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December 21, 2014 Sunday     
Talking about the so called remake status of THE SHAUKEENS first, its actually not a remake of any original Hindi project, since even Basu Chatterjee made his 1982 classic SHAUKEEN taking all clear inspirations from an English film titled BOYS NIGHT OUT released in 1962. In addition it also cannot be called as a true remake as the latest version follows a much bold path both in visual and verbal terms. Plus it also adds another fresh plot interfering into the script hampering its original enjoyable spirit to a large extent.
Honestly I was pretty excited to watch THE SHAUKEENS due to its three veterans and the exclusive feature that its story-screenplay-dialogues were written by one of my favourite writer-actor-director Tigmanshu Dhulia. But unfortunately post a fine first hour and a few surprising insertions like a (wasted) cameo of Rati Agnihotri and a song from Anu Malik, the film turned out to be way below expectations, mainly because of the deliberate twists added in its second half. So till intermission it remains a good time pass with a few enjoyable sequences and performances covering up the shortcoming of an overstretched screenplay.
However as the second half begins, the film starts walking on an entirely different (and downward) path, completely hijacked by Akshay Kumar himself, who was actually supposed to be there in a cameo, but probably changed his mind being the co-producer of the film too unexpectedly. Akshay begins well taking potshots on the Industry and its ‘crore clubs’. But then starts taking too much space on the screen ignoring the three main heroes of the film quite strangely. Perhaps the makers forgot that the USP of this particular film happened to be the three middle aged men searching for a girl and not anything else to say it all.
Anyhow due to this big miscalculated move, the film fails to pick up in its later reels, ending on another flat note all of sudden and surprisingly has many vulgar dialogues too which frankly were not expected from both Tigmanshu Dhulia and the director Abishek Sharma who superbly directed an all clean, entertaining comedy movie called TERE BIN LADEN in the past. Also I would like to mention here a particular sequence in the film, wherein before going to Malaysia, Piyush Mishra is shown coming out of Delhi’s OSHO WORLD shop situated at ANSAL PLAZA holding a five CD set of “Sambhog Se Samadhi Ki Ore” in his hands. Now its quite evident that many in the country as well as abroad still associate OSHO with the word SEX showing their uneducated and underdeveloped state of mind quite clearly. But why Tigmanshu and Abishek added this specific scene into the film is really doubtful and it strongly makes me think that,
“Did the two talented film-makers intend to make fun of those unaware section of people who still ignorantly associate the mystic master OSHO with SEX or they both themselves are a part of those silly mindsets still playing with the same ridiculous ideas about OSHO even in 2014?”
I will definitely try to find the answer to this question if I happen to meet them ever in the future but anyway returning back to the film,  its soundtrack offers a mixed bag with two catchy and two awfully rotten numbers like “Ishq Kutta” and “Alcoholic”…………what kind of songs were these really, I failed to understand. Placed in New Delhi and Mauritius, its cinematography doesn’t offer anything great and the same can be said about its background score and editing too which actually makes the film a bit lazy and stretched unnecessarily at regular intervals.
So what’s there in the film that it can be watched once?
- It’s the cute acts of three fantastic actors Anupam Kher, Annu Kapoor and Piyush Mishra playing the three sex-starved men looking for girls. Anupam plays it subtly but brilliantly (once again) along with Piyush expressing it wildly (he is a delight to watch). But the lead here is taken by Anu Kapoor enacting the bachelor Casanova with a bindaas touch, being their ‘all knowing’ leader of the expedition And the three put up a great show for the viewers in their scenes together. Lisa Haydon is just fine lacking that sensuality even in her almost none clothes and Cyrus Broacha is good but doesn’t get much to do in his limited scenes post interval.
Concluding the write up, yes you can watch THE SHAUKEENS once for the three veterans, but I personally wished to see them much more in the film than presented. In other words, I was there to watch these three exceptionally talented actors in the film from the first frame to the last and not any big actor-producer coming in to take all the limelight, ruining it all. And I really wish THE SHAUKEENS was made focusing on the three Shaukeens only and not anything else just for the sake of it.
Hence give it a try if you wish but in case you havent seen the earlier Basu Chatterjee’s highly inspired but classic version of 1982 then go for it as a must and have a great time with Ashok Kumar, A. K. Hangal and Utpal Dutt playing the dirty trio.
Rating : 2 / 5
Tags : THE SHAUKEENS Review By Bobby Sing, THE SHAUKEENS Film Review, SHAUKEENS Review, 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
 
