Bobby Talks Cinema.com - Bollywood Movie Reviews, Inspired Cinema, Movies To See Before You Die, Articles on Cinema, Music, Poetry & Life.

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!

KAHAANI 2 - A casually written crime thriller based on a sensitive subject that happens to be a forced, unrelated sequel with just a better first half. (Review by Bobby Sing).

ARRIVAL (English) - One might have different views overall, but this should not be missed and essentially needs to be seen in the theater as an unmissable audio-visual marvel spreading the message of PEACE. (Review By Bobby Sing).

MOH MAAYA MONEY - Such immature and outdated crime-deceit drama in the present times could have only been made by a team not well familiar with many crime mystery films or (Hindi/English) novels to be straight. (Review By Bobby Sing).

DEAR ZINDAGI - Unexpectedly repetitive and a wannabe kind of film from a promising director, irresponsibly wasting the earnest performances of both Alia and Shah. (Review by Bobby Sing).

MERE SAPNO KI RANI - The one exceptional phrase connecting K. L. Saigal, Mohd. Rafi, Kishore Kumar and Rajesh Khanna together. (Did You Know - 88).

CHAAR SAHIBZAADE : RISE OF BANDA SINGH BAHADUR (Punjabi/Hindi) - With no energetic & exciting portrayal, this can strictly be watched for some lesser known historical facts of the early 18th century, but not as any detailed, insightful account of the era. (Review By Bobby Sing).

DOCTOR STRANGE (English/Hindi) - Begins like a classic but ends on the same routine note with some splendid, worth watching graphics in 3D. (Review by Bobby Sing).

TUM BIN 2 - An emotional first half, likable performances and the nostalgic cult song results in a fairly watchable (average) film, sadly based on an almost exact (cliched) format of its original. (Review By Bobby Sing).

FORCE 2 - If only you interpret a spy movie as nothing else than continuous action, chases, guns, explosions and foreign locations. Strictly avoidable! (Review by Bobby Sing).

ROCK ON 2 - It has a few mature sequences but not recommended even if they offer the tickets in return of the old currency notes. (Review By Bobby Sing).

 
 
