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February 08, 2016 Monday     
When a director is given the responsibility of launching a fresh pair with the hero coming from one of father-figure families of the Film Industry then he should at least try to deliver something fresh in the name of concept or treatment, to make the best of the opportunity given. But sadly, just opposite is the case with LEKAR HUM DEEWANA DIL, which clearly indicates its flawed vision when a Rahman song is first wasted in its opening credits only and further when its story progression keeps jumping from one plot to another like a blind frog not knowing where it should actually move towards in the dark room.
So displaying a confused mindset, director Arif Ali refuses to take some risk adapting any novel concept for the debutants and begins with his own tribute to JAANE TU YA JAANE NA (2008) in the film’s initial moments, followed by a mixture of ideas taken from his brother Imtiaz Ali’s SOCHA NA THA (2005), JAB WE MET (2007) and even HIGHWAY (2014), quite casually. At first it also reminded me of Sachin’s PREM DEEWANE released in 1992 featuring an eloping couple. But changing tracks, the director soon goes back to the ages old theme of post (love) marriage misunderstandings, seen in numerous movies ranging from Rajesh Khanna’s AVISHKAAR (1974), Rakesh Roshan’s PRIYATAMA (1977) & Shaad Ali's SAATHIYA (2002) to Shahrukh Khan’s CHALTE CHALTE (2003), delivering a pretty routine, boring and childish film targeting the youth of the nation in particular.
To give you a fair idea about the script’s intelligence quotient, it has a father hitting his college going boy with a fist as if he has done a crime and then the boy also willing to hit his girlfriend in the same manner (showing his fist) like a maniac. Later a marriage counselor seems more disturbed than her patients sitting on the couch and wait, we also have an item song here right within the jungle hideout of Naxalites having some funny lyrics saying ‘Mawaali Qawwali’. With no detailing given to the lead characters, they both remain hyper throughout the film with their constant yelling and look silly taking many crucial decisions of life just like that (including their hasty marriage). Having nothing in store to surprise you right till its easily predictable climax, LHDD actually makes you think that did nobody read this script in the Kapoor family at all before launching one of their own kids. Or it was just formality done by Karishma Kapoor as an elder sister accompanying Armaan on Kapil’s Comedy Show contributing in the film's media promotion.
In the music department A.R. Rahman comes up with an average score once again with very few enjoyable songs saving the soundtrack from becoming a complete non-performer and DOP tries his best to give it a rich look. However regarding the performances where Armaan should always thank his lucky stars and God gifted family for the golden opportunity given, there Deeksha can still hope for some more work ahead due to her satisfactory act much better than Armaan. Supporting cast remains a mix of average to forced performers revealing another aspect of the director’s questionable mindset wherein he still thinks that a South Indian father always has to be the one with a dark complexion.
Summing up, I would like to address the viewers here, who eventually would be spending both their money & time on such poor ventures made without any specific vision. And in clear words, if you really are willing to see some fabulous films made on this important subject of an affair, love marriage and the problems arising in its later years post the initial romantic phases. Then forget about any of these confusingly made films without any soul of their own and just go for the famous trilogy on marital discord by Basu Bhattacharya made in the 70s comprising of three beautiful films called ANUBHAV (1971), AAVISHKAR (1973) and GREH PRAVESH (1979).
In other words, if today film-makers in Hindi Cinema are not giving you many worth watching films to learn from then all is not lost yet as there are much better movies made in the past to be explored essentially and some great visionary work being done in the regional cinema of the country too which remains hidden due to our own short vision and limited access. So stop being fooled by all these routine projects made to serve the demanding market packaged in an impressive style and move towards the actual cinema, which you all have been missing since long.
Rating : 1 / 5 (And that too just for the sake of the debutants)
Tags : Lekar Hum Deewana Dil Review By Bobby Sing, LHDL Film Review, 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
04 July 2014 / bobbysing /
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In the present times of information & connectivity, we can broadly classify the cinema viewers into two main segments as per their individual knowledge and viewing preferences. One, wherein the viewers have a reasonable understanding and are very much interested in the visual as well as the technical aspects of the film contributing in its overall impact. The film enthusiasts, who are well aware of the works being appreciated in the World Cinema, are capable enough to sight all those subtle directorial moments hidden in the various sequences and can catch all the finer details of the narration working in the background.
