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.


BAHUBALI 2 - It delivers larger than life cinema as a solid prequel & conclusion but the excellence seen in the final hour of its original remains missing. (Review by Bobby Sing).

NOOR - What a confused and lazy way to make a crime investigative thriller with neither thrills nor any investigations ending on a weird note. (Review By Bobby Sing).

This Friday's One Line Reviews by Bobby Sing for making your movie plans..

When my Career Consultancy didn't work for a few strangely concerned parents. - by Bobby Sing (Few Life Inspiring Words - 23).

FAST & FURIOUS 8 (English/Hindi) - Partially enjoyable, but strictly for the fans loving the action genre. [TTP (To The Point) Review By Bobby Sing].

MANJE BISTRE (Punjabi) - It seems Punjabi Cinema is now stuck with period dramas focusing on a 'Vyah Wala Ghar' as their latest repetitive obsession. (Review By Bobby Sing).

BEGUM JAAN (Hindi) / RAJKAHINI (Bengali) - Benegal's MANDI meets Manto's TOBA TEK SINGH and Mehta's MIRCH MASALA in this bold but over dramatic effort, sadly remaining too bland to be called an epic despite its noble intentions. (An overview by Bobby Sing).

The last 2 shows at REGAL and the one man behind the event, nobody knows about. (A detailed emotional and technical description by Bobby Sing).

MUKTI BHAWAN (Hotel Salvation) - Could have been a classic, but surely deserves to be seen for its subject, performances and Varanasi in particular. (Review by Bobby Sing).

LAALI KI SHAADI MEIN LAADDOO DEEWANA - Stay away from this marriage and its tiring absurdity. [TTP (To The Point) Review By Bobby Sing].

