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.


DHANAK - The kids lift up the film beautifully despite all forced and unusual characters reminding you of a seen before theme. (Review by Bobby Sing).

The first scene in UDTA PUNJAB is all real and not any filmy insertion. (Articles on Cinema by Bobby Sing).

UDTA PUNJAB - Deserving to be seen, we have two films here to be straight. A partially realistic, impressive eye-opener in the first half and a slow-routine less satisfying one in the second, taking the easy way out. BUT remember Punjab is not a state of all criminals..... Please! (Review by Bobby Sing).

UDTA PUNJAB - Pre-release Questions and Fears (A preview by Bobby Sing).

THE CONJURING 2 (Eng/Hindi) - Has got the scares but nothing novel in concept or storyline serving less than its promising trailer. (Review by Bobby Sing).

DO LAFZON KI KAHANI - Based on a Korean film, it has a fine lead performance but a routine execution presented with some above average songs. (Review By Bobby Sing).

TE3N - An official remake of a Korean thriller, it has its moments but the end result suffers as the director remains more interested in the lead act of AB than the mystery itself. (Review By Bobby Sing).

KAAFIRON KI NAMAAZ - Directly released on Youtube, its a long, theatrical presentation pointing towards many suppressed issues of our society that deserves to be given a chance. (Review by Bobby Sing).

BUDHHA IN A TRAFFIC JAM - A stuck propaganda film, released at a perfect timing to encash the ongoing national debates. (Review By Bobby Sing)..

SAIRAT (Marathi) - Cinema's most beloved genre has always been LOVE-ROMANCE since the origin and it will stay the same forever with a young love story ruling every new decade unarguably. In the present decade we have SAIRAT. (An Overview by Bobby Sing).

