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!

BAHUBALI 2 - It delivers larger than life cinema as a solid prequel & conclusion but the excellence seen in the final hour of its original remains missing. (Review by Bobby Sing).

NOOR - What a confused and lazy way to make a crime investigative thriller with neither thrills nor any investigations ending on a weird note. (Review By Bobby Sing).

This Friday's One Line Reviews by Bobby Sing for making your movie plans..

When my Career Consultancy didn't work for a few strangely concerned parents. - by Bobby Sing (Few Life Inspiring Words - 23).

FAST & FURIOUS 8 (English/Hindi) - Partially enjoyable, but strictly for the fans loving the action genre. [TTP (To The Point) Review By Bobby Sing].

MANJE BISTRE (Punjabi) - It seems Punjabi Cinema is now stuck with period dramas focusing on a 'Vyah Wala Ghar' as their latest repetitive obsession. (Review By Bobby Sing).

BEGUM JAAN (Hindi) / RAJKAHINI (Bengali) - Benegal's MANDI meets Manto's TOBA TEK SINGH and Mehta's MIRCH MASALA in this bold but over dramatic effort, sadly remaining too bland to be called an epic despite its noble intentions. (An overview by Bobby Sing).

The last 2 shows at REGAL and the one man behind the event, nobody knows about. (A detailed emotional and technical description by Bobby Sing).

MUKTI BHAWAN (Hotel Salvation) - Could have been a classic, but surely deserves to be seen for its subject, performances and Varanasi in particular. (Review by Bobby Sing).

LAALI KI SHAADI MEIN LAADDOO DEEWANA - Stay away from this marriage and its tiring absurdity. [TTP (To The Point) Review By Bobby Sing].

 
 
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May 01, 2017 Monday     
NoorJust like the lead character of their script, both the writer and director of NOOR seem to be equally confused about what kind of film they wished to make or of what genre? And in case this is exactly the story of the book/novel the film is based upon (Saba Imtiaz's “Karachi, You're Killin Me”), then the same can be said about the author too, however I highly doubt the novel goes with an exactly similar kind of story progression as shown in the film.
To clear the major misconception, if you think that this is something about crime investigative journalism then would like to reveal that the film never talks about any real investigations at all except taking mobile interviews and putting them in news making scary revelations without searching for multiple solid proofs, witnesses or more victims of a serious crime/scam. Later it all falls back to becoming a celebrity journalist posting an expressive Facebook video that goes viral as if that is the only social reform we can possibly think of.
NOOR begins with a long spell of tiring 15 minutes of simple character introductions with a voice-over which honestly puts you in doubt about its basic vision. Nothing happens in terms of a plot in the next 30 minutes (focusing on romance and bed room scenes), and a story thankfully begins after almost 45-50 minutes into the film just before the intermission.
Strangely, instead of changing the gear, the director keeps following the same lazy story progression in the second half too and we don’t get to see any kind of thrilling investigations even after 100 minutes into the film in a weirdly funny manner. Moreover, when it all finally leads towards a socially relevant ending giving some kind of social message, director Sunhil Sippy decides to end the film with an upbeat pub-song featuring Diljit and Badshah dancing along Sonakshi, once again revealing his utterly confused vision resulting in nothing
Having a fine cinematography, okay background score but below average editing, NOOR’s music fails to make any emotional connect with the viewer and here we yet again get to see an energetic gem of the past (Gulabi Ankhen) brutally murdered with zero energy levels so pathetically.
Having said that, NOOR doesn’t give you much to complain in the acting department, as Sonakshi Sinha keeps trying her best playing a Bridget Jones kind of act, also reminding you of Konkana Sen Sharma of PAGE 3. Purab Kohli, Kanan Gill, Shibani Dandekar, M. K. Raina, Manish Chaudhari and Sunny Leone (in a cameo) remain effective in their given supporting roles but honestly Smita Tambe is the one who excels everyone else on the screen as the victim Maalti.
In short, a sloppy screenplay, uninspiring plot, lazy pace and a completely confused narration results in a poor film called NOOR that could have been an enjoyable light hearted thriller pointing towards the compromising journalism being taught and practiced in the present times.
No doubt the young journalists would easily relate to the lead character on screen facing the same puzzling issues as in their personal careers. However it still isn’t any film that can be recommended to be seen in a costly multiplex. So just wait for a couple of months and this will soon be there on a TV channel without asking for any extra effort or expenditure.
Rating : 1 + 1 / 5 (with the additional 1 just for the fine acts)
Tags : Noor Moview Review by Bobby Sing, Noor Movie Review by Bobby Sing, Movies based on books, Saba Imtiaz Novel, 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
 