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December 04, 2016 Sunday     
To begin with, I suppose films are made for ‘We The People, The Fans or The Die-Hard Lovers of Cinema’ willing to catch every new film on the weekend with the same excitement and passion.
But if the so called BIG filmmakers, BIG Stars, BIG Producers and Exhibitors are least concerned about the ‘deliberate ticket price increase’ being charged from us at the time of every big release by these ‘New-Age White Collared BLACK MARKETEERS”, then their films also don’t deserve any detailed in-depth reviews and should only be given that much time and attention they are really worthy of.
------------------
So here is the TTP review of SHIVAAY which was much more disappointing than I was honestly expecting it to be.
Wasting the first 45 minutes in all filmy, seen before and boring sequences of (amateurish) tracking/mountaineering, romance with a foreigner tourist and an illegitimate child born out of the relationship (as usual), SHIVAAY fails to impress in this first section of its screenplay requiring some severe editing. And the film actually manages to grab your attention only when Ajay travels to Bulgaria along with his 8 years old mute girl to find her real mother.
Showcasing the widely practiced flesh trade in the city involving young kids too, it keeps you engaged with a long well-conceived chase and action sequence dealing with the kidnappers. But once it over, Ajay quickly gets into the avatar of Salman Khan/Sunny Deol blasting Bulgarian Police and the local goons reminding you of similar circumstances and story plots seen in GADAR, BAJRANGI BHAIJAAN and the English film TAKEN too. In fact here we again have a mute kid-girl, just like we recently saw in Salman’s blockbuster with a much better enactment, presentation and treatment.
Post intermission the film comes up with an even bigger mess in its every next scene and one keeps waiting for more action sequences (at least) in order to get some kind of return for both the time and money spent on the costly tickets. In short, one never feels emotionally connected to anyone in the film revolving around family relationships (that ideally remains the first requirement for such subjects). And then a too long climax with all illogical sequences within a Police headquarter and more truly remind you of those typical Bollywood films of the 80s featuring the ‘God Blessed’ macho hero with a tattoo of a Trishul, who doesn’t get hurt even after being dragged on the road or fired upon by several machine-guns from a helicopter.
Focusing on a supposedly superhero who can do almost anything in the world with minimum efforts and equipment, SHIVAAY is stunningly shot showcasing the hills, snowstorms and more, but the mountains have nothing to do with the film post its initial 20 minutes to be precise. Moreover some specific scenes once again force me to ask that why ‘the chroma’ sequences can easily get caught in our Hindi films, but not in the foreign projects using it even more extensively?
At an excessive 170 minutes of duration, SHIVAAY wastes too much time on the obvious and gives you nothing great to say about the soundtrack or background score too unfortunately. Featuring the foreign language in few of its important scenes, the director doesn’t even care to explain them with English or Hindi subtitles as required.
Among the actors Sayyeshaa Saigal looks fine in her debut performance of a helping figure (just like Nawazuddin in BB) but the kid girl visibly struggles in her given scenes. Plus, even Ajay Devgun hasn’t got anything fresh to offer to his fans other than the well shot action sequences both as an actor as well as the director.
In short, after heavily promoting the film as some kind of adventure movie, SHIVAAY turns out to be nothing of that sort at all, making you wonder that how come Ajay found this kind of story exciting enough to use for his mega directorial venture made on such a grand scale? No doubt the choice was strange, disappointing, silly or conveniently foolish altogether, coming as a Himalayan disappointment.
Having said that, would still like to end with a very fine dialogue heard in the beginning of the film and it goes as,
“Zaroorat Se Zyada Kabhi Maanga Nahin,
Aur Zaroorat Se Kam Usne Kabhi Diya Nahin”
Go for it, only if you are a die-hard Ajay Devgan fan and cannot give it a miss.
Rating : 1.5 / 5
Note: Addressing the repetitive issue of ‘Unfair, selective increase in ticket price by the Multiplexes’.
Though my site and write-ups might be too small in front of the big runners and my voice raised against this MULTIPLEX MAFIA also might not get heard or reach anywhere.
But what nobody can stop me from is deducting ONE STAR from every such film that takes ‘we the viewers’ for granted (in revolt). So a star goes from the rating of SHIVAAY too since every big actor, director, production house and exhibitor is equally contributing in this sheer exploitation and willfully ignoring the issue over the last couple of years.
Final Rating : 1.5 - 1 = 0.5 / 5
Tags : Shivaay Film Review by Bobby Sing, Shivaay Review by Bobby Sing, SHIVAAY based in Himalayas, Ajay Devgun as a director, 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, Inpsired Films, Similar to Gadar - Bajrangi Bhaijaan and Taken
 
