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

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May 24, 2017 Wednesday     
SairatBeginning with a confession, I really love to write about films that do not compel me to just pen down a routine review but extract something else out of me that was somewhere hiding within, waiting to come out with a strong, relevant message about our society as a whole pointing towards its dark corners.
After a long gap, SAIRAT (meaning Wild)comes as one of those immensely relatable films and for the first time it’s a regional language love story (in Marathi) that has made such a massive impact in not even Maharashtra but in other states too wherever it has been released or has reached with English subtitles. So having a lot to put down on paper, here is what I personally felt after watching the film in a theatre, recalling the days we used to passionately dance along the songs running on the screen in the good old 90s.
SAIRAT as a means to check your pumping heart.
In natural terms, there are visible signs of our body getting old entering the middle years post the age of 35-40. But there is no way to check whether our heart has also gone old or its still able to feel the same love we felt around the age of say 18 something.
So where medically there is no means to check the young spirit left in our pumping heart, I can suggest a simple method to check that whether you are still young at heart or not using the medium of cinema that once in a while witnesses a strong film such as SAIRAT.
And the method is, that if you cannot feel the attraction, are not able to relate with the characters, not feel like singing with the songs, not willing to dance with the crowd, do not suffer along with the couple and are much talented to have your own unrelated thoughts watching a movie like SAIRAT, then YOU HAVE ACTUALLY GONE OLD both from the body as well as the heart and certainly misunderstood the whole concept of love and living life unfortunately.
In other words, you might have started using more than 5-10% of your mind getting much closer to ‘An Einstein’ with your growing age, but if you are not able to celebrate SAIRAT then you have already gone old (or rather sick) missing the crucial point and had probably left living many years back, without even realizing the big mistake made unconsciously.
Luckily, SAIRAT passed me in the test with all positive results and falling in love with its every single minute even in my fourth decade of living, the film loudly declared that I AM NOT DEAD YET and very much alive and kicking with a heart and its feelings intact dancing along “Zing Zing Zingaat”.
SAIRAT gave me my youth back as after almost two decades I found myself again falling in love with a girl on screen post Smita Patil in NAMAK HALAAL, Juhi Chawla in QSQT, Madhuri Dixit in DIL/TEZAAB and Rani Mukherjee in KUCHH KUCHH HOTA HAI. It was difficult to think beyond ‘Archie’ even for days after watching SAIRAT in the National Film Festival in New Delhi. And believe me, I haven’t seen such a celebrating house-full crowd ever before in a festival screening, where not only people were sitting on the floors but there were lots of whistles and shouts throughout its first half that was really hard to believe (unlike a festival environment).
There’s a SAIRAT in every decade largely depending upon a young Archie.
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. Therefore we always have a cult romantic saga in every passing decade unconditionally and its also always the girl who plays the more important role in winning over the masses than the young boy.
In cinematic terms, try searching a love story that solely worked due to the boy and the girl had no charm of any kind being just average.

The exercise is going to be extremely hard, as be it CHORI CHORI, MUGHAL-E-AZAM, BOBBY, JULIE, EK DUJE KE LIYE, QSQT, TEZAAB, MAINE PYAR KIYA, DIL, DDLJ, KKHH, BAND BAAJA BAARAT, ISHAQZAADEY or more, the innocence of its fresh young girl was actually more responsible for its instant connect with the people in comparison to the charming boy.
Sairat-2Here many would like to argue that its always a balanced impact of the couple together in a love story. But I would humbly like to disagree as it has (evidently) always been a 60-40 or even 70-30 ratio in favour of the girl (in a love story) right from the early days of our cinema proved repeatedly.
Mentioning an undeniable truth, whatever claims the men go on making in terms of contribution to the world since the origin, the actual fact remains that our whole life majorly revolves around the existence of woman alone and the truth is widely visible the moment we study all the artistic expressions made either in poetry, music, art, drama or cinema in particular.
Hence, no doubt a film becomes successful when it has a hero connecting with the audience through his action, emotion or drama presented in any other genre. But a film literally becomes HUGE the moment it has a girl clicking with the majority of audience in a big way, hitting a straight jackpot, which exactly is the case with SAIRAT having an Archie conquering hearts all over crossing the boundaries of language, region or culture surprising one and all.