  Directors I Love  
  Alfred Hitchcock  
  Mehboob Khan  
  Woody Allen  
  Akira Kurosawa  
  Basu Chatterjee  
  Bimal Roy  
  Charlie Chaplin  
  Chetan Anand  
  Govind Nihalani  
  Guru Dutt  
  Hrishikesh Mukherjee  
  Kamal Hassan  
  Ketan Mehta  
  Mrinal Sen  
  Quentin Tarantino  
  Raj Kapoor  
  Richard Attenborough  
  Sai Pranjpe  
  Satyajit Ray  
  Shyam Benegal  
  Steven Spielberg  
  Vijay Anand  
  Ram Gopal Verma  
  Ashutosh Gowariker  
  Mani Ratnam  
  Aleksandr Petrov  
  Saeed Akhtar Mirza  
  Shekhar Kapoor  
  Yash Chopra  
  Frank Capra  
  V. Shantaram  
  Billy Wilder  
  Rajkumar Hirani  
  Vishal Bhardwaj  
  Tigmanshu Dhulia  
  Dibaker Banerjee  
  Rajkumar Santoshi  
  Majid Majidi  
  Ritwik Ghatak  
  Clint Eastwood  
  Prakash Mehra  
  Manmohan Desai  
  Shoaib Mansoor  
  Anurag Kashyap  
  S. S. Rajamouli  
  B. R. Chopra  
  Stanley Kubrick  
  Also Active at  
  Gurmat Darshan.com  
  At Youtube.com  
  At Wordpress.com  
  At Facebook  
  At Twitter  
 April 2017 (14)
 March 2017 (11)
 February 2017 (9)
 January 2017 (12)
 December 2016 (12)
 November 2016 (11)
 October 2016 (15)
 September 2016 (10)
 August 2016 (12)
 July 2016 (12)
 June 2016 (16)
 May 2016 (14)
 April 2016 (17)
 March 2016 (10)
 February 2016 (10)
 January 2016 (9)
 December 2015 (11)
 November 2015 (10)
 October 2015 (10)
 September 2015 (11)
 August 2015 (12)
 July 2015 (15)
 June 2015 (10)
 May 2015 (15)
 April 2015 (16)
 March 2015 (12)
 February 2015 (10)
 January 2015 (14)
 December 2014 (11)
 November 2014 (10)
 October 2014 (10)
 September 2014 (12)
 August 2014 (12)
 July 2014 (21)
 June 2014 (23)
 May 2014 (24)
 April 2014 (23)
 March 2014 (21)
 February 2014 (26)
 January 2014 (28)
 December 2013 (10)
 November 2013 (14)
 October 2013 (16)
 September 2013 (14)
 August 2013 (14)
 July 2013 (12)
 June 2013 (11)
 May 2013 (23)
 April 2013 (10)
 March 2013 (14)
 February 2013 (14)
 January 2013 (15)
 December 2012 (18)
 November 2012 (14)
 October 2012 (15)
 September 2012 (14)
 August 2012 (15)
 July 2012 (12)
 June 2012 (14)
 May 2012 (16)
 April 2012 (15)
 March 2012 (10)
 February 2012 (11)
 January 2012 (11)
 December 2011 (10)
 November 2011 (11)
 October 2011 (15)
 September 2011 (10)
 August 2011 (11)
 July 2011 (11)
 June 2011 (13)
 May 2011 (16)
 April 2011 (14)
 March 2011 (11)
 February 2011 (10)
 January 2011 (12)
 December 2010 (10)
 November 2010 (12)
 October 2010 (11)
 September 2010 (11)
 August 2010 (12)
 July 2010 (12)
 June 2010 (11)
 May 2010 (14)
 April 2010 (15)
 March 2010 (14)
 February 2010 (12)
 January 2010 (15)
 December 2009 (12)
 November 2009 (14)
 October 2009 (15)
 September 2009 (18)
 August 2009 (14)
 July 2009 (16)
 June 2009 (18)
 May 2009 (16)
 April 2009 (18)
 March 2009 (20)
 February 2009 (19)
 January 2009 (20)
 December 2008 (20)
 November 2008 (17)
 October 2008 (21)
 September 2008 (19)
 August 2008 (22)
 July 2008 (23)
 June 2008 (21)
 May 2008 (25)
 April 2008 (22)
 March 2008 (25)
 February 2008 (22)
 January 2008 (22)
 December 2007 (24)
 November 2007 (22)
 October 2007 (22)
May 01, 2017 Monday     
Supporting the courageous effort made taking some big risks with a vision to revive a forgotten era, would like to talk about GELO focusing on its various important features in the following heads.
An exemplary effort in the current ‘monotonous’ scenario of Punjabi Cinema.
When most of the ‘money bags’ in the trade are only interested in making strictly commercial movies revolving around comedy, romance, religion or 84 at one end. And a certain section is only interested in targeting the artistic festival audience all over the globe on the other. Then it certainly needs to be appreciated if a team tries to follow the middle path selecting a realistic bold subject from the rich literature, to be narrated in a style we once used to make our woman-oriented Punjabi films like CHANN PARDESI (1981).
Moreover the effort further becomes even more worthy of a strong appreciation when it features lead artists who wish to make a name through their acting skills alone and are not the usual ‘singer turned actors’ walking tall with their dependable 'singer-crutches'.
So a one big star is granted for these exclusive features to GELO, giving all the deserving credit to its producers and the entire creative team.
(Spoilers Ahead)
About the Film:
The shaky start and an impressive second half making an impact.
Based on the novel with the same title by Sahitya Akademy award winner Sh. Ram Saroop Ankhi and directed by Manbhavan Singh, GELO features Jaspinder Cheema in the lead along with Gurjit Singh as her love interest belonging to a different caste. The film begins with an authentic feel of a remote village of Punjab, but the first 20-25 minutes remain the weakest focusing on their inter-caste relationship and romance in a quite amateurish way. For instance, the long giggles while meeting or sitting together, the naughty eye contacts while passing out of the house, the casual humming of a song sighting the boy and the dance moves actually give away the secret of many first timers emoting on the screen making a casual impression.
