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January 26, 2015 Monday     
Friends who have seen Raj Nidimoru and Krishna DK’s (aka Raj and DK’s) earlier ventures such as 99, SHOR IN THE CITY or the recent GO GOA GONE, would readily agree that the director duo really showcased some exceptional talent in these three films, moving ahead than a routine Bollywood project made on the same old set routine patterns. Hence, watching the witty promos of HAPPY ENDING, well supported by a few peppy dance numbers and an interesting cast really made everyone expect a fairly enjoyable rom-com from the team once again.
But perhaps crime thrillers remain their proved forte and a romantic comedy is not exactly the genre Raj & DK are comfortable with. Because what they present in HAPPY ENDING is full of all been there-seen before sequences with nothing fresh except few occasional good dialogues or only four entertaining scenes of Govinda.
Taking its clear references for certain insertions (like the book reading one) from BEFORE SUNSET (2004) and more, HAPPY ENDING begins on a fairly interesting note and then goes on to become a boringly long ride with everything predictable till the end. The romance loses all its charm as it progresses and the writers remain confused between their target audience making a vain attempt to cater the viewers within the country as well as abroad. In fact this has been the dilemma or conflict seen in most of the projects today when they try to incorporate plots for both the diverse territories and in the effort make a complete mess out of the film deliberately.
With no impressive performances delivered by the lead pair, HAPPY ENDING once again wastes the gifted Govinda just like the last week’s KILL DIL. The veteran has only 4-5 scenes in the entire film, but still manages to give you at least something to cheer in those few minutes, especially in the song “Nacho Saare G Phaadke” offering his famous and immensely enjoyable dance moves. Saif Ali Khan continues his ‘no-show’ post BULLETT RAJA & HUMSHAKALS, plus Ileana D'Cruz gives another similar yet sweet kind of appearance as the fellow writer. Ranveer Shorey tries hard to contribute his bit & does bring some rare smiles with his witty dialogues but Kalki, Preity Zinta and Kareena Kapoor fail to add anything significant to this long, painful watch in their small cameos.
Music remains the only saving grace in the film (with few catchy dance tracks), which unfortunately doesn’t get the support it deserved from the script. On the other hand Cinematography as well as Background score do not come up with any extra ordinary feature to mention here.
In short, its really strange why the director duo chose this kind of stale and overdone subject for their next venture….. Or was this another case of the producer interfering into the script as per his own vision as always. In any case, HAPPY ENDING is not at all a HAPPY watch to recommend with nothing else to offer except Govinda. So you can easily give it a skip to be later watched at any Cable Channel or on Home Video when its official DVD gets released in the coming week.
Rating : 1.5 / 5
Tags : Happy Ending Review by Bobby Sing, Happy Ending Film 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
23 November 2014 / bobbysing /
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By now you must have read several viewpoints about HAIDER receiving some extremely mixed responses from various sections of viewers as expected. Hence I would like to talk about this latest flick of a thinking director of our present times in a distinctive manner giving away the exact practical truth beginning with a personal sharing.
Almost two decades back when I entered the music business working with many renowned names of those times, I was completely into meaningful content led by Hindustani Classical, Ghazals or Qawwalies other than the popular Hindi film or Pop music. And the very first lesson I learned in the business was that whatever I liked personally is all that stuff which actually doesn’t sell in the market to keep the companies running. So we were only supposed to create anything which can sell in lakhs reaching the common man winning their hearts right away in the first listening itself instead of stressing on something which is not the general taste of the public to put it in simple words. Recalling the words of one of my experienced seniors, he used to say, “Listen to what YOU like after 7pm and make what THEY like in the day time to keep your job going”
Obviously I never supported this questionable commercial trend of making whatever crap is running in the market only to earn some quick bucks following a dumb mindset and therefore always insisted to find a middle path by adding something meaningful in every audio album (Pop music used to be the in-thing in those times of 90s) to enlighten the buying listeners. So in each project we worked upon (be it Hindi or Punjabi Pop), we always tried to add at least 1 or 2 meaningful, soul stirring tracks to maintain the balance treating our audience with respect too as some intelligent minds. And believe me most of the times, these one or two songs only used to become the underground hits in the music circles unknowingly, which strengthened my belief time after time that if served with the right balance, the audience is more than willing to accept some out of the trend, introspective content too with their open arms.
