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.


DUM LAGA KE HAISHA - A simple, sweet but hurriedly made film lacking emotional depth with a soundtrack reminding you of the musical 80s & 90s. (Review by Bobby Sing).

QISSA (Punjabi) - A complex tale of an obsessed father and his sickening proud to have a son ruining many lives. (Review By Bobby Sing).

BADLAPUR - Though its second half & climax is bound to meet mixed responses, still do watch it for the director's crafty execution & all intense performances as a must. (Review By Bobby Sing).

MSG THE MESSENGER - Its actually not a movie but a 3 hour long, tacky 'Showreel of the Dera' made for its existing and would-be followers alone. (Not A Review By Bobby Sing).

ROY - For what kind of target audience you actually made this dear film-maker? (Review By Bobby Sing).

The three introspective lines in THE BEST EXOTIC MARIGOLD HOTEL (2011) - (Life Teaching Dialogues / Songs from Films (3) - By Bobby Sing).

SHAMITABH - An uneven film made on a fresh concept that deserves to be seen for its polished performances, few well written highs & a thoughtful climax. (Review By Bobby Sing).

EH JANAM TUMHARE LEKHE (Punjabi) - Watch it as a must to honour the lesser known blessed soul BHAGAT PURAN SINGH and the underrated powerhouse of talent PAWAN MALHOTRA. (Review By Bobby Sing).

HAWAIZAADA - A tiring, comical execution stressing more on frames, songs & romance ruins the actual seriousness of the subject & performances. (Review By Bobby Sing).

RAHASYA - Do watch it if u love 'whodunit' suspense movies or novels & don't reveal the secret as a responsible movie-goer. (Review By Bobby Sing).

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February 28, 2015 Saturday     
If one has a serious claim to make in front of the entire world that it was an Indian scientist actually responsible for the first ever flight in the air with a plane (years before the Wright Brothers), then what path the director is expected to follow?
Obviously he has to make it as believable as possible with all logical reasoning, historical references, evident proofs and a powerful screenplay/execution that convinces the viewers to believe in every proceeding on the screen arousing a proud collective patriotic feeling in the end among his audiences.
But sadly that is not the vision followed in HAWAIZAADA directed by Vibhu Virender Puri (his debut in feature films), who amateurishly walks on an entirely unexpected, silly and illogical path to portray his important point and then completely falls flat unable to convince the viewers from any angle of his unfortunately. In other words, instead of presenting a logical take, Vibhu comes up with an entirely fantasy version of the claim, with a dream like execution having a clear, visible, heavy hangover Sanjay Leela Bhansali. And as I believe a Bhansali influence is surely capable of ruining more films than making them to be honest.
Commencing on a confusing note in its first scene itself, HAWAIZAADA keeps stressing more on colourful frames, heavy costumes, unrequired props, mindless romance and mediocre songs with a questionable comic touch that turns out to be weird throughout till the end. The script carelessly moves into various unclear directions, coming back to the main topic at intervals that eventually leads to a loss on interest and one starts questioning that what are they upto with such a messed up narration simply heading nowhere. The unnecessary stuffed melodrama, comedy and songs hardly give you anything to praise in its boringly long duration and that further forces you think that how could this even excite the makers reading it on the paper too.
Interestingly the biggest culprit of the screenplay/film remains its soulless romance and soundtrack that hampers its overall impact pretty badly and the film pathetically drags both in its first and second half featuring all unimpressive characters and their interactions. Its cinematographer, choreographer, editor and background score composer actually follow the vision of their director perfectly who probably wished to make a musical-fantasy-costume-drama instead of a realistic, believable historical film making a big claim in front of the entire world. The film’s average soundtrack is hugely worked upon with innovative arrangements and variety but doesn’t have that required melody to pull you in. For instance there is a traditional folk kind of song conceived with all western instruments and Ayushmann himself composes a Ghalib ghazal “Dil-e-Naadan” that has huge similarities with the one sung by Somesh Mathur in his album on Ghalib released many years back.
In the performance section, we have many honest efforts being made here assuming its probably a path breaking film about an astonishing fact never talked about before. Ayushmann Khurrana puts in the best with his utmost sincerity and so does Mithun Chakraborty as the main scientist, but they both get hugely betrayed by the poor writing and confused direction. Pallavi Sharda does nothing great to draw your attention and the same can be said about the rest of the cast too ranging from average to bad. Still among these uninspiring acts, a child artist Naman Jain does deliver an enjoyable natural performance in his few scenes.
Summing up, HAWAIZAADA remains a big opportunity wasted both in terms of cinema and as a document that could have been a solid support to the fact that an airplane was first invented in India before the Wright Brothers (and I was personally looking for the same in the film). It neither presents that amazing chapter of history with some logical justifications nor is able to convince the viewer through its messy execution wandering in various directions. In fact it seems that both the writers and their director were more interested in showing the romance, songs and drama instead of the invention being tried by the two men. As a result it comes out to be a childish fantasy take on the subject ruining a solid premise and after watching it I really doubt anyone would readily believe in the presented fact that it was an Indian scientist who did that significant invention first before the westerners.
In real terms, that is the damage this film has probably done to the debatable truth….unfortunately.
Rating : 1.5 / 5 (Including additional 0.5 just for its basic subject chosen.)

(NOTE : For record, the film is based on the life of scientist Shivkar Bapuji Talpade (of Maharashtra) who is credited for inventing the first air plane years before the Wright Brothers.)

Tags : Hawaizaada Review By Bobby Sing, Hawaizaada 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, Real Life Inspired Films, Supposedly based on Indian History
02 February 2015 / bobbysing /
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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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