However the scenario suddenly changes once the unexpected tragedy comes in and Jaspinder pleasantly transforms into a completely different character showing much more promise and matureness as compared to what she playfully tries to do in the film’s early part.
In other words, as a bold thought provoking film, GELO takes time to make an impact in its first half and then doesn’t disappoint the viewer post intermission forcing him to walk out of the theater thinking about the main protagonist’s unfortunate, tragic life and nothing else. In fact that’s the power of the solid content provided by the original story by Sh. Ram Saroop Ankhi, which remains the major pull of the entire project putting it honestly.
Follows a fearfully controlled or shy way of executing ‘a much bold’ subject
Thinking about the strong, naked truth of our society presented in the novel without any holding back, GELO as a film seems to be a much controlled and ‘Hath Rok Ke Banayi Gayi Film” as I would like to explain it (in terms of execution).
Giving you the exact meaning of the phrase, every bold part of the storyline is executed in a very subtle (disciplined) manner, with a fear that it should not offend anyone in the viewers, censor or the society as a whole in Punjab and abroad. So whether it is the first killing, the first night after the forced marriage, the scenes at the brothel or the insult felt by the contractor post the allegations, the execution never turns out to be visually bold shaking up the casual viewers not mentally ready to watch any brutal stuff.
As a result you keep watching the shocking proceedings with only suggestive visuals and powerful dialogues, get decently impressed too relating with the key characters, but don’t ever feel the goose bumps or tears in your eyes until the last 20 minutes of the film to be precise.
And in the world of creative expressions, if a poet, writer, painter, director or more tries to present something with such kind of fears in mind (about how his creation might offend the people with its bold content), then that artist is neither true to his art nor will be able to deliver any masterpiece creation ever with such a conservative and fearful mindset underplaying with his own vision.
In short, just imagine if Sh. Ram Saroop Ankhi would have thought, lets not take GELO to the brothel as it will offend many, lets add a sequence where she bravely fights an attempt of rape and comes back as a winner pleasing every reader.
Just think what that would have done to his novel and its actual soul.
Technicalities and Music
On technical grounds, the first confusion that never gets cleared in the story progression throughout is that what exact time period, its characters are living in, with big contradictions in the various props (cars/houses) used repeatedly. Next the changes in the physical appearances of its characters as per the years passed remains unconvincing right till the end with the overdone make-up unnecessarily drawing your attention in many key sequences. Besides, where cinematography appreciatively provides the film an authentic look and feel, the background score lacks the innovative ethnic arrangements strongly required for such theme set in a specific time period.  
In the soundtrack, one doesn’t mind watching the songs in the initial half an hour showcasing the romance, ambience of a village and its day to day life. But there still isn’t any highly melodious and catchy track to take back home, plus I really wish the songs were shot without any dance movements as such avoiding the amateurish moves given to both the leading characters.
Sincere efforts of the performers
In the performance section, though the entire team puts up a pretty decent show in their respective roles, but it’s the constrained approach of director Manbhavan Singh that the actors are not able to come up with their 100% on screen except a few particular sequences in the second half.
For instance, Jaspinder Cheema slowly sinks into the character and then is able to open up dramatically as required only in the final hour. As GELO she does deliver a good performance but it still isn’t the one that compels you to give any standing ovation in the end as she meets her young daughter. On the other hand Gurjit Singh leaves a mark in his small role and doesn’t go overboard (if one ignores the out of date choreography in his opening song). However it was quite strange to see the TV promos presenting him as the lead actor when he actually plays just a cameo kind of role finishing in the first 30 minutes itself.
Under utilizing a much experienced Pavan Malhotra, the director again asks for a less powerful performance from the actor intentionally, whereas he could have easily given a new definition to the word TERROR if presented in a different manner. Personally, I found a great opportunity lost when the sequences post the ‘public humiliation’ by Gelo were not shot and executed with the much required feeling of insult, shame and anger as per the demand of the theme. Still Pavan adds a lot to the overall impact of the film along with Dilavar Sidhu, who makes the best use of the opportunity given playing the drug addict husband.