Coming back to our films, this balance was not to be found in the 70s and 80s when those brilliant attempts in the ‘art cinema wave’ were only seen by a particular section of viewers (repeatedly played on Doordarshan) and the strong majority of people not even knew about their names in particular. Yes an occasional ARDH SATYA did manage to break the set pattern becoming a box office earner out of the blue, but the above discussed balance was simply not existent in those times evidently.
However this was not the case, when I saw the first work of music composer Vishal Bhardwaj making his debut as a director with MAKDEE in 2002 and then MAQBOOL in 2003. Because these films had got that balance I always used to vouch for. The much required balance between the meaningful and commercial cinema reaching out to the common man serving the entertaining and insightful stuff together forcing him to both think and enjoy at the same time in an adorable appreciative style.
The Blue Umbrella (2005) not made for the commercial market kept the energetic flame burning and when the box office gave its verdict in favour of the sweet & sour treat OMKARA, I became further assured that this creative genius has certainly got a firm grip on that much desired balance between both the streams and thus had some great expectations from Vishal Bhardwaj’s future projects post OMKARA released in 2006.
But sadly this was only the point from where onwards the director in Vishal decided to move onto a quite dicey, avoidable path of getting lost in his deep self indulgence on the screen forgetting that fine balance displayed in his earlier films.
As a result, KAMINEY (2009) failed to extract the same unanimous positive response from the viewers and could only do above average business at the box office even after having two big stars and a major hit song in its soundtrack. Suddenly the reviews & viewers responses too were all divided when it came to KAMINEY and next the lost balance became clearly visible in his 7 KHOON MAAF (2011) & MATRU KI BIJLEE KA MANDOLA (2013) falling flat at the box office, which even disappointed many die-hard fans of the director unexpectedly (including myself).
Here I must mention that despite few consecutive unsuccessful attempts by Vishal Bhardwaj in commercial terms, no one dared to write off the director knowing his rare and exceptional skills very rightly and everyone expected the veteran to bounce back with his next film tackling another unusual subject as his known forte.
And with HAIDER, Vishal does manage to answer his strong opponents with a sheer poetry on the screen in terms of narration, execution and performances. A film based on HAMLET which happens to be one of the most complex plays written by William Shakespeare tweaked with his own master strokes taking the storyline into the breathtaking Kashmir, successfully completing his Shakespeare Trilogy in a time span of a little more than a decade. A gem in cinematic terms for sure which forces you to forget his last two duds instantly. And a film which brings back the beautiful Tabu  on the silver screen after a long gap who truly is one of the finest actors of our times without any slightest of doubt.
Therefore it can easily be said that HAIDER scores much above the director’s recent attempts in comparison and breaks several grounds in visualizing a difficult subject on the screen like never before. But along with that another hard and blunt truth remains that the film fails to find that fine balance between meaningful and entertaining cinema as earlier cherished by we all in Vishal’s MAQBOOL or OMKARA. And thus is not able to surpass the first two parts of the trilogy in my personal opinion.
In other words, yes HAIDER is indeed a brilliant film made by the visionary director for a certain section of viewers, but not as brilliant as MAQBOOL and OMKARA which were unanimously acclaimed by viewers all over quite deservingly. The film has it superb well-conceived highs in its various sequences coming at regular intervals but at the same time has a few major lows too (in its second half) which eventually take the magic away leaving the general public confused and annoyed majorly because of an over-stretched too classy end with some strange theatrical additions.
To give you an exact idea, let me narrate how one feels while watching the film in theater. And this is as per the general public viewpoint and not as per any intellectual, spiritual thinker finding many deeper layers in the film just because it has been made by the renowned Vishal Bhardwaj.
Firstly, anyone opting for HAIDER is already prepared for a sensitive, slow-paced, artistic movie packed with some great performances and good music. So as the film begins the viewer doesn’t mind its slower pace and gets engrossed in its fine build up depicting the tense Kashmir and its ideology clashes. The sequence of a doctor helping the terrorists, getting spotted in a sudden Police track-down simply leaves you stunned looking at the realistic visualization. And then the solid introduction of every character in the storyline including Tabu, Kay Kay, Shahid, Shraddha & more keeps your interest alive for the next half an hour along with a haunting melody “Jhelum”, which sounds even more heart wrenching while watching it on the screen.
