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.

ENJOY!

A FLYING JATT - Begins as a fine one time watch spoof but ends with a painfully long second half using a deliberate 'Religious Card' backed by an incomplete awareness. (Review By Bobby Sing).

HAPPY BHAG JAYEGI - A below average, feel good romantic comedy made on a repetitive predictable plot, once again trying to encash PAKISTAN as a comic element. (Review By Bobby Sing).

The inspirations behind SWADES (2004), including a '90s TV series where the director himself played the role of SRK. - By Bobby Sing (BTC Exclusive) (Did You Know - 87).

RUSTOM - Where the first half presents the real life case sensibly, the second half purposefully uses it as a spoof, resulting in a one-time watch crime drama that should have been just between Akshay and Pavan alone. (Review By Bobby Sing).

MOHENJO DARO - Its criminal to choose & agree to this kind of poor script for such a scale, investment and collective efforts by all. (Review By Bobby Sing).

GELO (Punjabi) - Despite its visible shortcomings, this is an appreciable attempt reviving the rich Punjabi literature & its inspiringly bold vision, especially for the young viewers. (Review by Bobby Sing).

BUDHIA SINGH BORN TO WIN - A well-made film on an amazing real life story that leaves you with a severe shock & many unanswered questions in mind raising an important debate. (Review By Bobby Sing).

FEVER - An overstretched thriller that stresses more on long conversations and steamy scenes than its mystery element. (Review By Bobby Sing).

THE LEGEND OF MICHAEL MISHRA - Once again a weird film forcing you to think that how such projects get approved and then made too without any alarm raised in time. (Review by Bobby Sing).

CHAUTHI KOOT (Punjabi) - A perfect example of cinematic art of storytelling with a thoughtful depiction of the dark times in Punjab, without any typical provocative inclusions or the usual biased stuff. (An overview by Bobby Sing).

 
 
