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July 24, 2016 Sunday     
To begin with, we all know what sells here in our films apart from the Big Stars and that’s exactly what’s being offered in this third product of the franchise strictly known for its erotic content presented along with a ‘must have’ storyline. To explain it further, HATE STORY 3 is actually ‘two films’ woven into one, with the first one offering you the much expected erotica & bedroom scenes all incorporated in its deliberately added songs inserted at regular intervals. And the second is a typical Abbaas-Mustaan type of suspense thriller (with a surprise entry towards the end) which doesn’t work at all due to a sloppy editing, an immature direction and many absurd twists & turns throwing the characterization out of the window as if it’s never supposed to be there in a film like this.
As a result you have business tycoons behaving like college boys, legal blames being put on colleagues just like that, killings going on as if they have already bought the police & law, a lab sequence as well as graphics reminding you of those scientists & blasts shown in the black & white movies of 50s-60s and the ladies being there only to prove themselves bolder than the other with more intense skin show, deep kisses and suggestive body movements providing the expected content.
But here a worth mentioning catch is that if you are only interested in the film for some more erotic sequences than the already seen, then its going to be a big disappointment for sure, as HATE STORY 3 doesn’t have anything more to offer apart from what has already been revealed in its various song videos before the official release. However if you still wish to watch those bodies moving freely on the bigger screen in the theater, then that’s a different personal choice beyond any discussion.
Beginning with an unexpected emotional scene, HS3 straight away comes to the point in the first 10 minutes itself showcasing the most famous song and then starts delivering the same old routine stuff quite carelessly keeping the logic aside. Post intermission the proceedings further enter their ‘the worst zone’ when a song abruptly begins saying ‘Yeh Kaise Ho Gaya' and you feel like as if the lyricist has somehow read your mind thinking in exactly the same language. Stating its few merits, though an energetic background score, fine cinematography and some melodious songs don’t let you feel like watching something really bad. But the way it starts heading towards the culmination in a quite childish way, repeatedly makes you think about the filthy one sided mindset behind its poor making.
Besides, its most famous song, “Tumhe Apna Banane” honestly forced me to think that how can it be officially labeled as a reworked version of the original song from film SADAK (1991), when even the cult track of SADAK was also blatantly copied from a Pakistani song “Chale To Kat Hi Jayega Safar” sung by Mussarrat Nazir that was never disclosed either by the composers or the music company at the time of its release.
Anyway moving on to performances, the stunners here remain the two girls Zarine Khan and Daisy Irani, obviously not for any of their acting skills but for their ‘nothing to hide’ attitude while enacting on the bed to be specific. And its Zarine Khan who simply catches you unaware performing with such a bold confidence with both her young male co-stars in all the sexy sequences, whereas Daisy still needs to work hard on her scenes apart from the ‘taking off your clothes’ act that always works on the screen, irrespective of who is doing it.
In the male leads, Sharman Joshi should immediately forget this film to get back on the right track and Karan Singh Grover should not expect much either from this ‘women oriented subject’ in terms of box office response. In the supporting cast, Priyanshu Chatterjee does deliver a pleasant surprise once again playing a similar role and rest are just okay in their given roles.
Coming back to its basic script structure, HATE STORY 3 (directed by Vishal Pandya), clearly takes its references from various sources (typically penned by story-screenplay writer Vikram Bhatt) including the basic plot reminding you of INDECENT PROPOSAL (1993), the faulty cold drinks and blame game insertion taken from our own CORPORATE (2006) and the terrace scene where the two heroes meet, faintly making you recall a similar one in THE DEVIL’s ADVOCATE (1997). In short it’s once again the same mix of an inspired revenge saga served along the essential erotica with two fresh female faces in the lead, who actually remain the only major attraction of the project for all the obvious reasons.
In fact this is a quite good business strategy of making money through such a sure shot ‘movie franchise’ hitting the bulls eye, wherein you quickly get a crime thriller screenplay written inspired by a couple of hit films, cast one or two beautiful fresh female faces in every new part of the series having the right curves, ask them to take off their clothes in some tastefully shot songs & bed room scenes, get some good melodious songs to run in the backdrop serving the right erotic mood and then walk your way to the banks after only a few days of its release making some quick money.