After some 50 minutes into the film, it starts becoming slower going into an uninteresting mode just before the entry of Irrfan Khan. And as soon as Irrfan burns the screen with his mysterious persona and an exciting background score playing a catchy baseline, it infuses a new energetic life into the film just before the intermission and one begins liking HAIDER in totality expecting a lot more to come in its second half.
Post intermission the well composed background music taken from the prelude of track “Aao Na” keeps the memento going. And the word ‘Betrayal’ gets a new meaning in Hindi cinema in the next 20-25 minutes of the film offering few highly emotional sequences beautifully portraying the trauma felt by Shahid as he gets to know the shocking secrets of his family.
Now till here the film is pretty balanced and manages to leave a great impact on the viewer through the excellence achieved in almost all its technical as well as performance department strongly led by the director’s vision, Tabu, Shahid and Irrfan Khan in particular providing an important support to the film.
But suddenly just when one expects HAIDER to progress towards an explosive climax there comes a badly timed song out of nowhere with the usual romantic bed room scenes at a place where the son only has vengeance written all over his mind, body and soul like a lunatic. The strange insertions continue as there is another dramatic song “Bismil” coming into the narration next which straight away reminds you of "Ek Haseena Thi” situation of film KARZ (also later used by Farah Khan in her OM SHANTI OM) where the hero tells the whole story of betrayal in a song and dance performance looking straight into the eyes of the culprit couple sitting in the front. In all possibilities one thinks that the film is soon going to end dramatically post this song with a great climax. But the situation gets worst when the song ends without any conclusion whatsoever and the film goes on and on towards a never ending climax for a good 20-25 minutes after that.
The extra length post the ‘Bismil’ song hampers the overall impact on the viewer pretty badly and the things simply go out of control when just before the worth watching climax there is another short song thrown in sung by the three old grave diggers in a pure theatrical mode quite weirdly. Now no doubt the song, the sequence and the lyrics have their own spiritual value if seen with a different viewpoint. Yet one doesn’t hear praises but laughter in the theater the moment one of the three old men starts singing “Aao Na”, clearly showing the imbalance in this latest venture of Vishal Bhardwaj which could have been easily maintained by some severe editing of the film, particularly in its final hour taking away all these over the top sequences not exactly meant to be there for the general public.
Moreover as it is said in film business, many artistic touches in a product actually takes it far away from the reach of a common man. And that’s exactly the case with HAIDER in its second half which surely could have reached the general audience in a more impressive manner had it been made with the same balance of Art and Entertainment, as witnessed in Vishal’s MAQBOOL and OMKARA almost a decade back.
Perhaps the director following the path of his own reputation of a visionary, thinking creator got carried away this time with a sort of self-indulgence on the screen forgetting that fine balance. Or may be taking two complex subjects together of HAMLET and KASHMIR in one film alone caused this major imbalance in the project due to the obvious reasons.
In any case moving on to the controversial concept of KASHMIR and portrayal of both sides in the valley getting some extreme reactions, I would like to say that HAIDER isn’t exactly about Kashmir or its core issue and just uses the backdrop to say its main storyline of betrayal. The film does showcase some brutal truths about both the people and the system fighting with each other since long, but at the same time it also doesn’t justify both the sides equally as objected by many sections of the society in their online protests.
So as I feel Vishal could have made his third Shakespeare adaptation in his own thoughtful style without moving into Kashmir touching the sensitive issue all together. But since the valley indeed gives the film a finer edge both in the Indian and the overseas market together so probably there was a business motive too behind this deliberate transportation of Shakespeare to the ‘Jannat’ as it seems. Also I strongly feel that may be the powerful visuals of red blood split over the white base seen in Tarantino’s latest DJANGO UNCHAINED gave birth to this idea of inserting Kashmir into Hamlet keeping in mind the director’s creative inspirations from the West.
Anyhow regarding the path-breaking depiction of KASHMIR issue in the film, one can only give the complete credit to Vishal and his execution (shouting at the maximum volume) if only he hasn’t seen three films in particular in the past. And these three films are :
Onir’s I AM (2010) (Second Storyplot)
Anurag Singh’s PUNJAB 1984 (Punjabi – 2014) &
Rahat Kazmi’s IDENTITY CARD (2014)
Giving the exact details,
If youwish to see a subtle but more real picture of Kashmir, Kashmiri Pandits and their pain of flight from their homeland then watch I AM, in its second story of Juhi and Manisha.
