A warm welcome to all friends visiting the site with a loving invitation to read my personal expressions on movies, music, poetry and life.

Music and Movies are like Ears and Eyes to me and if you also feel the same, then you are going to enjoy every moment spent on my works here, for sure.

Do send in your valuable comments and suggestions as they would be my guide for all the future works.

ENJOY!

A FLYING JATT - Begins as a fine one time watch spoof but ends with a painfully long second half using a deliberate 'Religious Card' backed by an incomplete awareness. (Review By Bobby Sing).

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).

 
 
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August 28, 2016 Sunday     
In the last few years, we have repeatedly seen Hindi Film Music officially borrowing old hit Punjabi tracks from private albums/artists and presenting them before the audience as new melodious film songs playing a smart game. And the names include big ventures such as last decade’s LOVE AAJ KAL to the recent AIRLIFT and the latest BAAR BAAR DEKHO featuring Amar Arshi’s ‘Kala Chashma’.
(Click here to read in details about many recent borrowed Hindi film songs from Punjabi music)
Interestingly a similar kind of smart act can now be found in the soundtracks of few recent hit Punjabi films too, wherein a complete composition of a cult Punjabi track from the past is adapted for a fresh film song, but without any official credits given to its original creators.
Mentioning the most recent example in Punjabi Cinema, just a month back we had Diljit Dosanjh’s SARDAAR JI 2 having a well-made catchy track as ‘Poplin or Jatt Da Pajama” taking its entire composition from an immensely popular 90s song ‘Husna De Maalko” that was composed by veteran Charanjit Ahuja and sung by the renowned Sardool Sikandar in his private album with the same title. In fact “Husna De Maalko” was one of the most successful and highest selling album of that decade with all brilliant songs.
For reference just check :
Sardaar Ji 2’s “Poplin/Jatt Da Pajama”
https://www.youtube.com/watch?v=RvoZGmpL_7Y
and “Husna De Maalko” (featuring Yograj Singh in its video presentation)
https://www.youtube.com/watch?v=sDOubgAiWho
Second instance is of the film receiving wide appreciation all over for its fabulous content and performances released just last Friday titled BAMBUKAT. And here we have two songs highly inspired from the cult tracks of the past. The title song “Koi Virla Hi Launda Note Bambukat Te” is again based on the composition of Charanjit Ahuja, sung by ‘Kaliyan Da Raja’ Kuldeep Manak as “Goli Maaro Eho Jahe Banuati Yaar De” in one of his famous private albums.
For reference :
Bambukat’s “Koi Viral Hi Launda Note Bambukat Te”
https://www.youtube.com/watch?v=RvoZGmpL_7Y
and
“Goli Maaro Eho Jahe Banuati Yaar De”
https://www.youtube.com/watch?v=C3n8w1TTtXE
And the song “Kainthey Wala Pavey Boliyan” takes it all from Dilshad Akhtar’s famous song “Ghund Kad Lai Pataliye Naarey, Sohreyan Da Pind Aa Gaya”, which ironically had its origin in Ustad Nusrat Fateh Ali Khan's "Yaadan Vichhre Sajan Diyan Aayian"
For reference :
Bambukat’s “Kainthey Wala Pavey Boliyan”
https://www.youtube.com/watch?v=kwFlCXHoB9s
Dilshad Akhtar’s “Ghund Kad Lai Pataliye Naarey, Sohreyan Da Pind Aa Gaya”
https://www.youtube.com/watch?v=4QI3016qTUs
Ustad Nusrat Fateh Ali Khan’s “Yaadan Vichhrey Sajan Diyan Aayian”
https://www.youtube.com/watch?v=JkimTarg798
Incidentally both the above mentioned films SARDAAR JI 2 and BAMBUKAT have a common music director as Jatinder Shah.
Third in the list is an upcoming film 25 KILLE which also features probably the first ever ‘Single Take’ song in a Punjabi film as “Wah Oh Rabba Mereya” with music by Jaidev Kumar, that is completely based on a composition in which the Late Hazara Singh Ramta used to sing his immensely enjoyable comic poetry in the last century.
For reference :
25 Kille’s “Wah Oh Rabba Mereya”
https://www.youtube.com/watch?v=RvoZGmpL_7Y
and
“Ramta Navi Delhi Wich”
https://www.youtube.com/watch?v=iV2hgi1Pxms
Continuing the trend in a different manner, another upcoming film MAIN TERI TU MERA has a song “Shama Pai Gayian” with music by Gurcharan Singh, taking its entire inspiration from a Pakistani singer Bushra Sadiq’s track “Aaja Ve Akhiyan Rondiyan”, which was earlier there on Youtube, but now has been taken off for some unknown reasons. And this particular track is a true gem to cherish, if you haven’t heard it before.
For reference :
Main Teri Tu Mera’s “Shama Pai Gayian”
https://www.youtube.com/watch?v=2kbp6c-a4fg
and Bushra Sadiq’s
“Aa Ja Ve Akhiyan Rondiyan”
http://www.saavn.com/s/song/punjabi/Ni-Main-Kamli-Yaar-Di-Kamli/Aa-Ja-Ve-Akhiyan-Roandiyan/Pi0ABzxbbWo
As a personal opinion, it’s really great if the music directors wish to make the present generation aware of our rich Punjabi music heritage by adapting these compositions as their fresh film songs enhanced with the new-age advancements. But deservingly mentioning the original source, would have certainly taken these inspired creations to a much higher respectable level unarguably.
Cheers!
(Note: Sharing the above instances, I did check the details posted at their official Youtube links but couldn’t find any mention of the original sources. So please do let me know if they are anywhere mentioned by the makers that I might have missed reading the long lists of the credits shared at their individual pages.)
Tags : New Inspired Songs in Punjabi films, Punjabi Songs inspired from Old Punjabi hits, Copied from Charanjit Ahuja compositions, Copied from Hazara Singh Ramta, Rich Punjabi Music Heritage, Bambukat, Sardaar ji 2, 25 Kille, Main Teri Tu Mera Inspired Songs, Bushra Sadiq Inspired song, Inspired Punjabi Music
 