 
21 April 2017 / bobbysing /
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Just one scene, spiritedly fighting a terrorist in the hotel room of Kathmandu in her film BABY got applauded by almost every viewer and reviewer back in 2015, and the makers interestingly thought of coming up with a spin-off, focusing on the much appreciated character in the form of NAAM SHABANA. A great potential idea indeed for both Tapsee Pannu (as the lead) and the viewers expecting an action packed, exciting thriller from the team led by Neeraj Pandey. But I wish it was made with an equal amount of dedication too as their earlier well-presented and focused BABY.

In fact its quite sad and shameful that a film having such a promising premise turns out to be so shoddily written and directed, despite all the big names associated with its making known for their earlier good work together.

Presented as the first Spin-Off movie of Hindi Cinema (the films conceived around the famous characters taken from the previous hit films), actually we have already seen that much before in the past, for instance SOORMA BHOPALI in the 80s. But keeping this intriguing subject for another detailed write-up at BTC, NAAM SHABANA can easily be called as a different and unique mix of a spin-off and prequel together smartly relating it with the proceedings and key characters of BABY.   

Unfortunately as a thriller, NAAM SHABANA is never able to hold your attention well right from its lazy start and the uninspiring first half moving at a boring, slow pace spending too much time on the build-up missing the expected thrills. In the second half too it never comes up with any edge of the seat kind of entertainment wasting all talented actors in its cast unable to make their presence felt. Moreover logic goes for a toss uncountable times in the film resulting in a big disappointment and one begins doubting on the very purpose behind its making which just seems to be money making alone encashing the earlier success without giving much thought to its conception, writing or making by the otherwise talented team.

Looking at the direction, if you take into account the previous films directed by Shivam Nair, then they all had interesting basic ideas which couldn’t result in any big success ever due to their own shortcomings. However the fact that NAAM SHABANA has been written, and scripted with dialogues too by Neeraj Pandey himself, truly hits you with surprise as the final outcome is so childish and laughable completely in contrast with the reputation earned by the writer-director post his debut masterpiece A WEDNESDAY.

Honestly speaking I have never seen Manoj Bajpayee rendering such silly dialogues with a funny, supreme conviction ever before on the screen in his entire career.

(Spoliers Ahead)
To give you an idea, after knowing that the RAW agents have been following her right from the start, Tapsee asks Manoj (RAW Officer) that, “If you were always watching and following me then couldn’t you save us from that clash with the drunk boys and my friend bleeding and dying on the road on that awful night?”   

“Yes, we could have stopped that murder, but then you were not a part of us that time and we really look after our people well” says Manoj in his answer and I really couldn’t figure out what kind of absurd logic was that?

Next when she asks that, “Are you choosing me because of my religion?”……, the answer comes… “Your religion is like a PERK for us” ….. the second ugly bouncer from the talented writer.

And then another dialogue says, “Women are born to be spies.” ………. making a new revelation with an amazing confidence.

Actually the problem with NAAM SHABANA is that the film tries to crack a novel potential idea with nothing new in its writing, execution or presentation in a very casual manner (similar plots can be seen in many of the recent films). The proceedings remain plain predictable right from the start and then it cruelly goes on wasting talented performers such as Manoj Bajpayee, Anupam Kher, Danny Denzongpa, Prithviraj (strangely called in from the South) and even Akshay Kumar, in a cameo good for nothing. The supporting cast fails to add anything substantial despite the presence of veterans such as Virendra Saxena. Besides the background music keeps trying to present it as something truly exciting (in vain). And the over length acts as the last nail in the coffin coming up with a too weak and lackluster climax, contradicting its own build-up of an exceptional fighter training given to Tapsee, looking too weak and ordinary fighting in the hospital scene.

Following the current trend, here we have another hit song of the past literally killed as “Mere Dil Gaye Ja...Zooby Zooby Zooby Zooby” along with a few other unwanted songs inserted as usual in an otherwise projected tensed thriller, whereas the director could have easily used only the much better “Rozaana” in the first half skipping all the others.

