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!

TOBA TEK SINGH - An unmissable adaptation, interpretation, visualisation, expansion, amalgamation and enactment of MANTO's immortal stories by Ketan Mehta and Pankaj Kapur together. (An overview by Bobby Sing) (Movies To See Before You Die - Drama).

The curious cases of lead actors doing similar roles in two films without realizing or revealing intentionally. (A bobbytalkscinema EXCLUSIVE).

MADAARI - Though its not any polished or realistic attempt supported by three fine acts, yet the well-written dialogues and the climax do make you feel like watching A WEDNESDAY sequel. (Review By Bobby Sing)‬.

KABALI - Why our icons agree to do the same things again and again so irresponsibly resulting in such a huge disappointment? (Review By Bobby Sing).

GREAT GRAND MASTI - Learning from the past, its a much toned down attempt mixing the genres of a sex comedy and horror offering a bearable second half. (Review by Bobby Sing).

GURU DUTT as a fun-loving, flirting youngster dancing on a Bhangra based song in one of his last films. (A Remembrance by Bobby Sing).

A positive change is here at Bobbytalkscinema dot com - By Bobby Sing.

KERRY ON KUTTON - Just an interesting attempt giving you nothing in return wasting the potential characters. (Review By Bobby Sing).

SULTAN - A typical masala movie having a better first half, casually showcasing the reputed events as well as the emotional tragedy, with Salman doing more hard work than his writer-director. (Review By Bobby Sing).

SHORGUL - Wish this was made more competently and responsibly exploiting the talented cast. (Review by Bobby Sing).

 
 
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July 28, 2016 Thursday     
Toba Tek Singh - Review by Bobby SingIf you are in any way related to India and Pakistan, but yet unaware of a legend called Saadat Hassan Manto, then allow me to say that you haven’t really experienced one of the most blessed and brutally honest story tellers belonging to both the nations yet. And probably haven’t felt, read or known the actual, hidden reality behind three key subjects of life namely - a human’s eternal struggle with sexual lust, the sad state of woman in our sick-biased society and the unimaginable-horrendous bloodbath seen in the years of Indian partition around 1947.
In fact any kind of study about Indian Partition can easily be considered as ‘Incomplete’ if the person hasn’t looked into those times through the deep, sharp and straightforward expressions of Janaab Saadat Hassan Manto.
Among the most famous characters created by the maestro is of Sardar Bishan Singh, also known as Toba Tek Singh by the name of his native land, and this one story has been adapted several times before by various writer-directors of different eras since its origin post the Indian Partition. However after watching this latest adaptation by Ketan Mehta and his team featuring Pankaj Kapur, I haven’t got a slightest of doubt in rating it as the best ever film made on this particular story till date …….. that is sure to remain THE BEST looking at the present scenario around in terms of thoughtful filmmaking.
The above expression might sound ‘a bit exaggerated’ to many, but there is actually more than one reason for such praises articulated in the descriptive heading above, explained in the following points.
Adaptation – The present version of the story TOBA TEK SINGH excels as an adaptation since it rises much above the level of mere presenting the story as written by Manto, following a quite descriptive and innovative narrative never seen before in any other adaptation of the subject till date.
Interpretation – It has the rare merit of interpreting the original idea of its writer in the most authentic, meaningful and heart-touching manner that was more or less missing in all the previous attempts made by the various directors. May be because, they were just sticking to the famous storyline without trying any innovation or reaching its actual depth in absence of any gifted artist to play the lead role of Sardar Bishan Singh.
Visualisation - Though having a short duration of around 70-75 minutes, Ketan Mehta never visualizes it as a short film and shoots it exactly like a full length feature with a brilliant art direction, splendid camerawork and a perfect casting. Plus it’s the background music that truly enhances its overall impact on the viewer exactly like ‘a period drama’ shot at a decent scale. Having said that, I personally did feel the much required heart-piercing melody missing in those traditional verses & alaaps added just at the right moments in its various important sequences.    
Expansion - The most important and exclusive feature of Ketan’s TOBA TEK SINGH remains its highly appreciative, well thought of and pleasantly creative expansion given to the story idea by Ketan as the writer too.
And why it’s exceptional?
Because (hold your breath), Ketan adds the character of Saadat Hassan himself in the script as the Officer-In-Charge of the mental asylum, who has a passion of writing short stories. So he narrates the whole story of Sardar Bishan Singh and his inmates through the eyes of Saadat only that truly deserves a great unanimous applause indeed. 
Amalgamation - The second exclusive feature of this unmissable venture is that its just not the presentation of a single story of MANTO, but an amalgamation of more than one famous works of his, beautifully interwoven in the narrative giving a sudden unexpected shock to the viewers (as always there in Manto’s last lines). But maintaining ‘the exclusivity’, I will not like to ‘OPEN’ the name of that other prominent story featured in the film as a significant addition.
Toba Tek Singh - Review by Bobby SingEnactment - A film like TOBA TEK SINGH can never be made by a director alone, even if he has an outstanding vision in his mind to present a particular script idea. A director always remains dependent upon a team of equally talented actors who can enact his vision on screen in the most accurate manner. And to give them their much deserving credit, this particular gem could only become possible due to three highly talented and blessed artists namely Pankaj Kapur (as Toba Tek Singh), Vinay Pathak (as Officer Saadat Hassan) and the actor playing the role of asylum’s old caretaker. Together these three simply transport you into that painfully tragic era when even the decades old friends suddenly turned into two deadly enemies.
Individually where Pankaj gives another powerful, career best performance as Sardar Bishan Singh; Vinay very subtly plays his assigned role of Saadat Hassan with an adorable elegance and the old caretaker simply wins your heart with his constant smile and well written one liners right from the first scene itself.
In fact post experiencing this magnificent film, one is forced to accept the ugly fact, that how in our country we do not recognize and honour the blessed masters of their art in their given lifetime and always try to present them as the most loved and respected achievers of their field when they are already gone.
Sharing my personal viewpoint, the moment I read the story of TOBA TEK SINGH in the early 90s, I had only two actors in mind who could authentically portray the tough character on screen with their own conviction. One was Virender Saxena, who played the role of an eccentric, thin-bodied Sikh in the widely acclaimed TV series TAMAS, and two – Pankaj Kapur who could easily slip into the body of Sardar Bishan Singh knowing the language, tradition and region at a personal level. Luckily the role reached the most deserving candidate after almost three decades and the result is finally here proving my assumption right.
On a concluding note, this ‘lesser known’ gem should soon be released by the producers (Zee) either in the selected theaters or on any of their TV channels at the earliest, since TOBA TEK SINGH is not only a film with the power to transform hearts at both sides of the wires installed ...... but its also a rare masterpiece created by a blessed, visionary team that ideally should not be kept away from its starving audience for long.
(Note : The film has been made as a part of the Zee’s Zeal of Unity initiative wherein renowned directors from India and Pakistan are brought in together for making some thoughtful films.)