 
28 October 2016 / bobbysing /
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Swades
Though SWADES (2004) was not a major box office charmer as per the expectations raised, yet it successfully won hearts and is widely considered as one of the finest works of three creative men namely, Ashutosh Govariker, Shah Rukh Khan and A. R. Rahman.
Apart from its heartwarming subject, lead performance and a melodious soundtrack, another contributor who silently left a mark on almost every single viewer watching the film remained Gayatri Joshi, who looked gorgeous in her first and only appearance as an effortless actress playing the role of Geeta. In fact such was the impact of her adorable act that the girl and her only film appearance is still remembered as one of those most lovable performances by many Hindi cinema enthusiasts including myself.
Receiving widespread critical acclaim, SWADES was also regarded as one of the finest films of the decade and along with CHAKK DE INDIA is often quoted among the career best performances of Shah Rukh Khan in an off-beat experimental film, other than his more famous ventures.
However not many are aware of the fact that the basic idea of its storyline or rather the exact idea of its major content came from a TV series aired at ZEE TV titled “Yule Love Stories” in the year 1993-95. And you are sure to get amazed reading the following pointers revealing the specific references taken from the two particular episodes of the series titled VAAPSI.
A. The director Ashutosh Gowariker himself played the character of a foreign returned young man in the serial that was enacted by SRK in SWADES using the same name as Mohan Bhargav.
B. In the serial too, Mohan first visits an old age home to meet his Kaveri Amma (the name remains the same in the film), but finds that she had already left the place a couple of years back and is now living in a small village with her young grand-daughter.
Yule Vapsi
C. Next there is the book shop sequence as seen in the film where Mohan agrees to sit behind the counter for a while on a request made by his owner friend. A customer steps on the books, a girl confronts him pointing out his mistake, Mohan watches them both, the girl brings a lot of books to the counter, keeps telling the right total while Mohan is calculating and then forgets to collect the change before leaving.
D. Post the book shop sequence, the lavish caravan features in the serial too and Mohan travels in it to the village Kaveri Amma is supposed to be living.
E. He reaches there and surprises Kaveri Amma exactly in the same manner as Shah Rukh Khan greets her in the film and then meets Geeta - the girl he had earlier met in the bookshop. (Again having the same name as used in the film)
Yule VapsiF. The story keeps proceeding on the similar lines and among other exactly identical scenes (as seen in the film) we have Mohan living in the caravan itself, an innocent postman/postmaster getting confused over the unknown inventions like FAX (it gets converted to E-mail in the film), Geeta angrily talking to Mohan while he is taking a bath, Mohan visiting the school and sitting in Geeta’s class as a student, his confession of love made in the classroom itself (standing next to the blackboard) and then both Geeta and Kaveri Amma not agreeing on leaving the village to get settled abroad.
G. However in the serial it all ends when instead of flying back Ashutosh decides to stay in the village along with Geeta and Kaveri Amma.
H. Considering the rural environment, amazingly even the house of Kaveri Amma in the serial reminds you of a similar one seen in SWADES and if I am not wrong then even after a gap of almost a decade, it’s the same actress (Kishori Ballal) playing Kaveri Amma in the film too who actually enriched the serial with an immensely likable warmth and natural ease.
Hence a major part of SWADES more or less remained exactly identical to the storyline and execution of these two-episodes of the series titled VAAPSI produced by Odyssey Video Communications Ltd. for Zee TV. Unfortunately the recently uploaded episodes (at Zee's OZEE app and website) don't have any credit details as such but according to an unconfirmed information available at a link it was Anand Subramanium who directed the two episodes in the mid 90s. Interestingly in case of the film SWADES, the credit of Story has been given to M. G. Sathya & Ashutosh Gowariker whereas Screenplay has been credited to only Ashutosh Gowariker.
Coming to the final section of the film related with the problem of electricity in the village, it was highly inspired from a real life incident when a NRI couple returning from abroad actually built a power generating unit in a village of Maharashtra.
The two social activists were Ravi Kuchimanchi and Aravinda Pillalamarri who returned to India with a mission to serve the country and through the collective efforts of the local villagers and other social organisations (Narmada Bachao Aandolan) were able to build a small power generating unit in the village of Bilgaon, Maharashtra in 2003. The successful initiative soon became a benchmark in the field of rural development and gained even more popularity around the states post the film’s release in 2004.
But unfortunately three years later in 2006, an unexpected flood washed away the innovative, inspiring project coming as a big blow to the villagers and the entire region again went back into the same decades old forgotten era of the ugly darkness.
As per the latest news reports, the project lies abandoned today due to various reasons including lack of water-flow in the river, no revival initiative by the state authorities and the usual hiccups. (Details of which can be read in the links shared towards the end of the write-up)
Among the other worth mentioning features of this new age classic:
1. The film begins with the quote of “Mahatma Gandhi” and interestingly its lead actor is also named as Mohan, most probably inspired from the real name of Gandhi as ‘Mohandas’. And the worth contemplating quote is,
“Hesitating to act because the whole vision might not be achieved, or because others do not share it, is an attitude that only hinders progress”
2. The Opening titles also mention a book "BAPU KUTI: Journey In The Rediscovery of Gandhi" by Rajni Bakshi as an inspiration, since it’s about the people who courageously left their respective corporate careers only to work for the community following the principles of Mahatma Gandhi.
And you can also spot the book lying on the desk in the scene, when Shah Rukh Khan is preparing a carry bag for Gayatri in the book shop.
3. Beginning with the sequences of SRK working in NASA, SWADES is the first Indian film to be shot in the premises of NASA Research Centre and the project SRK is working upon in the film is also an actual NASA project as reported. (The opening credits duly thank the Centre in details.)
4. The soundtrack of the film has a unique instrumental version of the song “Yeh Jo Des Hai Mera” with the lead melody played by a Shehnai, a short phrase of the same melody repeated throughout and a continuous chorus kind of sound that seems to be clipped from another track of the album (quite innovatively). Certainly an exceptional attempt made by A. R. Rahman that actually becomes a major highlight of the music album, probably being the only official instrumental version of a film song using the Shehnai.   
5. Lastly in another track “Pal Pal Hai Bhari” where the act of Ramleela is being staged in the second half of the film, one of the male voices singing the song is of director Ashutosh Govariker himself.
No doubt with such interesting lesser known features SWADES has a lot that can truly inspire many young creative minds as a worth watching new-age classic of Hindi Cinema.  
Cheers!
© Bobby Sing (Harpreet) – Bobbytalkscinema.com
17th August 2016
(With A Big Thanks to CHRIS for reminding me of the subject in his valuable comment) 