 
03 August 2016 / bobbysing /
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When we consider the term ‘Professionalism’, then at one end it specifically means strictly not disclosing details of any ongoing project to the others, particularly to the ones working in the similar profession. But at the same time, the term also means that if a second project is offered to an actor, quite close to the one he has already done in the past or is currently involved in, then ideally that needs to be clearly conveyed to the writer/director making the offer, leaving the decision on him that whether he still wishes to continue with the same or decides to drop it.
Toofan-JaadugarA few recent Hindi releases forced me to think about these two ‘tricky’ meanings of the word sharing it honestly and the subject once again took me back to the late-80s controversy between two famous duds of Amitabh Bachchan namely TOOFAN and JAADUGAR releasing in close succession in the same year of 1989. Based on a common unconventional subject revolving around magicians, both these films did have Amitabh playing the key role of a Jaadugar (though with completely different story plots), which was exactly the point raised by Prakash Mehra that his leading man didn’t tell him about the similarity during the entire making. Now how and why the fact didn’t get revealed in time avoiding the messy clash cannot be guessed rightly. But the truth remains that both these film actually got made, released and rejected too (at the same time with TOOFAN releasing first) for the very reason of similarities apart from the mediocre making.
Ironically even Amitabh’s SHAHENSHAH releasing a year before in 1988 had a similar theme like TOOFAN focusing on a super-human kind of figure fighting the evil at night and another similar looking character playing the comical part in the daytime entertaining the viewers (though it wasn’t the case of a double role).
Adding another worth mentioning fact about MKD films, just like COOLIE (1983), TOOFAN is also mostly quoted as a Manmohan Desai film, whereas the first was directed by Prayag Rag (sharing the credits with Manmohan Desai) and the latter was the second directorial venture of his son, Ketan Desai.
Wazir-Te3nComing back to the present, the recent example is of two major films releasing at the gap of 4 months namely WAZIR and TE3N in the first half of 2016 based on a similar theme. Interestingly in this case too we have Amitabh Bachchan only playing the lead role in both the films as an old man who has lost a girl in the family to an unfortunate event and now is willing to take his revenge from the known killer. Despite being contrastingly different in the mystery involved and its treatment, amazingly both WAZIR and TE3N have Amitabh only as the main conspirator behind the games being played like a shrewd criminal fooling his close associates Farhan and Nawazuddin respectively. Now was this acute similarity actually known or conveyed to the respective makers or not (working simultaneously) is certainly a backstage mystery to be solved by asking the makers themselves.
Admittedly many a times two or more films do get made on a similar theme by different directors. But the mystical question is that when a same lead actor is doing both these projects at almost the same time, then does professionalism allows him to remain silent and hide this crucial fact from both the makers or it rightly demands to reveal the truth at the earliest and let them decide for the rest.
Darr-AnjaamQuoting a couple of examples of the same, PREM SHASTRA and ISHQ ISHQ ISHQ both had the mention of a bold subject of incest with Dev Anand and Zeenat Aman playing the lead, releasing in the same year of 1974 (and none of the two worked). In the mid-90s, Shah Rukh Khan repeated his stalker act of DARR (December/1993) in a much brutal manner in ANJAAM released just a few months later in (April/1994), clearly indicating that they both were into the making almost simultaneously in the year 1992-93.