Whereas on the other hand we have a big segment of viewers who are simply not interested in anything else but just want to feel the characters emoting on the screen as if a part of their own persona, wish to be emotionally entertained in a love story and simply want to be them for a while forgetting the rest of the world. These are the cinema lovers who want to feel the grease if they are watching a hero playing a motor mechanic and are ready to bear the pain when he gets hit by a bullet shot by the rivals. They are ready to shed some tears along with the departing lovers and do wish to feel the joy of them being together after all the troubles.
So as I see it, movies today are seen by these two kind of viewers together and when a film successfully is able to satisfy both the segments largely, it is considered to be a Hit both in the classes as well as the masses and can even be termed as a Classic of the modern times. However, when it comes to Vikramaditya Motwane’s second venture LOOTERA, I am unable to keep it in the same bracket as the film cannot be called a hugely satisfying venture particularly for the second section of viewers as mentioned above. Where the film is a much more technically polished product from the talented director as its second venture, there I strongly couldn’t find the same emotional connect with its characters as I could feel in his first film UDAAN. Perhaps the tears I had in my eyes while watching UDAAN were all lost in the picture perfect frames and visually delightful sequences carefully designed by Motwane in his second big project resulting in a beautifully crafted sculpture missing the desired depth.
In simple words, this is one of the most magnificently shot and poetically conceived films of the present times which probably was made as “A Deliberate Classic” by the team in a forceful manner. So if you are really willing to see the old world charm of Bengali Zamindar’s  and Dalhousie, shot in an outstanding way like a mesmerizing poetry on the celluloid, then the film might have enough to serve you well in the visual terms. Particularly the final sequence of the film in the snow surely deserves all the appreciation both for its splendid visualization and execution in a never before kind of style in Indian Cinema.
To praise the effort further, the mood is perfect, the pace is calm, the musical tracks are soothing, the background score is a winner, the locations are right on the spot, the cinematography is breathtaking, the ambience is recreated brilliantly and the performers have put their whole hearted effort in the acts undoubtedly. Yet, the film hasn’t got the soul of that pure love which straight away reaches your heart and makes you feel the magic. In other words the picture is painted perfectly but yet it doesn’t comes out of the frame and grabs you lovingly. And that’s because this time, Motwane focuses more on the body of his product than its soul which was right there, leading from the front in his UDAAN.
Hence where the film is truly brilliant from one angle, its just not upto the mark from the other wherein the viewer feels less involved as well as entertained right till its worth mentioning climax. The pace remains slow throughout which might turn out to be quite annoying for many and the famous songs also keep you waiting till the last half an hour to be precise, which is not expected in a musical love story made for Hindi Cinema (first half has only 1 song). Moreover I was really surprised to see such big visible grains/snow in its night sequences on the screen, which ideally is not a feature of a film made on this kind of budget.
As far as the plot is concerned it is based on American author O. Henry's short story 'The Last Leaf' which has not been adapted in its pure form. The film reveals its main twist right before the interval related to a shocking heist but refuses to speed up the pace even in its second half despite of featuring all the investigation scenes and chases.
In the acting department, both Ranveer and Sonakshi have given their career best performances together as the roles were indeed much complicated as compared to what they have earlier portrayed in their few films. Especially their dialogue delivery needs a special mention here which can be expressed in the form of loving whispers made into each other’s hearts silently. And I am sure Ranveer must have gone through a lot to get it right as he is known to play loud roles with all that spirit and energy till now. In the supporting cast, Vikrant Massey gets nothing much to do, both Adil Hussain and Barun Chadha make a solid impact but Divya Dutta remains wasted.

All together, LOOTERA is a kind of film which is going to be appreciated as a modern age classic by a few but at the same time an emotionally less entertaining love saga by the rest. However on a personal note, I really wish it had the depth shown by the director in his first venture.
Rating : 3 / 5
Tags : Lootera Movie Review by Bobby Sing, Lootera Film Review By Bobby Sing, Lootera Review by Bobby Sing, Reviews by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews 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
05 July 2013 / bobbysing /
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As mentioned earlier in one of my recent reviews, here is another film made on the same low cost recipe of Bollywood which has more chances of recovering its cost featuring two fresh faces. Posing as a new age romantic comedy with few bold dialogues and novel sequences, LONDON PARIS NEW YORK once again follows the same old process of presenting before the audience a smart interesting dish, inspired from two great English Classics, adding the usual unavoidable Bollywood ingredients in it for a clichéd climax.