If truth be told then this was widely done by many B-C grade producers in the forgettable decade of 80s as well as 90s churning out some cheap, awful movies to be shown in the morning shows and the smaller centers earning some decent returns. But now the same act is being practiced again in a much upgraded corporate style by all the reputed names, that actually reveals the ugly side of the business popularly termed as Show-Biz.
Rating : 1 / 5 (And that too just for a couple of good songs and the technical merits)
Tags : Hate Story 3 Review by Bobby Sing, Hate Story 3 Movie Review by Bobby Sing, Inspired Movies, Borrowed Themes, Inspired from Hollywood, Copied Movies, 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
04 December 2015 / bobbysing /
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To begin with, if a person is eager enough to either appreciate or criticize HERO just because its produced & presented by Salman Khan then that would be a faulty way of watching or rating the film unarguably. So let us keep ‘The Salman factor’ associated with the project aside and consider this as an important debut venture of a young ‘industry’ couple willing to win over the audience through their honest efforts.
But moving ahead, the second hurdle HERO is bound to face inevitably is the comparison with its original musical gem HERO (released in 1983), that is still fresh in the minds as well as in the precious collection of Hindi film music lovers all over the world. The present version of HERO largely follows Ghai’s classic in the first half and therefore cannot avoid the comparisons drawn by the viewers, being an official remake coming after 32 long years.
However, respecting the makers as well as the debutants relying a lot on the film, I would like to keep the comparison for the later part of the review and begin with the film as a fresh release presented with a major publicity campaign.
So as a love story with the catchy title HERO, introducing two youngsters from the families belonging to the industry itself, what can be the first thing expected from the film by the excited viewers?
The very first thing has to be some kind of novelty in the project in terms of storyline, execution, sequences, action, conflicts, the loving chemistry and the soundtrack making it a worth watching experience for all. But sadly Nikhil Advani’s HERO has got nothing to offer in these crucial departments and the film simply remains a lazily or rather unintelligently made project relying too heavily on the person promoting it from the front having a gigantic fan following. In fact watching the film progressing so boringly on a badly written script with nothing engrossing at all happening in those two hours, one is forced to assume that maybe it’s the case of too many cooks spoiling the dish as the saying goes. Probably too much interference coming from all corners (Shettys, Pancholis & Khans) turned the film into an unentertaining mess that was supposed to be a remake of a highly enjoyable and hit movie of the 80s.
Commencing on a very poor note following the typical Bollywood format and a below average party song, HERO fails to make any kind of impact within its first 20 minutes itself and then everything happening so quickly defying all the logics simply puts the viewer off before the intermission only. Post interval it even stops following the original and goes on with its own clichéd and mediocre plot with no sense of time-gaps or logical justifications as such.
To say the least, there is no depth found in either the two persons loving or the others opposing their love right till the climax. As a result, you never feel like watching an intense love story with a lot of conflict involved. The film begins and keeps delivering the same seen before sequences one after another without caring about the people sitting in the theater having spent their hard earned money and time. In other words, HERO of 2015 can easily be presented as a perfect example of most irresponsible film made in the present times playing with two young careers.
Also its a film having the most inappropriate people chosen as the cast, who fail to establish any kind of connect with the given roles be it a father, an uncle, a bhabhi, a mother or the villains. So where Tigmanshu Dhulia falters big time in playing the father (despite being a gifted performer), the rest of the actors simply play their roles as another usual assignment signed to earn some quick bucks. And as it is said, nothing can hamper a film more badly than a wrong casting.
A fine cinematography and action accompanied by some mediocre writing, sloppy editing and dull dialogues keep affecting the film at various points. Like its really amusing to notice an inspector suddenly giving the instructions from a helicopter, who was just doing the same at the ground in exactly the previous shot. Moreover a scene showing the girl praying to BUDDHA considering him as a GOD, clearly reveals how much less the writers as well as the youngsters know about the enlightened soul and his views about the existence of God.
A big letdown in the music department too, the only likable track remains the Salman Khan number that has been arranged well with a catchy hook line working fine. But God knows when the music directors would understand that by only calling in Rahat Fateh Ali Khan to render a track doesn’t ensure you a hit song always.