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August 27, 2016 Saturday     
Bringing back a more than fifty years old ‘trend changing’ famous case of 1959, RUSTOM is a cunningly made film that purposefully exploits the controversial proceedings and tries to please its majority of unconcerned or unaware viewers turning it into a comic one.
Surprisingly a much better attempt by director Tinu Suresh Desai post his forgettable 1920 LONDON, the film has been written (screenplay, story and dialogues) by Vipul K. Rawal and together the writer-director present a completely Bollywoodish interpretation targeting the galleries, instead of any praiseworthy, brave or enlightening film about our judicial past. Further working on the present Hit image of Akshay Kumar, they also spice it up with a deliberately added ‘Patriotic Angle’ too, which actually looks foolish and spoils the entire spirit of the film taking it far away from a thought provoking case of infidelity, raising many important questions of ‘Gender Bias’ in our society.
Sharing my thoughts while watching the film in the theatre, at first I was in a good mood of appreciating RUSTOM till interval, as the first half sensibly represents the real life inspired incidents re-discovering a ‘landmark case’ of the late 50s focusing on its key characters. Yes, the director takes too long to establish relationships in this very first hour that could have been avoided. Yet the film does have some engaging moments to offer (before interval) and it doesn’t really disappoint despite the extra length.
However what happens post intermission as a court room drama simply reduces the film to a silly or rather dumb presentation of the case, where instead of exploring the emotional state of its various characters, the director desperately tries to win over the viewers with all cheap tactics turning the opposition lawyer (Sachin Khedekar), the witness (Usha Nadkarni), the newspaper editor (Kumud Sharma) and even the honorable judge (Anang Desai) into mere comedians with dialogues specially written to simply please the masses.
As a result a worth contemplating case gets sacrificed for a forcibly added heroism, a pointless angle of corruption and an unrelated spirit of patriotism just thrown in to encash the timely release and nothing else. In fact a few insertions are so illogical and hilarious dealing with the corrupt officers, that you wonder how the writers actually got those approved, like the 5 crore transfer in the Swiss account (deposited for what?), confirmation of which is even given by passing over a Receipt making it completely official.
In specific words, the second half completely shattered my excitement to watch a good film and within minutes I forgot all I could appreciate in its first half. But at the same time, I also noticed people in the theater enjoying the film as An Entertaining Courtroom Comedy instead of An Intense Crime Drama to be precise. And I really have no idea why Neeraj Pandey allowed such a mindless twist given to a sensitive track in a film that was doing just fine before the intermission focusing on the right elements.
Coming to the technical department, the art director tries too hard to present the gone era that looks lousy and highly artificial except the eye-catching costumes. The cinematography and background score keeps adding to this ‘Plastic Feel’ of the film throughout and the editor makes no effort to make it sharp and crisp right till the end. Wisely not including the songs just for the sake of it, the soundtrack does have a couple of above average numbers used in the beginning, but again its not anything highly melodious or compelling to take back home.
