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.


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 29, 2016 Monday     
Following a completely familiar pattern of famous superhero films, A FLYING JATT certainly had a great potential in its basic idea of presenting it as a SPOOF that sadly gets used and forgotten within the first half of the film itself quite irresponsibly.
So ‘it all begins well to end up in a mess’ is the best way to describe this amateurishly executed film co-written and directed by the choreographer turned director Remo D’Souza. In other words, the entertaining part of A FLYING JATT gets over much sooner than expected and then all you get to see is a tediously long boring mix of various social drives and religion thrown into the narrative just for the sake of it. In fact after going through all the deliberately added references of air pollution, toxic wastes, green plantation and a fight sequence placed in the space with an old school kind of constantly growling villain named RAKA, I strongly felt like forgetting all about the film and read the good old Diamond comics series of “Chacha Chowdhury and Raaka” once again having much better entertaining stories to share.
Having said that, a few things did make me smile in the film’s initial moments, like watching the mother getting more excited than the son knowing about his blessed superpowers, the superhero dress being stitched by the mother herself, the jatt flying close to the ground level due to his fear of heights, him obeying the traffic signals too while flying, going to the local market to buy ‘Lauki’ and then the couple of scenes interacting with the kids as a clumsy martial art teacher trying to be the best.
However the overall basic structure remains cartoonish and unconvincing from the very first scene itself when you get to see a graphically designed colourful colony and a huge ancient tree besides the river looking like an overdone unreal set that later gets followed by a lousy unoriginal script, all silly cardboard characters and tacky graphical effects generating a feel of watching something made in the last century instead of the new millennium. 
In short, having a painfully long duration of 150 minutes without any appreciable cinematography, special effects or an enjoyable soundtrack, the fun element isn’t really there and the director actually wastes a terrific opportunity of developing a funny Indian superhero spoof series going into many sequels.
In the acting department, no doubt Tiger Shroff yet again comes up with his usual honest performance. But this is his third film (with the first remaining the best) and we are still eagerly waiting for him to choose something much better than these usual, mediocre projects going the easy way. Sharing the good news, believe me or not but the boy was energetically greeted with loud whistles and shouts in a the first show of a single screen theatre, which is nothing short of an achievement in the present competitive world that essentially needs to be reciprocated with a great entertainer as his next.
Playing the leading lady, Jacqueline Fernandez is just there without making any kind of impact in a completely predictable and dull romantic track. A dependable actor like Kay Kay Menon is made to ham constantly. And we also have Shradhha Kapoor featuring in a comic cameo scene that could have been lot better. As a result, despite being too loud and over the top, one still likes the performances of both Amrita Singh as the nagging mother and Gaurav Pandey as Tiger’s only close friend who goes for a sacrifice.
A self-declared eco-friendly film, A FLYING JATT also ends with a quote that happens to be the director’s own with nothing exceptionally new or never heard before. So now we also have directors who are daring enough to end their films with their own quote, instead of introducing the youngsters with a ‘not to be missed’ must-read personality they might not be aware of.
If truth be told, A FLYING JATT is a kind of film that would have never been made, had Remo not delivered two decent successes in the past as ABCD and ABCD2. The writer-director might have had this idea in store since long but without these two films vouching for him - such a casual approach of “Chalo Ek Superhero Film Banatey Hain” would have never got materialized fooling the producers (Balaji Production House) just interested in earning money and nothing else.
So you can go for it, only if you have made some early promises to the kids and now unable to refuse them. But if that isn’t the case, just try to save your money, efforts and time spending it on a better option.
(The basic REVIEW ends here)
Coming to the most important part of the write-up, which might be informative and enlightening for many friends not aware of the actual thought process behind the Sikh faith. The team of A FLYING JATT just uses this religious reference cautiously but in the process also reveals its zero understanding of this particular spiritual path believing in One Supreme Power.
To give them the much deserving due first, the director and his team very rightly guide the unaware viewers about the ‘actual proud connection’ between the time of ’12 O’clock’ and Sikhs related with the history of India. So post watching this film ‘the sick practice of cracking jokes’ should ideally turn into ‘a respect’, remembering those brave Sikhs of the past who fearlessly fought and saved thousands of Indian women from the ruthless Mughals irrespective of their caste or religion.