Useful links for interested readers:
Tags : Swades Inspirations, Swades inspird from Yule Love Stories, Swades inspired from Zee TV Serial, Swades inspired from real life inspired event at Bilgaon Maharashtra, Swades and real life project at Bilgaon, Swades and Shehnai song, Swades Bapu Kuti, Swades and Mahatma Gandhi, Swades and NASA, Swades as a must watch inspiring film.
 
 
17 August 2016 / bobbysing /
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The name ‘SALMAN KHAN’ has actually become a genre in itself in the last decade or so with a gigantic fan-following coming from every age group. But among the rest, all one wishes to know about his latest venture is that is it worth watching and entertaining enough to be seen once or should be skipped completely saving both our time and money?
So if you are also eager to know about the outcome of his much talked about Eid-release this year, then the good news is that SULTAN cannot be termed as any bad movie at all, since it typically follows the entertaining masala format of our Hindi films and therefore is sure to find its own loyal following among the viewers and fans together leaving more than a decent mark. However the other not so encouraging news is that SULTAN isn’t any specific sport oriented film as projected in the promos, with its major focus on a standard Hindi film love story (where the woman makes her career sacrifices for the man), cleverly incorporating the appealing sport of wrestling/ free-style fighting in its backdrop. But more importantly, SULTAN isn’t any superior, polished or novel entertaining movie as Salman’s last BAJRANGI BHAIJAAN either, that might be disappointing for a few expecting a major triumph.  
Offering a better and more entertaining romantic/musical first half, SULTAN has a song coming at every 10 minutes till the interval and then has a second half completely focusing on the fights ending on a happy note. The wrestling scenes are all predictable without any novel execution or surprises in store but still they do successfully get you involved cheering for the man in the ring, especially in the final 40 minutes. Where the initial hour has a good entertaining pace equipped with  some well-placed humour, it’s the second hour that does have a few drops at intervals before the fights come in reminding you of several films like ROCKY (The English Series), APNE, BROTHERS, the recent DO LAFZON KI KAHANI and more dealing with all similar sequences.
However what still keeps you engrossed are the sincere key performances well supported by the side-characters who never let you feel watching something monotonous or repetitive till the over-lengthy climax. Plus there is an excellent cinematography and background score that provides a finer edge to the proceedings playing the right notes pumping your blood just at the right moments.
Continuing with his innocent persona seen in BAJRANGI BHAIJAAN, Salman delivers another much improved and commendable performance putting in some great physical efforts clearly visible on screen. Remaining the life-line of SULTAN, he gets a valuable support from the talented Anushka Sharma, who also puts her earnest effort going through the physical training, but her character remains the most confusing one in the film too (discussed in details later). The other contributing merit in the performance department is the impact created by the talented supporting characters namely Amit Sadh (as the franchise owner), Anant Vidhaat (Sultan's friend), Kumud Mishra (Anushka’s father) and Randeep Hooda (in special appearance) strongly making their presence felt.
In short, no doubt SULTAN serves the commercial purpose well, for which it was made for. But if only Ali Abbas Zafar had worked on the emotional aspect of the film, more than the fights and other commercial elements like songs or else, SULTAN would have touched the level of BAJRANGI BHAILAAN quite easily making it a much better film. At present it certainly is a fine one time watch with a superior first half, but don’t expect a deeply moving, highly energetic or thoroughly entertaining movie of 170 minutes of duration to be exact.
Coming to the major downers, why SULTAN fails to move over just average or above average ratings: (Spoilers Ahead)
Firstly it’s the way writer-director Ali Abbas Zafar handles the major world sports events (by merely giving a caption on screen) wherein both Salman-Anushka easily get shortlisted as Indian representatives in the world over and then keep winning them all too without any obstacles like a piece of cake. These specific moments showcasing the various wins abroad (including Commonwealth, Asian and even Olympics) frankly make the film look like too fake and very casually dealing with the sports events having a huge international fame and reputation.