A decent, well intentioned film in totality, that ought to be more hard hitting and brutal.
Overall, GELO is able to make a decent impression mainly due to its strong, bold and unpredictable storyline presented with impressive dialogues that do enhance the impact at regular intervals. However with a much hard hitting and brutal approach, this could have become a major path-breaking project for Punjabi Cinema and its viewers who yet haven’t shown any strong willingness to watch something out of the routine in the theatres.
Nevertheless GELO still can become a positive beginning of a new era where the producers are able to find the much required courage to go for films based on the rich Punjabi literature waiting to be explored since long.
And addressing the younger brigade of Punjabi community in particular,
ignoring its shortcomings as a film, the experience of watching GELO should ideally enlighten you about the rich, potent literature in Punjabi language that has been widely ignored by the community, its religious/political leaders and the filmmakers together since last few decades.
So do give it a chance and then try exploring the precious, rich literature lying untouched on the dirty forgotten shelves of all the ‘unvisited libraries’.
Rating : 3 / 5
(Note: Interestingly the basic concept of GELO strongly reminded me of a 1984 Hindi film titled BHAVNA directed by Pravin Bhatt having an identical theme. The film had Shabana Azmi playing the lead role and she won the Filmfare Award for her brave and fabulous act too surprising many.)
Tags : GELO Movie Review by Bobby Sing, GELO Punjabi Film Review by Bobby Sing, New Punjabi Films Reviews at bobbytalkscinema.com, Punjabi films on Literature, Punjabi films on Punjabi Novels, Sh Ram Saroop Ankhis Novel GELO, Pavan Malhotra in Gelo, New Punjabi Releases review by Bobby Sing
08 August 2016 / bobbysing /
leave a comment
It’s quite unusual and very rare to witness strong positive wishes expressed by almost everyone before the release of a film, expecting it to do well bringing its leading man back into the business after a long gap. Amazingly, such was the universal mood before the release of GHAYAL ONCE AGAIN, which unfortunately fails to leave any similar hard-hitting impact compared to its original.
In fact finishing off the comparison chapter first, one has to accept ‘the inevitable comparative evaluation’ as the very first response from the end-users giving their ultimate decision. And declaring the unfavourable conclusion GHAYAL ONCE AGAIN is not even close to the epic GHAYAL to be precise, since the original was a powerful Raj Kumar Santoshi film with a strong repeat value and its sequel has been directed by Sunny Deol himself missing that exemplary midas touch.
Interestingly thinking about both Raj Kumar Santoshi and Sunny Deol together, I recall a famous saying in Hindi as “Do Halwayion Ki Ladaai Hogi To Faayda Logon Ka Hi Hoga”. Meaning, if two sweet sellers would fight professionally then what would they do? They would obviously reduce prices or adapt other measures to win over the maximum buyers in the market that will eventually benefit the consumer only getting more sweets at a much lesser price due to the tiff.
Sadly the saying results in completely opposite outcome in film business, where when a powerful actor and an exceptionally talented director develop mutual differences resulting in an ugly separation then the ultimate loss always has to be of their fans-their viewers, much more than the two creative persons individually. Exactly the case between Raj Kumar Santoshi and Sunny Deol, who couldn’t remain together for long due to their own undisclosed reasons and we couldn’t get many more powerful films from the team post GHAYAL, GHATAK and DAMINI.
Anyway coming to this sequel beginning right from the scene where GHAYAL ended using the earlier film’s footage too, it admittedly can be rated as a sincere effort from the actor-producer-director Sunny Deol wishing to recreate the ‘90s magic with the same old formula exploited umpteen times. However with a tag of being ‘The GHAYAL sequel’, bringing in huge expectations in terms of blood pumping-action packed drama, the film fails to deliver anything exceptional and remains below average offering nothing unpredictable in either its storyline, treatment, performances or explosive clashes ruining the big opportunity.
Commencing on a pretty weak note in terms of visualization and feel, the film straight away reveals its basic plot inspired from English film BLOW UP (1966) that was also adapted by Kundan Shah in his JAANE BHI DO YAARON (1983). The story of a spoilt kid killing a person and his insanely rich, influential businessman father trying to save him by killing more is one of the oldest clichéd subjects in Hindi cinema that generates no curiosity at all in the viewers. Plus the writing never raises the bar even in the much awaited confrontation scenes with all routine dialogues unable to make any solid impact. Moreover huge cinematic liberties taken in otherwise well shot sequences of the fearful kids being chased openly in a well crowded mall and a brutal fight happening in the Mumbai local train in front of everyone (when Sunny is supposed to be a well-known personality of the town) never let you feel involved in the film as a participator.