Sadly that’s the only positive feature related to Sikhism in the film to be honest. And everything else simply reveals that the writer and director neither did some relevant research nor had any kind of ‘learned advisor’ in the team telling them the actual facts. Because if truth be told then the entire film revolving around miraculous happenings and blessed superpowers is strictly against the concept of Sikhism or Sikh faith to be precise.
Putting in clear words, neither the sect nor the divine Guru Granth Sahib teaches or supports MIRACLES in any form whatsoever in its 1430 pages. So Sikhism simply denies the concept of such magical superpowers given to a particular human-being treating him or her special above than everyone else.
Bravery to be displayed as warriors fighting for justice is one of its significant lessons taught as a way of living. But Sikhism never believes in seeking, using or depending upon any miracles or superhuman powers to win over the evil or tough times as shown in the film. 
Secondly, displaying their ignorance and lack of understanding, the writer-director proudly showcases Sikhs worshipping an ancient old tree in the film having Khanda (a religious symbol) engraved on it, which again is strictly against the basic principles of the Sikh faith, which doesn’t believe and allow indulging in any kind of idol worship, be it a photograph, image or symbol engraved on any surface or tree.
Thirdly, where at one end the director strongly portrays Sikhs as highly positive and courageous people fighting for others, there he also shamelessly presents the Punjabi mother as a heavy drinker and a loud outspoken lady, holding glasses and asking for bottles in many key sequences. May be Remo was following the widespread misconception about Punjabis (Sikhs) mostly considered to be regular drunkards (tankers) and meat eating people by many (which again reveals no research of any kind made before writing the major characterizations).
Fourthly, the title of the film says A FLYING JATT as if Sikhs and Jatts are synonyms and there is no Sikh in existence who is not a Jatt, again giving you a crystal clear glimpse of the miniscule understanding the writer-director had of this particular community.
In reality if Mr. Remo and his team had made a thorough study then they would have kept the title as A FLYING SIKH and not A FLYING JATT. But probably since the title of FLYING SIKH was already taken up by the respected Milkha Singh, so they had to opt for something else and decided to call it A FLYING JATT without having even an iota of awareness that Jatt is a caste division and not any synonym word that can be used in place of Sikh.
Lastly sighting a hilarious addition by the thoughtful director, in the whole film Tiger keeps flying as a clean shaven superhero forgetting his original identity of a Sikh. But the moment he is made to wear a Pagdi in the climax, suddenly there also comes a faint beard on his face to suit the proper image of a Flying Sikh as required, which actually made me laugh out loud, LOL as they say to be honest.
Next opening a Pandora box, despite having all these visible faults in presentation of a particular sect, if this film was duly shown and approved by some reputed Sikh Organisations before release and they readily allowed this all to be shown in the name of Sikhism and Sikhs, then this fondly makes me recall a famous sheyr (I am not aware of its original writer) which goes…,
“Gar Kulhaadi Mein Lakdi Ka Dasta Na Hota,
To Lakdi Ke Katney Ka Rasta Na Hota”
Hope it delivers the unsaid message to one and all showing them the mirror.
Concluding the whole discussion, I would like to end with a simple question that kept disturbing me throughout the film focusing on a Sikh Super Hero……….that,
Isn’t the concept of A SUPERHERO itself far away and above any kind of particular religion?
Isn’t A SUPERHERO supposed to be free of all religions whatsoever and act beyond this man made limitation itself?
OR The moment one becomes the chosen one blessed by The Supreme Power as A SUPERHERO, then can he still afford to remain a Hindu, Sikh, Muslim, Christian or more following such a narrow mindset?
In other words, what Religion has to do with A Superhero?
Why to bring in Religion while you are going for a Superhero film who is actually supposed to help everyone irrespective of any region, religion or colour?
Expressing my personal opinion, its much easier to accept and imagine A SPIDERMAN, A SUPERMAN or A BATMAN without clinging to the concepts, costumes or symbols of any particular sect but its completely illogical to accept and support a superhero film belonging to any specific religion at all as that itself is contradicting to the very thought of A SUPERHERO.
More so because in this way we will even divide our SUPERHEROES into Hindu, Sikhs, Muslims and Christians following a sheer stupid thought process poisoning the innocent minds.
So with a humble request to Mr. Remo with folded hands, please let the SUPERHEROES of our kids remain The SUPERHEROES free of these questionable divisive religions creating another sick war.
Just give it a thought!
Rating : 1.5 + 0.5 / 5 (with the additional 0.5 for spreading the much needed right awareness about the time of 12 and Sikhs not known to majority of people)
(Note: One of the film’s poster looks quite close to that of KRISHH 3 including the costume and stance. Plus the basic structure of the film borrows heavily from the famous Superhero movies.)