But here, few friends may like to support this movie with their argument that “How many of us have seen the Originals, so at least they are giving us something new.” And in answer to their point raised, I would like to give my honest but strong opinion in the following words.
LPNY revolves around only two main characters who become love birds as the time progresses and then in the end they realize that they were actually made for each other. The story basically talks about their meetings in three cities under different situations or time spans and the script largely relies on their mutual conversations alone to amuse the viewer. Now this whole concept of two people meeting each other in a journey, roaming around the city together and then parting with a promise to meet at a certain date is all taken from the two English masterpieces made in sequels. And they are BEFORE SUNRISE (1995) and BEFORE SUNSET (2004) directed by Richard Linklater featuring Ethan Hawke and Julie Delpy in the lead.
As an individual project, LONDON PARIS NEW YORK can be called a sweet film which tries to be extra ordinary in its first hour and then simply gives away to the routine path in the end. Many of the youngsters may like it due to the bold dialogues written realistically, its fine performances by Ali-Aditi and its few hummable songs composed & sung by Ali Zafar himself.
But in frank words, what this film does to a sincere cinema lover (eager to watch all the well made classics in the entire world)………….is nothing less than a SIN!
Why? Because LONDON PARIS NEW YORK simply snatches away all those surprises, thrills, love, sensuality, intelligence, intellect and magic which one can feel watching its two originals in their virginity. In other words, now after watching LPNY if you try watching the two movies mentioned above then you will never be able to enjoy them or feel them in the way you could have, as a surprise viewer. The Bollywood version clearly ruins the “Out of this world Experience” of watching these two classics which is nothing less than a SIN if seen from the eyes of a passionate cinema lover.
Truly speaking I rate both BEFORE SUNRISE (1995) and BEFORE SUNSET (2004) as one of the best movies made till date in the World Cinema, especially for those who don’t just watch, but like to study the films made with such rare conviction. These two movies have the power to teach you love as an unexplained phenomenon, which has its own unlimited dimensions. They can teach you the value of relationships as never before and can enlighten your deep thinking patterns bringing in more clarity or understanding in your personal real life love affairs.
As a commercial venture, directed by the debutant Anu Menon, LONDON PARIS NEW YORK should turn out to be a safe bet, preferably in the metros. The director shows the sparks in the execution but if only the writers could have stayed away from the routine ending, the film would have been at least a little close to its originals. However at present its miles away from its actual sources and is not able to give you even a sip of that delicious drink offered by the two masterpieces. It neither impresses you as a thoughtful love story nor is able to leave a mark through its borrowed intellect shown in its few sequences.
Still considering it in a positive manner, if you have seen LONDON PARIS NEW YORK and liked it even partially then treat this Indian version as a loving invitation to the world of Ethan Hawke and Julie Delpy, the couple admiring each other. And if you haven’t seen this new Bollywood release till now but the narration does excite you then before watching it, essentially go for BEFORE SUNRISE (1995) and BEFORE SUNSET (2004) as a must like an emergency. Because watching these two classics without having any preset notions about their actual content is something beyond explanation and imagination.
In the end though this is a write-up on LONDON PARIS NEW YORK which is unarguably an unintelligent mess inspired from two extremely intelligent foreign classics. Yet I would like to use it to inform all lovers and cinema freaks here, about these two precious gems, which should not be missed or delayed at any cost.
So if you are a lover or have felt the true love ever in your entire past then do watch BEFORE SUNRISE (1995) and BEFORE SUNSET (2004) both, like an essential medication for your precious life. LONDON PARIS NEW YORK might be cute in its own limited way but director Richard Linklater’s two babies really talk about something of the BEYOND..............which cannot be copied ever.
Ratings : 2 / 5
Tags : London Paris New York Movie Review By Bobby Sing, LPNY 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, Inspired Movies, Inspired Movies, Inspired Cinema, Bollywood Plagiarism, Plagiarism in Hindi Cinema, Copied Movies, Movies Inspired From, Movie is Inspired By, Borrowed Concepts, Inspired Plots, Bollywood & Hollywood, Reviews by Bobby Sing, Bollywood Gets Inspired, Cinema Gets Inspired, Bollywood & World Cinema, Inspiration from World Cinema, Bollywood Movie Inspirations, Before Sunrise, Before Sunset.
05 March 2012 / bobbysing /
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