In fact such is the impact of the girl’s onscreen portrayal on the masters that even the National Award jury had to acknowledge the amazing contribution of this 15 years old, school going girl by giving her ‘a special mention’ award this year among the other major winners.
So after a long gap post the late 90s, it’s a Marathi film that has surprisingly emerged as the latest cult romantic saga of the new decade (instead of any Hindi film), which is certainly an encouraging news for the Indian Cinema, but at the same time not so great news for the Hindi film industry unable to deliver anything even close to SAIRAT in the new millennium.
Why the film connects instantly with various sections of viewers?
The most appreciable aspect of SAIRAT is that it instantly makes a connection even if the viewer is not known to the language the actors are conversing in. And this magic becomes possible due to a highly believable and realistic small town ambience created by the director, far away from any glamour or forced filmy touches. The slice of life local flavor wins your heart right from the opening cricket match and then one just falls in love with the narration post the ‘swimming in the well’ sequence shot brilliantly.
Moreover, the characters do not seem to be written deliberately but look like straight coming out of real life, like the supporting friend with a limp, another in the garage, the short statured violent son of the politician, the helpless teachers of the school, the lady helping them in the slums and the build-up of the final horrifying sequence involving the kid.
Having said that, no doubt the film’s climax leaves you with a deafening shock, well-conceived by the director using the power of silence. Still one cannot deny the fact that it’s actually the first half of SAIRAT (of around 90 min.) which is an ultimate winner, adding a lot to the film’s repeat value resulting in a much longer run at the box office yielding the rich returns.
Elaborating on the same, SAIRAT is nothing without Archie and her adorable magnetic act, putting it in specific words. And it’s the way she talks, stares, walks, drives the tractor/bike and gives those killer expressions while dancing is the real strength of the film winning hearts all over. For instance just the way she strongly stares (while driving the bike) at Parshaya making a demanding pout, makes you fall in love with the girl at once taking you back into your college days. And mind you, this is not any exceptionally beautiful girl we are talking about. SAIRAT’s Archie is a simple next door girl with a little dark complexion and a strong built too, nothing like the usual mainstream heroine breaking the set (silly) norms.
Here let me explain the same putting it in a different way sharing my own state of mind before watching SAIRAT.
At times it happens that you take a look at a poster or watch a few clips of an upcoming movie and don’t really develop any kind of liking for the lead girl with no exceptional looks or any sensual appeal. But once you watch the movie spending 3 hours looking at her innocent, adorable mannerisms, you just fall in love effortlessly and have nothing else in mind while walking out of the theater, other than the same (now) ‘beautiful girl’ stealing your heart away.
That’s in fact the power of cinema in its true form that works big time in SAIRAT.
A collective effort reaching hearts.
Completely knocked down by Archie (Rinku Rajguru) and her innocent, unforgettable expressions (refusing to get out of my mind), there can be no denial to another fact that SAIRAT actually turns out to be a ‘major path breaking venture’ due to a splendid collective effort by its entire team including Parshya (Akash Thosar), Langdya (Tanaji Galgunde), its music director duo Ajay-Atul, the DOP, the background score department and the captain of the ship Nagraj Manjule.
If the million dollar casting provided a perfect base for the project, it was an equally praiseworthy visualization by Nagraj that actually resulted in a product like SAIRAT setting new standards for Marathi as well as Indian Cinema. So it was truly heartwarming to read the news of its lead couple being awarded a big appraisal by the makers, post its hugely successful run resulting in some unexpected numbers. But hope they would also reward the entire team too, as the film heads towards its next financial milestone in the coming weeks.
Amazingly nothing new, yet fresh as never before.
Having praised the film in length in the above sections, now it will be even more surprising to add that SAIRAT has nothing new or fresh to say in either its subject or the story line giving you the actual picture.
There is nothing in SAIRAT, you haven’t seen before and there is nothing in the film you didn’t know about as the harsh reality of our society depicted in various projects of the past. The film has everything already conveyed several times before in the earlier romantic classics of Indian Cinema. Yet the fact that it’s still able to leave such a strong, mesmerizing impact on the people all over, certainly says a lot about its magnificent end result and the team effort led by Rinku Rajguru as the lifeline of the project undoubtedly.
Its outstanding music setting an eye-opener example for the entire industry.
