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February 10, 2016 Wednesday     
Revealing the bitter reality, a film like NH10 can be reviewed by two set of distinctive mindsets. One by the people who have actually lived in those areas personally, have been to those deserted scary roads without the sight of any single person for miles, feeling the horror and nature’s beauty together. And the others who have never been to the region but are simply judging the film as a project depicting a harsh realistic truth in a somewhat filmy manner.
But keeping the discussion for the later part of the review, as a film, no doubt this is another impressive venture from the director Navdeep Singh, who once again comes up with a script that beautifully incorporates the inspirations taken from a western flick as seen in his MANORAMA 6 FEET UNDER (2007) borrowing much of its inputs from the cult-classic CHINATOWN (1974). Returning to the screen after a long gap of 8 years, this time Navdeep and his writers choose another English film titled EDEN LAKE (2008), add to it the current in-news theme of “Honour Killings” and then end it all like a typical Hindi film reminding you of the fiery heroines from the 80s taking their revenge in PRATIGHAAT, PHOOL BANEY ANGAAREY or KHOON BHARI MAANG.
NH10 opens nicely with a much focused vision that keeps you guessing about what’s going to happen next in its first half. The unpredictable excitement continues till the roadside scuffle happens with a sudden twist that also seems to be a bit foolish and deliberate one too keeping in mind the particular district. The noteworthy lonely locales, brilliant camerawork, natural lighting, minimal-well composed background score and all superlative performances build-up the momentum in a superb manner and you feel like coming on to the edge of your seats repeatedly before the intermission.
However a short song inserted just before the interval looks like out of place and then the film as usual goes back to the same predictable as well as monotonous plot of revenge in its second half (reminding you of the recent BADLAPUR too). Yes, the brutal execution of its finale terrorizes the viewer well representing the woman-power strongly in all the bold sequences. Yet the lack of novel twists and turns in the second hour hamper its overall impact severely and one doesn’t feel like watching anything out of the box in real terms as it ends.
Having said that, the director’s (expected) sharp, intelligent insertions are right there in NH10 throughout its 2 hours of duration, but the engrossing pull or punch goes missing in the latter half of the film unfortunately. For instance, just watch out the scenes where the husband brings a cigarette pack for his wife on their fun-trip, Anushka rubbing a derogatory word written on the door of a Dhaba toilet, the group of hooligans talking in Haryanvi hinting towards a rape, Anushka lighting up the cigarette just before going for the killings, the kid asking for the missing light in the watch, Deepti Naval cleaning the almirah of her dead daughter and the Daughter-in-law not giving her the ear-machine fearing the consequences.
The engaging script and sharp editing progresses well keeping your interest alive before it all goes back to the routine towards the end. And the performances actually add a lot to NH10’s overall impact which ideally should have been a song-less venture without using even that single well-written and soulfully sung track in the mid. So it was indeed a relief to notice the much publicized song “Chhil Gaye Naina” and many more listed in the end credits not getting featured in the movie as per its dark and bloody theme.
Being there on the screen from the first frame to the last, Anushka gives an intense, spirited performance as the victim girl but the act still falls short of anything path-breaking due to the usual, melodramatic and clichéd second half diluting the end result to a big extent. Neil Bhoopalam is fine as the helpless husband and so is Deepti Naval as the mother fighting with her own inner-self. But its Darshan Kumaar who truly excels playing the extremely violent character post his silent, emotional avatar in MARY KOM, along with the actor playing Mamaji.
Coming back to the point stated in the beginning, you can easily review NH10 from all cinematic angles if you have never been to the region and don’t actually know what happens there in reality and how.
But for the ones, who actually know the sad, questionable state of affairs, the whole fight sequence at the road side dhaba turns out to be too filmy or fake since this is not how anyone intervenes in such matters in these specific highways, even if you have a revolver. In fact showing a revolver can even worsen the things, since its nothing more than a toy for that particular region to be honest. Interestingly the fact gets literally proved in the film too wherein the (city) hero has got the revolver but the (village) goons have simply got iron rods in their car to make an attack.