The above examples are of the films that were being made around the same time - featuring the same lead stars - revolving around the same theme, that’s indeed quite amusing and intriguing to even think about.
However there are other instances when a lead star featured in a film that was quite similar to what he had earlier done in the past too in another venture.
To begin with we have a very recent case of Irrfan Khan playing the lead role in DEADLINE – SIRF 24 GHANTE (2006), JAZBAA (2015) and MADAARI (2016) having an identical theme of a kid getting kidnapped in all the three.
Now in JAZBAA, there is a sequence where the kidnapped girl gets sick and the kidnapper makes a call to the mother (Aishwarya), to bring the medicine at a particular place leaving the packet at a specific spot. An exactly similar sequence is there in DEADLINE too where the kid girl gets an attack of asthma and the kidnapper has to bring in the mother to take care of her for a while. No doubt the sequence is tackled in a much better manner in DEADLINE where Irrfan himself plays one of the kidnappers (in contrast to the inspector in JAZBAA), but whether he recalled or pointed out this similarity to his writer/director of JAZBAA or not remains an exciting mystery.
Deadline-MadaariAmusingly another important fact related with both these films reamins that where JAZBAA was an official remake of a Korean thriller SEVEN DAYS (2007), DEADLINE was an unofficial version of an English film TRAPPED (2002) having an exactly similar sequence like a weird co-incidence.
Talking about the most recent MADAARI (2016), here too it’s again Irrfan Khan playing the forced criminal kidnapping the kid of an influential figure of the society. And the only difference is that where in DEADLINE he kidnaps the daughter of a doctor/surgeon blaming him for the death of his young child, in MADAARI he picks up the son of a Home Minister, who was the key person, passing a faulty flyover causing the death of his only child. However the question still remains the same that did Irrfan honestly inform or discuss these exact similarities with the writer-director of MADAARI or not?
Giving some similar references from the past, in the 80s and 90s, most of the films of Dharmendra and Mithun Chakraborty often generated the feeling of Deja-Vu in a vague manner.
Besides, Rajesh Khanna and Hema Malini featured in two films based on a similar reincarnation theme namely MEHBOOBA (1976) and KUDRAT (1981).
VAASTAV (1999) had its seeds in a similar act by Sanjay Dutt in his HATHYAR released in 1989, with the entire transformation beginning from a road side food stall only.
Anil Kapoor played an innocent adult with an underdeveloped mental state in YUVRAAJ (2008), which was quite identical to what he superbly played two decades back in EESWAR (1989).
And on a lighter note, cannot really guess that while shooting for the last shot of LAGAAN (2001) playing the winning sixer, did Aamir Khan recall that he had earlier played an exactly similar sixer in the climax of Dev Anand’s AWWAL NUMBER (1990) too, though playing modern cricket in a stadium instead of the pre-independence era against the Englishmen.
Anyway the question still stands tall as an unsolved mystery that, whether the lead stars actually spotted these similarities and discussed with their directors too or they just decided to let it go……. posing as some different kind of professionals remaining silent?
Cheers!
(Note : Do let me know if you recall another similar instance of the past that deserves a mention in the article.)
Tags : Lead actors doing similar roles in two films, Inspired Films, Copied Films, Similar Themes, Articles on Inspired Hindi Cinema by Bobby Sing, Articles on Cinema by Bobby Sing at bobbytalkscinema.com, Toofan and Jaadugar, Darr and Anjaan, Deadline and Madaari, Wazie and Te3n, Lagaan and Awwal Number, Backstage stories of Bollywood films.
 
