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April 24, 2014 Thursday     
Weird films like this raise many big questions in your mind regarding their making and all the people involved in the creative team, behind the screen. To begin with, its really shocking to know that this is a re-make of director Susi Ganesh’s own successful Tamil film THIRUTTU PAYALE (2006) since the present Hindi version has simply nothing worth praising or even talking about. Moreover, it has such childish sequences in its questionable storyline that it truly makes you wonder that what forced the makers to choose such a film to remake for the Hindi viewers and what was in it that turned its original a hit quite strangely.
Interestingly though a remake, the film’s basic plot does reminds you of a 1982 Reena Roy starrer called BEZUBAAN which also revolved around betrayal and blackmailing. But the execution here is so bizarre and shaky that it totally ruins its otherwise satisfactory plot and gives you nothing in return as a crime thriller. To give you an idea, for a good 10-15 minutes, the film uses some extremely poor graphics (with chroma) showing the four friends touring abroad and then there are few wild life shots too simply reminding you of the Discovery Channel. Moreover, the Kenya locals are used quite hilariously who instead of making you laugh, force you to look at your watch or phone repeatedly.
Further its quite hard to believe, the way this film has been conceived and directed, with a young boy climbing big mansions (of the rich & famous) so easily surpassing all kinds of security, multi billionaires making their e-mails ids at Gmail and Yahoo known to all, people barging into Police Commissioner’s home just like that and a mother willing to make the most out of her beautiful daughter with some loud and sick intentions. Its over length becomes another nail into the coffin and then the last scene at the race course turns out to be pretty funny instead of exciting, forcing you to leave the theater at once without caring about what happens to the characters in the climax.
So then does the film has simply nothing to offer literally? No, fortunately there are two appreciable insertions in it as a silver lining in the dark clouds. Firstly it has a thoughtful sequence wherein a 10 years old young boy gets on the wrong path after witnessing his father taking bribe from different persons on a regular basis. And secondly the film has an interesting soundtrack which has few good songs including “Khaali Salaam” & “Jhoom Barabar” well composed & arranged by Himesh Reshamiya.
As the title suggests, SHORTCUT ROMEO is the rough character played by Neil Nitin Mukesh in the film and I really wonder why Neil is only there in such mediocre projects repeatedly doing all the hard work. Honestly I would love to know what Neil might have been thinking while shooting all those absurd sequences in the film, particularly the scene where he is made to run like a horse in the race course (in the climax). On the other hand both Ameesha Patel & Puja Gupta perform well in their respective roles but the rest keep on over reacting more than required.  
In all, it’s a film which needs to be avoided even when it will be coming on the channels soon, just for free. Or probably you can watch it only to be in the AC for a good two hours along with enjoying a few melodious songs and pretty faces on the screen, in this terrible heat.
Rating : 1 / 5 (and that too only for its two merits as mentioned in the review.)
Tags : Shortcut Romeo Review By Bobby Sing, Shortcut Romeo Film Review By Bobby Sing, Shortcut Romeo Review at bobbytalkscinema.com, Reviews by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews By Bobby Sing, New 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 at bobbytalkscinema.com
 
 
23 June 2013 / bobbysing /
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Before reviewing this Ajay Devgan’s produced action comedy, let me take you into the probable backdrop of its making as it seems. For those friends who might not be aware, S. S. Rajamauli is a big name in the South Film Industry who has an incomparable record of giving major quality hits in a row in the recent years. A few months back Akshay Kumar tasted success with ROWDY RATHORE which was a remake of Rajamouli’s film and last month Hindi film viewers witnessed one of the most innovative films of Indian Cinema called MAKKHI (EEGA) dubbed in Hindi.