For many friends this may sound strange but that’s what the shameful reality is, where no heroism of any sort works as falsely shown in the film. So for me, if the scuffle was there through some other natural angle in the dhaba sequence, it would have been much more impressive and realistic. But the present one certainly seems to be a deliberately written scene just to make up a storyline around a socially relevant plot of ‘Honour Killings’. Also, when Neil had already called the DGP informing about the serious issue then it was simply fool of him to go after the hooligans trying to teach them a lesson all alone with a girl in that unknown scary jungle.
Regarding the issues the film had with the censors asking for nine cuts, NH10 teaches you a new way of using cuss words in few of its scenes unintentionally. In other words if you cannot say it then just write those words on the wall and let the audience read it themselves, simply nullifying the so called noble act of muting the abusive by the censors. Moreover it really makes me wonder that where all these objectionable words, extreme action or sex is not good for the society, there showing our Police as corrupt close associates of the criminals is quite fine with the Censors sounding funny. May be because they find this truly realistic, making a lot of sense in life, looking at the current scenario.
Anyway hoping that this ridiculous game of objections changes soon, I would like to explain how a simple cuss work entirely changes your perception about a character on the screen in a Hindi film.
There is a scene in NH10 where Neil has gone in search of the goons and Anushka is waiting for him sitting in the car locked from all sides. There is nobody around in the lonely locales when suddenly a thin bearded man comes at the window staring at Anushka. As she tries to talk to him calmly it gets revealed that the stranger is a kind of mentally retarded person with the mind of only a 10-12 years old kid. And as he converses more, we get to know that he is not at all interested in Anushka but in her car instead and wants to drive the vehicle asking for keys.
Knowing the condition of that man, Anushka feels safe, comes out of the car, asking him that has he seen a person (Neil) anywhere around wearing a jacket. The bearded man is just interested in the car and talking about that only he points towards a particular direction giving Anushka a hope and she starts running towards it leaving him alone with the car.
As she runs away, the bearded man says a word looking towards her that must have been “Randi” (a bad character woman with loose sexual morals), but is spoken as “Jhoothi” (liar) which was probably changed as one of those nine cuts ordered by the Censor Board.
Now what difference does it make to the character on screen and its impact on the viewer?
The difference is that if he says “Jhoothi” then the mentally retarded (grown-up) person with a child’s mind remains a child only and shows no evil intentions for the beautiful girl hidden inside his ‘not so rightly developed’ mind and his thought process. As a result the viewer also feels a kind of sympathy towards the thin, bearded man as he says “Jhoothi”.
However looking at it from the other angle if he says “Randi” then suddenly the character splits into two parts with just one word spoken intentionally. The word actually reveals that though a part of his personality might not have developed due to some medical reason, but a certain part of his mind or thought process does have many evil intentions towards the women he meets. And if those women don’t agree to what he is asking for, he starts calling them “Randi” as if they all are of loose character, not to be respected in any way. As a result, the moment such a character says “Randi” looking at the girl moving away, the viewers feel “all disgust” for such a person with no sympathy at all for his medical state.
Hence such is the change in the viewer’s perception caused by the alteration of only one word in the dubbing that the Censor Board needs to understand urgently.
Returning to NH10 as the latest Friday release, for many it might be a much relevant film talking about ‘women empowerment’. But for me it was another of those technically appreciable as well as inspired (well-performed) attempts with a routine second half that fails to deliver the required punch.

Rating : 3 / 5
Tags : NH10 Movie Review by Bobby Sing, NH10 Review by Bobby Sing, NH10 and EDEN LAKE, Inspired Hindi Films, Copied Hindi 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
13 March 2015 / bobbysing /
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Maestro director Manmohan Desai truly knew the art of how to convincingly entertain his audience with a pleasant mix of emotions, drama, action and comedy. His most successful films always had a ‘Feel Good’ element associated with them and he often added a lovable surprise too in his major ventures.