 
26 July 2016 / bobbysing /
leave a comment
 
The name Guru Dutt brings back the memories of a highly sensitive, emotional and loving visionary who could write magical poetry on screen and is unanimously acclaimed as one of the most celebrated filmmaker of not only Indian but World Cinema, sadly living a very short life span of just 39 years. As a reputed actor, producer and director of Hindi movies, his major films are considered as the key representative of Indian cinema and have found there respected places in the All Time Great Movies lists prepared by renowned publications and organisations all over the world.
A lot has been written about Guru Dutt’s personal life, his love affairs, the artistic cinema and his cult films of the past by many renowned authors, columnists, editors and bloggers since his death in 1964. But most of these writings have always focused upon his effective presentation of pain and sadness on the celluloid through his expressive performances, chosen themes, characterizations, music and execution in films such as PYAASA, KAAGAZ KE PHOOL & SAHIB BIBI AUR GHULAM (directed by Abrar Alvi) in particular.
Putting it specifically, a big majority of these write-ups and tribute articles have always shown a deep inclination towards the writer-actor-director’s tragic end and his constant relationship with sadness or loneliness seen in the last years. And very rarely you find anyone mentioning the young, fun loving, flirting Guru Dutt we get to witness in his early films such as 12 O’CLOCK (lawyer/boyfriend), AAR PAAR (taxi driver), MR AND MRS 55 (a cartoonist) and CHAUDHVIN KA CHAND (a young lover).
Personally speaking, I really cherish watching his deep, poetic persona in all the well-made classic films talking about love, tragedies and separations in a sad yet thoughtful mode. But I honestly enjoy watching his amazingly relaxed and effortless performances in the thrillers, light dramas and romantic comedies a lot more finding an entirely different Guru Dutt in deep contrast with the over-famous gloomy image presented, followed and publicized by the majority of people.   
Therefore would like to pay my humble tribute to the true artist by remembering his lesser talked about, pleasing and joyful image on screen in a particular song, where he is spiritedly dancing on a Bhangra (Punjabi) rhythm along with Asha Parekh. And the most amazing fact related with this particular song is that this is from a film that got released in 1963 (as one of his last ventures) post the release of his three cult classics i.e. PYAASA (1957), KAAGAZ KE PHOOL (1959) and SAHIB BIBI AUR GHULAM (1962) that actually established the sad-tragic image within the viewers and the industry.
The song “Kaahey Itna Gumaan Chhoriye, Yeh Mela Do Din Ka” is from film BHAROSA (releasing a year before his death), with music by Ravi, lyrics by Rajinder Krishan and rendition by Asha Bhosle, Mohd. Rafi and chorus. 
     Guru Dutt Dancing in a Bhangra song.
No doubt, these five minutes would introduce you to a completely different Guru Dutt, far away from the image of a depressed-lonely man sitting on the chair in a deserted studio, partially visible through the beam of a streaming sunlight.
Click at the following link for the song video:
https://www.youtube.com/watch?v=1kSYAhn7Jpw
HIS BLESSINGS
Tags : Guru Dutt in a dancing mood, Guru Dutt as a fun loving dancer, Articles on Cinema, Remembering Guru Dutt, Articles on Music, Poetry and Life by Bobby Sing, A Tribute to Guru Dutt at bobbytalkscinema.com
 
 
10 July 2016 / bobbysing /
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