In all, NAAM SHABANA partially shines only due to the wholehearted effort put in by Tapsee Pannu, but its still not an entirely spellbinding performance by the actress questionably keeping a similar expression throughout other than the impressive action. Continuing on the same thought, her hotel room fight scene in BABY, can still be easily quoted as much more impactful than the entire NAAM SHABANA to be straight.

In addition, the poorly presented film honestly left me puzzled thinking about the basic mindset behind its making. Because if you have to bring in a macho male hero only in the end to rescue the female lead then what is the use of showing all those sequences of action and hardcore training provided to the girl pointing towards women empowerment.

Rating : 1+1 / 5 (including the additional 1 just for the sincere efforts of Tapsee Pannu)

Tags : Naam Shabana Review By Bobby Sing, Naam Shabana Film Review By Bobby Sing, Spin Off hindi movies, Naam Shabana derived from Baby, 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, Tapsee Pannu As a spy, Girls Spy movie, Indian Spy movies
 
 
31 March 2017 / bobbysing /
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NeerjaIn Hindi it’s said “Der Aaye Durust Aaye” and in English they say, “Its better late than never”, becoming the two perfect phrases explaining the present Hindi film scenario wherein they have finally woken up to make films on inspiring personalities and ‘must-tell’ historical events of the past not known to many, particularly the present generation. In fact, Cinema has a certain responsibility to adapt such subjects as biographies and real life inspired films spreading more awareness in the society. And thankfully our Hindi Cinema is now doing the same (once again) beginning the journey with films such as PAAN SINGH TOMAR to the latest AIRLIFT and NEERJA thoughtfully enlightening their viewers.
Admitting the truth, there were not many expecting much from this film due to various reasons, including a lesser known director calling the shots and Sonam Kapoor playing the lead raising some major doubts. However giving us all a pleasant surprise, its these two names only that deliver way above the expectations in the film and the result is a clear winner well-supported by a towering performance by Shabana Azmi that’s sure to get a unanimous positive response from all sections of audience without any slightest of doubt.
Based on a true, tragic yet inspiring story of Neerja Bhanot - a beautiful 23 years old air hostess who got killed while helping the passengers of PAN AM flight hijacked by Palestinian terrorists at Karachi airport in 1986, the film commences with a shot of Neerja’s real mother giving her blessings to all viewers. And then there is a sweet, cozy sequence of a society’s celebrations where kids, residents and their families are dancing together on their favourite Rajesh Khanna song ‘Bye Bye Miss Goodnight..... Kal Phir Milenge’. The scene makes a noticeable positive impression right away and takes you back in those DJ-less times of the ‘80s, when we used to carry our own ‘self-recorded compilation cassettes’ to such parties, to be played in the host’s tape recorder taking individual turns.
In these early moments of the film we also get to meet Neerja’s Punjabi mother, a loving father, her brothers, a dear friend and more along with exciting intercuts of terrorists making their own plans of hijacking the plane Neerja is going to board the very next morning, just two days before her 23rd birthday. Being familiar with the basic subject of the film, one rightly feels the excitement seeing the buildup being staged before the actual tension begins. And going through these specific sequences, I strongly recalled having a similar feeling while watching THE BURNING TRAIN in the ‘80s, with people from different walks of life boarding the ‘New targeted train’ before the tragedy.
Without spending much time in this necessary build-up, NEERJA straight away comes to the point and we have the plane hijacked by a group of terrorist in the next 5 minutes only beginning the real film full of well shot, engaging content performed by an aptly chosen cast (particularly the ones playing the terrorists with their typical local accent). The excellence thankfully continues post intermission too with many timely insertions of flashbacks revealing the story behind Neerja’s bad-marriage, the much needed support from her parents and a loving proposal coming from her dear friend Shekhar, despite knowing everything about her forgettable past. Especially the way Neerja keeps remembering the spirited lessons given by her father while dealing with the terrorists leaves a decent impact on the viewer and one strongly feels her helpless state amongst the life-threatening tension and violence depicted through the hand-held camera focusing on the confused terrorists not exactly knowing what to do next in their ‘failed’ plan.
NeerjaHowever just when the proceedings are successfully creating a substantial state of fear and anger together, we shockingly get to see the usual, unnecessary insertion of a song and few forced melodramatic scenes too hampering the otherwise superb pace of the film spoiling the magic spell. In true words, it’s in these few moments of the film, when you start asking the big question that, how can one even think of inserting a song at such stage of a tense movie or are we simply unable to conceive a Hindi film without a song even after the so called evolution of our cinema in terms of meaningful subjects?
