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November 23, 2014 Sunday     

 Watching the first few minutes of ALLAH KE BANDE made me remember three different films from three different regions. One was the English film “Sleepers” (1996) which was about few child characters who are made to choose the wrong path of crime after their brutal exploitation in the tender age. Second was the world classic “City of God” or “Cilade de Deus” (2002) from Brazil which is considered among the world’s best movies made on the subject of child crime. And the third was our own recent flick “City of Gold” (2010) which was also based on the same subject in the background of Bombay Mill workers of the 80s.

The reason of recalling these three films was the same old one, as I found ALLAH KE BANDE a mixture of all the above mentioned movies with only one worth remembering scene and several forgettable ones. Directed by the debutant Faruk Kabir, who also has enacted one of its key role, the film can only be rated as a fine effort from the newcomer but nothing more than that. If only he had chosen either a different kind of subject or a different kind of treatment, it could have been a different case. But in the current scenario, the film is based on the same old content of children from the slums getting into the world of crime due to their own greed and sexual exploitation by some ruthless men leading to the ages old plot of gangster
s and their internal clashes.

Starting from the childhood days of two energetic kids, the director, Faruk Kabir, surprisingly spends almost more than one hour of its first half only on their childhood sequences. And after that too right till its intermission he is still busy in only introducing his various characters on the screen in a pretty over-confident manner. In fact every frame of the director clearly indicates his forceful attempt of deliberately making a path breaking film on the subject of child crime. But unfortunately he never gives you anything fresh to enjoy and his narration too remains identical to what we have already seen in many previous movies made around the same theme. Throughout the movie, Kabir only seems to be interested in showing everything with some extraordinary passion, energy and power. And maybe that is the reason why every actor looks like doing it little over the top in the entire film including both the child actors in its first half.

Actually as I see it, no one can make a classic or a path braking film intentionally or willfully. Classics get made on their own unknowingly without any deliberate efforts of the team and even the people who make them, are themselves not aware of how they were able to do it so perfectly. Therefore, it was a huge mistake of Faruk Kabir to even think that he was making a great film, which will be setting new trends in the Industry. Dreaming on the same lines he makes every actor on the screen do some overacting and go over the top where they are shouting, laughing and walking in a style which is a bit more than what was actually needed.

The second mistake he has made is to cast himself in the role of Yakub who is one of the two lead characters in the story. Frankly speaking he himself comes out to be the most unfit and over the top actors on the screen in that role and he surely should have chosen someone else to do it for him. On the other hand, Sharman Joshi as his only childhood friend turned gangster delivers a very well controlled and polished performance playing the role of Vijay, which even goes one step ahead of his effortless performance in 3 IDIOTS.

Apart from these two key characters, there is Naseeruddin Shah as their cunning Jail Warden, who excels in his transformed character of a beggar in the second half. Atul Kulkarni as the truthful teacher and Zakhir Hussain as their gangster aid play their roles perfectly. But Anjana Sukhani and Rukhsaar are not given enough scenes to prove themselves. Suhasini Mulay as the mother of kids is impactful, whereas the kids have done it a bit louder as I mentioned before. Cinematography using the actual slum locations makes the film watchable getting good support from its background music department. But at the same time, the second half also makes you yawn at several moments since you already know what’s going to happen next.

Post intermission, there are two sequences worth mentioning here which are quite opposite to each other in terms of merit. The first sequence featuring Sharman Joshi (as a gangster) 
and Naseeruddin Shah (as a beggar), defining forgiveness, puts the director in the top bracket for conceiving it with such brilliance. But the second sequence of setting fire to the body of a teenager boy (lying on a four wheeler vegetable seller’s cart) by his own teacher, in front of a group of children of 5-15 years of age, raises many questions on the sensibility, morality and thought process of the director’s mind. Truly speaking, I was just thinking of walking out of the theater after watching this unbelievable kind of scene shot in the name of creativity.

So, in all ALLAH KE BANDE can just be appreciated for its decent kind of effort made by its first time director. But talking about everything else, it goes well over the top, exploiting the same old theme of slums, child-crime, gangsters and gang wars for the nth time along with some erratic writing. Hence it would be better to watch the ongoing popular serials on the small screen having a good time in your homes and don’t even think of watching it with your entire family in the theaters.

