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November 30, 2015 Monday     
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 /
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When it’s the director of PHAS GAYA RE OBAMA and JOLLY LLB returning with the same lead artist (Arshad) and a title like GUDDU RANGEELA, then the expectations are bound to rise and the viewers look forward to witness something engaging enough with a fresh message oriented subject dealt differently. But sharing the sad news, director Subhash Kapoor doesn’t deliver anything even close to the entertaining PGRO or JOLLY LLB and shockingly comes up with a film which has nothing fresh to say post its engaging opening sequence to say it all.
In support of the above point, sample this big blooper in its first scene itself.
The film begins with a private musical show and we have Amit Sadh coming on stage to crack a stale obscene joke (with a beep). Now just after that on the same stage we have a devotional song being sung by Arshad Warsi with red chunris tied to everyone’s forehead singing the lyrics “Kal Raat Maata Ka Mujhe E-mail Aaya Hai”. And watching this silly mess happening in the first 5 minutes itself it becomes pretty clear that this is not what was being expected from the same team unfortunately.
Moreover the fact that the promoted identities of both Amit and Arshad as small time stage performers have nothing to do with the film’s actual script (after the initial song sequence), becomes another big drawback for the project, since that exactly was the key point making its trailer interestingly different and promising. In other words, the audience expecting a blast with reference to some stage performances reminding them of the small hilarious insertion in Dibaker’s OYE LUCKY LUCKY OYE would be hugely disappointed since the film is not at all about that in reality.

(Spoiler’s Ahead)
Anyway moving ahead, as soon as we finish with the opening 15 minutes, GUDDU RANGEELA fast turns into the same routine fair revolving around two people kidnapping a young girl (falling into a trap laid), their long time rivalry with a flashback, the girl having her own plan to take a revenge from her sister’s husband, a political career at stake due to a secretly recorded cd, love blossoming between one of the kidnappers and the girl, the goons catching them all finding the mole and then the climax with big bomb blasts and guns coming out of nowhere strictly following the same seen before routine ruining it all. In fact with a heavier second half pulling the film further down, the basic plot (and its few one liners) reminds you of several similar movies ranging from SHOLAY to FARGO, LOVE KE LIYE KUCCH BHI KAREGA and lot more made on related subjects.
But wait, being a Subhash Kapoor film we do have a decent message here and two novel insertions in the script too that were never seen before in a Hindi film till date giving the director his deserving due.
As far as message is concerned, Kapoor plays it real well bringing in the controversial Khap Panchayat issue clearly & boldly with the impressive Ronit Roy portraying the baddie. But a message actually works when it successfully manages to reach the viewers through an equally hard hitting narrative. Sadly here it gets lost in the routine script and doesn’t make any long lasting impact on the viewer walking out of the theatre (working against the noble motive).
Mentioning the two ‘never before’ scenes in the film, as a positive one GUDDU RANGEELA has a fabulously shot sequence where a group of saffron-dressed sadhus are playing soccer with the reference of Messi and more names making it a great sight. But as a negative, the film has an extremely shamefully vulgar dialogue making a clear offer to the girl for sexual favours as never heard before in a Hindi film in such a straight manner. Probably the censors were sleeping while that line was being said or possibly they heard it all wrong not getting to its actual hidden meaning in the sequence.
As a director, Subash Kapoor perfectly catches the local feel of the subject as required but is not able to get the writing as sharp and fresh as expected. Many of the silly, overheard jokes cracked with the reference of a certain Mr. Singh, reveal the biased mindset of the writers and its really strange why Kapoor selected such a rotten subject for his next film to be honest.
Luckily the director gets saved by his chosen actors performing sincerely, led by the supremely effective Ronit Roy instead of Arshad. Playing the village demon, he is intense, he is tough, highly believable and spells terror on the screen just perfectly. Arshad Warsi once again performs a ‘done-before’ kind of role with a visible ease, entertaining the viewers in the first half. But Amit Sadh slowly gets into his character in the later part of the film only doing fairly well. Aditi Rao Hydari looks beautiful in a confusingly written role having nothing to do towards the end along with the other lady. However in the supporting cast, a big comic support comes from Rajeev Gupta as the careless cop, Dibyendu Bhattacharya as the middle man goon and Brijendra Kala in an entertaining cameo as always.