Continuing with his ‘intelligently chosen’ image of a new-age ‘Bharat Kumar’, Akshay yet again delivers an impressive ‘no smiling’ performance in RUSTOM playing a Naval Officer for the first time. But despite presenting him in a pleasing navy uniform defending his own case in the court, the film doesn’t prove to be any patriotic project at all giving you a clear picture. So this ‘patriotism feel’ is all forced and unreal, unlike his last attempts as HOLIDAY, BABY and AIRLIFT stressing on this major feature. Besides, his character also has nothing to do with the Parsi community in the film other than the name given.
Among the rest, Ileana D'Cruz as Akshay’s wife is decent and so is Arjan Bajwa playing the victim playboy. Esha Gupta gets loud in almost her every single scene as the vamp and Kumud Sharma looks like a comedian in the role of a clever, opportunist newspaper editor interested in only his ‘copies sold’. However the one person who truly lifts up the film in the first half is none other than the ever dependable Pavan Malhotra, shining bright as the clever, investigating officer Inspector Lobo. And how I wish RUSTOM was made focusing on the clash between Akshay and Pavan alone woven around the infamous case.
In short, what we get to see in the tediously long RUSTOM is a strong potential base of a ‘significant court case’ converted into a comedy, making no effort to enlighten the viewers about how it became a reason for ‘the landmark change’ in the judicial system of our country ‘abolishing the jury system’. As a matter of fact the way a jury is horribly presented like a bunch of idiots in the film clearly reveals that the producer/director actually had NO intentions to make any ‘important film’ and just wished to deliver another decently earning ‘Casual public pleasing’ movie using this specific case.
Having said that, the other bitter truth about RUSTOM remains that in spite of mocking at the crucial court case of the past, the film still might get liked by a majority of viewers who actually don’t know anything about the particular case and may be are not interested in it too due to their own reasons.
Consequently where it may not work for the section well aware of the controversial case, the film might successfully be a fine one time watch for others due to its typical filmy second half playing to the masses …….. pointing towards our social irony.
Nevertheless ending on a distinctive note, for a moment just think about the case and try to assume that,
What if it was the lady serving the county in one of our defense forces in the place of the husband?
A wife who picks up the gun and shoots the other woman thrice, having affair with her husband living alone while she was on duty serving the nation for a few months or may be years.
Now in such a case, will the lady be also looked upon as a strong positive personality doing the right thing as RUSTOM or she will be treated as a WITCH....... (wished to write the other word you very well know).
Just give it a thought and accept the cruel reality of our ‘gender biased’ society always thinking from a male's perspective.
Rating : 2.5 / 5
Note: Addressing the repetitive issue of ‘Unfair increase in ticket price by the Multiplexes’.
Though my site and write-ups might be too small in front of the big runners and my voice raised against this MULTIPLEX MAFIA also might not get heard or reach anywhere.
But what nobody can stop me from is deducting ONE STAR from every such film that takes ‘we the viewers’ for granted (in revolt). So a star goes from the rating of RUSTOM too since every big actor, director, production house and exhibitor is equally contributing in this sheer exploitation and willfully ignoring the issue over the last couple of years.
Final Rating : 2.5 – 1 = 1.5 / 5
----------------
Remembering Ajanta Art’s movie made in 1963.
The class act of Ashok Kumar and Moti Lal as the two lawyers in YEH RAASTE HAIN PYAR KE remains untouched and enjoyable even today when RUSTOM re-visits the same case after five long decades so irresponsibly.
----------------
(For more on the BIG LANDMARK CASE and the movies related to the same, do read BTC article clicking at the following heading)