Secondly it was really surprising to see how an earth shattering family tragedy towards the intermission gets mentioned, explained and dealt with so quickly within few minutes without any exceptional display of heart wrenching emotions and sensitive moments by the actors on screen. It was as if there were some strict instructions from a superior authority that don’t stay at any sorrow or sad scenes for long and finish them fast moving over to the other entertaining ones as soon as possible. Personally for me this was a quite brutal way of depicting such a shocking tragedy.
Thirdly, the moment you see the sponsorship for Sultan being searched in a small local shop selling Pressure Cookers, one really feels strange and awkward together as there is simply no match between the grand event shown and such a small sponsor chosen running a local ‘cooker’ shop. In fact this one insertion simply pulls down the film to much poor level using a cheap trick to bring in some timely laughter.
Lastly but most importantly SULTAN loses its major marks due to a highly confusing and badly written character assigned to Anushka Sharma. Explaining it further, right from the beginning the girl is shown to be a well-educated, real tough character perfectly knowing her chosen priorities of life and in a particular scene is even given long dialogues on woman empowerment and their exploitation in society referring to the male chauvinism. But surprisingly this all goes for a toss just after a few scenes and we suddenly get to see a completely different girl on screen like a split personality.
So first the writer-director establishes her as a focused, powerful sports woman with a clear motive in life of becoming a legendary wrestler and just after 30 minutes makes her behave like an ‘Abla Bebas Naari’ who is dying to get married and is ready to sacrifice all her career ambitions (including the once in a lifetime Olympic selection) for her husband, getting pregnant without opting for any kind of precautions like an uneducated, unaware girl who knows nothing at all. Here though Anushka perfectly plays her part as per the director’s vision, but this was the most absurd characterization I have seen in the recent times and that too about a sports woman who is assumed to be a strong focused personality knowing her moves well.
Therefore even if SULTAN turns out to be a fair entertainer due to its various merits, these four major downers don’t allow me to give it any higher rating honestly above than the average one.
Anyway concluding the review in a novel style,
the following are the thoughts I had in mind while watching SULTAN in the theatre written in chronological order.
  • Begins calmly, making a base for Salman’s grand entry.
  • Sultan enters in a wrestling scene with loud cheers and roars.
  • The not so great first two songs still sound fine while watching them on the screen.
  • Shooting on location always helps for generating the realistic local feel.
  • A dialogue makes a reference to Shah Rukh Khan and the crowd explodes.
  • The romantic angle takes the film back to routine but still engaging.
  • 4 songs are there in the first 30 minutes with 'Baby ko Bass Pasand Hai' making a mark as a ‘routine’   marriage sequence track.
  • There is potty humour in the dialogues too. May be its the in-thing nowadays.
  • Comedy takes over the narration with some enjoyable sequences & dialogues offering fine, light entertainment post the ‘Baby’ song.
  • A strong dialogue rendered by Anushka on ‘woman empowerment’
  • One good thing is that they have not tried to hide the height difference in the lead couple.
  • More songs are there at regular intervals converting it into a purely masala movie with a bit of everything  till the first 45 minutes.
  • A few scenes remind you of the famous ROCKY series in English.
  • The 6th song is thrown-in within the first 75 minutes and its not interval yet.
  • Surprised to see so casual and careless depiction of major world competition fights ruining the fine build up dropping the pace.
  • Many cliched references are there not suiting the tough character of Anushka at all.
  • A real earth shattering tragedy comes in but again depicted so irresponsibly without the required amount of emotions, as if its nothing much of a shock to all the characters involved.
  • That’s interval after 85-90 minutes and it’s a typical masala movie projecting everything from major international fights to emotional tragedies so casually lacking the emotional aspect.
                                         ----- INTERVAL -----
  • The narration comes back to the underdog theme and shows some sparks.
  •  Another average track is here but people still waiting for the best song to come.