Making a major contribution in its splendid success, SAIRAT has just four exceptional songs that can easily be presented as an ‘eye opener’ example before the entire composer brigade of Hindi film industry at the present. All chartbusters placed well in the film, you truly cherish the notes even when you cannot understand even a single word sung in an unknown language. Their compositions, wonderful arrangements, the fusion of traditional and western sounds, the enigmatic strings, the symphony (recorded abroad), the renditions, the visuals, the picturisation and the overall hypnotic impact can only be felt and not expressed even in a long write-up.
Sairat-3In fact the moment I am writing these lines, the songs are still being played in the room as I haven’t stopped listening to them since last month (which admittedly has happened after a long-long time, with any film soundtrack in particular). At times the soundtrack does remind you of the known style of maestro Illayaraja. But even a resemblance to his style is nothing short of a big compliment for both Ajay-Atul strongly proving their remarkable talent.
Mentioning a major highlight of SAIRAT in its extremely intelligent use of music throughout the film, just look at the way Nagraj uses the songs, the background score and the silence in the film’s two halves in a specific sequence purposefully.
The film’s first half is pure celebration of love reaching out to the viewers in four steps and all the four songs get used in these first 80-90 minutes itself making you a part of the couple’s eternal love-story conveyed skillfully.
The second half has no song as such, breaking another set norm of our Indian love stories wherein there mostly is a sad song coming in the final hour of the film depicting the pain of separation. The background score plays a major role in this specific part of the film showcasing the hard times and then Nagraj calmly takes you away from that too heading towards a killer climax.
Slowly building a base to hit you as hard as possible, the moment you get close to that final blow, he simply pulls out all the strings of his musical instrument putting it to a complete silence. And it’s this painfully hurting silence only that he wishes you to take back home thinking about the ‘new world of hatred’ we are living in.
As a mirror shown to the society not interested in any change.
The last 10 minutes of SAIRAT are supposed to be the most important and educative moments of the film in reality. However I have a major fear of its significant message somehow getting lost in the big shadow of its immensely likable first half to be honest. And the reason behind such fear is that at many places there was news of people asking for the “Zingaat” song to be played again after the film is over, only to enjoy some more good time dancing to its spirited music.
Just imagine people asking for a replay of that song post that brutally upsetting last scene....... ruining the whole hard work…..!!!!!
As a matter of fact, there is a deep psychological reason behind the above mentioned instance in particular, as in reality a big majority of our viewers in the present times is not willing to consider anything beyond their usual entertainment in the theater. They are not at all interested in knowing about any ugly, evil reality of our society looking at its bleeding wounds and all they demand in return of their money spent is entertainment and entertainment alone without any preaching attached.
In other words, everyone perfectly knows what SAIRAT as a film is trying to convey through its harsh climax. But they are all more eager to discuss its first half in particular, only to avoid looking at the problem following their ages old habit of staying away from the core issues. So you will find numerous people willing to talk at length about the film’s music, its cinematography, its fresh feel, its young Archie selected from a school winning a national award, a Marathi film earning more than 50-60 crores for the first time and a lot more. But you will rarely find people willing to discuss the issue SAIRAT is trying to bring forward with those blood soaked baby steps walking towards the final fade-out…………!
The problem is there to be found in every big or small state of our country like a National Concern but we have always refused to be a part of any change since last many decades quite clearly and willfully. Our young couple used to die in the end of such love stories made in the 80s (QSQT) and the couple is still dying in the same manner three decades later in the year 2016 too, which is nothing less than A BIG SHAME for our country, society and people all together, if only one wishes to look at the issue rising above all kinds of discriminations.
So where at one end I felt deeply satisfied watching SAIRAT and its young couple taking me back into my youth, I felt equally depressed looking at the people walking out of the theater with all smiles, singing their chosen songs instead of getting genuinely hurt and emotionally moved thinking about the poor loving souls and their innocent child.
Crossing the barrier of a Regional Language Film
On a concluding note, you might have not opted for any Indian regional film (with English subtitles) till now due to your own personal reasons (that I refuse to accept anyway). But with SAIRAT, its time you begin watching these precious worth watching gems made by our own Indian filmmakers moving way ahead of their contemporary directors of the mainstream Hindi Cinema.
Otherwise, I will have to say that this uncaring, stubborn attitude shown towards our own regional language cinema is nothing different than another degree of the same racial or caste discrimination the film is talking about.