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June 25, 2016 Saturday     
Beginning with an essential declaration, this is strictly the review of the director’s onscreen portrayal of a tragic real life story with my utmost respect and sympathy for Sarbjit and his family suffering for more than two decades caught in the sad political mess between the two neighbouring countries.
As a film SARBJIT made me extremely sad, since I witnessed a sincere and honest actor painfully going through some extreme level of preparations for his impressive and haunting performance only to get brutally betrayed by his writer and director, who couldn’t give him a film equivalent to his amazing and worth applauding efforts made, to be honest. In fact this is one of those most unfortunate instances of Hindi cinema, when an actor puts-in all he has got in his performance (suffering a hell lot of things) assuming it to be a great milestone film of his ongoing career, but the director is busy focusing on other bigger STAR featuring in the film showcasing his limited understanding of the subject bowing down to commercial world.
So irrespective of the project being a complete non-performer on almost all grounds, I would personally like to congratulate Randeep Hooda for such a frightening realistic act depicting the helplessness and suffering of his given character on screen to such astonishing effect.
SARBJIT also made me remember my ‘commercial arts diploma’ days in the 90s when I realized that, “Nothing can be more disastrous for an artist, if his mediocre piece of art becomes a success and wins some reputed awards too due to some unknown reasons”.
It’s disastrous as that gives the artist a fake assurance of having done something exceptionally good beyond the usual. And this false assumption only becomes the biggest hindrance in his future works or creations with an invisible over-confidence resulting in some bigger mediocre products, which exactly happens to be the case with director Omung Kumar and his career beginning with MARY KOM.
In straight words, when nobody informed or rather alarmed Omung about his strictly average film with a big miscasting of Priyanka Chopra as MARY KOM (winning National Award by chance), the director went on to make SARBJIT with an even bigger miscast of Aishwarya Rai as the STAR sister, proving to be a major liability for the project instead of any valuable asset.
Anyway keeping in mind the end result, SARBJIT is sure going to disappoint Randeep Hooda the most in comparison to anyone else and I seriously wish he had made all those painstaking efforts raising many big hopes for any other film and director instead of this below average one.
Giving you an idea of its strange, highly filmy representation of a real life tragedy, SARBJIT begins with a search-out scene, a flashback and a song introducing Randeep with 8-10 pigeons sitting on his both hands spread wide, clearly exposing the vision of its award winning director.
Next what remains the most annoying feature of the film throughout its 132 minutes duration is the mixed broken language using Hindi-Punjabi together that sounds awfully bad when deliberately used by the actors with the wrong and highly funny or rather ridiculous accent. The fact really made me wonder that why can’t a real-life story from the region of Punjab adapted on the screen in Hindi language? If you are too keen of keeping it realistic then make it entirely in Punjabi, but why to ruin the beauty of two different languages mixing them in such ‘brutal’ manner?
Apart from this unbearable language, the other major factor that repeatedly puts you off is the insertion of unwanted average songs at such crucial points of the film that one seriously begins wondering that were they really interested in bringing this ‘real life tragedy’ before the nation or were just willing to use it as a typical Bollywood film with an aim of encashing the emotions as usual. Supporting the statement the film has 3 songs before the intermission and 2 thrown in the second half too when it’s all supposed to be so tense and full of anger or hatred.
Mentioning the other absurdities, Aishwarya looks fair for a good part of the film but turns dark just before the intermission with the growing age. However post interval she again gets her fair complexion back and post a few scenes again starts looking dark which strangely doesn’t catches the eye of either her director or the continuity supervisor kept for this specific purpose. Adding to the amazement, Aishwarya turns old as the years pass but Richa Chaddha doesn’t, may be because she refused to put the white powder and decided to revolt against the rising age of her given character. Besides it was really bizarre to see the original photos of Sarbjit being used in many of its key sequences that are supposed to be of Randeep Hooda playing the character (who doesn’t even have a round face if compared to the real Sarbjit). Testing the viewer’s patience, the director goes in a docu-drama kind of mode in the second hour and then tries to add a detective-thriller angle too finding the actual man planning the bomb blast, who is nowhere to be found later in the story proceedings.
Thankfully, the torture, the climax and particularly the jail-meet sequence featuring the entire lead cast becomes the major highlight of the film without any slightest of doubt. The scene makes you feel for every single character emoting on screen with tears in eyes but sadly remains unable to save the otherwise casually directed film having a lot of potential.
In fact, even Aishwarya tries visibly hard to portray her difficult role of a courageous sister without any glamour or help coming from the make-up dada. But when the director only is willing to make her shout, scream and point fingers at the officials in Pakistan (like Sunny Deol) with a weird Punjabi accent, then the actor can do nothing but just let it go hoping for the best in the final edit trusting the man in command.
Richa Chaddha is the second name in the film the director is not really aware of. But the incredibly talented lady goes for a kill in just the one scene given to her like a wounded tigress. The film also has a decent supporting cast doing their jobs well, but Omung is neither interested in them nor in some other finer details of the story focusing on just the STAR, the exaggerated melodrama and the overdone acts. He refuses to talk about any other angle in the plot except Dalbir Kaur and keeps narrating the story from her perspective alone in a partial manner.