In addition, there remains a big confusion throughout that whether Sunny Deol is an owner of news agency/newspaper or a social activist? The way he kidnaps a reputed person from his office in a highly funny manner (right in the beginning) gives you a clear indication of something more shabby coming ahead. And then along with many directionless characters such as Soha Ali Khan, Zakir Hussain and more, the film strangely introduces a shocking, bizarre angle of ‘the undisclosed daughter’ in its second half that really puts you off much before the film reaches it overstretched finale full of illogical and unconvincing graphical representation. Adding to the impractical insertions, a business tycoon is also clearly shown tapping the phones and hacking government servers by an officially appointed young staff as if it’s that easy and nothing illegal adapted to promote his huge empire.
No doubt the long chase sequences in the film have been shot & edited quite well. Still they are unable to impress as desired due to a completely unrealistic execution defying all logics. Besides if one excludes all the lengthy chases shown in the film, then nothing much remains in it in the name of exciting content or sequences putting it frankly. The music with (thankfully) a single song doesn’t leave any substantial impact providing the relief moments. But with such a haunting background score in the original, it was indeed surprising to notice the same missing in the sequel and new sounds introduced in the composition severely affecting the end-result.
In terms of performances, it’s a Sunny Deol film all the way as expected and the supporting cast is just doing its job as assigned. So no one stands out with his or her performance among either the known actors (Om Puri, Neena Kulkarni, Nadira Babbar, Soha Ali Khan, Tisca Chopra & Harsh Chhaya) or the youngsters (Aanchal, Shivam, Daina & Rishabh) except Narendra Jha, who does complete justice to his role of a hard-hearted businessman (modeled on one of India's richest business tycoon of Mumbai). As a matter of fact, the only common feature of GHAYAL and GHAYAL ONCE AGAIN remains the villain played extremely well in both the films by the respective artists.
As a solo hero Sunny Deol still has got a lot of power in him to be exploited rightly by a director having the caliber of Raj Kumar Santoshi. Honestly Sunny being a shy person, might not be able to write/approve/conceive such explosive, powerful sequences assuming himself standing in the middle, strongly holding the villain or punching him hard. Probably that is the reason you are not going to find any big lion roars in GHAYAL ONCE AGAIN going against the expectations of many.
However as per my personal opinion, it was quite intelligent of director Sunny Deol, not to include the usual, overdone shouting on the screen playing a mature character. Yet, the same level of maturity was nowhere to be found in the script of GHAYAL ONCE AGAIN written on an unexpectedly wafer-thin, routine plot minus the thrills.
Here would specifically like to mention what I actually found missing in the sequel not matching up to the level of its cult original.
A. GHAYAL’s storyline had a strong undercurrent of suspense dealing with the missing brother in its first half whereas GHAYAL ONCE AGAIN simply reveals everything in the opening sequences itself and rest all becomes easily predictable till the end.
B. GHAYAL was actually the story of a helpless common man fighting against the rich and the influential. But in its sequel Ajay is no longer a common man. He has a decent publication running famous all over the city, is a known figure of the town and the persona goes far away from the common man unable to establish any instant relationship with the general viewers.
C. Most importantly, a major portion of GHAYAL dealt with Ajay’s revolt against the Police and its cruel as well as thoughtful officers that actually gelled perfectly with the basic subject of the film. But Police is nowhere to be found as a significant part of GHAYAL ONCE AGAIN quite weirdly. In fact here the Police is projected as a spineless government department with no concern at all for the common man and his issues. As a result the clashes with the rich businessman and his foreign security men fail to make you feel the same aggression as felt in GHAYAL when Sunny Deol angrily hits the corrupt Police officer.
In short, Sunny at present doesn’t need any film where he once again keeps on shouting and fighting with a motive to bring back the magic last seen in his GHAYAL, GHATAK or GADAR. In reality he desperately needs a script where he can make the viewer feel that the person on the screen is fighting for him representing the common man along with providing the adrenaline rush. That was the core element which actually worked in all his hit movies till date and that’s what every Sunny Deol fan wishes to see in his new films.