Rating : Movies To See Before You Die
(Make sure you do watch the film (when available) as well as read MANTO as the ‘next urgent task’ of your life and stay blessed.)
Cheers!
Tags : Toba Tek Singh Review by Bobby Sing, Toba Tek Singh Short Film Review by Bobby Sing, Manto's Toba Tek Singh by Ketan Mehta, Films made on Manto's stories, 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, Movies To See Before You Die, Must Watch Hindi Films, Unmissable Films made on Manto's stories.
 
 
27 July 2016 / bobbysing /
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With three fine acts by Irrfan Khan, Jimmy Shergil and Vishesh Bansal (the kid), MADAARI is once again a Nishikant Kamat film that falls short of delivering the desired impact despite having an interesting subject and the valuable support of a talented team. Made on a similar pattern reminding you of Nishikant’s own DOMBIVLI FAST (2005-Marathi), Neeraj Pandey’s A WEDNESDAY (2008) and also Irrfan Khan enacted DEADLINE SIRF 24 GHANTE (2006 – with a similar role involving a kid too), MADAARI can easily be called an unofficial inspired sequel of these films lacking a lot in perfection, logic and conviction missing the bull’s eye.
However what still leaves a strong mark in this half-heartedly made social thriller are the well written dialogues and a supremely engaging or rather revealing climax keeping you glued to the screen (ending on an abrupt note). As a result, here we have a film that could have been a strong surprise winner like A WEDNESDAY, but sadly fails to be the same as the director doesn’t play the game too seriously following a pretty ordinary, casual story progression full of big loopholes as indicated in the following short notes.
  • The film opens with a great impressive quote referring to a small bird fighting with an eagle. The kidnapping of the Home Minister’s son is straight away announced through media coverage and Jimmy yet again plays the police officer leading the investigating team.
  • The director follows the 'to and fro' kind of execution inserting the flashbacks at regular intervals and the one liners intelligently incorporated in the dialogues provide the entertainment.
  • The first sequence between Irrfan and the kid with reference of child abuse works well.
  • Jimmy looking above his glasses bending the neck looks realistic but Irrfan’s long hair and beard doesn’t.
  • Dialogues continue making an impact commenting upon the questionable media and corrupt political system together.
  • The pace is superfine with both Irrfan and Jimmy excelling in their given roles, but only if one decides to ignore the big loopholes relating to the kidnap, the hideout and their constant travel.
  •  After 40 minutes, the film tends to become monotonous but just then a flashback accompanied by an impressive background score touches you emotionally, followed by a well-written and skillfully rendered song, which again goes into high notes after the first two lines following the current trend. (Can’t figure out Why shouting can be found in almost every song today, even in the so called sad ones?)
                                          ----- INTERVAL -----
  • Post interval the narration begins on a tense note becoming more political and the director brings in FACEBOOK and personal video uploads into the proceedings, hinting towards a Kangaroo Court.
  • Rajasthan and its famous attires are used, probably to make it visually appealing.
  • One particular dialogue on FB reveals the actual scenario perfectly, wherein Irrfan says, “Duniya Kal Meri Taraf Thi, Aaj Uski Taraf Hai” (not in these exact words)
  • Another song and lot of creative liberties taken kill the pace again but the revelation of a cruel tragedy makes you feel the pain in a realistic, heart wrenching manner. However, much less movement of the handheld camera in the scene certainly would have resulted in a deeper impact.
  • A typical sound in the background score reminds you of ‘the Dumroo’ (the musical instrument) played by a Madaari in his street shows and this is where the writer-director play a good trick with the viewer heading towards an engrossing 15 minutes finale.
  • Though the entire climax is based on highly unbelievable assumptions and illogical proceeding full of many cartoonish characters far away from reality. Still it successfully manages to hold you well and the revealing dialogues remain the major working force behind it all.
  • However just when you expect the film to end on an another insightful note, a sudden abrupt conclusion spoils the entire build-up, bringing back the casual, confused vision of the director - who once upon a time gave us a worth watching gem as MUMBAI MERI JAAN (2008).
Summing it all, MADAARI solely survives due to Irrfan Khan, the impressive dialogues and an engaging finale alone keeping the interest alive. Otherwise its a very casually made film full of many cardboard characters and illogical proceedings that remains the first thing to be avoided while making a though provoking social-revolutionary thriller, following a classic like A WEDNESDAY.
Rating : 2.5 + 0.5 / 5 (With the additional 0.5 for its socially relevant and revealing dialogues)
Tags : Madaari Film Review by Bobby Sing, Madaari Review by Bobby Sing, Inspired Films, Inspired from A Wednesday-Deadline-Dombivli Fast, Similar theme 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
 