Tags : A Flying Jatt Review By Bobby Sing, Indian Superhero Spoof Film, A Flying Jatt Film Review by Bobby Sing,
26 August 2016 / bobbysing /
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Keeping in mind the promotional campaign of the film titled AZHAR, I haven’t seen a better example of the public being fooled by the makers, actors and ‘the man’ together so openly. Making it clear, at first they loudly sell their project to the viewers as ‘An Exciting Biopic’ (including Azharuddin visiting all TV programs/events along with the lead stars) and then begin the film with a brazen declaration that this is not a biopic on Azhar, but only a dramatized presentation of some events inspired from his life taking the required creative liberties. Now if that is not an evident example of cleverly ‘misguiding the end-user’ then I don’t know what else can be.
Moreover in all his pre-release interviews and statements, Emraan Hashmi kept explaining that how he had a real tough time studying and imitating Azhar’s unusual body postures, his walk, his way of playing the famous strokes, his magical wrist moves, his habit of speaking fast, his actual persona on the field interacting with other players and a lot more practicing for weeks and months. But astonishingly, you never find anything of that sort ever while watching the lengthy film except Hashmi trying to walk with a bent shoulder and his collars up as if that was sufficient to portray Azhar on screen fooling the eager viewers.
In short, despite making a sincere effort, I never found the actor anywhere even close to the icon portrayed on screen, except in those few scenes on the field wearing the helmet. To be honest, with all due respect to the practitioner and his trainers (guides), it was 90% Emraan and just 10% Azhar right from the first frame to the last, which in reality is more the fault of his director, not able or willing to see the discrepancies.
Adding to the above, the same can be said for almost everyone featuring in the ‘important cast ensemble’ that ideally has to be the strongest merit of a real life inspired film presented in the name of a bio-pic.
Elaborating on the point, none of the actors chosen to play the known characters of Ravi Shastri, Manoj Prabhakar, Navjot Singh Sidhu, Anil Kumble, Vinod Kambli, Sachin and more are able to make any kind of impact whatsoever (presented as caricatures), becoming the biggest drawback of the film revealing the limited thought process of its writer and director. In other words, the entire group of supporting characters remains unconvincing and under developed in their every single scene and then the blunder mistake of casting Nargis Fakhri as Sangeeta pulls the film down like nobody else. Interestingly Nargis never looked so awful both in her looks and performance ever before in her earlier films. Accompanying her in the acting department Lara Dutta keeps struggling hard in her absurdly written role of the opponent lawyer and Rajesh Sharma doesn’t get enough scenes playing the only bookie shown (as if it’s that easy and accessible) and that too along with a blurry image of person reminding you of notorious ‘Dawood’.
Putting it bluntly, there is only Prachi Desai (as Azhar’s first wife) and Kunal Roy Kapur (as Hashmi’s lawyer) who prove out be the only two actors making some kind of impact in their onscreen portrayals. Otherwise AZHAR is a film that actually suffers a lot due to its ‘wrong casting choices’ made apart from the poor writing, execution and direction.
Coming straight to the point with the match-fixing case, the film begins well moving back and forth in time focusing on Azhar remembering his initial years of life sitting in the court room. The first 20 odd minutes give you the impression of a responsible film keeping the interest alive, but very soon one gets to know that they are actually not interested in talking about Cricket but only the court case and his love life ignoring a lot hell of the things one really wished to see in the projected bio-pic. Still at interval it somehow remains an average entertainer minus the most desiring component i.e. the game.
However post interval as the focus completely shifts to Manoj (Prabhakar) and Sangeeta Bijalani poorly played by Nargis Fakhri, the film nosedives steeply and never gets back on the track despite a few engaging sequences. The love affair hinders the pace pretty badly and some immature courtroom scenes turn it into a huge disappointment ending on a routine note where the hero gets declared ‘not guilty’.
As usual, a couple of songs get inserted since they have to be there fulfilling a Hindi film requirement as a mandatory clause. And we yet again get to hear the typical music arrangements with some good poetic verses (deliberately adding Urdu words), rendered by the similar sounding voices moving to the unrequired high pitch tones (read screaming). A reworked version of “Oye Oye” is just unbearable and the original sounds better even today (though it also isn’t an original in the first place). The background score fails to add any exciting value into the narration and so does cinematography that remains unable to present the match sequences in any appreciable manner.