In other words, with a fine cinematography and background score, SARBJIT narrates the struggle for justice assuming everything in simple black and white, but has no space for the suspicious areas representing the grey tones. And keeping that in mind the best title of the film would have been SARBJIT DI BHAIN (Sarabjit’s sister) instead of SARBJIT alone (and this is not said in any lighter tone making it pretty clear.)
Summing up, a product like SARBJIT is there because there has been a MARY KOM in the past and its quite dangerous when such mediocre products start getting appreciation and awards undeservingly. Having said that the film still can or rather should be seen honouring and respecting the efforts made by Randeep Hooda.
Rating : 2 / 5 (and this 2 entirely belongs to Hooda and their meeting sequence alone.)
Tags : Sarbjit Film Review by Bobby Sing, Sarbjit Movie Review by Bobby Sing, Hindi biopics, Biographical movies in Hindi cinema, 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
20 May 2016 / bobbysing /
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For a Hindi romantic film, a talented-likeable lead pair and a melodious soundtrack are the two most important ingredients ensuring a successful venture. So it really hurts when an otherwise capable director-duo chooses to waste both these difficult to acquire, precious elements in their film offering nothing fresh in either the storyline or the treatment throughout its tiresome 155 minutes of duration, unfortunately.
In clear words, it would have been great if directors Radhika Rao and Vinay Sapru had adapted a different novel script with the same perfect cast and melodious score giving us much more to praise wholeheartedly. Because after watching their latest project SANAM TERI KASAM one seriously wises to know that what they exactly found great in this kind of stereotyped, lifeless and heavily borrowed plotline for their major venture ruining a potential lead pair and more than four good songs in the soundtrack.
Focusing on all realistic characters living in a society building, the film honestly doesn’t disappoint in its opening 45 minutes in spite of everything predictable reminding you of the American television series UGLY BETTY, its most famous desi TV version JASSI JAISI KOI NAHIN and many more cinematic adaptations in the past. Till this moment it’s the sweet performance of the fresh pair (especially the girl), two melodious tracks, a soothing background score, fine cinematography and all decent supporting acts that keep you engrossed without any big complains as such.
But as soon as Vijay Raaz appears on screen playing a makeover specialist, abruptly singing a peppy number with girls dancing at the back in a highly absurd manner, you start looking around to see how others are reacting to this foolishness happening on-screen. And it’s from here onwards that the film starts delivering all monotonous, seen before stuff introducing a twist repeatedly witnessed in films such as ANKHIYON KE JHAROKHON SE (inspired from English flick LOVE STORY) and the most recent KATTI BATTI. The overstretched length continues to annoy severely and by the time it reaches the climax, one starts wondering that how they all keep agreeing & making films on the same subjects again & again displaying so uncaring & irresponsible attitude towards the viewers.
Further a highly flawed execution of the sub-plots like the bizarre father-son relationship, shifting into a big deserted house without any reference of an owner, a silly grown-up girl more worried about her own marriage than the elder sister being through out of the home, a cowardly fearful mother and a father executing the final rites of his still alive daughter further pulls down the film to much lower levels. Still it’s the lead performances, their strong emotional moments and the enjoyable soundtrack that doesn’t let it sink till the last and one genuinely feels bad for these two noticeable merits being wasted in such a clichéd subject.
Inthe acting department, apart from flaunting his perfectly toned body (remaining mostly topless in the film), Harshvardhan delivers a fine controlled performance with a subtle charm in his silently expressed love and anger. But it’s the strangely named Mawra Hocane from Pakistan, who remains the clear winner in the film with an immensely lovable & innocent act that doesn’t let you forget her soon after moving out of the theater. The girl is a sheer treat to watch in the first half and is nothing less than a big asset for a director deserving a much better film soon exploring an intense subject.
Having said that, I personally also found huge similarities between the lead pair and actors Ali Faizal-Shruti Hassan throughout the film so strongly, wherein even the voice-tone of Mawra sounded so close to that of Shruti. In the supporting cast Manish Choudhary and Murli Sharma stand out prominently in their respective scenes, whereas Vijay Raaz remains an unnecessary addition in his sequence conceived idiotically.
Providing the biggest support to the film is its soundtrack composed by Himesh Reshammiya, proving the fact that the man still has got a lot in him in musical terms without any doubt. Here the finest song of them all ‘Haal-e-Dil’ (especially in the female version) was interestingly a track chosen by Salman Khan for his TERE NAAM which couldn’t be a part of that film somehow (as tweeted by Salman). ‘Kheech Meri Photo’ remains the second song winning over the listener completely and then we have the title track ‘Sanam Teri Kasam’,  'Tera Chehra', ‘Rehnuma’ and the weirdly peppy ‘Ek Number’ too with a melody that works as an individual item number (unrelated to the film). In short, SANAM TERI KASAM has a great romantic soundtrack with more than 4 melodious songs, strangely not promoted well by the makers for their own undisclosed reasons hurting the film a lot.
Lastly mentioning the director duo Radhika Rao & Vinay Sapru, its really sad that since last many years they have been trying hard but still unable to deliver a hit despite being competent enough in terms of emotional as well as technical handling of a project. So here we have a team that has been a victim of wrong choice of subjects and the game of destiny which undoubtedly remains a major influential factor in the show-business. In all SANAM TERI KASAM can surely be seen once but just for Mawra and the songs alone without expecting anything novel or path-breaking.
Rating : 2.5 / 5 (Including a big one for Mawra’s sincere act and the enjoyable soundtrack)

