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.


BAHUBALI 2 - It delivers larger than life cinema as a solid prequel & conclusion but the excellence seen in the final hour of its original remains missing. (Review by Bobby Sing).

NOOR - What a confused and lazy way to make a crime investigative thriller with neither thrills nor any investigations ending on a weird note. (Review By Bobby Sing).

This Friday's One Line Reviews by Bobby Sing for making your movie plans..

When my Career Consultancy didn't work for a few strangely concerned parents. - by Bobby Sing (Few Life Inspiring Words - 23).

FAST & FURIOUS 8 (English/Hindi) - Partially enjoyable, but strictly for the fans loving the action genre. [TTP (To The Point) Review By Bobby Sing].

MANJE BISTRE (Punjabi) - It seems Punjabi Cinema is now stuck with period dramas focusing on a 'Vyah Wala Ghar' as their latest repetitive obsession. (Review By Bobby Sing).

BEGUM JAAN (Hindi) / RAJKAHINI (Bengali) - Benegal's MANDI meets Manto's TOBA TEK SINGH and Mehta's MIRCH MASALA in this bold but over dramatic effort, sadly remaining too bland to be called an epic despite its noble intentions. (An overview by Bobby Sing).

The last 2 shows at REGAL and the one man behind the event, nobody knows about. (A detailed emotional and technical description by Bobby Sing).

MUKTI BHAWAN (Hotel Salvation) - Could have been a classic, but surely deserves to be seen for its subject, performances and Varanasi in particular. (Review by Bobby Sing).

LAALI KI SHAADI MEIN LAADDOO DEEWANA - Stay away from this marriage and its tiring absurdity. [TTP (To The Point) Review By Bobby Sing].

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May 01, 2017 Monday     

As mentioned in my reviews earlier, A Remake is the easiest way of making your way into the history of cinema, which also gives you a readymade script to start working upon instantly. But after watching this recent version of one of the most stylish and cult movies of Indian Cinema (which got this status in the later years after being a flop initially), I reached a new conclusion about this latest trend in Bollywood.