Sadly the current one doesn’t give you any of that prominently, so you can watch it only if you are a die-hard fan of Sunny Deol and nothing else.
Rating : 1.5 + 0.5 / 5 (Including the additional 0.5 for having the courage to use a clear reference of the famous business tycoon of Mumbai and his peculiar skyscraper house standing in the middle of the city.)
Tags : Ghayal Once Again Review by Bobby Sing, Ghayal Once Again Film Review by Bobby Sing, Ghayal Part 2, Ghayal Sequel, 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
09 February 2016 / bobbysing /
leave a comment
Gour Hari DastaanIn the latest Bollywood trend of making biopics belonging to different genres, we have seen films on sportsmen, criminals and even actors successfully making an impact on the audience with their entertaining content. However, post PAAN SINGH TOMAR, here is yet another film with a real life story that cannot be discussed with any kind of proud at all since it strongly makes us feel the shame knowing the treatment given to our respected aged elders who had actively participated in the nation’s collective struggle of independence before 15th August 1947.
Putting it bluntly, what can be said about the system of an independent nation (enjoying its freedom from last 68 years), that doesn’t even know how to respect and honour its still living freedom fighters, struggling to prove their contribution made in the country’s independence without offering any bribe to those emotionless mediators operating around the government offices. GOUR HARI DASTAAN makes us revisit this rotten system of ours like a mirror and introduces us to a man who is constantly made to face humiliation from his own people, neighbours, government officers, journalists and politicians too in a disgustingly shocking manner for more than thirty years. (read again as its 30 long years)
In 1987, director B. R. Chopra came up with a thoughtful idea portraying the changing personas of a few veteran freedom fighters in the new independent India in his multi-starrer AWAM. The average film was not accepted well by the audience despite a big star-cast, but it did present a pretty balanced depiction of the issue dividing the freedom fighters of the country into two broader sections as per the reality. In the first section, it had those ‘corrupted by power’ weak and greedy opportunist people who took all the advantage of being freedom fighters post-independence, whereas in the second it focused on those pure, optimistic souls who still remained freedom fighters only even in the free India, searching for that dream country they had been fighting for in their prime youth.
Taking the same thought forward, GOUR HARI DASTAAN actually brings into light a third division in that category, further putting us all to shame like never before. And this third form talks about an old, uncorrupted, truthful freedom fighter, living his life on the simple yet strong principles of Mahatma Gandhi, who is denied being given his hard earned respected status of a freedom fighter by the officials (for 32 long years), and instead is tagged as ‘A Fraud’ by everyone around for their own distinctive reasons and hidden interests.
A simple and honest cinematic presentation of a real life story of Odiya freedom fighter Gour Hari Das, this is an ‘eye opener’ film that has been thoughtfully written (dialogues) by the renowned journalist C. P. Surendran and beautifully directed by Ananth Narayan Mahadevan, more known for his acting assignments among the general audience. The unfortunately true story has been presented with a subtle satire and the hurting pain constantly felt by its main protagonist and his old wife together. But above all it has an engrossing progression with a touch of humour too along with many brilliant performances led by the talented couple playing two surprising roles.
But why I have quoted them here as ‘playing surprising roles’?
That’s because I honestly didn’t expect ‘them’ to play the lead pair so perfectly.
Gour Hari DastaanSharing more about this misconception of mine with an interesting anecdote, I first saw the poster of the film at Facebook having a sad feel or tone a few months back. And looking at the artwork I honestly couldn’t recognize the bald man’s face in it and took it as a film made on yet another untold story from our countrywide freedom struggle on the lines of CHITTAGONG. Later though I kept reading about many regular updates on the film’s continuous praises received at various film festivals around the world but somehow still couldn’t make out who the bald man featuring in its poster was, accepting it frankly?
So it obviously was quite shocking for me when at the Delhi Film Festival premiere, I was informed that one of my favourite actors Vinay Pathak is here too to grace the screening of his film GOUR HARI DASTAAN.