Sunil Dutt's YEH RAASTE HAIN PYAR KE (1963), Gulzar's ACHANAK (1973) and the famous 'Nanavati Case' with the LAST JURY TRIAL in India.
Incidentally this write-up written in May 2014 also formed a chapter of my book DID YOU KNOW (Vol.1) published in Sep-Oct. 2014, much before RUSTOM was probably even conceived.
The book has 51 chapters of such interesting information about our Hindi Cinema and is available at all reputed online portals (Indian and International), links of which can be found at this single publisher’s page mentioned below:
Hope it proves to be a good read worthy of both your time and money spent with
HIS BLESSINGS
Tags : Rustom Film Review by Bobby Sing, Rustom Movie Review By Bobby Sing, Real Life Inspired Hindi Film, Inspired Films, Court Room dramas in Hindi Film, Hindi Court Room Dramas, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
 
 
13 August 2016 / bobbysing /
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There are two kinds of movies based on serial killers. One, where you are not shown the real identity of the killer and the film is all about the search completely depending upon the mystery element involved in the investigation process, and two, where you are straight away introduced to the psycho man and then get to see him making all his random or specific killings with the police trying to catch him as the third party.
Interestingly where the first kind of presentation makes an engaging and exciting watch due to its teasing suspense, the second largely remains a psychological film heavily depending upon its way of presentation, the performances and the director’s personal interpretation of the theme reaching out to his target audience.
The present RAMAN RAGHAV 2.0 is the second kind of film to be specific, so the viewers looking for some food to satisfy their hungry grey cell are going to be disappointed. More so because the film doesn’t have any kind of deep justifications or detailing given to its characters leaving you with many unanswered questions about the crimes committed so ruthlessly.
Having said that there still is a masterstroke played by director Anurag Kashyap through his clever title and the pre-release hype created around a man, the film is least concerned about in its entire duration of more than two hours.
Inspired from a brutal serial killer of mid 60s operating in Mumbai and a short docu-fiction kind of film made on the subject by director Sriram Raghavan (with Raghuvir Yadav) in the early 90s, Anurag named his film as RAMAN RAGHAV 2.0 and the whole world started thinking as if the film was all about that 60’s weirdo serial killer and Nawazuddin was playing the same in his own peculiar style visualized by Anurag Kashyap.
But as the film begins, a few slides inform you about the original Raman Raghav and the next one clearly says that, This is not about that Raman Raghav of 1960s, simply mocking all those web-articles, news-items, features and more written with a wrong assumption taking it a bio-pic on the lesser known criminal made by the controversial director. In fact the complete title using two names Raman and Raghav adding a 2.0, gives you an entirely different meaning in the end, which exactly is a masterstroke reminding you of the ones associated with the renowned film-makers such as Quentin Tarantino who certainly have a strong influence over Kashyap and many more new-age Indian directors of this present age.
Dividing the film into several chapters (on a similar format seen in many QT films), the second clever feature of RR 2.0 remains its well written dialogues that force you to think upon them repeatedly. And the rest is done by the fine performances with Nawazuddin Siddiqui once again delivering a gem of an act (as a psycho killer) followed by the talented Vicky Kaushal (as the drug addict inspector), Sobhita Dhulipala (as Vicky’s girlfriend), Amruta Subhash (as Nawazuddin’s sister) and Vipin Sharma (in a cameo appearance).
Opening with strobe effects in a pub playing the ‘Qatl-e-Aam’ track, the film straight away gives you the surprise of being a story of a fictional serial killer in the present era and not the one from the 60s. The progression remains engaging with a tight editing, but not for everyone sitting in the theatre due to some severely shocking and mentally violent scenes along with a particular appalling one (discussed in details later). Unnecessary abuses can be noticed in a few scenes besides the brutal killings and the parallel track of the inspector adds a different angle into the storyline making it an interesting watch. Yet it largely remains dependent upon the acting skills of Nawazuddin Siddiqui alone till interval and doesn’t have any exciting twists and turns normally associated with such intense crime thrillers focusing on a cunning character.
Post intermission, a monotonous kind of feel, deliberate song insertions and the romantic track of the investigating officer reduces the impact further. But it thankfully ends with some decent sequences conceived around its two key characters completing each other. However I personally didn’t find any kind of big or fresh, unpredictable revelations made in its final moments.
