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July 30, 2014 Wednesday     

How can you bring in more viewers into the theater with not so known star cast and very limited budgets? Or How can you make your project famous without spending much on its promotional campaign? There are two simple answers to these questions. One, use a controversial burning topic to get yourself noticed and Two, incorporate many steamy, hot scenes into it which can get you more eyeballs at once. And looking at the track record of director Karan Razdan, he is well familiar with both these options and has used them in almost all his films till date.

With a set strategy in mind, he comes up with yet another erotic kind of subject on the similar lines of his previous projects “Hawas”, “Girlfriend” and “Souten”. But the only difference is that in his latest venture, he has touched a more relevant, important and sensitive issue which may be new and a surprise eye-opener for many youngsters. “Mittal Vs Mittal” enlightens the viewer about the Indian Law against Domestic Violence in married couples and Marital Rape.
Said to be based on some true incidents, the movie revolves around a young girl, who falls in the love trap of a rich brat and then hurriedly gets married to him due to her family’s pressure. But once she reaches the house of her loving husband, on the very first night she witnesses a completely different and ugly side of his character, which shatters all her dreams of a happy married life. And when the things become worse and cross their limits, she decides to leave the house and files a legal complaint against her husband in the court.
The screenplay is expectedly divided into two parts where before the intermission you are served with all those loving moments, songs and sensual scenes which are clearly directed in a way to bring in a specific section of viewers, especially targeted in the smaller centers. And the second half takes you into the court where the husband and his lawyer are ready to go on to any extreme and cheap levels to save their name and win the case. No doubt the subject is interesting but it’s the execution which fails to move the movie to any greater heights above than a B grade kind of cinema.
Though there are some remarkable scenes too which are surely well directed and well thought off by the writers. For instance, the scene where another victim girl tells her horrifying experiences of marital sex in front of a NGO panel (which may not be understood by many as its completely in English) and the sequence between the two male elders of both the families on the beach. But apart from these few scenes, there is a lot of confusion and filmy formula’s added towards the end, which reduce the overall impact of the subject and its relevance.
Like, throughout the court case it is not clear that whether they are discussing specifically Domestic Violence or Marital Rape. Even the judge’s verdict in the end does not clearly mention any reason for his decision and he simply goes on to punish the husband. Moreover, the plot of husband’s first marriage, the girl’s mother not standing on her side and the mother-son dialogue suggesting her infidelity in the past was really absurd and un-necessary. Along with that, both the parties openly doing a T.V. chat show, when the case in still in the court was very childish thought of the director. The entire drama in the court was ok but it should have been more tense and engrossing as per the need of the subject.
On the performance front, Rituparna is very impressive in her portrayal of a victim girl and has a great screen presence. She rightly enacts the pain felt by the character with her own insight. Rohit is fine as the cunning husband but at times he looks like really acting with great effort. Gulshan Grover and Suchitra Krishnamurthy as the two lawyers in the court are impactful. Reema Lagoo, Amar Talwar and Dolly Thakore are ok but Anjan Shrivastava shines in the role of the girl’s poet father. All songs in the narration are strictly average and the camerawork is also routine.    
Talking about the subject of Marital Rape, it really doesn’t seem that the director was even interested in bringing some awareness in the society using this base. Because nowhere in the movie, he clearly informs the viewers (mainly female audiences) about any of their hidden rights or new changes in the Law which can help them to fight for their own dignity (Only taking names of certain sections do not serve the purpose). In fact the topic is only adopted to make a sensual movie which can also be discussed on the news channels on its release.
In simple words, this important subject has been dealt in a much better way in few other movies, which are a must see for any person, male or female, who at least is willing to think about the society we are living in.
If you are interested, I would like to recommend to watch “Matrubhoomi” at the earliest instead of this.

Rating : 1.5 / 5

Tags : Mittal Vs Mittal Movie Review by Bobby Sing, Mittal Vs Mittal Film Review By Bobby Sing, Movie Review Mittal Vs Mittal, Mittal Vs Mittal Review, MVM Movie Review By Bobby Sing, MVM Review, MVM Movie Review, New 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 at bobbytalkscinema.com
 
 
28 March 2010 / bobbysing /
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More than a decade ago when a film-maker friend of mine, introduced me to the cinema of Shyam Benegal, I got immensely influenced by his body of work and his films certainly enhanced my understanding of the medium in a definite way. And now after so many years of repeatedly watching all his cinematic masterpieces, I would like to suggest all young movie lovers, a particular way to watch Shyam Benegal films by dividing them into two different eras, which would be Pre-‘Hari Bhari’ (Before 2000) and Post ‘Hari-Bhari’ (Since 2000) eras. (Hari Bhari is one of his brilliant movies released in the year 2000.)