If youare too impressed with the missing persons and Shahid searching for his father with a photograph scene in the film then do watch PUNJAB 1984 for this particular sequence dealt in a far better manner, since both Punjab and Kashmir have a similar history when it comes to missing persons of a family caused by the terrorism in the region.
And if you want to know more about military and their conflict with the human rights organizations depicted in a more balanced and realistic manner, hitting you quite hard in the climax of a not so perfect but relevant recent film, then watch IDENTITY CARD which probably was taken off from the theaters only 2-3 days after its release due to no takers and no known names in its star-cast.

Now in 8-9 out of 10 times, people praising HAIDER as something out of this world film must not have seen these three movies mentioned above in all probabilities. So I cannot blame them at all since they are bound to praise and get impressed if they havent seen anything like this before on the screen in a different rare (or regional) project.
But any serious movie-buff who has seen these three films listed above, simply knows that who has already done it in the past and in a much better manner too in terms of clarity and focus without taking any sides rightly. So if you also wish to have a much wider picture of the subject then do watch these three films at the earliest and then think again.
Lastly coming to the conclusion, as stated before, no doubt HAIDER is worth watching gem in cinematic terms for sure as being praised strongly. But at the same time it also doesn’t have that fine balance of art & entertainment as seen before in the maestro director's early hits of the last decade. The film has a class of its own but for a particular section of viewers alone and hence is going to witness some extreme divide over its worth becoming the major point of discussion all over.
Having said that I still would like to suggest that just ignore its major hiccups of the final hour and don’t treat it as a movie made on the KASHMIR issue wrongly like a docu-drama. And then watch HAIDER at least once for its performances, background score and superb execution of some worth watching sequences to cherish a different valuable experience in the theater which is now becoming rarer day by day due to this over commercialization of the business in the present times.
Arguably its not the best balanced work of director Vishal Bhardwaj racing ahead than his MAQBOOL and OMKARA. May be because the film is ‘A Revised Version’ as mentioned in its Censor Certificate, indicating towards some important cuts in its original form possibly ruining its actual impact as conceived by Vishal. But still it can easily be rated as a fine addition to his Shakespeare Trilogy much better than his last two forgettable ventures with a breathtaking cinematography capturing KASHMIR. The soundtrack of HAIDER again might not have a universal appealing value going against the composer’s past record but it does have that lyrical richness (by Gulzar) and the songs grow on you later once you have watched the film especially "Aao Na".
Putting in exact words, you must watch HAIDER for its towering performances led by TABU from the front, who strongly proves that even if she does only one film in five years, she still can teach a lot to all the new girls in the business giving them a tough competition. And I would certainly like to see her name in the top of every nomination list in the next year’s award category of Best Actress.
You need to watch the film for Shahid Kapoor as he gives his earnest performance till date (which I was honestly not expecting) explaining the entertaining meaning of ‘Chutzpah’ along with performing exceptionally in all his difficult scenes of facing a dilemma. It has a decent Shraddha Kapoor scoring well post intermission and once again a great act from the ever dependable Kay Kay Menon as the evil brother. Adding some comic relief to the film we have two hilarious characters played by a “Salman Khan look-alike duo” too successfully bringing in few lighter moments in the tensed progression through their enjoyable mimicry.
And finally HAIDER needs to be seen for Irrfan Khan’s grand entry (saving the film largely) and those 50 minutes in the mid from the moment he enters the screen before the intermission providing you the worth of your time and money spent along with an exciting well composed background score providing the thrills.
In all, you may find your own flaws in HAIDER coming in its second half as well as few objections in its Kashmir issue portrayal which could have been easily avoided, but you cannot ignore such rare attempt made in the present times and thus have to see it once to witness something extraordinary tried by Vishal Bhardwaj after a long gap.
However I only wish he could once again find that crucial balance between art and entertainment like he did in the beginning of his career as a director so that the film could win hearts all over without any rejections.
Rating : 3.5 / 5 (with a special mention of Tabu and its background score.)