Rating : 1.5 / 5 (An extra 1 point only for the sequence between the young Sharman and the old Naseer)

Tags : Allah Ke Bande Movie Review by Bobby Sing, Allah Ke Bande Film Review By Bobby Sing, AKB Movie Review, AKB Film Review, Hindi films by Debutant Directors, 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 November 2010 / bobbysing /
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After watching numerous mediocre romantic projects releases recently, here is one more similar kind of lifeless product from the house of Kunal Kohli. Once again coming from a debutant director, Danish Aslam, the film raises a valid question that why a first time director decides to make his debut movie on such boring, uninteresting and sleepy kind of script which has nothing new or fresh to offer to its viewers.

Apart from this I made two conclusions after watching “Break Ke Baad”. One, that Imran Khan has stopped taking any advice from his perfectionist senior Aamir Khan, who earlier reportedly used to take a keen interest in his career. Imran’s choice of projects after Aamir Khan’s produced “Jaane Tu Ya Jaane Na” clearly gives us the indication of his understanding and judgment of various projects & scripts. With no Hit Project post his debut movie, Imran now really needs to sit back and review his career seriously.
The second conclusion is about the leading lady Deepika Padukone, who I think is there in the industry only to make some quick money and then walk on to her marriage plans. With a lot more to learn in the acting department, Deepika looks almost the same in her every new movie and also has the same kind of act to offer. In fact its quite silly of both Imran and Deepika to sign “Break Ke Baad” which more or less revolves around the same kind of theme exploited in their previous movies such as JTYJN and LOVE AAJ KAL. So, after watching BKB one can only assume that either both the lead actors signed this movie without reading the script or they don’t have any kind of script sense at all.
Other than its completely outdated, overused and a routine storyline, the film hasn’t got a single good scene to impress the viewer. Progressing at a very boring pace right from its first reel, the characters keep moving on the screen in their cool revealing dresses but you feel nothing for them till the end. The direction itself has so many flaws in it, which even allows you to have a little nap on your seat in its second half. For example, the story is set in Delhi and the lead pair reaches the mountains to have their adventures rides just in few hours and then return to their home in the same day itself (as if Delhi was a two hour drive from the mountains). And Deepika calling her mother by her name seems completely out of place and is quite irritating too.
Actually Danish Aslam has made the film keeping in mind the western culture and its casual relationship styles prevailing between a boy and a girl. But his attempt falls flat when it comes to the subject of sex between his two lead characters. His script shows a boy and a girl being friends from their childhood days. Even when they transform into a young boy and girl they still enjoy the same kind of cool relationship between them without any kind of shyness. Ironically both Imran & Deepika talk, walk and behave like two mature lovers throughout, wherein they can even touch, kiss and cuddle each other any moment as they like. But yet as per the Indian Tradition they still haven’t gone physical. Now that was plain unbelievable considering the setting, background and narration of the movie. Had it been an English movie, they would have done that in the first half itself and that too without any guilt or regret. But since it was a Hindi movie, they cannot do that.
The point I want to make is that our directors are walking on a dual path today which doesn’t allow them to come up with some bold and intelligent movies close to the reality. In the current BREAK KE BAAD, the director is ok with showing a western kind of relationship between a young boy and girl but at the same time he is not ready to show that they can even go physical. So at one end he wants to copy from the West, but on the other also wants to make a film for the Indian audience, keeping their cultural tradition alive, which is not an easy path to walk on.
Falling in the same dilemma, BKB is a complete washout and has no relief moments even in its few songs. Vishal-Shekhar deliver an average sort of soundtrack which lacks the melody and is disappointing. Though the film scores fine in its Cinematography but in the casting department it fails to take advantage of many talented people such as Sharmila Tagore, Shahana Goswami, Lillete Dubey and Navin Nischal. Yudhishtir also overacts as the sex driven housemate.
As far as the lead pair is concerned I didnt find anything to write about the acts of both Imran and Deepika. They gave me nothing fresh or better than their last films. As a matter of fact in BREAK KE BAAD, the actors on the screen look as confused as the director and the writer standing behind the screen. Hence everyone should essentially take a break from watching this underworked venture. And if you really want to see Deepika in her cools shorts then do watch it but at your own risk.
Rating : 0.5 / 5
Tags : Break Ke Baad Movie Review By Bobby Sing, Break Ke Baad Film Review By Bobby Sing, Movie Review Break Ke baad, BKB Movie Review, BKB Film Review, Kunal Kohli Films, Debut Directors Movies, 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
 
 
26 November 2010 / bobbysing /
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Sometimes a film impresses you not because of any particular technicality related to film-making but only because of its simple yet very true to life depiction of a common issue. A film which makes you feel as if you have heard or seen the same story in your own neighborhood or the same has once happened in your own group of friends. In other words it’s the story of every lonely person who is fast passing through his 30s and yet is not able to find his perfect life partner for various reasons. One of the few rare movies, which deals with the subject of Late Marriage or an Over Age Bachelor, who is confused in taking his final decision of getting married.