 
23 July 2016 / bobbysing /
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The biggest star of Punjabi Cinema (Diljit) playing a character he is best known for, one of the most innovative directors of ‘music videos circle’ with some huge projects in his repertoire (Gifty) making his proud film debut, the nostalgic narrow lanes of old Delhi used as an immensely likable colourful backdrop and a comic theme revolving around cunning property dealers (vaguely inspired from the basic plot of KHOSLA KA GHOSLA), certainly seems to be an exciting premise for an enjoyable Punjabi comedy film tilted MUKHTIAR CHADHA along with some catchy upbeat tracks raising the expectation level.
But sadly, the above mentioned potential elements appear to be great only on paper, as the film simply fails to present them all in any collective enjoyable form disappointing many, particularly the family audience expecting some great entertaining cinema from Diljit and his team post SARDAR JI.
In fact such is the substandard, upsetting result of this big project (reportedly stuck in the making for a long time) that one wonders that did they really had anything in hand as a storyline or script to shoot their various sequences at all? Because the film is just like a sum of many poor gags put together in a silly rush and all we have is the lead character and nothing else to be precise in the name of story progression or plotline heading towards a clumsy climax.
In exact words, here we have a Hindi speaking friend who keeps annoying right from the beginning quite pathetically, a leading lady (Oshin Brar) unable to make any connection with the viewers whatsoever and a big display of overacting from the ‘Mama Ji’ along with the typical mother played by the veteran Kiran Juneja. Besides there are many deliberately added ‘over the top’ characters too like the thin funny gangster (Khyaali), a poetry loving land-grabber (Yashpal Sharma), a big well-built person with a girlish voice and a middle aged Bihari man being repeatedly fooled on the phone, that are unable to generate any laughter in the theater ruining all the big expectations from the film. Moreover it’s the cliched sequences of a funny Ramlila being played on stage, a 10-faced Ravan riding a scooter (straight away reminding you of Akshay Kumar’s scene in TASHAN) and the ridiculous machine gun firing in the climax, that strongly pull down MUKHTIAR CHADHA to even below the level of mediocre to be honest. However the biggest shock comes post intermission, when we get to witness the weirdest scene of a ‘graphically created girl’ inserted without any reason at all, simply forcing you to ask, ‘What the hell they are really up to as a creative team?”
In the technical department, the songs as well as the cinematography do keep trying to give the film its much required lift sincerely, but the background music keeps ruining their noticeable impact adding all kinds of variety sounds in its distinctive sequences. In short there is only one enjoyable element in MUKHTIAR CHADHA and that is the performance of its leading man Diljit Dosanjh alone, who just marginally saves the film from being a complete disaster.
However as fans and enthusiastic viewers of Punjabi movies, everyone was certainly awaiting a much better, polished, well written and maturely directed product from the team of Diljit and Gifty together.
Rating : 1 / 5
Tags : Mukhtiar Chadha Review By Bobby Sing, Mukhtiar Chadha Punjabi Film Review by Bobby Sing, New Punjabi Films Reviews by Bobby Sing, New Punjabi Films Released, New Punjabi Films Reviews at bobbytalkscinema.com, Punjabi Cinema Reviews at BTC, Punjabi Movies Reviews by Bobby Singh at bobbytalkscinema
 
 
07 December 2015 / bobbysing /
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