Remaking a cult movie featuring one of the current heart-throbs of the Industry is undoubtedly the safest business projects for a production company. It not only shows that the company is hesitant in making films on some new ideas but it also loudly announces that the makers are now quite over-confident to think that they can surely do something better from the original in their new version. And these two conclusions are clearly proved by Dharma Production’s present remake of their own 1990 project in the following way:
1. Karan Malhotra’s AGNEEPATH is not at all a remake of Mukul S. Anand’s classic in a true manner. It takes too many liberties, makes too many deletions and adds too many insertions showing the over-confidence of its makers mentioned above. Many important characters of the original (like of Mithun, Madhavi, Tinnu Anand, Goga Kapoor and more) are taken off completely and many new are added, out of which only one works in a fine way, thankfully. But due to these hugely heavy manipulations, the real impact of the original gets lost and is visible only in parts. So, actually Karan’s current new age version just takes the basic idea plus some of its key characters from the 1990 film and then gives you a completely different product all together.
2. But even then, despite of making it so distinctively, Dharma Production still publicized it as a Remake of AGNEEPATH in order to get all the business benefits associated with the buzz as stated above. In fact this publicity stunt of making a remake of the hugely popular 1990 film will help them in two ways. Firstly it will bring in the Big Initial as essentially required for such mega project in its first weekend. Plus, since it is not exactly A Remake, it will re-install the memories of the past and would boost the demand of their own original 1990 project in the Satellite and Home Video market once again. So it’s a perfect two way profitable business plan being played here by the producers.
Coming to the review of the movie, it’s a pretty easy task if one writes about the film as a remake of Mukul. S. Anand’s AGNEEPATH of 1990. Because frankly, from that point of view it fails miserably since it lacks the 4 essential aspects of its original. Now Mukul’s AGNEEPATH had a powerful Vijay Dinanath Chauhan with his own impeccable style (followed by the youngsters even today), a strong mother with her truthful ideals, a lovable nurse-wife understanding her husband perfectly and an honest police officer who had a mutually respectful relationship with Vijay.
Unfortunately none of these four elements are there in Karan Malhotra’s official remake. There is very less emphasis given to the mother-son track, the nurse- wife gets converted into a beauty parlour owner degrading the character itself and the police officer never really feels like a strong official ever. But most importantly there is no Vijay Dinanath Chauhan here in this 2012 AGNEEPATH unexpectedly. And that’s where I have certain reservations with this so called remake of the cult classic.
Mukul S. Anand conceived Vijay Dinanath Chauhan as a larger than life persona, a macho man who had both mercy for the needy and terror for the culprits in his decorated eyes. But here in Karan Malhotra’s version we have a young well built Boy playing Vijay and not the Man, Vijay Dinanath Chauhan as in the original.
Mukul’s Vijay was a powerful Don, who also happened to be the Messiah for the poor and was loved by everyone immensely due to his good deeds. He worked with the BAD but had a heart thinking for the poor and humanity as a whole. But I honestly couldn’t understand this new Vijay and his ideals which are all confusing. At one end Karan’s Vijay living in a chawl, is doing many charity works and running his own vans for the cause. But on the other hand he has no objections and is very keen in dealing in Drugs which in fact is the key factor ruining our society, particularly the people staying in the same chawls in which he is living. Now what kind of ideology is that, remains out of my understanding completely. Its like at one point he supplies the youngsters the Drugs and at another point sends a charitable van in order to get them to the hospital.  
Secondly as per the theme, Mandwa (the village) is Vijay’s dream and so are the people living there to whom he wants to tell the truth about his father. So he will never like to ruin Mandwa or its innocent people, who are now working under the rule of Kancha. But contradicting this basic fact of the theme, Vijay in the climax, bombs the whole Mandwa in this new version of AGNEEPATH, visibly killing so many harmless people living in their miserable conditions. Now here the most interesting point is that in the original its Kancha who bombs the whole Mandwa with a remote control but here in the new version its Vijay who bombs the whole Mandwa……which looks very strange on the screen and quite weird too.
Hence this can’t be the VIJAY DINANATH CHAUHAN as portrayed by Mukul S. Anand in his 1990 original. So here is a different Vijay for the current generation who is less powerful, more cunning and a little confused too moving towards his mission of getting ‘Mandwa’ back for her mother.  
Thirdly there are so many things missing in this so called Remake. The famous opening scene at the Police Station where the young Vijay gets transformed into Vijay Dinanath Chauhan saying his ‘Poora Naam’ is not there. The raw feel and tense chaos in the scenes where Vijay and his people attack the slums where his rivals have taken his sister is not the same. And even the fabulous mud-fight shot innovatively back then in 1990 is also missing.
Yes, Mukul’s AGNEEPATH had many elements and scenes inspired from various sources but despite of that it had a typical Mukul stamp all over it which can be understood by the viewers who are well familiar with his other works. The man was a genius when it came to execution and Karan also takes many references straight from the master itself. But still, if you want to know about the film as a remake – then honestly it reaches nowhere close and walks on to a different path of its own with a pinch of painful over-confidence.
Conversely, if you watch it as a fresh project (which only has some similarities with the Cult Classic AGNEEPATH) then all is not lost here. As an individual project, without comparing it with the original, the film has its own merits and is watchable too with a few avoidable glitches.
In short, the latest project of Dharma Productions called AGNEEPATH is a well crafted, polished product which can be termed brilliant as far as production value, cinematography and action is concerned. So technically it’s a winner in one way but fails miserably when it comes to characterizations except the one called Rauf Lala.
In a very surprising manner, there is no Vijay Dinanath Chauhan leaving an impact on his audience in this new AGNEEPATH. The present version is more a Rauf Lala and Kancha’s AGNEEPATH than Vijay Dinanath Chauhan’s. Therefore, its not Hrithik Roshan but Rishi Kapoor and Sanjay Dutt, who successfully leave their solid mark in the end, against the general expectations. In other words, this is a more darker, rude and cunning remake where an innocent girl gets raped by the students in a village school, minor girls are being sold openly like slaves in the market and the hero who happens to be a masses man is eagerly doing drugs business and charity activities together.
The film starts off in a great style and impresses hugely in its first 30 minutes till the young boy grows up into Hrithik Roshan. The spell binding start raises your expectations to a great extent which sadly remain unfulfilled to a large extent. The whole film does have a grand look with magnificent colourful backdrops enhancing the overall impact of the people performing on the screen. But still the cliché subject of the script having the ages old plot of a child looking for his revenge through gang wars and conflicting family values doesn’t give you anything fresh to enjoy.
The sole winner of the film remains Rishi Kapoor as Rauf Lala, who shocks you with his well defined role done with convincing perfection. The "Lover boy of the 80s" surprises you once again (in a negative role) after more than four decades in the Industry and that’s indeed not an easy task to do for an actor at this age. Following him is Sanjay Dutt as Kancha who is able to spell terror on the screen with his deadly looks and body. But at the same time his character keeps hanging between a wicked don and a psycho maniac. Nevertheless due to these two veterans, the film has its Bad people making more impact on the audience than the Good ones.
Hrithik Roshan as Vijay becomes the victim of a confusion that what he has to do in order to differ from that Big Image of Vijay Dinanath Chauhan already there in the viewers minds. As a result, he ends up doing simply nothing extraordinary. Hrithik plays Vijay in his own style without any special gimmick or mannerism and remains too simple and straight throughout the film. And that’s the reason why the villains become the winner in this new AGNEEPATH. Though his performance remains perfect for the claps and whistles coming from his fans. But as far as the iconic character of Vijay Dinanth Chauhan goes, I was expecting something exceptional from the actor.
In the supporting cast, Priyanka Chopra is just there to be the leading lady in the credits and nothing else. Zarina Wahab is great in her limited scenes and Om Puri keeps struggling with his weak role. The rest of the cast performs well contributing to the overall feel of the film but no once stands out. Like the original, the remake also gets only few good songs including a forced one “Chikni Chameli” which again is a rehashed version of a Marathi track. Katrina Kaif works hard on his fast body movements in the song but fails to give the required face expressions essentially needed in such kind of raunchy track. Apart from this item number Ajay-Atul deliver a good emotional song "Abhi Mujh Mein Kahin" and a powerful Ganpati song having a pumping rhythm and energy. But they actually excel in their Background Score (more than the Soundtrack) which is simply great supporting its various sequences perfectly.
In all Karan Malhotra’s AGNEEPATH misses the bulls eye mainly due to its second half which goes beyond the required length becoming exhaustive. Though shot brilliantly, the climax takes too much time and that too when the viewer already knows that what is going to happen next. Moreover due to the new “Tree-Hanging” insertion in the script the original meaning of the word “AGNEEPATH” (The path of Fire) is no-where visible in this remake whereas in the original it was a visual Agneepath on the screen for Amitabh to walk on in order to kill Kancha.
In the end, I would only like to say that Karan Malhotra and Karan Johar’s new age AGNEEPATH is no doubt a well executed film in technical terms but talking about the content, its really not a film about Vijay Dinanath Chauhan we had seen in the past (certainly not a dancing Vijay for sure). It’s a remake just for the name-sake which actually leaves every single character of the Original, pure and untouched. So you can surely watch it but for Rauf Lala alone and not for Vijay Dinanath Chauhan. 
Ratings : 3 / 5 (Including 1 for its superb production values, execution and cinematography)
Tags : Agneepath Review by Bobby Sing, Agneepath Remake by Karan, Agneepath Film Review by Bobby Sing, Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, 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
26 January 2012 / bobbysing /
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Whenever I get to see a sheer piece of art like A SEPARATION, I feel both revived and sad at the same time. Revived because they never give you precious gems like these very often and sad because films like these make me remember those close friends of mine who don’t consider Cinema, as a means through which we can learn LIFE. It also reminds me the current state of our Indian Cinema, wherein STAR worshipping forcibly captures the whole lime-light and the content is given a back seat in almost all the big projects.