Where the Pre-‘Hari Bhari’ era is in itself an extensive topic to write about, it’s the Post-‘Hari Bhari’ era which is related to our subject here as the current “Well Done Abba” now proves to be an important part of this new discovered film-making style of the master, post 2000.
Shyam Benegal has always been associated with simple, realistic and emotional movies having a specific message to give to the society. In his early movies he used to give a more sensible and ethnic feel to his themes, categorizing them into the art-movies wave of the Hindi Cinema in the 80s. But recently he is onto discovering a new path of film-making style which at one end is again simple and down to earth like his earlier gems but on the other it now also has sharp remarks and taunts to make on the prevailing social system in a more comic manner quite similar to the works of Sharad Joshi, the famous writer from Hindi Literature.   
“Well Done Abba”, the latest offering from Shyam Benegal is strictly made on the similar lines of his previous “Welcome to Sajjanpur”, but tries to tackle too many important issues in only one project. With a feeble basic story line, the movie tries to convey almost all the major problems faced by the rural areas still fighting for their existence in an otherwise developed country. It majorly talks about a less educated village person who wishes to have his own well in front of his house as per the New Government Policy of that region. The viewer is made familiar with all the protocol problems he has to face while interacting with the government officials for getting the job done. Along with that the director tries to showcase several sensitive issues such as human labour, illiteracy, girl education in villages, selling of young girls to Sheikhs, status of women in Indian rural politics, corruption in Public Distribution System and many more in a single movie which at times seems to be over lengthy and un-required at places. 
The long duration of the movie, its slow pace and the consistent Hyderabadi lingo used throughout the movie are the other few things which go against the movie and reduce its chances to win over the common man entering the theater purely for his entertainment.
But for lovers of off-beat subjects and fans of Shyam Benegal kind of cinema, “Well Done Abba” is another soft gem from the master film-maker with an important message for the society. Interestingly, the movie starts very slowly and keeps on growing on the viewers mind at its own pace. You need to have patience to sit through its first half as it’s only towards the intermission and post interval that you get more engrossed into the subject and start enjoying it with a more realistic feel. However there are certain sequences which go over the top like writing a report against a lost well, a police officer with no major case to work on, an over sexual government official and a marriage song coming just before the movie ends. Some of these sequences should have been easily edited out in order to give a more crispier product to the viewers, because ideally a project based on rural settings with a social message should only be around 2 hours of duration to leave an impact.
Apart from these few hic-ups, “Well Done Abba” has some great performance worth watching. The best act comes from Boman Irani, as Abba who is simply superb in his very subtle portrayal of the character. Never in the movie, he reacts in anger to the tough situations faced in the government offices. On the contrary his innocent responses towards the corrupt officials happen to be the main highlight of the movie. For instance, just look out Boman’s reaction in the climax, when he comes to know that the boy he has chosen for his girl is an orphan without any religion. Moreover, Boman performs a double role in the movie of two real brothers with great conviction. It’s really commendable for a person to achieve such heights in a profession which he opted for only after the age of 40. Unarguably it’s one of the finest performance of Boman till date.
Minnisha Lamba is another surprise package of the movie. She completely transforms herself into her onscreen character and excels. Out of the rest, Samir Dattani, Ravi Kishen and Rajendra Gupta have performed excellently. But I really felt that the Ravi Kishen plot of the movie should have been treated more gracefully on the screen. Shantanu Moitra’s musical score is fine but strangely there is very minimum use of Indian instruments in the songs set in the rural areas, particularly the marriage song towards the end.
Adapted from three different sources, “Narsaiyyan Ki Bavdi’ by Jeelani Bano, “Phulwa Ka Pul” by Sanjeev and “Still Waters” by Jayant Kriplani, “Well Done Abba” has surely got the much acclaimed Benegal kind of treatment all over. It also reminds you of the famous T.V. serial “Office Office” in which Pankaj Kapoor played a similar kind of character quite close to that of “Abba”. Regarding the star-cast of the movie, I was really surprised by the minuscule roles given to the two favourite actors of the director in the industry. Using almost the same team of actors since his “Suraj Ka Satwan Ghoda”, this time the director gives very less importance to both Ila Arun and Rajit Kapoor who have been part of the director’s every major product since the 90s. Along with them, another talented actress, Sonali Kulkarni is also simply wasted in a silly kind of role of a newly married lady.
In the end, I would surely like to add that “Well Done Abba” is apparently not everyone’s cup of tea. But you may start liking the taste, if you keep sipping the tea with patience. And for all of the readers who haven’t seen the other world famous gems of the master film-maker…… This is not one of Benegal’s finest works, as he is on the path of trying new styles of story-telling with the changing times. So don’t form any opinion about him by just watching some of his recent works.
Shyam Benegal has got loads of text book material on film-making stuffed in his rich movies repertoire of the past. Hence start exploring NOW!     