In 2009-10, Rajamouli thought of a plot based on a silent Hollywood film OUR HOSPITALITY made in 1923. The storyline was such that it needed a central character who could play it as a comedy and generate enough laughter in the theater. In order to portray the plot authentically, Rajamouli decided to take an unconventional cast and took the risk of making it as an experiment calling it MARYADA RAMANNA with Suneel in the lead role. The gamble paid off and the film clicked big time as it had enough comedy to keep the viewer entertained fairly for about two hours.
Now in 2011-12, Ajay Devgan bought the rights of this Telegu film which was also remade in other regional languages too. But the problem was that with such a plot, how to create a sure shot comedy as Rajamouly did in his Hit version. And working on this confusion Ajay Devgan’s team thought of a sad but brilliant commercial idea of converting the whole regional village comedy into a Punjab based film with all Punjabi or Sardar characters as comedians. The reason being, that it was so easy and exciting to make an explosive comedy with all Santa-Banta kind of people fighting with each other on the screen like clowns. Further the genre with the added “Sardar” thing had its own commercial advantages both in the country as well in the overseas market as proved in the recent times repeatedly. So that’s how the work on SON OF SARDAR started, ready to exploit the rich culture and the lively people of Punjab in a funny manner just to earn some quick money bags by the team and nothing else.
Putting it differently, SON OF SARDAR is a film which makes fun of the community in such an open, loud or confident manner that one may not even feel that there is something objectionable in it at all while watching it (which is indeed an intelligent move by the director). At one end, Ajay Devgan keeps on praising the spirit of Sikhs, their pride in their turban and the teaching of their honorable Gurus with all the due respect. But on the other, the writer-director continues cracking sick jokes one after another on the living styles of Punjabi’s, their ever-ready fighting spirit, their drinking habits and their other forcibly created confusions to generate regular laughter in the theater. To be honest, after watching the film even the SIKHS would be in a confused state that whether we should appreciate this kind of solid portrayal of ourselves on the screen or it needs to be opposed strongly. And that’s precisely how Ajay Devgan must have got the approval from all those Sikh authorities the film was shown to, after agreeing to some cuts pointed out by them before its release very cleverly.
Moving on to the film itself, SOS begins in a totally commercial mood, with the title song followed by a long fight sequence in which you right away meet The Pathaan, Salman Khan entering on the screen to help Ajay. So all those claps & seetis can be heard in the first 10 minutes only in the theatre, filling you with a great energy. The pace continues for another hour and you enjoy the proceedings mostly before it says intermission. But the basic plot of the film is too thin to be stretched beyond a certain limit and therefore all you have in the second half is many well directed fight sequences in pure South style to keep you amused. Hence as an individual Hindi film, SOS entertains you effectively in its initial hour but fails to do the same post interval due to its not so great story-plot.
However if you see the original MARYADA RAMANNA directed by S. S. Rajamouli then he doesn’t let it drop so badly in the later part and continues looking after the entertainment factor right till the climax. But SOS largely becomes dependent upon the long action sequences in its second hour with less of the comic entertainment promised, which eventually goes against the film in the end. So for all the true fans of action genre, it has a lot in store in its final hour as an essential feature of a Ajay Devgan project. But for the ones who wish to see a great enjoyable comedy, it gives you the same only marginally.
Another merit of SOS lies in its fresh pairing of Ajay Devgan and Sonakshi Sinha, who look very charming on the screen saying all those one liners with the Punjabi touch. Ajay’s “Kadey Has Vi Leya Karo” and Sonakshi’s “Chal Jhootha” work fine with the audience almost every time they say it impressively. But its really high time Sonakshi thinks of doing some meaningful role in her chosen films, other than being there just as a beautiful showpiece. Ajay plays the mix of a comedian and an action hero well and he is going to be loved by his fans in this new avatar of his as a Sardar.
Sanjay Dutt as the strong opponent acts tough yet I couldn’t get his confusing get-up thought of by director Ashwani Dhir. It was nice to see Tanuja on screen after a long time but Juhi Chawla sadly remains in her “Kurkure” form throughout like a cartoon character. Vindu Dara Singh gets some good punches along with Rajesh Vivek saying “Silencer La Puttar” and Mukul Dev once again impresses in a film made around the Punjabi backdrop. Among the rest Arjan Bawa, Puneet Issar and Mukesh Tiwari do not get anything substantial to show up their acting skills.
In its musical department SOS gets a good support from its four catchy tracks composed by Himesh Reshamiya with the famous “Pon Pon” featuring Salman Khan coming along with its end credits following the latest trend. But as usual all these tracks are simply added into the film without any need as such. Sandeep Chowta’s energetic background score gels well with the feel of the movie and the superbly shot innovative action sequences are sure going to help it get some good response in the smaller centers
In all, made exactly on the format discovered by Rohit Shetty and Prabhudeva in their films, it will not be surprising if SON OF SARDAR does exceptionally well in the coming days as projected. Because if Ajay’s last comparatively weak film “Bol Bachchan” can surprisingly enter the so called ‘100 crore’ club then SOS should also do that quite easily.
Rating : 2.5 / 5
Tags : Son of Sardar Movie Review by bobby sing, Son of Sardar Movie Review at bobbytalkscinema.com, SOS review by Bobby Sing, Reviews by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews By Bobby Sing, New 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 at bobbytalkscinema.com
 
 
14 November 2012 / bobbysing /
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Bhansali films are back with another love story with a difference and this time its Sanjay Leela Bhansali’s sister, Bela Bhansali making her debut as a director. Thankfully she chooses a rather difficult, unconventional and interesting subject of ‘A Late Marriage’ of more than 40 years old couple who couldn’t find their soul mates till now due to their own personal reasons. The merit of the film is its novel theme for the Indian viewers which talks about an issue that can now be easily considered as a part of our society since the last decade.