 
08 November 2014 / bobbysing /
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In the mid-90s, when the cable channels took over the responsibility of making family dramas for their daily viewers with all tried and tested formulas, Hindi film-makers stopped making them and “Family Genre” vanished all of a sudden from our Hindi cinema. Still occasionally films like BAGHBAAN, ENGLISH VINGLISH and more successfully tried to keep the genre alive and a similar kind of attempt is also made by director Indra Kumar in his latest venture SUPER NANI, which can also be termed as a comeback film of the ageless diva Rekha.
Reportedly based on the hit Gujarati play 'Baa Ae Maari Boundary', the basic plot revolves around the lady of the house going through a shocking makeover regaining her forgotten self-respect and passions of life. It readily reminds you of Sridevi in ENGLISH VINGLISH and also brings back the memories of Rekha’s own hit KHOON BHARI MAANG wherein too she comes back as a supermodel (though there is a huge difference in the basic theme and age factor depicted in both the movies).
SUPER NANI begins on an emotional note talking about the importance of mother in every family and then goes on to introduce all seen before kind of characters reminding you of the 80s family dramas, especially the ones featuring Kader Khan and Govinda. Director Indra Kumar keeps the movie crisp with all fast moving sequences along with his typical insertions of humour like the Gay Yamraj. Plus the timely introduction of Anupam Kher in another weird comical get-up saves it from becoming a drag putting it honestly. In addition, Rekha sportingly doing all those ‘Filmy’ sequences referring to Madhubala, Nargis and even Amitabh Bachchan, spreads smiles among the audience, particularly impressing the middle aged ones sitting in the theater.
The film holds your attention well before the intermission, but in the second half gets back to everything predictable, seen before and over melodramatic quite sadly. In short, this easily could have been another ENGLISH VINGLISH banking on the comeback of a veteran artist. But its routine screenplay, uninspiring songs and a climax similar to BAGHBAN doesn’t let you praise the film as anything fresh or well attempted by the experienced team. Yet, a must mention point remains that after a long time here is a family drama with a Bhajan in its soundtrack breaking the set trend. However I terribly miss the traditional rhythm and the sound of Indian instruments in such songs very frankly.
Coming to the performers, needless to say that SUPER NANI entirely belongs to Rekha alone, still the noteworthy acts include the one coming from Sharman Joshi and Anupam Kher playing the Nani’s school time friend. Though the faulty Hindi accent of Sharman remains unconvincing throughout and should have been avoided. Nevertheless the talented actor manages to put up a good show along with Anupam Kher in the film’s second half. Randhir Kapoor, as the husband is ok contributing nothing new and the same can be said about Rajesh Kumar, Anchal Dwivedi and Shreya Narayan too (who impresses in her few scenes later). Shweta Kumar, on the other hand gets nothing much to do as the film’s heroine unfortunately, whereas Vishakha Subedar plays her typical role of a bai in a perfect style.
Summing up, SUPER NANI is all about the star of the film Rekha, right from the first scene to the last and she has once again delivered a polished act in her various avatars, looking stunning even at 60. So if you are a true fan then should certainly not miss the opportunity to watch her on the big screen after so many years in a full-fledged role. But if you are not, then can easily wait and watch after its DVD release or on a channel airing soon in the next few weeks.
Rating : 2 / 5
Tags : Super Nani Review By Bobby Sing, Super Nani Film Review by Bobby Sing, Hindi Films based on Gujarati Play, 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
 
 
31 October 2014 / bobbysing /
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The first thought I had after watching SINGHAM RETURNS was, that is this really a Rohit Shetty film? The hit-machine’s latest project with no spirited highs, no great entertaining moments, no jaw dropping action and all repeated seen before stuff served uninterestingly? Or to put it in different words, a product unlike Shetty, which was supposed to be a power packed entertaining explosion but sadly keeps dropping constantly till the end with no exceptional climax which was actually the USP of its first part.
In short I found only three positive points in SINGHAM RETURNS. One the repetitive yet spirited performance of Ajay Devgun, second (thankfully) only two mediocre songs in the narrative and most importantly one particular sequence guiding the viewers about how a lady can only be arrested by the lady police officers alone as per the strict law.
But apart from that, frankly I found nothing to be discussed in details as there is no novelty in the story progression at all and other than Ajay Devgun (and to some extent Mahesh Manjrekar & Anupam Kher) not even a single actor comes up with a worth mentioning act to be straight. In fact the two villains Amol Gupte and Zakir Hussain never seem to be any kind of powerful opponents as compared to Prakash Raj witnessed in the earlier part and no-one else in the supporting cast gets the attention of its writers too. Kareena remains the usual glamour doll in all forced in sequences falling flat and their love doesn’t even seem to be a part of the film throughout.
Hence this time Rohit is not well equipped with many enjoyable peaks in his script and the film keeps moving at the same level with no major twists & turns (with an excessive use of Marathi) shattering all reputation built by the director’s earlier blockbusters. The action isn’t any step ahead than his previous works and neither are the dialogues which formed the backbone of SINGHAM as everyone strongly remembers. Moreover both the cinematography and background score continuously give you an impression of ‘Deja Vu’ with nothing fresh or path breaking. So the part two is not able to surpass its prequel by any standards (including the scale) and putting it rightly this can easily be stated as a step backward, both in terms of execution as well as entertainment offered to its viewers.
However with SINGHAM RETURNS, Rohit strangely tries to walk on the path of Madhur Bhandarkar in a different way by mocking few known personalities like Smriti Irani, Barkha Dutt, Asaram Bapu, a major political party and its leaders. The basic plotline reminded me of Chiranjeevi’s PRATIBANDH released in 1990 and the climax made me recall Rupa’s undergarments advertisement hilariously. The famous Daya from the never ending serial CID continues breaking the doors in the film too and it sounded quite weird to hear a devotional kind of song calling for the Almighty’s help (at the Dargah) made purely like a love ballad with all slow western beats instead of a traditional Indianised rhythm.
With a more than 140 mintues of duration, the film becomes all predictable and boring towards the end. Because of which as the Honey Singh song’s started playing along with the credits, I was also whispering the same words in desperation saying Aata Majhi Satakli……….in literal sense!

So ending with a request to the reputed film-makers, the trend of sequel is acceptable only if the Part Twos and Threes have something novel, better and substantial to give to the viewers expecting a lot. Therefore please make any sequel only when you have got some newness to add to the hit concept, otherwise let it be.
Rating : 1.5 / 5
Tags : Singham Returns Review By Bobby Sing, Singham 2 Review By Bobby Sing, 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
 
 
15 August 2014 / bobbysing /
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