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.


KAPTAAN (Punjabi) - A more blatantly inspired and much poor second clone of JOLLY LLB released in Punjabi Cinema within a gap of just six months. (Review By Bobby Sing).

SARBJIT - Hooda remains the only saving grace in this lackluster filmy take on a real life tragedy, more interested in the STAR, using a forced mixed language sounding awful at times. (Review By Bobby Sing).

DEAR DAD - A forced & unconvincing attempt made on an underdeveloped bold plot that doesn't get any kind of support from the writing department. (Review By Bobby Sing) .

AZHAR - Keeps focusing on the court case and affair instead of any finer details of the icon's contribution to cricket, resulting in a big disappointment. (Review By Bobby Sing).

This Friday's ONE LINE REVIEWS by Bobby Sing to make your weekend plans..

BTC's Excellence in Hindi Cinema Awards for 2015 (Articles on Cinema by Bobby Sing).

CAPTAIN AMERICA: CIVIL WAR (English/Hindi) - Excelling in its action, focusing on mutual relationships, it somehow turns out to be less exciting than expected. (Review By Bobby Sing).

1920 LONDON - An interesting twist and no forced erotica remain the only two merits of this repetitive, avoidable venture. (Review By Bobby Sing).

ONE NIGHT STAND - A project that probably got made, just because the lady agreed to do it for her own reasons. (Review By Bobby Sing).

TRAFFIC - Watch its original Malayalam film to feel the real magic, giving the right kind of farewell to the director Late Rajesh Pillai. (Review By Bobby Sing).

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May 26, 2016 Thursday     
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 /
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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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