The soundtrack hasn’t got much to say other than the “Mata Ka E-mail” track, whereas background score truly lifts up some key sequences as required. Cinematography & action remains average but the editing could have been much sharper resulting in a shorter length.
Overall, this is neither GUDDU (a Shah Rukh Khan dud), nor RANGEELA (a Aamir Khan hit). This lies somewhere between them sliding more towards GUDDU with a message that fails to reach the masses due to a routine script. Still the film might perform better in the smaller centers as compared to the metros due to its local feel of the subject.
Rating : 2 / 5
Tags : Guddu Rangeela Review By Bobby Sing, Guddu Rangeela Film Review at BTC, 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
03 July 2015 / bobbysing /
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Ironically the one dedicated follower of MANMOHAN DESAI school of film-making (focusing more on entertainment and less on logic) has not been Hindi cinema but South cinema instead, making loads of such films turning into major box office hits in the last few decades. And that's exactly the reason why we get to see repeated remakes of South films, even of a decade old venture RAMANAA (2002) presented as GABBAR IS BACK since it has all those essential elements of entertaining the masses full of larger than life action, revenge, punchy dialogues and fast paced progression not allowing you to think about the missing logic.
But having said that, following a 13 years old hit revolving around the same ‘all seen before’ crusade against corruption in films such as HINDUSTANI, A WEDNESDAY, HOLIDAY, JAI HO, UNGLI and many more, GABBAR IS BACK has nothing fresh in the name of subject matter and thus isn’t able to win over the viewers wholeheartedly as Akshay’s SPECIAL 26 or BABY. Moreover using the name of the most famous villain of Hindi cinema in its title and main dialogues, the team simply tries to make a fool of their audiences gaining some instance attention since the project has nothing to do whatsoever with the evil dacoit of SHOLAY and his infamous persona.
GABBAR IS BACK begins with a few kidnappings shown in its opening sequences only giving you a feeling of ‘Deja-Vu’ as something similar seen before in Akshay’s HOLIDAY (that was also written by A. R. Murugadoss). So its first 40 minutes are strictly routine with many clichéd and unconvincing scenes served with some good action along with a catchy love song having some hilariously written lines (discussed later in details). However, just when the viewers are about to give up, the director comes up with a terrific hospital sequence, revealing the shameful truth behind the exploitation practiced by the hospitals and their pressurized doctors. The particular sequence wins over the viewers in a big way despite the fact that an exactly similar scene was earlier there in GOD TUSSI GREAT HO (2008) having Priyanka Chopra in the place of Akshay Kumar. But obviously no one is expected to remember that forgettable sequence, not given much mileage in that non-performing project as a comedy.
Anyway getting back to GIB, the film impressively pulls in the viewers just before the interval and then again falls back to all routine stuff like a typical Hindi film made on the ages old formula with only one fresh side-angle of Sunil Grover. For instance in the second half, we have an expected tragic background of the hero where he loses his family, gets humiliated and then decides to change the social system taking the bloody path. There is a well shot song depicting his love life and then later a ‘must-have’ item song too featuring Chitrangda Singh, who was once considered with a lot of respect as a talented actress. As usual, there are mentally lost police officials who strangely know nothing about GABBAR (not even his appearance) whereas the loud, hamming villain more concerned about his ‘brand image’ than his own son’s life, can easily get Akshay’s picture from the CC camera footage of his hospital. Adding to the inspirational angle, a particular sequence of the politician being hidden in his own house is straight taken from Sunny Deol’s GHAYAL and the finale crowd scenes look like something highly overused, preachy and unrealistic. In addition the last scene forcibly incorporating the line “Tera Kya Hoga Kaaliya” fails to make any impact due to its weird placement. In other words, the absurd insertions keep coming one after another without caring about the logic, but the tightly written script progressing at a good pace with a pulsating background score doesn’t let you raise a question putting it honestly.