One of such great but hard to execute surprises was there in his film NASEEB released in 1981, wherein he filmed a party sequence and got many big reputed film personalities of those times, together on one platform in an amazing manner for the first time. The party was filmed on a song “John Johny Janardan” which had Amitabh Bachchan playing the entertaining singer-waiter serving to actors such as Raj Kapoor, Shammi Kapoor, Dharmendra, Waheeda Rehman, Mala Sinha, Simi Grewal, Indrani Mukherjee, Rajesh Khanna, Sharmila Tagore, Prem Chopra, Shakti Kapoor, Randhir Kapoor, Rakesh Roshan, Bindu, Simple Kapadia, Prema Narayan and Vijay Arora. In fact the song also had Raj Kapoor playing the accordion in his own famous style quite sportingly.
Naseeb-Dharam-Veer - Bobby Talks Cinema.comNow the interesting link is that the party which is being celebrated within the song is actually the Golden Jubilee (50 weeks) Celebration party of film DHARAM VEER, which was also the directorial venture of Manmohan Desai released 4 years back in early 1977. And in the song you can clearly see the Backdrop saying DHARAM VEER Golden Jubilee along with standing cut outs of both Dharmendra and Jeetendra at the two sides of the main gate.
Taking a clear inspiration from this party scene, director-choreographer Farah Khan inserted a similar party sequence in her film OM SHANTI OM after more than 25 years in 2007. And it had Shahrukh Khan (playing the role of a successful actor) celebrating his film party in the song “Deewangi Deewangi” and all present film celebrities enter the premises exactly in the same style as in the song “John Johny Janardan” with a particular signature tune.
However one major quality difference between the two songs is that where in NASEEB, all the veterans are standing together in the same frame and dancing with each other (i.e. shooting together). There in OM SHANTI OM song we have mostly individual entries, intelligently edited into a final version wherein it seems they are all together but actually they are not and have given their individual shots only as per their available time. Probably that is how both the era and time has changed, clearly visible in this thoughtful comparison.
Interestingly the only common person in both the songs is the He-man Dharmendra dancing along with his son Bobby Deol in the OSO track. Also in this new age version Jeetendra makes his presence felt too with his son Tushar Kapoor, who was the missing main lead in that Golden Jubilee party of DHARAM VEER. Plus here you can spot another star-son Saif Ali Khan, representing his mother who featured in the NASEEB song along with Rajesh Khanna.
Hence as I see, this can be easily considered as an amusing (screen) account of change of generations & relationships in the last few decades of our Hindi film industry, when we compare these two film songs both conceived & executed superbly (but shot differently) by their respective directors.
(Bobby Sing)
Tags : The link between NASEEB (1981), DHARAM VEER (1977) and OM SHANTI OM (2007), Did You Know Facts about Bollywood by Bobby Sing at bobbytalkscinema.com, Unknown Facts about Bollywood, Interesting Trivia about Hindi Films,
31 December 2013 / bobbysing /
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Nautanki Saala

(Spoiler : The review reveals the basic storyline of the film)
If I narrate to you a film-plot, in which a person tries to re-unite a loving couple with his own efforts, but in process falls in love with the girl itself and forms a love triangle in the most clichéd form, then you would probably say, what’s new in it and walk over. Now adding to the same statement if I further inform that this is the storyline of a new Hindi film which is an official remake of a French movie from start to finish then you would surely wonder, what’s there in it to remake as we have seen the same plot being used several times in the past, in our own Hindi films based on love triangles?