His film? I was pretty confused ………..!

But just in that moment when Vinay humbly waved from the back row with a smile, I shockingly realized that the unrecognizable bald person in the film’s poster was none other than the same funny man of films like BHEJA FRY, KHOSLA KA GHOSLA, DASVIDANIYA and the cunning, helpless villain in the recent BADLAPUR.
Later the second pleasant blow of the evening came when I found that the film was not about snatching the freedom from the British or our struggle for independence before 1947. But instead it was all about an old freedom fighter humbly asking for his much deserved respect from the people of his own independent country, who have somehow gone blind and deaf in the ugly race of lust, greed and power in the last 68 years. And then the third unexpected surprise of the evening was the name of Konkona Sen Sharma playing Gour Hari Das’s old age wife giving him the much needed support and emotional warmth superbly.
Becoming a strong USP of the film, GOUR HARI DASTAAN has no forced sarcasm, no artificial sequences and no politically motivated writing presenting the life story of an old man and his wife, asking for nothing but a TAMR PATRA (Official Certificate for Freedom Fighters)to live their remaining years with dignity. And watching the man running from one office to another smilingly looking at each and every person intentionally playing games with him hiding behind a corrupt system, one realizes that willingly or unwillingly I am too a significant part of this ugly mess prevalent all over the country, desperately in need of an ‘overall full body medical checkup’ at the earliest.
Gour Hari DastaanRevolving around its main protagonist in almost every scene of the script, it was a golden opportunity for Vinay Pathak to make a major breakthrough from his set image of a funny man. And the actor successfully breaks that barrier delivering an outstanding performance as GOUR HARI DAS that is sure to impress both the critics and general public together. Particularly he just kills it in those silent moments when he is not giving any response and camera is only capturing his plain face with a faint smile as an answer. Certainly one of the best performances of his career till date and that too not as a funny man.
Konkona Sen Sharma as his moral support plays it responsibly with all her slow body movements and dialogues adding a lot of love and meaning into their individual scenes. And Ranvir Shorey is once again quite impressive as the concerned journalist along with a whole lot of talent in supporting roles including Rajit Kapoor, Saurabh Shukla, Vikram Gokhale, Murali Sharma, Siddharth Jadhav and above all Vipin Sharma.
Camerawork takes you into the world of Das brilliantly making a visual impact and music by renowned L. Subramaniam slowly reaches the heart along with the immensely meaningful silences placed in between. Following a focused vision, the editor keeps it short and simple within a 2 hours duration resulting in a moving film. And for this fabulous collective team effort, the credit entirely goes to the director Ananth Narayan Mahadevan having the vision of adapting the ‘still LIVE’ story for a film, taking it to the 120+ crores population of our country, who probably assumes that now there is no-one left alive from that generation who fought for our country’s independence before 1947.
Mentioning the only drawback, I strongly felt that the film was so simply executed (exactly replicating the real life) that it might not be able to shake the hard stone-like mentality of the viewers (read masses) lost in their own individual world of ambitions. It softly depicts the life of Gaur Hari Das as he is in reality and therefore misses any powerful anger-filled moment that at once makes you feel the disgust for the people cheating him on the screen with no feeling of any regret or shame whatsoever. In other words, it’s a film about a strong man with a soft heart, who refuses to deal the constant rejection with any visible anger and thus misses that solid hard-hitting emotional punch, reminding you of the most famous scene of SARAANSH.
May be, in a different way this can also be considered as the major strength of the movie as GOUR HARI DASTAAN indeed is one of those rare films that forces you to sit back in despair and look into the mess we have made out of our 68 years old independence earned after uncountable sacrifices and decades of efforts made.
But I frankly loved the film and the living spirit of respected Gour Hari Das even more when I got a precious message of life in the final quote saying,
“Had it not be my ‘sense of humour’, I would not have made it till now……….!”
Probably having a good sense of humour is the only way to continue living in the present social & political conditions of the country with a positive attitude as taught by the experienced Gour Hari Das. And the veteran surely needs to be given a big salute for a 32 years long fight with the corrupt, impotent system…….without a single fault of his.
With a big thanks to both director Ananth Narayan Mahadevan and his producers for taking up this enlightening project, I would strongly like to recommend GOUR HARI DASTAAN to all like-minded friends of BTC.
So do watch it as a must making an extra effort, even if it is being shown at a theater far away from your home at some odd timing……… and feel the guilt for being a part of this visibly corrupt system…… knowingly or unknowingly!
Ratings : 3.5 + 0.5 / 5 (with the additional 0.5 for Vinay Pathak and the man who once again reminded me the importance of ‘sense of humour’ in our life)
Tags : Gour Hari Dastaan Movie Review By Bobby Sing, Gour Hari Dastaan Film Review, Real Life Inspired Hindi Films, Inspiring Biographical Hindi Films, Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
15 August 2015 / bobbysing /
leave a comment
Reviews in All (929)

Inspired Hindi Movies
List (517)
Articles on Music,
Poetry & Life (97)
Did You Know! (88)
Few Life Inspiring Words! (23)
Nostalgia (Books on Cinema,Vintage Magazines, Scans & more) (28)
Page copy protected against web site content infringement by Copyscape
Google Analytics Alternative
The site is a collection of personal expressions of the writer to share his own views on different mediums of art, with no intention of hurting any person or organisation in particular. The site is also not responsible for any inappropriate acts practiced by the third party links added here only for information purposes.
   Visit bobbytalkscinema.com for Bollywood Movie Reviews, Inspired Cinema, Movies To See Before You Die, Amazing Bollywood Facts, Articles On Cinema, Music, Poetry & Life
Site Best View At 1024 X 768 Resolution & Above