Coming to the two debutantes, Sooraj certainly has got a decent screen presence with a solid physique to display, particularly in the actions sequences and Athiya Shetty looks pretty in some specific scenes only to put it honestly. However as far as the performances are concerned, they both got to thank their ‘surnames’ much more than the inherited talent, that needs to be accepted as a harsh truth at this particular point of time (as nobody knows what fate or luck has in store for them in the coming years).
Now lets get to the comparison part of the review studying the film as an official remake of Subhash Ghai’s HERO released in 1983 establishing Jackie Shroff as Jackie Dada and Meenakshi Sheshadri as Radha among the young viewers.
In few words, Nikhil Advani’s film quite brutally and shamelessly murders Ghai’s HERO, particularly while adapting its fabulously written characterizations. Accepting the fact that there wasn’t any path-breaking storyline in the original, the 1983 film actually worked due to its immensely lovable characters reaching out to the audience, its entertaining execution, an outstanding soundtrack and an engaging script that even incorporated the ‘in-thing’ of those times i.e. the motorcycle mania used brilliantly (along with the brand promotion way back in 1983).
So if you are amongst those lucky friends who have personally witnessed the enigma around the original HERO of the early 80s, then in this latest 2015 version of the hit,
You are not going to find any raw, unpolished talent as Jackie Shroff (Jackie Dada).
No intelligent, homely girl as Meenakshi Sheshadri (Radha).
No big, scary fighter as the ugly Billa.
No evil, bald man as Amrish Puri (Pasha).
No strong and firm father as Shammi Kapoor.
No entertaining, helpful uncle as Sanjeev Kumar with his easily caught disguises and the dialogue “Pallu Upar Karo”.
No irritating widow as Bindu who loves to read erotica hiding from all,
No lovable Madan Puri supporting the changed Jackie giving him a decent job.
No exciting competition race between Yamaha Rajdoot and Honda with the dialogue, “Honda Hove Ya Fonda, Jitega Mera Munda”
No drug addict Shakti Kapoor making the cunning faces and attempting a rape
and no exciting climax with those soul stirring notes repeatedly playing in the background.
Besides if you wish to know more about how the times have changed in these 32 long years from Subhash Ghai’s HERO of 1983 to Nikhil Advani/Salman Khan’s HERO of 2015 then….:
A. Now we have actually lost all those directors who could pick up a raw talent as Jackie Shroff from nowhere and turn him into a rage with a single film all over. (The reason being, as now we have many youngsters in the filmy families itself, waiting to be introduced together as per their individual turns.)
B. Now we don’t believe in our hero playing a ‘Sadak Chhaap Gunda’ smoking and drinking openly, speaking rough language like Jackie Dada, as that may sound cheap and down-market to the high spending audience of our multiplexes. (So for them we have to present him as a sophisticated, body building gangster who doesn’t seem to be even close to the teasing reality.)
C. In the present scenario we don’t like our hero to play a simple flute, probably because flute is not up to the standard of multiplexes! (May be a flute seems to be less youthful and trendy............in comparison to a Guitar or Piano eyeing the target audience.)
D. Now we don’t like to portray our heroine as an intelligent, well read girl who asks proof from the kidnapper for being a policeman. And who happens to be a homely girl too, able to cook food and wash clothes for the entire team of boys staying together. (May be that kind of portrayal will spoil all the designer dresses given to the leading lady.)
E. Now we have stopped shooting dramatic sequences within a temple in front of the respected deity with “Hare Krishna” chanting and rhythmic beating of drums going on in the backdrop. (May be because the makers have assumed that people don’t like to see such emotional & religious based sequences in their entertaining films……as if that is not a part of our actual life anymore.)
F. At present we don’t have characters like an over-talkative widow lady in the family, who shows a change of heart in the end. (Probably because the writers-directors have stopped including such realistic characters in their superficial films to be mostly shown in the multiplexes.)
G. Now we don’t believe in focusing on family values, traditions and self-respect in conflicting scenes between the young boy, the girl and their concerning yet bigheaded father. (May be because that is supposed to drag the film as per the newly found formula of the new age millennium.)
