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July 30, 2015 Thursday     
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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Hindi remakes of our regional cinema have always been there since decades and the idea has mostly worked whenever incorporated with some apt additions and much needed changes as per the Hindi speaking audience. Hence, before going into this particular direction, it is to be essentially understood that INDIA is like a sum of many different regions, cultures and mindsets having their own lovable traditions and humour too. So a joke which might work in Bengal or Tamilnadu, may fall completely flat in MP, UP, Delhi or Punjab and the other parts of the country in all possibilities.
Therefore an almost scene to scene remake with just the translations made is not the right procedure to be followed and the director has to re-write the original script with all the major changes required keeping in mind his exact target audience and its key region. Unfortunately in his latest comic venture, veteran director Satish Kaushik simply ignores and skips this most important step of making a remake and thus fails hugely in his attempt to deliver an enjoyable entertainer to the viewers. Moreover even the changes made to convert it in a Mumbai kind of film also prove to be a big downer, resulting in a quite weak product as per director's own set standards in the past. An official remake of Bengali hit BHOOTER BHABISHYAT (2012) directed by Anik Dutta, the film is supposedly a horror comedy which is neither spooky nor comic with almost ‘none’ entertaining moments in its 2 hours of badly written stuff performed by many known names.
It begins well but then takes too much time to come to the point (almost 20-25 minutes), before introducing the entire cast. Its basic plot talking about a joint home for a group of ghosts coming from various regions and time periods is surely interesting enough with a great potential to exploit. But the poor writing simply ruins everything and the silly adaptation even becomes unbearable in its second hour with too many forced in sequences and below average songs. Moreover the climax unimpressively tries to bring in the satire element too in vain, pointing towards the construction mafia operating in the major cities.
In the performance section, the entire cast ensemble including names such as Anupam Kher, Saurabh Shukla, Jackie Shroff, Chunkey Pandey, Yashpal Sharma, Rajpal Yadav, Rajesh Khattar, J. Brandon Hill, Vijay Verma and Meera Chopra utterly fail to deliver any kind of enjoyable act and the only two actors who do manage to leave some kind of impact remain Parambrata Chatterjee (also there in the original too) and Sharman Joshi. Taking about its comedy, the single joke which actually works comes from the veteran Asrani saying, “Main To Gareeb Aadmi Hun” in a hilariously helpless mode repeatedly. Mahie Gill tries hard to generate some laughter with her old time dialogue delivery style but she strangely gets only a few scenes in the film, contrary to what was being promoted in its promotional campaign. The camerawork doesn’t add anything special in the film’s mediocre treatment and the same can be said about its background score or art direction too coming up with nothing above the routine.
In all, this is a perfect example of how poor writing can make a complete mess of a fine, novel plot and also a film which clearly indicates that a remake should not be made just as a mere translation of the original taking the easy path (& avoiding all the re-working required essentially). On a concluding note, only a few weeks before we saw TOTAL SIYAPAA being rejected due to the same mistake made and now its GANG OF GHOSTS also strongly proving the point once again.
Rating : 1 / 5 (Just for the novel story plot in its original script)
Tags : GANG OF GHOSTS Review By Bobby Sing, Gang of Ghosts Film Review by Bobby Sing, GOG Review, GOG Movie Review, Official Remakes of Bengali Hits, New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.Bewakoofiyaan Movie Review by Bobby Sing, New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, 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
22 March 2014 / bobbysing /
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