 However, thanks to film-makers like Asghar Farhadi for coming up with films such as A SEPARATON which satisfy our inner urge of watching good cinema immensely. So, if you really want to witness something intense & meaningful, as real as the characters we meet in our daily life then watch A SEPARATION as a must. The film is in Irani language, mostly shot with a handheld camera which has to be understood by reading the English subtitles. But believe me, just after 10-15 minutes into the film, you would not mind reading them at all and it will be difficult to leave it in between after getting involved with its few realistic characters.
As far as its subject goes (without revealing its shocking plot), it’s a story of a couple who are just on the verge of taking a divorce since the wife wants to leave the country with her 12 years daughter for her better future. But the husband is not willing to move because he has to look after his aged father suffering from Alzheimer as per his moral duty. The wife decides to part and starts living with her mother but the girl refuses to leave her father alone and stays. And it all actually starts when the husband hires a nurse for taking care of his ailing father in their absence. Now what happens post these first 30 minutes of the film is presented before the viewer through one of the finest written scripts in the recent time which touches many sensitive issues of our society quite brilliantly.
Pointing towards the way we need to care for our loving dependent elders in their old age, the film introduces you with few close and loyal family members of a house, who are fighting with their own complexities of life individually. The drama very subtly talks about many relevant issues of our society wherein unemployment of the male member leads to tension in a couple’s life, when kids unavoidably are made to watch certain happenings around them which ideally are not meant for their age, where adolescents un-necessary get involved in their parents fights in those tender years of school and when a bad day or fate can straight away lead you to the court in front of a judge all of a sudden. A substantial part of the film revolves around the court proceedings where we are shown all the arguments from both the sides and then left to decide about what could have happened in reality and who might be the real culprit?
But reading the above lines, don’t take it as a well made murder mystery or who-done-it film with many suspects pointing towards each other. A SEPARATION is not a crime thriller but a film which goes much beyond any of your imagination formed after reading this write-up. It’s a shocking SOCIAL DRAMA which reveals both the ugly as well as bright side of our society.
The best part of the film is that it never takes sides of any of its characters. The director puts the ball in your court and forces you to decide that Who could be the one with the grayish tones inside? And the film even excels itself in the end when you come to know that everyone is guilty but yet not guilty in real terms for their obvious reasons.
Another worth mentioning aspect of A SEPARATION is the way it portrays the importance of Religion in the life of a truthful person. It has sequences which skillfully show the value of religious scriptures for a GOD fearing person. Especially in the start when the nurse enquires that whether she is allowed to change the clothes of an old man in absence of anyone else or not and whether that will be considered as a sin on her part as per Islam. It also ends on a spiritual note when just the reference of The Holy Quran curses the inner conscience of its characters and they transform with tears of innocence in their eyes.
With highly realistic and believable performances, particularly by the 12 years old Sarina Farhadi (who also is the director’s daughter), A SEPARATION takes you far away in a different world from where you come back refreshed both creatively and spiritually. With an open end, once again leaving the ultimate decision on the viewers it makes a positive impact which stays with you for hours after it finishes off. And then as you remember it again after a few days, the film gives you a sweet memory of Truthfulness which is still living somewhere in each one of us, hidden beneath the other cunning rituals of this mean world. So in order to meet that Truth within yourself watch A SEPARATION at the earliest and revive.
Writer - Director : Asghar Farhadi
Starring :  Peyman Moadi, Leila Hatami, Sareh Bayat, Sarina Farhadi and more.
(Thanks to Himanshu Patel for recommending this true classic.)
Tags : A Separation Movie Review by Bobby Sing, A Separation Iran, Must See movies list at bobbytalkscinema.com, Movies To See Before You Die List by Bobby Sing
23 January 2012 / bobbysing /
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Machan - Sri LankaMACHAN is a Sri Lankan comedy based on an unbelievable, hilarious & brave real life incident of 2004, which can even be referred to a strange, unique and disgraceful instance for two countries & their sports authorities, organizing such kind of lesser known world sports events abroad.

