stop me from is deducting ONE STAR from every such film that takes ‘we the viewers’ for granted (in revolt). So a star goes from the rating of RUSTOM too since every big actor, director, production house and exhibitor is equally contributing in this sheer exploitation and willfully ignoring the issue over the last couple of years.
Final Rating : 2.5 – 1 = 1.5 / 5
Remembering Ajanta Art’s movie made in 1963.
The class act of Ashok Kumar and Moti Lal as the two lawyers in YEH RAASTE HAIN PYAR KE remains untouched and enjoyable even today when RUSTOM re-visits the same case after five long decades so irresponsibly.
(For more on the BIG LANDMARK CASE and the movies related to the same, do read BTC article clicking at the following heading)

Sunil Dutt's YEH RAASTE HAIN PYAR KE (1963), Gulzar's ACHANAK (1973) and the famous 'Nanavati Case' with the LAST JURY TRIAL in India.
Incidentally this write-up written in May 2014 also formed a chapter of my book DID YOU KNOW (Vol.1) published in Sep-Oct. 2014, much before RUSTOM was probably even conceived.
The book has 51 chapters of such interesting information about our Hindi Cinema and is available at all reputed online portals (Indian and International), links of which can be found at this single publisher’s page mentioned below:
Hope it proves to be a good read worthy of both your time and money spent with
Tags : Rustom Film Review by Bobby Sing, Rustom Movie Review By Bobby Sing, Real Life Inspired Hindi Film, Inspired Films, Court Room dramas in Hindi Film, Hindi Court Room Dramas, 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
13 August 2016 / bobbysing /
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