In fact these particular scenes of the cricket match, once again raise a valid question that why we are not able to recreate the game on the bigger screen expressing the same enthusiasm as we feel while watching it on our TV screens? Why in almost every Hindi film based on cricket, the on-field scenes always turn out to be quite amateurish and messy with only a couple of exceptions there like LAGAAN. Unfortunately the same gets repeated here in AZHAR too where we don’t even get to see a good coverage of the spirited crowd cheering for their teams even in a match between India and Pakistan (and you really need a vision to avoid showcasing the crowd in a match between these two rivals). Besides it was quite weird to see a highly absurd interaction between the chief of the selector’s committee and Azhar in an empty ground with a tape-recorder being used to play the noise of the crowd.
A bio-pic or a film inspired from real life events of a sports icon actually requires loads of research and solid preparation on paper before going on floor. And when it’s a film on the happening life of a controversial icon like Azharuddin, then the makers certainly have a solid subject in hand that has all the probabilities of becoming a big hit among the masses as well as the classes.
Sadly AZHAR is not able to deliver the desired in either its story telling, direction or dialogues department ruining big expectations of many, particularly of the fans who were more interested in knowing the lesser known facts about their icon’s inspiring passion for the game and his cricketing secrets. Strangely the makers went on promoting the film as a bio-pic when it had nothing at all related with Azhar’s famous persona of a cricketer, any information about his personal career guru or ideal, the story behind his innovative style of using the wrists, his state of mind making 3 consecutive centuries in the first three tests, his famous fight with Navjot Siddhu, his relation with the youngest player of the team Sachin Tendulkar and a lot more about those blessed days of glory lived with the entire team. The film isn’t interested in talking about any such thing but is only busy in presenting Azhar as an ex-captain fighting a case of match fixing filed against him by the authorities.
At times, this single agenda style of narration also makes you think that was this film purposefully made to clear the dicey image of Azharuddin in front of the cricket loving nation? The possibility is right there, but contradicting the thought, a highly shocking and ridiculous justification given for a horrendous crime committed by the onscreen Azhar is so much hurting for a true cricket fan that one seriously begins to think that ‘Did he really do it?’
The deadly insertion comes when the film shows Azhar taking money from a bookie for throwing away an important match abroad. The unexpected sequence simply makes you go numb and the situation worsens when Azhar later doesn’t underperform as per the instructions given by the bookie, but returns the money taken giving a silly justification that he actually agreed to do it so that the amount doesn’t get offered to any other player in the team keeping it all clean. This offensive and unforgivable step taken by the Captain of Indian team definitely hurts the most (if you are a true Cricket fan) and one really feels the pain like a strong betrayal coming from a Nation’s Hero followed since last three decades.
Ironically with Azhar himself being there supporting the film, providing all the source material to the writers, the inexcusable instance might be true. But I personally would love to believe that it was one of those big creative liberties taken by the script writers, since I would not be able to respect the icon any more if the crime was actually committed with any kind of noble motive whatsoever. Also because this would in turn force me to accept that match-fixing does exists and there is a lot hidden behind the curtains that might include many more big names shattering all our beliefs about Cricket being a gentleman’s game followed by almost every single Indian since the last century.  
Anyway, having slammed the film above mentioning all its big downers, here are the three positive features of AZHAR that thankfully save the project from becoming a complete non-performer.
A. The engaging sequence of the match against Pakistan with a dialogue with Mian Dad and the important catch (despite the tacky execution).
B. The touchy reference of public humiliation faced by Azhar while inauguration a gym (that every celebrity would easily relate with).
C. And the unconvincing yet interesting twist in the court case calling Lara Dutta as a witness, who is also a big fan of Azhar, turning the tables on her.
In all, you can still go for the film taking it as a fictional filmy account of a cricketer not talking about cricket at all, if you must. But if you wish to see a bio-pic on the former Indian Captain’s prime years on the field and his untold secrets of the game, then AZHAR is going to be a big disappointment offering nothing in those terms, failing in almost all its departments.
In simple words, its a poor film falsely presented as a bio-pic of a renowned cricketer to the nation that treats Cricket as a religion. A film that unfortunately confirms the existence of distressing match-fixing in the game, resulting in no emotional feelings felt for its lead character. A film that could have been a lot more with such an explosive and potent subject focusing on a major controversy. And a film that can easily be termed as a big life-time opportunity missed by its director Tony D’Souza.