Working in the Foreign land or getting settled there (in order to earn big) has always been a burning passion in the youth living in our part of the world, in countries such as India, Pakistan, Bangladesh, Sri Lanka and more. So you must have heard about numerous distinctive incidents related to this immigration issue in your own surroundings. But I strongly doubt if anyone has ever heard about any such kind of scam before, unless he is already familiar with this incident through the medium of news or web.
Based on a rare true story, MACHAN revolves around a group of few struggling unemployed men in Sri Lanka who get information about an International Handball tournament being held in Germany. Now using their limited resources and reach they somehow manage to fool the foreign organizers by sending the forged documents of a fake Sri Lankan National Handball team and also get their Visas to participate in it. With this stroke of luck going in their favour they all take the flight, reach the venue, lose their first two matches and then vanish in the thin air with no information about them with the authorities of both the nations till date.
Now if this is not a great, entertaining and perfect plot for a comedy film then I don’t know what would be. The news of this incident reached director Uberto Pasolini (Italy), who decided to use it for his first directorial venture jointly produced and financed by companies from UK, Italy, Germany and Sri Lanka. The film made with all Sri Lankan artists turned out to be a great winner, impressing critiques and Jury in various Film Festivals all over the world. 
But here, its not the plot alone which is responsible for the praises received by this appreciable venture. The film also has a perfect script, a great style of execution and performances too which make it really worth watching as one of the best realistic comedies made in the recent times. The treatment remains all simple & raw portraying the tough living standards of slums in a sympathetic way. But the director maintains a light mood throughout the film even while talking about the individual failures of its characters. And that’s indeed a brave way to relate two extreme realities of life i.e. poverty and comedy. Despite of coming from a different region and culture altogether, Uberto never goes into exaggeration or glamorization of facts and doesn’t add any extra flavors in his script which could have easily taken away the real essence of the film. Besides he extracts some fabulous performances from his entire cast which undoubtedly makes this film an essential watch for every lover of good cinema living in any part of the world.
So, if you really want to see something unbelievable which actually did happen in the real life, mixing unemployment, immigration and an international sports meet, then do watch this rather unknown gem called MACHAN at the earliest wherein simplicity meets excellence with a touch of comedy - Not to be missed.
Director : Uberto Pasolini
Writers : Uberto Pasolini, Ruwanthie De Chickera
Starring :  Dharmapriya Dias, Gihan De Chickera and Dharshan Dharmaraj