  • Amused to see them finding sponsors for a big sports event in a local shop selling pressure cookers!
  • The Martial Arts den is shown to be based in old Delhi's Chandni Chowk, where the lanes are so narrow that two people cannot even pass without touching each other!!!!!
  • Here is Randeep Hooda after 100 minutes into the film.
  • It goes into completely predictable mode in the second half losing the grip.
  • Again back to the training sessions like the first half.
  • Hooda without the physique is actually a misfit as a trainer but he still manages to excel in his given short role.
  • After forgetting Anushka and her family for a good half an hour a scene shows them again, going back to the references of ROCKY series.
  • The cooker shop sponsorship again pulls back the film to much inferior level.
  •  A big winning fight is here, the background score perfectly turns it into a heart pumping sequence and this major freestyle fight is the key point of the film coming after almost 130 minutes bringing back the cheers and shouts in the theatre as a celebration.
  • Post the impressive fight the visualization again goes back to all casual and predictable standards having a monotonous tone.
  • Another typical filmy disco sequence is squeezed in between the crucial fights.
  • And the only best track of the film “Jag Ghumeya” is here after around 140 minutes.
  • The term used as 'Romeo Wrestler' in a dialogue clearly gives you the commercial vision behind the film, vaguely presenting it as some realistic biographical account of a fighter (that looks completely fake and filmy from the very first scene).
  • Surprisingly the entire feel of Haryana and the magic of local language simply vanishes from the narration and dialogues in the second half.
  • The final 30-40 minutes is like watching a newer version of APNE or BROTHERS due to the all routine and seen before kind of fight sequences.
  • The winner is Sultan…… but wait, what about Anushka? So the director brings her back into the ring giving her a respectable status which surprisingly was not taken care of in the middle presenting her as ‘An Abla Naari’.
  • Anyway all is well that ends well and here is their kid girl in the dress of a wrestler too ending it on another Bollywood-ish note.
In short this is tailor-made crowd pleaser film written on a set Hindi film formula as a cocktail of love, romance, songs, sacrifice, tragedy, sports, fights, drama and a lot more woven around the one man, Salman Khan. It will sure set the box office on fire, may be breaking more records as expected, but the film isn’t any exceptional great attempt missing a big opportunity to be the rare sports movie based on Indian wrestling.
In fact this is a usual love story presented as a sweet dish soaked in the ‘chashni’ of ‘Indian Wrestling’.   
Coming to the repeated gutless gesture of increasing the ticket price by all multiplex owners (before SULTAN) posing as the new-age legal black-marketeers, I personally have been writing against this sick practice on Facebook since last many months. But have now decided to register my revolt or anger by deducting one star from the rating of every such big film for which the prices are raised shamelessly before the initial weekend.
For information of friends coming up with justifications that the Stars are vocal about this too but are unable to do anything, every big star of today has a kind of ownership over his project in one way or the other. So if they are willing, they can easily force a change thinking about the common man and their own fan-following in particular.
But ‘if only they are willing’ remains the key phrase.
In other words, in today’s evident scenario if any of the three Khans ruling the industry cannot do that, then nobody can…………..!!!!!
So though this is not going to make any difference to anyone related to the films, the industry or the loyal viewers, this is my own way of revolting against this ‘Sick Exploitive Practice’ by deducting one valuable star.
Rating : 3 / 5
(with the additional 0.5 specifically for the pulsating background score that actually forms the soul of the film enhancing its overall impact to many folds.)

LESS – 1 for the 'Shameless Increase In Ticket Prices' for which no STAR seems to be concerned at all.

NET RATING : 2 / 5
(with a hope that this Multiplex Mafia, Industry and Government together would soon look into the price issue and save the theater experience fast slipping away from the reach of a common man.)

 

Tags : Sultan Review by Bobby Sing, Sultan Film Review by Bobby Sing, Inspired films, 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
 
 
06 July 2016 / bobbysing /
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