Not treating its women well, the film has a completely silly role given to Shruti Hassan which she also chooses to perform half-heartedly and then we have the cameo of stunning Kareena Kapoor who is strangely there to provide more glamour and not any (much needed) emotional support to the film playing the victim lady. The supporting cast has its own share of annoying actors like the noisy villain, shouting police officers and the over-reacting doctors in the hospital. Plus though GABBAR has a big team of ‘comrades’ working with him for the cause, but the viewers do not really know even one of them properly by name or face.
In straight words, the film is largely saved by only two names considering the performances. And those are of Akshay Kumar playing the cool revolutionary professor with a winning smile and Sunil Grover as the enthusiastic hawaldaar investigating the case on his own. Akshay remains a pleasing and fit figure on screen delivering all the well written dialogues and action sequences with a charming ease. Whereas Sunil Grover, surprises one and all with his sincere act, coming out of his famous image of a funny women popularly known as ‘Guthhi’.
Musically, the title track of “Gabbar Aa Jayega” is enjoyable, two love songs have catchy compositions (but strange lyrics) and the item song is lifted from a Pakistani number “Kundi Na Kharka Sohneya, Sidha Andar Aa”. Giving you the details of the bizarre lyrics, just sample the following in one of its song,
"Aankhen Coffee Peetey Peetey Mil Rahi Hain,
Aankhen Pyar Ke Jhonkon Se Hil Rahi Hain,
Aankhen Pyar Ke Dhaagon Se Sil Rahi Hain"
Here an interesting point to be noted as that in the Youtube official Jukebox of the film, this song clearly has the third line where the eyes are also being stitched with threads of love. But in the film, this line has been intelligently withdrawn, probably after some objection raised by a thinking mind asking “Bhaiya Ye Ankhein Sil Kaise Sakti Hain?”
But wait the stupidity doesn’t stop here as the song further says,
"Saansein Achanak Uchhalney Lagi Hain,
Nazrein Yeh Baatein Ugalney Lagi Hain,
Certainly something I haven’t heard before as a reference to ‘Sansein’ and ‘Baatein’ in a love song.
Next coming to the second and more beautifully shot track ‘Teri Meri Kahani’, its lyrics begin with the male singer calling the beloved as a female gender,
“Mujh Mein Safar Tu Karti Rahey,
Har Ik Saans Mein Guzarti Rahey”
But with the very next line the gender changes as,
“Shaam-o-Subah Tu Mera,
Tere Bina Kya Mera”
whereas the singer remains male only. (Chalo Itna To Chalta Hai!)
Summing up, GABBAR IS BACK directed by Krish (from South) has an okay cinematography, clever editing, some powerful dialogues and an uplifting background score, collectively pointing towards a relevant theme of corruption with all noble intentions and two key performances to enjoy. But since its content matter more or less remains the same with nothing fresh or innovative to offer lacking a lot on the logical grounds, the film doesn’t turn out to be anything more than a one-time watch and that too preferably in a single screen theater to have a better entertaining experience.
Besides the fact to be considered seriously is that since the 80s, films have been made featuring a personal mission undertaken against the corrupt system, but this demon of corruption is still haunting us all with no major change seen in the last few decades. May be because we widely consider such attempts made just for our three hours of entertainment alone and the message is not to be taken along while moving out of the theatres contributing in the social drive. So if possible just think about it too in case you enjoy watching the typical masala entertainer looking forward towards a better society ahead for the coming generations.
Rating : 2.5 / 5 (Including additional 0.5 only for its noble, inspirational theme.)
Tags : Gabbar Is Back Review by Bobby Sing, Gabbar Is Back Film Review by Bobby Sing, GIB Review, South Remakes, Inspired 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
01 May 2015 / bobbysing /
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