Hope that provokes you enough to just go for it at the earliest!
Rating : Movies To See Before You Die.
Tags : Sairat (Marathi) Film Review by Bobby Sing, Sairat Film Review by Bobby Sing at bobbytalkscinema.com, Regional Films Reviews by Bobby Sing, Indian Regional Must Watch Films at bobbytalkscinema.com, Movies To See Before You Die List by Bobby Sing, Not To Be Missed Indian Regional Films.
06 June 2016 / bobbysing /
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Heer Ranjha

If you have read the timeless classic creation HEER by Punjabi Sufi poet of the eighteenth century Waris Shah and also heard any soulful rendition of the same in the melodious traditional composition famous since ages. Then you must be aware of the lyrical beauty, emotional depth & heavenly feel in its soulful words. And are sure going to cherish this unique & original attempt from the master film-makers of Hindi Cinema which till date remains the only film ‘completely made in verse’ like an unforgettable expressive poem written on the silver screen.
Conceived by one of the most under-rated director Chetan Anand along with another magician of words Kaifi Azmi (dialogues & lyrics), HEER RAANJHA remains the most exemplary visual interpretation of Waris Shah’s Heer and can easily inspire all the young viewers to explore the actual poetic creation by the Sufi poet, respectfully read and sung in the literary circles.  Based on the traditional/historical love story of Heer & Ranjha hugely famous in Punjab and its surroundings, the film transports you into an amazing world where characters converse with each other in rhyming verses offering an entirely novel or never seen before kind of experience to its viewers with a highly touching emotional appeal. And that is the reason its original publicity artwork says, “The Story of Heer Ranjha – Spoken & Sung” and the film thoughtfully begins with a poem having a couplet (probably in the voice-over of its director Chetan Anand) saying,
“Dard Punjab Ke Seeney Se Chura Laya Hun,
Chand Tukdey Dil-e-Waris Ke Utha Laya Hun,
Aag Meri Na Sahi, Iska Dhuan Mera Hai,
Heer Ranjha Ki Kahani Hai, Bayaan Mera Hai”
Its each and every sequence clearly shows the kind of effort put in by the entire creative team ranging from the writer, composer, art director, cinematographer and the captain of the ship, its director. Interestingly, even the colours of the costumes are carefully chosen according to the look & feel of their particular scenes. And its lead pair strongly gives you the impression as if you are watching the real Heer-Ranjha emoting on the screen with an immense depth and feel. Raj Kumar excels in an unusual role different from his actual reel-image, Priya Rajvansh looks stunningly beautiful as Heer (though many would find her as a straight faced beauty at few places to put it honestly) and Pran is simply unbeatable playing Kaido, the cunning uncle of Heer who plays the real villain in her eternal love story in the end. Also Prithviraj Kapoor, Jeevan, Ajit, Kamini Kaushal and more give their own contribution to the epic supporting the lead pair superbly.
A spectacular musical masterpiece, the film’s immortal music is unanimously considered as one of the best original soundtracks in the 100 years history of Hindi cinema, brilliantly composed by Madan Mohan with lyrics by Kaifi Azmi. And its various unforgettable songs remain among the most soulfully performed tracks by their renowned singers led by Lata Mangeshkar and Mohd. Rafi. In fact even in this present net-age, no sad song compilation on ‘separation’ gets complete without two memorable songs, “Yeh Duniya Yeh Mehfil” and “Do Dil Toote, Do Dil Haarey” giving their much deserved due. The Punjabi flavor is brilliantly used in “Naache Ang Ve” & “Jo Mama Mera Aa Jayega”. Plus the traditional “Heer” truly is capable of bringing tears down your eyes undoubtedly.

To give you the truth, the theme of HEER RAANJHA was later adapted both in Hindi as well as in Punjabi featuring some of the leading stars of their respective era by two well-known directors. But such was the stature of this epic creation of Chetan Anand that the attempts could stand nowhere close to the original classic frankly and the 1970 gem still remains the only film one remembers the moment any discussion comes to the historical love saga of HEER RAANJHA.

So as a sincere suggestion, this film essentially needs to be seen by every serious fan of Indian cinema as it still doesn’t have any parallel of its kind till date. And no one can even dare to attempt such a loving project made straight from the heart ever again in the coming years, since crude commercialization has widely taken over the emotional involvement in our projects, unfortunately. Hence do yourself a favour and watch HEER RAANJHA at the earliest, to understand, feel and experience how movies used to be made by all our gifted masters in the past, rightly known as the ‘Golden Era of Hindi Films’.