With the changing norms of our living standards, young boys and girls are seriously not interested in marriage till the late 20s and early 30s due to the preferences given to their individual careers and ambitions. Though the film doesn’t talk about any youngsters here but it still revolves around the same issue wherein its two leading characters (in their 40s) are yet not married due to their own family responsibilities and problems. Therefore the plot might not be completely alien or offbeat for all the youngsters watching the film along with the matured audience.
Primarily promoted as a comedy, SHIRIN FARHAD KI TOH NIKAL PADI serves the purpose pretty well in its first half. It does make you smile, laugh and even embarrasses the viewer in a funny manner with its few sequences related with Boman’s undergarments shop. So one feels like being fairly entertained in its initial reels until it reaches the intermission where its story takes the same seen before kind of turn involving the mother. Hence post interval it simply becomes a jumble of both good and bad moments which are not able to entertain the viewer in the same manner as successfully done by its first half.
Now the major reason of this sliding down remains its easily predictable plot which loses the grip once the audiences know that what is going to happen next. Till they don’t have the clue about its basic storyline, they enjoy it thoroughly. But once it moves down to the same ages old path, the film fails to deliver and is not able to make any kind of major impact on the viewer. Moreover the absurd sequences towards the end, like the father waking up from the coma and the gas trouble faced by an old man really put you off and one loses his interest in watching it further.
Here the point which needs to be raised is that, when Indian Viewers are ready to accept new concepts and ideas as proved by many recent hits, then what’s the need of ruining a good movie by inserting the same old twists & turns leading towards a typical Hindi film climax unnecessarily? Bela’s first venture here is undoubtedly a fine attempt by a debutant made on an unusual subject but why she hesitated to tackle it differently in its second half remains questionable. Either she had no faith in her target audience or she simply bowed down to the commercial elements involved in film business today as it seems. But whatever be the reason, she really missed the opportunity of making a fine film unarguably.
SFKTNP also catches your instant attention due to its surprising cast featuring Boman Irani and Farah Khan (the famous director, choreographer and TV reality show judge) as its leading couple in love. However out of the two, Boman once again scores the maximum with a worth watching performance of a middle aged lonely Parsi looking for his lady love from years. It’s his second Parsi character in continuation after FERRARI KI SAWAARI and he is truly exceptional and a delight to watch as always. Farha Khan on the other hand, looks exactly like her character on screen, performs well and entertains confidently in her first lead role as an actress. Yet I also felt as if she was doing it too casually taking it just like a fun assignment for a change. At times she is a complete natural but in some scenes it seems like she really doesn’t care about the end result on the screen. So I was in a strong doubt that whether she was in fact the right choice for this role or not. In the supporting cast both Daisy Irani and Shammi Aunty are simply adorable and make their presence felt throughout.
Musically, the film could have easily done with only its fine title song being repeated in the background. But as per the Hindi film routine it does have few average tracks which sadly don’t impress or move the story further. Cinematography and Background score just supports the movie’s theme as required but dialogues don’t really work when the writers try to be over funny in few sequences of its second half.
Coming to the title of this review mentioning an OSCAR winner movie, the Bhansali banner continues with their decades old trend of making inspired films borrowing the basic plot of their script from a World Classic. This time its Delbert Mann’s directed MARTY (Black & White) released in 1955 which also won the Academy Award for THE BEST MOVIE due to its honest portrayal of a lonely middle aged man looking for a life partner. In MARTY too there is man with a heavy built up, who is fast passing through his 30s and is yet not able to find his perfect life partner for various reasons. He lives with his mother and wishes to buy the shop he is currently working in as a salesman. The film also has the characters of his aunt and a friend who keep pushing him for getting married fast. And when he meets the right lady, he goes through a character transformation within days, which remains the main focus of this realistic classic featuring Ernest Borgnine in the lead.
Admittedly SFKTNP is not a blatant version of MARTY as you might be thinking. But it does take its basic elements from the same, changes the settings to PARSI characters and then adds all the Hindi Film gimmicks to it in order to make it a spicy dish ready to be served to its Indian viewers starving for something different. In true words, this was again a good choice of subject by SLB films to be presented before us following their own style of film-making. But I really wish Bela had made it more artistically keeping the core essence of the plot intact.
However in its present avatar, (in all possibilities) the Parsi community may not like the movie whole heartedly, as it portrays them more like some eccentric people living their lives in a distinctive manner away from the normal. I personally loved and still remember watching PESTON JEE as one of the best films made around a Parsi character. Plus the recent FERRARI KI SAWAARI was a decent one too. But somehow that decency seems to be lost in this latest flick and I didn’t really enjoy the community’s portrayal in it at a personal level. Still for the common viewer, the film can only be rated as an average entertainer which probably would work more when you will be watching it on the channels or Home Video without spending much of your money and efforts.
Rating : 2 / 5

For friends interested in reading about MARTY, click the link given below:
Marty (1955) (Movies To See Before You Die - Drama / Comedy)
Tags : Shirin Farhad Ki Toh Nikal Padi Movie Review By Bobby Sing, SFKTNP Review By Bobby Sing, Shirin Farhad Review, Inspired Movies from OSCAR Winners. New 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 at bobbytalkscinema.com
 
 
24 August 2012 / bobbysing /
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