Marty, the hero of this OSCAR winner movie is such a person who is fighting the tough time of his middle age bachelor life where he has to take decision to do it now or it is never going to happen ever in his remaining life time. The film brilliantly captures the personality changes in a person before and after finding the right girl for marriage in a late age. Both the director and his actors superbly portray the changes in the outlook of a person towards his own mother and friends after he gets the much needed support of a female friend. The film is highly realistic in a literal sense where its most of the scenes seem to be straight out of our real life. The relationship between a mother, son and her daughter in law, the talks between two old ladies, the sudden changes in the conversations between a son and his mother after a new lady enters his life, everything is so true to life that it readily reminds you of any similar kind of character in your own life.
 
It’s not a big budget movie, nor a film with great production value or glamour. But still it has the charm of being a very truthful, authentic and honest attempt wherein the inner feelings of all the matured characters are depicted in a very genuine way. In the year of its release, many people wondered why the movie was awarded the OSCAR for THE BEST MOVIE in presence of many other good movies. But in my opinion, it was the honesty of the film which got it the award quite deservingly. A very light, entertaining and insightful film, which will not disappoint you, if you are interested in watching something simple, frank and true to life.
 
Directed By Delbert Mann
Starring : Ernest Borgnine, Betsy Blair and Esther Minciotti.
Tags : Marty (1955) Movies To See Before You Die Drama Comedy, Must See Movies List by Bobby Sing at www.bobbytalkscinema.com, OSCAR Winner Movies, Best Movie Oscar Winner in 1955, Movies made on Late Marriage, Movies on Bachelor Life, Must See Movies List
 
 
23 November 2010 / bobbysing /
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With GUZAARISH, Bhansali returns with his own colourful world painted on the celluloid which sadly never rises above mere being a beautiful painting throughout. Though supported by some earnest performances by the cast, it’s once again an all inspired show from the famous & reputed director who continues with his more than a decade old habit of making movies on all borrowed concepts. Yes, there are few appreciable scenes in GUZAARISH in the name of originality, but as a film it fails to move you emotionally and leaves a very feeble kind of impact in the end with a very gutless climax.