Screenplay & Directed By Chetan Anand
Starring : Raj Kumar, Priya Rajvansh, Pran, Prithviraj Kapoor, Ajit, Jeevan, Kamini Kaushal and more.
Music By Madan Mohan     
Dialogues & Lyrics by Kaifi Azmi
Tags : Heer Ranjha (1970), Movies To See Before You Die Love Theme, Not To Be Missed Movies List by Bobby Sing at bobbytalkscinema.com, Worth Watching Films List by Bobby Sing, Must Watch Movies List by Bobby Sing.
29 July 2014 / bobbysing /
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As I finished watching this highly realistic look into the future talking about our newly found friends in the world of electronics, there was all confusion in my mind to be honest. And the confusion was that whether to praise this well-made movie for its insightful projection of a lonely human mind satisfied living with his own set of machines all alone. Or should I take it as a concept making fun of we all who are readily giving away to these gadgets slowly and steadily missing the actual gifted life to be lived in a normal mode. So leaving the decision on every individual friend reading this with his own perception of the issue I would like to begin with a brief of the movie itself followed by few personal observations which might help you to take a wise decision in the end.
Revolving around a lonely man working in the cyber world as a letter writer, on the verge of taking a divorce, HER is about his strange virtual relationship formed with his newly bought operating system talking to him as a woman named Samantha. Backed by a powerful intelligent software, this non-existing friend gets closer & closer to the man through her sensual voice and immensely likable persona. And spending more & more time with Samantha he eventually falls in love with her, only to be left alone again as per the software’s pre-set programming designed cunningly. An extremely well-conceived concept by director Spike Jonze, the film basically works due to its lead performances by Joaquin Phoenix as the lonely man along with Scarlet Johansson as the sexy voice behind the computer generated woman without a face. And together they do give you a real feeling of a lively romance developing between the two in an inviting virtual ambience of computers.
So as a film, this can easily be rated as a great achievement in terms of futuristic story-telling, highly inventive yet realistic concept, commendable sound design, well composed musical score, brilliant camerawork, believable performances and an introspective direction by Jonze. The execution pulls you in right away and one can feel as if in a direct relation with its lead character completely in sync with his thoughts, emotions and actions. The extreme close ups make you understand the expressions more naturally and you simply have a novel experience watching this highly emotional science fiction winning the Best Original Screenplay award and four other major nominations at the OSCARS this year quite deservingly.
However the reason for including HER in the must watch movies list here is nothing related to its technical or thematic excellence. But it actually has been added as the film which might become a high alert alarm for many of us, fast heading towards becoming a person close to the film’s main protagonist to say the truth.
In other words, leaving the technical achievements apart, if one doesn’t appreciate this movie at all then I would like to call it a real bright positive indication, as it means that you couldn’t find any instant connect with its characters, which is in fact GOOD. But in case you loved the movie and could easily identify with its leading lonely character enjoying a virtual love, then in my opinion it raises a serious alarm and is quite dangerous too. Since it reveals that you are also somewhere feeling like him only from the inside, looking for that imaginary solace in the machines around taking most of your available time of the day in a questionable manner.
And that is the exact reason why HER has been included in the ‘must watch list’ here, as I wished this movie to become an instant WARNING for all my friends somehow falling into the same fictional trap as depicted in its script.
Putting it in more stronger words, I don’t want any of my friend living with this kind of silly ‘HER syndrome’ as I would like to call it. Because all kinds of technical developments in this new-age century are being made by us, to be used as a means to grow and live a better life ahead. But only dumb minds give away to technology in such a manner like the main protagonist of HER.
So I want all my friends to watch HER to learn the lesson of ‘what’s not to be done’ in all positivity and become beware of such idiotic virtual practices which can easily win us over taking much of our valuable time just for nothing.
I wish you all to see the film, as it will make you understand that how we ought to enjoy the weather going out in the nature feeling it on our own and not by reading the weather reports on our cellphones.
I would like to recommend HER since it may make you realize that its not fair to avoid your innocent kids just to get back to your work or to the kitchen by giving them a game to play on a tab, phone or laptop. In fact that remains the first stage of developing the typical ‘HER kind of generation’ in the coming future.