Rating : 2 / 5
Tags : Azhar Film Review by Bobby Sing, Azhar Movie Review by Bobby Sing, Azhar Biopic in Hindi, 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
13 May 2016 / bobbysing /
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We have often seen exceptional actors (unwillingly) getting caught in a ‘specific image format’ in Hindi films. The same is being repeated in Punjabi Cinema at present with Diljit Dosanjh, who is probably the most talented ‘singer turned actor’ of the current times if considered in comparative terms. A gifted performer, who finds himself trapped in the web of ‘mostly comic characters’ given to him as per the audience demand, a pattern that could only be broken once in the past and that too riding on the shoulders of an ever-controversial subject of 1984, touching right there where it hurts.
To be straight, it can either be 84, a social issue based film or a religious subject where the audience wouldn’t mind watching Diljit minus his quick, witty one-liners or naughty smiles. But otherwise a big majority of viewers are just there to enjoy yet another comical act from the man, who has really mastered the art in a short span of time of just 5 years (since JATT & JULIET). Personally I hope with the upcoming UDTA PUNJAB, he somehow manages to come out of this hit-monotonous trap for his own growth, but talking about his latest AMBARSARIYA, Diljit is once again doing the same kind of role, with the similar hilarious dialogues delivered with an impeccable comic timing, offering nothing new or fresh in terms of his individual performance.
Giving you a clear idea, AMBARSARIYA is lot better than (the cursed) MUKHTIAR CHADDHA but a lot less than the fresh & well-crafted SARDAR JI, heavily relying on the tried and tested formula the actor is known for.
So in case you are just interested in some timely entertaining scenes, a few good laughs here and there, a couple of catchy songs, three gorgeous female faces and Diljit in almost every frame of the film enacting a casually written screenplay with an absurdly executed climax you really don’t mind or damn care about, then AMBARSARIYA is just for you and it wouldn’t disappoint as a whole in return of your precious time and money spent in the multiplexes.
However, if you are among those true fans of the actor, who want him to grow, who want him to emerge as a path-breaking flag bearer of Punjabi cinema breaking this set pattern of comedy played like a funny clown, taking extra care about the subject, the writing and the execution of his carefully chosen projects, then AMBARSARIYA would be nothing more than an average-ordinary film, purposefully made to encash the current craze around the name without any polished, skillful direction, based on a script taking its inspirations from more than one sources.
Giving the film its deserving due, it progresses well with a worth praising cinematography and background score enhancing the opening sequences. The ‘official assassin’ twist successfully surprises the viewers without wasting much time and then the investigation of three Manpreet’s keeps them all engaged like a light comic entertainer having some thrilling elements. But sadly it’s the second half that yet again goes back to the same old routine formulas focusing on some unimpressive romantic moments, leading to a badly written and conceived climax that simply ruins the whole impact made by its entertaining first half.
The climax has a sequence of a stage show involving a 10 years old kid holding a real loaded gun, ready to press the trigger. And our hero instead of running and snatching it from his hands, goes on provoking him to fire with some spirited historical references as if the boy is well trained in fire-arms and has done it several times before shooting the people without killing them hitting at the safe spots. Here it seems the scene was specifically written to infuse some cliched patriotism mentioning few historical names, but I honestly couldn’t feel the same, stunned by such amateurish irresponsible implementation on screen involving ‘the star’ himself.
Unlike his earlier films, AMBARSARIYA has Diljit doing everything from 1 to 10 with no great support coming from the rest of the cast, particularly the three girls who sincerely keep trying to act and catch his unmatchable comic timing putting in all they have got. In other words, the film can easily be termed as a lame venture saved by ‘the one man army’ alone that neither has that polished visual appeal nor some competitive writing by the team, utilizing a highly capable subject revolving around an undercover agent. In fact throughout it’s more than two hours of duration AMBARSARIYA literally remains a childish ‘wannabe’ thriller that cannot afford to leave its parallel path of comedy deeply associated with its lead star.
Here would like to mention another serious contradiction I felt while watching a particular scene in the film where a family is eating cakes like some mad, eccentric people and an elderly Sikh person is also there sitting at the back portrayed as a silent-funny character in repeated shots. Now it’s really strange that the Punjabi community really feels offended and insulted, when a similar scene is found in a mainstream Hindi film featuring a big star, but nobody feels the same kind of shame or disgust laughing at such ridiculous comical scenes included in their own Punjabi films for exactly the same purpose. Certainly a point that first needs to be accepted and then deeply contemplated upon, before raising objections and strongly opposing to how others portray Sikh characters on screen in an unacceptable comic manner.