Rating : 3 / 5

Tags : Well Done Abba Movie Review by Bobby Sing, Well Done Film Review By Bobby Sing, Well Done Movie Review, Well Done Abba Review, Movie Review Well Done Abba, WDA Film Review, WDA Movie Review, WDA Review, Well Done Abba Review, New 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 at bobbytalkscinema.com
 
 
27 March 2010 / bobbysing /
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An avid lover of English movies must be well familiar with the fascination Hollywood has towards stories based on Dead Persons, Ghosts, Spirits or People coming from the unknown world. Walking on a similar path Bollywood’s Hum Tum Aur Ghost also falls in the same category getting its main inspiration from the famous movies “Ghost Town” (2008) & “Ghost” (1990). But unfortunately, it remains just another mediocre inspired movie on an exciting subject which completely fails to impress the viewer from any angle.

Talking about a fashion photographer who is able to see and talk to dead people, the movie starts off in a very lethargic manner, which takes the viewer by surprise since it was more publicized as a comedy featuring Arshad Warsi, better known for his incomparable comic timing. In fact that’s the biggest slip-up made on the part of its publicity campaign, which mainly gave out the idea of it being a different laugh riot dealing with the dead, where as in reality the movie had nothing to be referred as Comedy. In the recent past, we have seen many projects being rejected due to their wrong publicity campaign and HTAG becomes the latest victim of the same.
A simple question in this respect would be that “Why to cut promos showcasing Arshad’s comic skills, when he is doing nothing of that sort in the whole movie?” And as an answer to that, it’s a pure indication of trying to fetch some extra initial in the opening weekend with a deliberate and faulty kind of publicity campaign.
Content wise, the pre and post interval impact of the movie is pretty same with nothing exceptional or worth enjoying happening on the screen. All the scenes dealing with the dead people seeking help from Arshad are treated very unexcitingly. The various stories about the past happenings with the ghosts have got nothing new to offer to the viewers. Furthermore, the movie ends with an entirely bizarre sequence (about the identity of a small boy), which even tempts you to find out who the actual writers are, responsible for this weird thought incorporated in the climax. In reality, the writers seem to be absolutely gone out of ideas in the entire screenplay as there is not a single enjoyable scene in the whole movie. It just ends as it starts without caring to provide any sort of entertainment to the viewers.
However the only refreshing element in it remains, the gorgeous Diya Mirza who pleasantly looks very charming, lovable and cool in her well chosen dresses and also comes up with a decently performed act of a fashion magazine editor. Otherwise, HTAG is a perfect example of a huge ensemble of talent wasted in a messy way. Arshad Warsi sincerely tries hard to present a make believe kind of act, but does not get the much needed support from the script. Boman Irani is excellent as the needy ghost and Sandhya Mridul is immensely confident as always. But Javed Sheikh, Shernaz Patel and Tinnu Anand have nothing substantial written for them to perform.
Technically the film shines bright with its noticeable camerawork and art direction. But musically it is not capable of creating any ripples in the market. Shankar Ehsaan Loy have delivered only a routine soundtrack for the movie, which has no melody in it. Director Kabeer Kaushik did show some sparks in his first venture “Sehar”, but in his latest, he seems to be totally confused between different genres of Comedy, Drama & Horror. HTAG is no way close to any of his previous movies based on crime or may be the news of his clashes with the producers was in turn responsible for this half hearted uninteresting product from the director.
Rating : 1.5 / 5
Tags : Hum Tum Aur Ghost Movie Review by Bobby Sing, Hum Tum Aur Ghost Film Review by Bobby Sing, Movie Review Hum Tum Aur Ghost, HTAG Movie Review, HTAG Film Review, Movie Review HTAG, Kabeer Kaushik, New 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 at bobbytalkscinema.com, Inspired Movies, Inspired Cinema, Bollywood Plagiarism, Plagiarism in Hindi Cinema, Copied Movies, Movies Inspired From, Movie is Inspired By, Borrowed Concepts, Inspired Plots, Bollywood & Hollywood, Reviews by Bobby Sing, Bollywood Gets Inspired, Cinema Gets Inspired, Bollywood & World Cinema, Inspiration from World Cinema, Bollywood Movie Inspirations
 