Tags : Haider Review by Bobby Sing, Haider Film Review by Bobby Sing, Hindi Adaptation of Hamlet, 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, Inspired Movies
05 October 2014 / bobbysing /
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One of the most popular facts of Hindi films market is that here other than the star system the one element which can easily bring in the crowd into the theaters is Sex or Erotica. And since 70s there is a certain section of film-makers who have always kept this basic fact in mind before making their irrelevant films just to earn some quick money from the box office and nothing else. In other words a market where a porn star can so easily be transformed into a television celebrity reaching your whole family in the evenings and also manages to generate a decent amount of fan following without doing anything significant on the screen in terms of acting. It is pretty obvious that sex based films remain a hot property for the distributors as well as for the producers, with a minimum risk factor and a high repeat value ensuring some safe returns.
So no points for guessing that HATE STORY 2 is also one of those deliberately made business products just in search of the viewers willing to see another naked body on the screen of a known face instead of cinema. Plus it’s once again a sequel which has nothing to do with its first part. But does follow the same pattern of presenting a sexy girl who can bare it all, gets exploited before the intermission and then goes on to take her revenge in the second half displaying the inner power of a woman (to put it in some respectable words).
However where the formula did come up with something watchable in its prequel, the second part falls way short of that already achieved mark, basically (again) due to its pretty ordinary second half executed in a hasty & repetitive style by the director Vishal Pandya.
Though it all begins with an inspired sequence straight away reminding you of Uma Thurman, still the progression holds your interest nicely before it all becomes easily predictable heading towards the interval. The early part of the script borrows heavily from Quentin Tarantino’s cult revenge thriller KILL BILL and once it tries walking on its own, the film falls completely flat and goes even beyond the level of bearable in its final moments to say the least. In short, HATE STORY begins well, becomes average in the first 40 minutes and then simply slides down towards the bottom becoming plain ordinary, boring and even funny ruining all the hard work done by its actors in its first half.
Interestingly where the sex factor did have a steaming impact in its part one (due to Paoli Dam), the sequel surprisingly remains a non-performer in that particular aspect with nothing exciting or engaging in its revenge drama too in the later part. The erotic sequences fail to impress due to an almost none chemistry between the onscreen pair and further all comfortable killings of the main targets simply ruin the expectations raised earlier.
To give them their deserving due, a few sequences in the film have some well written dialogues in its initial hour and the two lead actors Surveen Chawla and Sushant Singh do leave a mark in their opening scenes emoting well. Yet Surveen questionably uses the film as her do or die attempt following the easiest path of taking her clothes off, which unfortunately is not going to yield some great results for her as it seems. The girl has been around for a while doing some regional films, music videos and few anchoring assignments too. But I really wasn’t expecting her to dive down to this level of desperation quite frankly. Plus she still has to look a lot into her styling and make-up urgently as her face does appear to be entirely different in some casually chosen costumes & hairstyles in an uneven manner.
Sushant, as mentioned above plays it tough enough to make a decent impact at first, but is reduced to a repetitive clown towards the end spoiling the good build-up. Jay Bhanushali gets limited scope in his small role whereas Neha Kaul is terrific playing Sushant’s suppressed wife having no voice of her own. The supporting cast performs ok and cinematography captures the essence of the movie rightly but background score tries too hard to make it sound like a great revenge thriller post intermission.
Musically other than the pathetic ‘Pink Lips’ featuring Sunny Leone (jumping out of nowhere into the film post interval), the soundtrack also comes up with an average new-age version of the late 80s path breaking track “Aaj Tumpe Pyar Aaya Hai” from DAYAVAN (1988). And as history repeats itself, even after the gap of 25 years the fabulously composed song once again becomes famous more for its visual content only instead of the melodious musical notes, unfortunately (which inspires me to write a focused article on the same in the next days). Apart from the above two, few other songs in the film do appear to be soothing at their first listening. But their unintelligent timing in the script (one also coming in the climax), doesn’t allow them to make any kind of impact on the viewer, whatsoever.
In all, there is no Paoli Dam here to say it indicatively and the film is nothing but an exploitive attempt just interested in en-cashing the curiosity generated by its steamy promos at the earliest. And if you still wish to see this empty tin making some good noise, then the choice is all yours.
Rating : 1.5 / 5
Tags : Hate Story 2 Review By Bobby Sing, Hate Story 2 Film Review, 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, Inspired Movies, Copied movies, Inspired from QT Kill Bill
18 July 2014 / bobbysing /
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