H. Now our hero cannot work as a mechanic in a factory so he has to be given a whole gym to run in order to make an honest living.
I. Now we don’t have time to work on film soundtracks, indulging in long overnight sittings with music directors, lyricists and rhythm musicians together. As now random songs can easily be received through Whats App and E-mails on our mobile phones (to choose from), made by various composers without even knowing about the actual requirement of the film or its basic theme.
As a result we do not get to hear a flute/shehnai-piece or a voice like that of Reshma with some heart wrenching lyrics capable of giving us goose bumps with just a few starting notes of a melodious song. As a matter of fact we don’t even get to hear our own Indian instruments in the songs, all overstuffed and full of electronic sounds that can be easily controlled by learning a mechanical technique and not any human art.
J. And lastly we don’t waste footage anymore in establishing relationships on screen as earlier. Now our girl should fall in love quickly in just her second or third scene and then everything should happen fast forgetting anything about the much needed depth regarding love or relationships portrayed as per the film’s subject.
In short this is how our cinema has changed in the last few decades resulting in an utter confusion, wherein the hugely famous flute piece from the original HERO (1983) finds place in a film called HEROPANTI (2014- introducing Jackie Dada’s son), but goes entirely missing in the official remake with the same title co-produced by Subhash Ghai himself in 2015.
Now, whether this can be considered as a positive, constructive progress or not, that’s a question to be thought upon by the makers and the viewers together at the earliest.
Rating : 1 / 5
Tags : Hero Movie Review by Bobby Sing, Hero Film Review by Bobby Sing, Hero Official Remake of Subhash Ghai 1983 film, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, New Hindi Films Reviews at bobbytalkscinema.com
12 September 2015 / bobbysing /
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Before the film’s release the makers proudly praised their product in the press and an interview was there in a reputed Bollywood website too with Mukesh Bhatt saying,
“Mahesh Bhatt has written a movie after 14 years while taking it up as a challenge.”
and the title of the article was,
"We are not into bull-shitting business, we are confident of Hamari Adhuri Kahani" - Mukesh Bhatt. (Here is the link)
So the buzz was really there but now after witnessing the absurdly written and unimpressively directed film based on a pretty weak script, what can be concluded about the wide gap between the above mentioned vision of the makers and the final product placed before the public deserving ‘a big thumbs down’?
The easiest and most logical explanation can be that it was a clear case of a blind over-confidence in an unconvincing product following a completely wrong vision by the entire team. But then, reconsidering the names of creators having such a huge filmmaking experience to their credit as Mukesh Bhatt and Mahesh Bhatt, it also seriously forces you to admit that perhaps the times have really changed and the veterans have probably lost the pulse of (new-age) public they once were very much aware of as seen in the cases of Subhash Ghai, Kundan Shah, N. Chandra, Ram Gopal Varma and more.
However giving the Bhatts an advantage of their recent success stories, majorly achieved due to their proven music sense and the low-cost model they have been working upon, its quite possible that they might not incur heavy losses in this poor HAMARI ADHURI KAHANI too as per business terms. But if one talks about direction, characterization, execution and the writing in particular using some honest words, then this is one of the worst offerings from the team in the recent times (post another pathetic dud MR. X).
Personally, I don’t even feel it was entirely written by Mahesh Bhatt (as publicized) since it has such silly, shabby and confusing story progressions that actually doesn’t fit in with the name of Bhatt as a writer. Yes, the film begins with some intense sequences having a clear MB stamp dealing with a father, son and the mother, but then gets scattered so childishly that one cannot believe it has been really penned down by the same person we know by the name of Mahesh Bhatt, who gave us films such as Saaransh, Janam, Arth, Daddy, Swayam, Sir, Naam, Tamanna, Zakham and many more specifically written around emotional outbursts in broken relationships. Hence as it seems, he possibly wrote few of the initial scenes of the script himself and then passed onto his team of (freshly appointed) assistants to continue with the rest on their own. In fact the same can be said about Mohit Suri (director) and Shagufta Rafiq (writer/dialogues) too keeping in mind the successes they have earlier been associated with before HAK.