Anyway, coming back to the critique, let me share my own vision, how this project must have been conceived in its initial stages keeping in mind an unusual central character inspired from a successful and well appreciated Hindi film featuring Vidya Balan.
Yes, the film is KAHAANI and you must be remembering the most famous supporting character in it known as BOB BISWAS so subtly played by Saswata Chatterjee, who became so popular post the film that people started calling him Bob instead of his original name.
Now writers often get influenced by a particular famous character of a film or a novel and can intelligently weave a complete script around the same if given a free hand. AMBARSARIYA seems to be a perfect example of the same as its character of Diljit is almost exactly similar to Bob Biswas with a pinch of legitimacy added to it being the lead hero. So here too we have an ‘Insurance Agent’ with a given responsibility to complete his policy targets in the office, who in reality is a secret Raw agent silently eliminating (killing) the terrorists in their hideouts as per the tips given. Just like Bob, he also visits their homes ringing the door bells and then smilingly greets them all with a gun, completing his assigned deadly task like a thorough professional. The only difference being, that here he is not a criminal but an official assassin appointed by Raw (being the Hero of course!)
So writing a whole script around this fascinating character alone (taking some foreign inspirations for the ‘non-disclosure’ of name in the end) we have AMBARSARIYA focusing on a Chief Minister assassination targeted by a terrorist, who is one of the three key suspects (with identical names) being investigated by the Raw agent. Since the film keeps revolving around this secret agent alone right from its first frame to the last, so here we neither have any established actress playing the female lead nor much footage given to the cameos played by three major names of the industry including Gurpreet Ghuggi, Rana Ranbir and Binnu Dhillon along with Karamjit Anmol (the four big names without whom you possibly cannot make a Punjabi comedy film in the present scenario).  But surprisingly both Gurpreet and Rana get only a single individual scene with Diljit followed by another cheaply written sequence around a yoga session.
Among the girls, both Navneet Kaur Dhillion and Monica Gill are just there to add some glamour, whereas the vocally struggling Laureen Gottlieb fails to provide any extra edge to the project playing a ‘badly written’ character. Binnu Dhillon, Gul Panag and Rana Jung Bahadur remain utterly wasted, whereas the child actor tries too hard rendering his thoroughly revised lines stressing at each and every word quite forcibly.  
With only a couple of songs (included in the final edit) composed by Jatinder Shah, AMBARSARIYA also doesn’t have any of those killer tracks that could lift up the film substantially. Plus its visually unpolished look and execution doesn’t deliver a product, as it appeared to be in its appealingly designed poster and a catchy title. In fact, the film has nothing much to do with the city of Amritsar in particular except the beautiful aerial shots showcasing Harmandar Sahib (wrongly or more popularly known as The Golden Temple).
Overall, AMBARSARIYA is yet another typical Diljit Dosanjh film where he doesn’t even take a single step ahead as an actor or a performing artist. He once again does the same without offering anything fresh or novel coming out of his own comfort zone making a deliberate effort and the film fails to rise above those typical Punjabi comedies trying to sell themselves as some well written taut thrillers in disguise.
In straight words, if only witty one liner jokes, repeated taunts and cleverly rendered dialogues is all what you wish to see in a Diljit Dosanjh film, then the choice is all yours. But I am not interested in supporting the same acts again and again like some irresponsible, careless viewer ignoring the known capabilities of the star. So where you might enjoy watching AMBARSARIYA due to your own preferences, I would like to wait, till they deliver something that Punjabi Cinema can be proud of in terms of content and not in terms of some quick crores earned in their initial weekend proudly announced at all social networks.
Rating : 2 / 5
Note : Keeping the spirit of INDIA alive, I loved noticing a Punjabi film titled AMBARSARIYA beginning with the image of MA SARASWATI and the divine symbol of OM in its first few frames………..truly representing the actual spirit of our country, the real INDIA celebrating the equal existence of all……….. with HIS BLESSINGS!
Tags : Ambarsariya (Punjabi) Review by Bobby Sing, Ambarsariya Film Review by Bobby Sing, Punjabi Films Reviews by Bobby Sing at bobbytalkscinema, New Punjabi Films Reviewed by Bobby Sing, Inspired Films.
02 April 2016 / bobbysing /
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