The question undoubtedly seems to be logical but the truth remains that Rohan Sippy’s NAUTANKI SAALA is completely based on the plot mentioned above and at the same time is also an official remake of a French film APRES VOUS released in 2003. However the reason for buying its remake rights lies in the fact that the film exactly uses the same sequences as conceived in its original without any major changes and therefore had to be done in a purely legal way as required. Here it needs to be mentioned that the only major change made by director Rohan Sippy and his writers in their Indian version is that they have changed the ‘restaurant background’ in the original to a ‘theater background’ in order to give it a more comical touch which more or less works in the favour of the film as desired.
In short, here we have a Hindi film which has nothing new to offer in terms of storyline but has surely got few well performed & entertaining sequences which mostly impress due to their well written, witty dialogues catering purely to the urban audience. So where it might not appeal to the viewers living in the interiors and smaller centers, the film should find its takers in the cities due to an intelligent use of smart humour and an enigmatic presence of Ayushman Khurana who has visibly made a strong connection with the youth through his last year’s VICKY DONOR.
NAUTANKI SAALA begins differently with an unusual suicide sequence presented in a funny mode and then continues to provide the entertainment factor right till the interval. The hilarious one liners keep coming in on a regular basis, delivered well by its fresh start-cast and that’s what plays the main driving force in this clean comedy. Though the story doesn’t progress at a brisk pace in its entire first hour yet one doesn’t mind that as he keeps enjoying the proceedings until it all comes down to the main routine plot quite sadly. For the die-hard lovers of screen romance, the final hour of the film has one of the longest kissing scenes of Hindi Cinema, shot brilliantly with a pinch of humour. But once the kiss is over, the film drops down to all familiar paths, leading towards a usual climax unexpectedly. Hence where the first half of NS works in a superb manner, the second half tries to deliver the same for a few minutes but then makes way to a completely predictable conclusion which restricts the film to be termed as a perfect entertainer.
To say the truth, NAUTANKI SAALA entirely depends upon the youth factor, served well by its fine cast lead by the energetic Ayushman. The boy once again proves his talent when it comes to such comic roles along with the entertaining Kunaal, who plays his good for nothing unknown friend willing to commit a suicide. In the girls section, Gaelyn Mendonca shows her confidence, Pooja Salvi is just ok and Evelyn Sharma looks the most gorgeous of them all on the screen. In the supporting cast Rufy Khan provides the few laughs due to his funny name and Sanjeev Bhatt is simply terrific as the theater producer. But Abhishek Bachchan serves no purpose at all in his cameo inserted deliberately.
Musically, we have an unusual yet interesting soundtrack by multiple composers, out of which the 2 old hits ‘So Gaya Yeh Jahan’ and ‘Dhak Dhak Karne Laga’ sound good and the original tracks ‘Saadi Gali Aaja’, ‘Draamebaaz’ & ‘Sapna Mera’ stand out. Still personally I loved the song, ‘Dil Ki Toh Lag Gayi’ the most, for its catchy tune and wicked lyrics. Probably the lowest budget film from Rohan Sippy as compared to his previous ones, NAUTANKI SAALA has an eye-catching art direction and cinematography. The young director shoots it in his own inspired style from the west, which more suits the urban viewers as always. Yet the film can easily be rated as his most entertaining one till date without any doubt.
To end it with an honest confession, after watching its original I was really confused that why Rohan decided to make a remake of just an above average film only which had nothing new in the name of a plot. However now after seeing it, I must say that the director had a confident vision to use all those potential comic instances of the original in a more entertaining manner, resulting in a much better film ahead than its own basic source. And that needs to be considered as nothing short of a rare achievement made in the world of remakes. But on the other hand, I really wish Rohan had thought of a different culmination to make it even better.
Rating : 2.5 + 0.5 / 5 (Including 0.5 more only for its soundtrack)
Tags : Nautanki Saala Movie Review by Bobby Sing, Nautanki Saala Review by Bobby Sing, NS Review, Movie NS 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, Inspired Movies, Remakes in Bollywood
12 April 2013 / bobbysing /
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