(Spoilers Ahead)
To give you some specific reasons for my above assumptions, What can you say about a script telling you a story of a single mother of 7-8 years old kid, left alone by her missing husband (since 1 year after the marriage), getting involved in a fresh affair and leaving for Dubai to work, without taking along her only dependent kid for some undisclosed reason? In fact its so weird to even assume that a script revolving around a single mother, features the kid in only few of its opening sequences and then again towards the climax, not mentioning him even once in the middle section when the mother is stepping into a new phase of life with a rich hotelier. Now how could Mahesh Bhatt even approve it, making every single character in the script look like a dumb, stupid person knowing nothing about what ought to be his or her first priorities of life to be precise?
Moreover every key person in the story coming up with his own flashback after a while makes the narration heavy, boring and stale. Plus few absurd moments simply make you ask that, Is it the same film having those emotionally engaging promos promising a worth watching product from the Bhatts?
For instance post interval Vidya leaves the five star hotel in Dubai (for returning to India) and is shown moving on a deserted road with nothing visible on its both ends dragging her suitcase all alone, only to be chased by Emraan in a car! (Obviously she doesn’t hire a taxi as the scene would look more beautiful on screen, shot in a picturesque outdoor location!)
Later in another absurd sequence, the wealthy hotelier Emraan brings Vidya to meet his mother living in Shimla (a scene straight away reminding you of AN AFFAIR TO REMEMBER), who is actually looking after a friend/old person in coma since years bearing all the expenses and pain. A patient who supposedly got into coma in an accident happening at the time when both Emraan (as a child) and his mother were extremely poor and the lady used to work in a hotel to earn for their daily expenses!  
As Vidya’s missing husband (Rajkumar) returns (who is a terrorist as per the police records), he easily gets into his old house and hides as there is no police surveillance around the residence of a wanted terrorist. But above all, meeting his wife after many years, he is not even concerned to ask about his only son and then fast gets into a weird revenge mode (partially making you recall the basic plot of SLEEPING WITH THE ENEMY and numerous Hindi movies made on the its theme unofficially). Besides the script in its climax (issuing bizarre death sentences to its lead characters), once again refuses to give any importance to the ‘Parenting’ aspect of the storyline making you laugh instead of cry putting it bluntly.
Being an uninteresting drag throughout after making a fine start, HAMARI ADHURI KAHANI doesn’t impress with its soundtrack too with only the title song making a decent impact on the listeners due to its relatable lyrics (since everyone has some kind of Adhuri Kahani in his or her young past). Probably that’s the reason the Bhatts had to buy an extra Rahat Fateh Ali Khan track from his private album to add into the film deliberately. So no credits for that good song can be given to the Bhatts.
The script full of all seen before, heavy melodrama fails to take any advantage from its otherwise fine background score and cinematography, mainly due to many badly written dialogues ruining the entire scene like “Mere Ghar Ka Choolha……...”, “Arey, Yeh Banjaaran Kaun Hai?” and more. Also the lazy, illogical & half-baked characterization doesn’t allow the actors to reach their viewers hearts ever in the film’s 130 minutes of duration.
To give the two key performers their deserving due, Vidya Balan tries really hard right from her first scene itself, but her character developments mostly remain dumb and highly questionable hampering the overall impact of the intense act severely. Similarly Rajkumar Rao too tries to deliver his best in the short role but doesn’t get the much required support from his confusingly written role heading nowhere. And talking about Emraan, I honestly cannot recall when he acted differently in a film other than SHANGHAI directed by Dibaker Bannerji. As a result, once again he remains the same as seen in his earlier films making no visible effort to somehow do it differently. However it was indeed a pleasant surprise to see one of my favourite actresses Amla back on screen playing Emraan’s mother.
In all HAMARI ADHURI KAHANI doesn’t turn out to be anything even closer to the ones written by the exceptional filmmaker a couple of decades back. In other words, it can easily be rated as a badly conceived film that evidently couldn’t express the basic idea in the mind of its reputed writer, for which everyone stands equally responsible in its entire team, including the one and only Mahesh Bhatt.

Rating : 1 / 5 (And that too just for the film’s initial 10 minutes & the title track.)
Tags : Hamari Adhuri Kahani Review By Bobby Sing, HAK 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
13 June 2015 / bobbysing /
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