I wish everyone reading watches this because it might make you aware that its criminal to forget picking up a pen and paper to write and always do it on your digital screens. Yes, we ought to use these machines to save our time & energy both. But we are not supposed to allow them to take over us completely turning into some lifeless, action-less beings entirely dependent over them 24x7.
And in support of my above expressions, I would like to share a recent personal experience related to the heavy load-shedding seen in our area (in Delhi) in the last few months which you must have read or heard about in the news too.
Now its about a decent middle class locality I am referring to, wherein every household is fully equipped with cable TV, internet connectivity, high end mobile phones, tabs, laptops, digital games and much more in terms of electronic gadgets.
So it was around 7pm in the evening when the lights went off and there was a complete black out with the natural light fading out in the next few minutes only. As few people made some phone calls we got informed that it was a long load-shedding being done which might go to 6 to 8 hours to be exact. The first few hours didn’t make much difference as most of the houses had inverters installed and the impact was not much. The television sets were off but the people were still busy using their laptops, phones or tabs along with their kids and nobody was feeling the void since all their gadgets were calmly running on their available batteries as expected.
But things didn’t remain the same for long and post 3-4 hours around 11pm, the park in the middle of the area was full of clueless, restless, irritated, abusive ZOMBIES. Their computers, laptops, tabs, PSPs and phones had stopped working due to the drained out batteries, the inverters had gone off too and they had now got nothing to do at all as per their fixed routines. Many of them were just roaming around looking at their wrist watches repeatedly and many had opted to go for a car-ride taking their families along to make an immediate escape. The scenario became pretty tense towards the mid-night and one could easily see only disturbed faces all around looking for only one thing to get back on track so desperately.
However, there was one old aged sane person in this silly chaos, a learned man who very well knew how to use this time in the best possible manner and luckily I found him in the end of all parked cars sitting inside his Wagon-R with the cabin light on. The old man already knew me and my interests through my website, so the moment I hesitatingly knocked at his side of the window-glass, he rolled it down a little keeping away the book he was reading and said,
“If you have got something to read then bring it fast and get into the back seat…….., as I don’t want any of these mad creatures to waste my valuable time with their stupid gossips.”
Taking the clue like an obedient student, I ran towards the house, took out one of my ongoing books and in just 2 minutes was reading it sitting at the backseat of the car with the AC on at the minimum. And we kept reading for about two hours when he turned back and said,
“You know what we used to do 20 years back when load-shedding happened to be a routine part of our lives, especially at nights and we didn’t have any cars to spend the time in. We used to play carom board, cards or other children games like Ludo, Saanp Seerhi and more borrowing them for a night, in the light of few small candles. And I still cherish those nights as one of the most enjoyable times of my life spent with all the dear friends.”
I really loved listening to the old man’s unforgettable memories and could easily relate to them personally since we too had spent our childhood in the same manner, watching the adults enjoying our games borrowed for the night playing in any selected corner. But then remembering the good old times for a while, we both soon came back to the present returning to our individual books. And the moment light came back just before the sunrise, we had finished reading them all and had only smiles to exchange, shaking hands together saying “Thank you” to each other.  
Coming to the moral of the story, the old man righty knew how to use the available technology (the battery & petrol of his car) to his own benefit and was not distressed when all his gadgets were not available for more than 8 hours. Using the right words, he was not yet bitten by any ‘HER Syndrome’ at all whereas almost everyone else in the locality went through an extremely difficult phase in those long hours without the electricity.
So relating this enlightening experience with the movie here, I would really like you all to watch HER and try to learn ‘what not to do’ from it with a clear positive mindset, as I don’t want any of my friends or their kids living his or her life with such a silly ‘HER syndrome’ today, tomorrow or in the coming future.
Written & Directed by Spike Jonze
Starring : Joaquin Phoenix, Amy Adams, Scarlett Johansson and more.
Tags : HER (2013), Movies To See Before You Die Love Theme Drama, Not To Be Missed Movies List by Bobby Sing at bobbytalkscinema.com, HER Review by Bobby Sing, Life Teaching Films to be seen as a must, OSCAR winner movies of 2014, HER Syndrome by Bobby Sing, Articles on Music, Poetry and Life, Inspirational articles by Bobby Sing
23 July 2014 / bobbysing /
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