Anyway this weak part of the film gets over soon and we return back to the excellence as witnessed before with Shabana Azmi conquering the screen as the suffering mother post the death of her brave daughter. And what the veteran artist does in these last 15 minutes of the film is beyond expressing in a few words, simply giving you a lump in the throat and continuously flowing tears in your eyes listening to her emotional concluding speech remembering the brave Neerja.
Having said that, yes with a more emphasis given to the supporting characters in the plane as well as two neighboring governments (the film keeps focusing on Neerja alone on the cost of ignoring these important aspects), avoiding the forced-in song hugely affecting the pace and with a little more investigative details given for the terrorists mission or background, NEERJA could have become a ‘sheer masterpiece’ without any faults as such.
But since the visible plusses of the movie score much more than the above mentioned ignorable minuses, the entire team led by director Ram Madhavani deserves to be given their due credit and NEERJA has to be seen and rated as a near perfect, heartfelt and respectable film made on one of our proud but lesser-known national heroes who was also honoured with Ashok Chakra in India and Tamgha-e-Insaniyat in Pakistan for her rare act of courage posthumously.
Apart from the appreciable cinematography, background score and well-conceived narration within the visual limitation of the subject, what actually takes NEERJA to another level is its performances led by both Sonam and Shabana Azmi together, along with Yogendra Tikku (the father), Shekhar (in a cameo as the friend) and the actors enacting the terrorists so brilliantly. In fact if Sonam wins your heart in the first 45 minutes of the film, Yogendra Tikku does the same in the middly (watch out his stumbling on the phone) and then Shabana simply excels them all in the end (with a subtle Punjabi accent) deserving a loving standing ovation by one and all. Unarguably the best film of Sonam’s entire career till date, this is a project she can be very proud of right till the end and the girl strongly needs to thank her stars for the same as NEERJA is a kind of film every actress always dreams for.
Mentioning the two key names behind the commendable effort brought to screen, it’s a debut production of famous photographer Atul Kasbekar and has been directed by Ram Madhvani who is known for his widely acclaimed advertisements and songs directed for Aamir Khan’s various projects. Still not many would have seen his first venture in English titled LET’S TALK that came way back in 2002 featuring Boman Irani in the lead (when Boman was not a big known name in the industry) and the film was indeed a worth watching take on relationships, I often recommend when someone asks for Indian films on marital relationships in particular. But then why the talented director took a 14 years long exile to make his second film as NEERJA is a question I still don’t have any answer for.
Concluding with another worth noticing point in the film, NEERJA also beautifully describes what CINEMA actually means to most of the Indian cine lovers living all over the world. These are the people (including myself) who not only eat, drink, sleep cinema all the time in their entire life-span like big fanatics, but would even like to DIE with a cinematic vision in the end exactly like the courageous NEERJA remembering a famous film dialogue. We are the film-buffs who just don’t watch films as our regular weekly entertainment but try to learn life too through those 2-3 hours of imagery shown on the screen with poetic lines such as, “Zindagi Badi Honi Chahiye Babu Moshaiye ……………., Lambi Nahin”
Thinking about the fearless girl from this filmy angle, Neerja was certainly one of us - the mad, obsessive lovers of Hindi films, who always feel like living in a big housefull theater with many memorable life teaching dialogues constantly echoing in our mind. And I am sure many of the friends here would love to walk away too leaving a similar message for our beloveds saying, “Pushpa…………I hate tears”.
In all, paying my respectable tribute to NEERJA BHANOT with a Big SALUTE, hope the real life story of this daring young martyr inspires the entire present generation going through a difficult phase of forced division in terms of patriotism. But then ending on a lighter, positive note, would like to share the few words said by Neerja’s real mother to Sonam when she went to meet the lady as the lead actress.
And looking at her the proud mother said, “My daughter was prettier”.
Rating : 4 / 5 (Including the additional 0.5 for just Shabana Azmi for her touching finale speech)
(Note : Following the current wave of patriotism, if a person not willing to stand during the National Anthem played in the theaters is considered to be an anti-national, then I would like to say the same for those too who don’t get moist eyes while watching Shabana expressing her pain in the final moments of the film as Neerja's mother.)
Tags : Neerja Film Review by Bobby Sing, Neerja Movie Review by Bobby Sing, Real Life Inspired Hindi films, Must Watch realistic 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
 
 
19 February 2016 / bobbysing /
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