(Thanks to Jithin Mathew Thomas for giving us the info about this hidden gem.)
Tags : MACHAN (2008) Sri Lanka Italy, Movies To See Before You Die World Cinema, Comedy, Movies See Movies from Word Cinema at bobbytalkscinema.com
21 January 2012 / bobbysing /
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As an indicative review, SADDA ADDA can be referred to that fairly decent racing bike which unfortunately starts off very late after the gun goes off, almost when the other bikers have completed their rounds. So despite of having a good horse power, it loses the race due to its technical malfunction and a first time rider.

The biggest negative factor which restricts SADDA ADDA to grow on the viewer remains its highly inspired and similar settings to the last year surprise hit PYAAR KA PUNCHNAAMA. It starts off in the same manner telling the story about a group of bachelors living in a messy apartment, struggling to make it big in their own respective fields. Throughout its first hour, it simply looks like a hushed up project made after the instant success of PKP, taking almost everything from the 2011 HIT. The characters seem to be repeating themselves and even the actors look like doing everything on the screen with PKP in their mind. So, till an unexpected tragic turn comes right before the interval, SADDA ADDA is not able to impress at all with only its few well-written sequences placed unevenly.

Actually the bike gets started post-interval and then sadly reaches a competitive speed just before the climax. As a result, one slightly feels good only after watching the final 30 minutes of the film and then walks away. In fact, after the last week’s CHAALIS CHAURAASI here is another movie (desperately in need of a harsh re-editing) which can easily be seen by fast forwarding its first hour without missing anything important.
With a routine cinematography, it doesn’t have any great performances too and the boys actually succeed to make an impact in their last 15 minutes only. However they are surely better than all the girls in the film. The individual stories talking about their love and professional life are realistic but also predictable, handled with an ordinary vision. Musically it has a fine track “Sarphira Hai” and the title song which deserved to be promoted well to get some more people in the theater.

But despite of all these drawbacks, there still is one thing which goes in favour of SADDA ADDA and that’s the message it tries to give through its weak execution. It wishes to remind the youth their responsibilities towards themselves and their families which have to be fulfilled after getting proper academic and technical education. Its tries to warn them from the obstacles of the path which are there in the shape of Depression, Easy Money, Drugs and Corruption. And it very subtly tries to say that it doesn’t matter how much money you earn in your life comparatively, but what matters is that Are you enjoying what you are doing professionally in your life or not?
So, where PYAR KA PUNCHNAAMA had nothing substantial to convey other than the Love Complications in the life of youth, SADDA ADDA has a pretty noble and important message to give to the young. But if only it also had the finesse and polishing of a well made film like PKP, it could have easily become another surprise Young Hit of 2012. But for now, it just remains a below average one time watch and that too only for those who wish to see each and every film made around the subject of youth as a must.
Ratings : 2 / 5 (including 1 only for its final 30 minutes.)
Tags : Sadda Adda Movie Review By Bobby Sing, Sadda Adda Film REview, Saada Adda Review By Bobby Sing, Pyar Ka Punchnaam Clone, ew Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, 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
20 January 2012 / bobbysing /
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