 
26 March 2010 / bobbysing /
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There are mainly only two formulas of making Horror movies in Bollywood. One is to easily go for an urban scary tale inspired from the foreign horror films famous in various parts of the world. And second is to go back to our own tried and tested formula of Ramsay brothers involving Kings & Queens of the past era. Vikram Bhatt tasted success with “Raaz” made on the first one and now comes up with “Shaapit” made on the second formula mentioned above.

His latest venture reveals the secret of a curse being faced by only the girls of a family from many generations. When the young lead couple of the story deeply in love, are told about this curse by their parents, then instead of compromising with the situation, they decide to go on a search for the evil spirit and finish it off. The same plot was earlier used by Ramsay brothers in their 1984 movie “Purana Mandir” and now Vikram Bhatt uses it again with some re-touches of his own along with the new advanced technology and gimmicks.
Initially, the movie does well to keep the viewer interested. The ground work to introduce various characters and situations is well worked upon and impresses. But on the later stages, the story loses the grip and starts boring you with its prolonged sequences and proceedings. However, in the first hour, “Shaapit”’ has few worth watching scenes like the one where the boy goes for stealing a cursed book from the library and when the girl sees an old lady lying on the road in front of her car. But post intermission the movie relies heavily upon the action scenes between the human and the spirit and those too are stretched to a great extent.
Ideally a horror movie should never be lengthy enough, leading to loss of interest. It should be very fast and quick, which scares you off at once and doesn’t provide any dull moments for thinking. Unfortunately, Shaapit scores very low in this direction as its quite lengthy requiring a great amount of trimming from its director. Post interval, even after the whole secret has been revealed to the viewers, they still have to wait too long for the movie to get over. And that proves to be the biggest drawback of an otherwise average Shaapit.

The special effects used in various scenes are also in huge contrast with each other. At one end the graphics representations are good enough to scare you off but at the same time, they are very childishly done in a different scene. For instance, in the climax scene, where the water starts pouring in from the broken wall, you can clearly see “the blurred chroma cutting edges” around the characters and elements. (Readers having the knowledge of graphics and editing would easily understand what I am referring to.)
But there is one major contribution made by the movie in the form of “Aditya Narayan”, who is a complete natural in front of the camera and is really a blessed child of the Holy Creator. He is the best example of the fact that a Star Child is just not given a chance due to his family connections. He was chosen for the role only because the director could see that he can act. Aditya, not only looks smart and fresh on screen, but he also delivers a polished act without any signs of nervousness on screen. Along with his singing, acting is another aspect of his future career, for which he should now seriously plan and think, as we are willing to see more of him pretty soon.
Shweta doesn’t get much scope on screen as most of the time she is lying on the hospital bed in coma and gets no major scenes to show her talent. Thankfully Rahul Dev is not over the top this time and makes an impact. Debutant Shubh Joshi acts well with great confidence and rest all in the cast do justice to their roles as required. In the music section, two songs seem to be interesting while watching the movie. Especially “Tere Bina” has got the pain of separation and love. But still the music is not as rich as compared to the earlier hits given by Vikram Bhatt. Background music is loud at times but rightly provides the scary moments too when needed.
On the whole, “Shaapit” is not a very fine horror flick, coming from the house of Vikram Bhatt this time. It has an interesting and watchable first half but crashes down to a large extent later on. The only worth mentioning merit of the movie is “Aditya Narayan” who forces you to notice him and his acting skills with élan.
Rating : 2 / 5
Tags : Shaapit Movie Review by Bobby Sing, Shaapit Film Review by Bobby Sing, Movie Review Shaapit, Film Review Shaapit, New 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 at bobbytalkscinema.com
 
 
22 March 2010 / bobbysing /
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