Majorly saved by his performers instead of any exceptional writing or screenplay, no doubt Anurag is back in a good form with his Raman Raghav, but this also cannot be rated as any winning innings from the director visiting his favourite genre of dark and violent crime thrillers. Yes, one doesn’t feel bored looking at the quick story developments talking about more than one psycho character on the screen. Yet it doesn’t turn out to be any powerful, mind blowing serial killer movie forcing you to think and keep guessing on a constant basis. Also, a strong ‘Déjà vu’ kind of feeling is always there watching the entire film. May be because we have already seen Nawazuddin doing several similar kind of roles in the past as in BADLAPUR, MISS LOVELY, TALAASH, GANGS OF WASSEYPUR and more. Admittedly playing such creepy characters Siddiqui looks so convincing, that probably the directors are not able to think of any other name for such roles (sadly) typecasting a terrific performer.  
As a Anurag Kashyap film, RR 2.0 is unable to deliver that expected depth and pull which was much better in his UGLY in comparative terms. Though Kashyap successfully makes you feel the blood and violence happening on the screen without even showing it visually through an intelligent camerawork and sound, yet one doesn’t feel any kind of empathy for either the victims or the lead characters throughout the film in any way whatsoever. In fact you don’t even feel any strong hatred too for either Nawaz or Vicky at all as they never turn out to be some compelling characters reaching out to the viewers in any impactful manner as desired. One just keeps watching them emoting on the screen and doesn’t feel like exploring their criminal mindsets, their personal reasoning behind the murders and more, unlike a film revolving around a mad, sinister serial killer. Moreover it was really strange to see such a childish depiction of Police in the film, where the officials simply forget about a person locked in a deserted building and then casually hold a dangerous wanted murderer as if he is a local pocketmaar being taken to the police station.
On the technical ground, as always Anurag delivers a polished product with a noteworthy camerawork shooting at actual locations and a captivating background score giving a rhythmic edge to the film enhancing the onscreen proceedings. However there can be no denying to the fact that such catchy riffs, beats or songs commencing at just the right moment do make you feel pumped up as if participating in the criminal activity shown on the screen that can easily be stated as glorifying or romancing the violence in a dangerously influential manner. Also at times provocative, violent lyrics served with appealing beats or arrangements do make me think about the impact they can make on the youngsters in a dark, smoke filled night club playing them too loud. For instance, imagine a song like ‘Behooda’ being played in a disco and people improvising on its lyrics making different postures.
Spoilers Ahead
Coming to the most disturbing sequence in the film, Anurag continues with the subject of incestuous relationships in his present RR 2.0 too as seen in his THAT GIRL WITH YELLOW BOOTS released in 2013. But here the insertion is quite deliberate that could have been easily avoided as the purpose of character assassination of both Nawaz and Amruta was already done in the explosive lines spoken just before the introduction of the appalling incest angle. To give you a clear idea, the moment Nawaz makes all those shocking revelations about Amruta’s young days right in front of her husband without any hiding at all, it completely crushes her entire persona in a much decisive manner in just a few seconds. But Anurag willfully doesn’t stop there and goes on adding the incest angle into the sequence too in order to make it more brutal and disturbing. In other words, when the mention of all young premature sexual relationships and incest was already made in the dialogues itself, it was clearly deliberate moving into more verbal and physical depiction of the same sensationalizing the entire scene.
For records, the topic of incest has been there in Hindi Cinema in more than 25 films since the 1940s (mentioned in details in the last chapter of my book DID YOU KNOW (Vol.1) available online), but it has never been presented with such a disgusting visual execution ever till date as in RR 2.0.
However, comparing this particular sequence with the 89 cuts given to last week’s UDTA PUNJAB, its really strange that the censor board find the abuses spoken in a scene as objectionable but not there visual depiction on the screen quite weirdly. So you cannot say it as an abuse but can practically show it in a scene justifying your character’s requirement. That’s really a great insightful thinking indeed with some amazing logic. (I hope you can easily get what I wish to express here without using the exact words).
Concluding the review with another worth mentioning scene in the film, this is where we get to see the mental level of Nawazuddin’s wacko character (that can also be stated as the best scene of the film as per my personal opinion), where he is not able to count even two thousand rupees with a few notes lying on the counter getting confused repeatedly. The scene actually conveys that though his physical age might have crossed 30-35, but his mental age is still somewhere stuck around under-10. And in reality this can also be noticed in many of the normal people in the society too…………. who are not any criminals!
In all RAMAN RAGHAV 2.0 can certainly be seen once for Nawazuddin Siddiqui and his thoughtful dialogues alone without expecting any great, path breaking serial killer film from the over-famous Anurag Kashyap.
Rating : 2.5 + 0.5 / 5 (with an additional 0.5 just for the clever trick played with the title)
Tags : Raman Raghav 2.0 Review by Bobby Sing, Raman Raghav 2.0 Film Review by Bobby Sing, RR 2.0 Review, 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
 