[Note : A dialogue in the film saying, "Apne Mann Ka Ho To Achha, Na Ho to Aur Bhi Achha, Kyunki ................" is originally supposed to be a thought expressed by Sh. Harivansh Rai Bachchan, that is often quoted by Amitabh Bachchan in his interviews and TV appearances (like in KBC). But the film uses it without any mention or acknowledgement.] 
Tags : Sanam Teri Kasam Review by Bobby Sing, Sanam Teri Kasam Movie Review by Bobby Sing, 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, Mawra featuring in a Hindi film.
05 February 2016 / bobbysing /
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The quirky characters in the film’s concerning promos did strongly point towards something upsetting coming from the talented team. But it would turn out to be so absurd walking down the same old decayed paths offering nothing new, wasn’t really expected from the thoughtful Vikas Bahl, the director of two National Award winning films namely CHILLAR PARTY and QUEEN (with the first co-directed by Nitesh Tiwari).
On the cost of repeating myself, I would once again like to share that there are broadly only two basic ways of delivering ‘a winning project’ impressing majority of audience sitting in the theater. One is to give them something completely fresh and novel offering a never before kind of entertaining (or enlightening) theater experience in terms of subject & storyline. And two present the same content in such a refreshing, entertaining way that they don’t mind watching it again, making an instant connection with the characters emoting on screen in a relatable manner. Admittedly the first way is pretty tough to follow and deliver, therefore we mostly see the second option tried repeatedly by the makers making a decent amount of money (as seen in the last week’s PYAR KA PUNCHNAMA 2 that was an entertaining remake of its own original released in 2011.)
However what SHAANDAAR offers to the audience in its more than 140 minutes of duration is neither novel nor enjoyable, but rather pathetic - considering the shocking execution tried by the otherwise talented team comprising of many known names.
Having said that the name Vikas Bahl was the one, who actually came up with two novel films in the past (in terms of subject & treatment) impressing both the masses as well as the classes unanimously. But with SHAANDAAR he strangely steps down to a much lower and easier path when given a comparatively bigger and better chance working with two known stars. In fact this clearly proves a common saying in the industry, that the new talented (thinking) directors who make brilliant films within a limited budget featuring a lesser known cast, always mess up badly when given a more than required budget and bigger stars to work with in a mega venture.
Anyway coming to the film, SHAANDAAR honestly gives you nothing to write about in details as it has been made on the same formula of a fairy tale narration heading towards a big happening wedding planned between two supposedly rich families as a business deal. It has all seen before clichéd characters of a rich empire led by a manipulating old grand-ma including young sisters, a father, an adopted girl (who in reality is the illegitimate daughter not knowing the truth), the silly bridegroom, his gangster like brother and a wedding planner who starts romancing the sister of the bride as usual. The grand look and art direction with all the designer dresses given to the artists roaming around in a big mansion situated abroad typically follows the well-known settings of a Karan Johar film, who eventually also features in one of its sequences too as Karan Johar only.
Its music and interestingly shot songs at times become the only savior in the absurdity displayed on screen (thrown abruptly as usual). But here too the new obsession of ‘The Film Industry’ continues to be followed blindly, that is of ruining old musical gems by reworking on their original composition and lyrics without any need as such. And this time they have picked ‘Neend Na Mukhko Aaye” and “Eena Meena Deeka” to crucify them in their own new-age brutal way unnecessarily.