Firstly I would like to discuss it as an inspired movie, which doesn’t allow me to write about its director with a great amount of praise. Right from the year 1996 each and every film of Sanjay Leela Bhansali (from KHAMOSHI to SAAWARIYA) has been based on inspired subjects. But still the reason why the director has been able to achieve such cult status in Bollywood undoubtedly remains his unique style of treatment, artistic sense of colours and his keen musical ear. Evidently GUZAARISH also has got all the above mentioned qualities as expected from Bhansali. It is well shot, beautifully designed and brilliantly crafted. But somehow it doesn’t have a lovable and soothing soul which can make you feel the things happening on the screen (as you can feel in its ORIGINAL Source movies)
This time the gifted director makes up a story mixing more than one movie from the West. A man suffering from a complete Paralysis of the body other than his face, asking for merci death is taken from two movies. One is the Spanish Award Winning movie MAR ADENTRO or THE SEA INSIDE (2004) and the other is WHOSE LIFE IS IT ANYWAY (1981). The idea of magic and the plot of rivalry between two famous magicians leading to a serious conspiracy is taken from THE PRESTIGE (2006). Here I would like to add that inspiration is acceptable if used in a fine way putting many things of your own in the end product. But what’s the use of copying entire sequences from a movie and then trying to present it as your own without any kind of acknowledgement or courtesy.
For instance the accident scene of Hrithik leading to the life changing injury is striking similar to the one in THE SEA INSIDE. The only difference is that in the Original the person unknowingly jumps into a less deep river and in GUZAARISH, Hrithik falls in a water pit while displaying his magic act. And they both severely break their neck on their fall. Further, the whistling act done by Hrithik to call a help, a female lawyer friend of the deceased, the scene where the court verdict is announced on the TV and Aishwarya’s final offer to help Hrihtik in the end………everything is as it is taken from the same film.   
Moreover, moving on a completely different path from the ORIGINALS, Bhansali very unacceptably tries to glamorize the subject of MERCI DEATH with all that magic and love angles thrown in which fail miserably running along the emotional subject of the film. It’s in fact very funny to see Hrithik giving a Big book to the kid with all the secrets in it and teaching his magic trick to him (just like that), without any kind of detailed scene and explanation. It was a clear indication that Bhansali had used this topic of Magic in his script only to add some fun element in the otherwise serious plot and nothing else.
In addition to the above, very amateurishly, the director shies away from showing the real death of the main character in the end and just decides to fade away into the dark with his smiling face on the screen. In my opinion, if you have decided to make a film on the subject of Wishful DEATH, then you should at least have the guts to depict the ACTUAL DEATH of the character on the wide screen. But Bhansali decides not to show a dying Hrithik in the end and tries to give a happy ending to his viewers, which is not all effective as it should have been. So, as an inspired movie it is not upto the mark since it keeps deviating from its main topic and is not able to generate any similar kind of impact like its Original Sources.
Now secondly I would like to discuss it as an audience, who is not aware of its inspirational angles at all. Unfortunately from this viewpoint too, I didn’t find GUZAARISH a very emotional or touching movie not to be missed. You may watch it as a piece of art with very fine colourful sets made with complete detailing, good costume designing or for a soothing background score. You may watch it for some well directed sequences dealing with a leaking roof or caressing nurse. And you may watch it if you are die-hard fan of Hrithik Roshan. But don’t expect anything great which will make you think about DEATH or about the people who wish to die willfully against the law.
As I see it, the movie is not an exceptional thought provoking venture from Bhansali since it lacks the much required emotional depth and feel. It starts off brilliantly but is not able to impress a lot till its intermission. In the second half too, the characters never sinks deep inside your soul and make you cry. In other words, you keep watching their sufferings and pain but still don’t feel moved enough to cry along with them. There are several sub plots in the script which are not utilized to their full potential and remain questionable. For example, the Radio Jockey angle (inspired from LAGEY RAHO MUNNABHAI) had great potential in it but falls flat, the people protest against the court is very poorly directed, looking childish and Rajit Kapoor as the public prosecutor is made to overact in his few scenes.
Besides this I really couldn’t understand the MOTHER angle in the script which was completely unbelievable. Even if the son strongly insists, still how can a mother live far away from her young son suffering from an almost full body paralysis being looked after by a paid nurse for 12 long years. In fact this motherly expression of the director raised many questions in my mind since I simply couldn’t accept that a mother can ever think of living away from his deceased son in the given circumstances.
Musically, GUZAARISH has few good numbers with some meaningful lyrics. But the tracks are not catchy enough to bowl you over in only one listening as you may have felt previously in a Sanjay Leela Bhansali’s movie. The best one is the title track which is melodiously composed and sung. But considering the fact that Bhansali has himself given the music for this film, I would only like to say that having a keen sense of music and musical ear is quite different to being a music director having immense knowledge of music and musical arrangements. Shot beautifully GUZAARISH is as usual a visual treat for the audience. But the director seems to be pretty confident in the indoors more than the outdoors. Apart from its brilliant cinematography, the other winners in the film are its soothing background score and sensitive dialogues, which keep you engrossed in an otherwise offbeat kind of subject revolving around merci killing.
Performance wise, I may have a different opinion than many. Hrithik no doubt has worked hard with his utmost sincerity. But frankly I was not moved emotionally by his pure act. He surely looked and behaved like the painful character on the screen but I didn’t feel his pain as I did along with him in KOI MIL GAYA. At times I even felt his smile, laugh and dialogue delivery style as seen before somewhere (may be in KOI MIL GAYA only). Aishwarya too for me was just fine with a far better performance in the second half than the first. Particularly I found her doing a little overacting in the air drumming scene before the song sequence in the club. But both Hrithik and Aishwarya are at their best towards the climax. Here Hrithik indeed deserves a praise to accept such kind of role which had nothing for his millions of children fans. His KITES had nothing for them either so he really needs to seriously think about that while choosing his future projects. Aditya Roy Kapur is even better than his previous films and has got a great talent to look for. Shernaz Patel impresses as always in a Bhansali movie. Suhel Seth and Nafisa Ali are fine in their small roles. But Moni Kangana Dutta shows no sparks as publicized in the press before the release of the movie.
In all, for me GUZAARISH is just an above average movie with some good performances but weak treatment of a serious subject. It may work for many but truly speaking I have seen much better movies from this so am not impressed.
Rating : 2.5 / 5
Tags : Guzaarish Movie Review By Bobby Sing, Guzaarish Film Review By bobby singh, Sanjay Leela Bhansali Latest Movies, Inspired Movies, 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
 
 
19 November 2010 / bobbysing /
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