 
24 June 2016 / bobbysing /
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A few months back when I saw THE MAN FROM NOWHERE (2010/Korea - the film,  ROCKY HANDSOME is an official remake of), I personally never rated it as any great movie and certainly didn’t think of it as deserving enough to be remade in Hindi for two major reasons. One, as it was so brutally bloody in its action sequences that could have never passed from our censors if adapted truthfully. And two, since we had already made many similar movies in the past (involving a kid) that never worked at the box office due to their own distinctive reasons.
To name them all, copying the content from a much appreciated LEON – THE PROFESSIONAL (1994-France), we had BICHOO (2000/Bobby Deol/Rani Mukherjee) replacing the kid with a young girl innovatively, CHAMPION released in the same year featuring Sunny Deol with a kid boy and EK AJNABEE (Amitabh Bachchan) in 2005, taking its major content unofficially from MAN ON FIRE (2004) yet again revolving around a child. Ironically none of the above Hindi films could perform well at the box office. But the jinx got recently broken by BAJRANGI BHAIJAAN (2015), which actually had many other elements working in its favor apart from the cute little girl including comedy, Nawazuddin Siddiqui and above all Pakistan.
So keeping the track record and the original in mind, I was quite firm on the opinion that a remake of THE MAN FROM NOWHERE can only work if some fresh interesting angles are added into it deviating from the source itself. But sadly the makers do nothing of that sort in this official version and decide to go for an almost scene to scene adaptation, toning down the much important action sequences too, resulting in ‘an unimpressive film’ in totality, confirming the fear I had.
Beginning with an unrequired (flashback) song, ROCKY HANDSOME does make a decent impact in its first 15 minutes entirely focusing on the kid-girl itself. But the moment its attention shifts to the same old clichéd stuff of drugs, gangsters, secret agents and more, the film suddenly turns into a pretty ordinary product, marching towards a strictly routine Hindi film climax that actually should have been its major highlight following the original. In fact the most annoying scenes in the film are the ones featuring the gang of villains, who ironically include the director of the film too playing a significant role.
To give the technical department its due, ROCKY HANDSOME does have a fine cinematography and a well composed background score matching the international standards. But it’s stereotyped characters, over the top execution, annoying theatrics, unwanted rains, hamming dialogues and too much style focusing on the hero, together result in a completely ‘non performing remake’ that should have been avoided in the first place. Besides, even the action in the film, that was supposed to be a path breaking one as per the promotions, turns out to be nothing exceptionally great, apart from the climax and the sequences shown in the intercuts of song ‘Rock the party’.
Following the current Bollywood trend, its soundtrack once again has an almost decade old borrowed hit ‘Teri Toh/Rock The Party’ by Bombay Rockers and a few average unwanted songs in an action oriented project adding to its over-length. Still, “Yeh Kya Kiya Khuda” sounds good mainly due to its perfect placement in the film along with an emotionally shattering moment. But this particular track repeatedly forced me to think that, “Has SHOUTING become an essential feature of our songs today, even in the ones having some praiseworthy, heartwarming lyrics such as this?” Leaving the answer to be contemplated upon by the readers themselves, I did like the musical arrangement of some tracks, but wish the melody was also there as required.
As far as performances are concerned, ROCKY HANDSOME has either got simple, straight wooden acts or overdone, exaggerated enactments putting it bluntly. Where the straight faced acts come from John Abraham, Diya Chalwad (the kid girl), Shruti Hassan, Nathalia Kaur and the director himself, the overblown ones get delivered by all the bad-men loudly led by the hamming Ted Maurya. So Sharad Kelkar remains the only person performing in a sane manner in the film asking for your instant attention.
Joining the veteran actor-director Prakash Jha, ROCKY HANDSOME also has its director Nishikant Kamat playing the major role of a villain trying his level best. But personally speaking, its really painful to see such drastic transformation on the screen, when the director of thought provoking films such as DOMBIVLI FAST (Marathi) and MUMBAI MERI JAAN (included in BTC’s Movies To See Before You Die List) begins making all quick, average remakes like FORCE, DRISHYAM and the present one, taking the much easier path.
Comparing ROCKY HANDSOME with its Korean original, Nishikant partially alters its actual chronological order which doesn’t work and the impact gets lost in the narration repeatedly going into flashbacks unnecessarily. The references of ‘a pawn shop’ and ‘nails-art’ are taken as it is that might not appeal to many. Moreover a Korean film simply cannot be imitated when it comes to its brutally executed action sequences with a lot of blood, wounds and an awful manslaughter. Exactly the reason why everything gets toned down here quite severely, making way for all mindless style, particularly in the climax ruining the much effective ‘eye bottle’ sequence of the original.
Keeping it strictly a scene to scene adaptation, the director also retains a highly cliched scene, wherein the hero takes out a bullet out of his body with a knife. Now that’s what we have been seeing in our Hindi films since the late 70s, which certainly should have been ignored by the writers avoiding the nostalgia. Further there is also an amazing ‘window breaking chase sequence’ in the original, which is again copied in a highly timid manner using the graphics, revealing the casual vision of the team aiming just for a quick remake.
Overall, ROCKY HANDSOME has neither anything like ROCKY nor its HANDSOME enough to be given a chance spending your hard earned money and time. So go for it only if you are a die-hard fan of all bare bodied-stylized action sequences alone and don’t care about anything else in the film to be precise.
Rating : 2 / 5 (Including the additional points just for its background score alone.)
Tags : Rocky Handsome Review by Bobby Sing, Rocky Handsome Official Remake of Korean Film, The Man From Nowhere Hindi remake, Inspired films, Official Indian Remakes of Koream Films, 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
 
 
25 March 2016 / bobbysing /
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