Becoming the clear victim of all routine and repetitive writing, neither the lead pair nor the veterans are able to impress as desired. Yes, Shahid and Alia look good on screen having a fine chemistry but the film fails to take any advantage of the same due to its own faults. Also as the girls say, it was indeed the script’s demand to get into the 2 piece swim suit and that too in a dream sequence! In the supporting cast it is shocking to see the cruel treatment given to Anjana Sukhani standing silently in the crowd whereas Pankaj Kapoor is a delight to watch as always in any kind of role given to the master. Sanjay Kapoor gives a surprise appearance playing the 'over-the-top’ Sindhi big brother after a long gap, but the one person who scores the maximum when it comes to performances remains Sanah Kapoor (real life sister of Shahid) making a decent impact in her debut film (playing a character that seems to be clearly inspired from the recent hit DUM LAGA KE HAISHA). 
To give you my personal opinion, though SHAANDAAR is said to be directed by Vikas Bahl but I found Karan Johar visible in its most of the frames more than Vikas due to many obvious reasons. It is a film based on Karan’s favourite subject of ‘A big fat wedding of the rich’ (‘destination wedding’ to be exact) with everything in excess right from the grandeur to the execution as seen in his own films. There are specific scenes reminding you of the typical KJO treatment like the ‘Weirdly behaving twin sisters’, ‘Lavish Non-Veg Dinner on a Tuesday’, ‘Mehndi Interview with Karan’ or the ‘Girls-Boys Qawwali Competition’ towards the end wherein Pankaj Kapoor makes a grand entry as expected. The long descriptive use of animation adding the elements of various fairy tales like ‘The Frog’, along with the must-have ‘I am Gay’ insertion further makes you strongly feel as if you are watching a Karan Johar film and not a Vikas Bahl one to be precise.
Plus a questionable sequence featuring a 7-8 year old Sikh kid seriously forced me to ask that Why on earth they wanted to show Shahid as a born Sikh? What it had to do with the story anyway?.....Or Was it just to add some sick, silly humour as seen in ‘the great director’ Karan Johar’s debut film KUCHH KUCHH HOTA HAI, where he deliberately used a similar kid character to generate some ugly laughs along with Johny Lever and then was later forced to edit out those particular scenes ‘referring to a specific time in the watch’ post the film’s release.
But wait, I have still not revealed the most ridiculous insertion in the film yet, that straight away reminds you of the cult-comedy JAANE BHI DO YAARON, wherein the dead old lady of the house is made to sit on her couch with full make up on, projected as alive and kicking. God knows what made them write that and approve it too in the first place? Besides what was the humour behind the child setting the old lady on fire in the end remained out of my understanding completely. Also why our honourable Censor Boards didn’t take notice of this particular highly objectionable scene (featuring a minor) further puts me in doubts about their set parameters and rules once again.
In short, SHAANDAAR might work for a few who don’t care about eating the same dish again and again served casually without adding any fresh tasteful ingredients. But for me it didn’t work at all (except for the ‘feel good’ climax focusing on the revolting girl) coming from such a thoughtful director known for delivering novel and entertaining subjects moving ahead of the routine. May be this absurdity was a result of the famous ‘KJO vision’ messing with the original thought process of ‘Ph se Phantom’ forcing them to take a more commercial look at the projects forgetting about the ‘cinema’ in them.
But whatever may be the cause this is exactly why producers dream to get a solo release on a Festival holiday to remain in a pretty safe zone. Because in a long Festival Weekend even a grand-mess like SHAANDAAR gets house-full in the multiplexes promising a good initial. 
Rating : 1.5 / 5
Tags : Shaandaar Film Review By Bobby Sing, Shaandaar Film Review at BTC, 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
23 October 2015 / bobbysing /
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