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.


ISLAND CITY (Hindi) - A not to be missed extremely intelligent take on life that puts you on a serious thinking mode like an innovative, experimental, thought provoking book. (Review by Bobby Sing) (Movies To See Before You Die - Drama).

PARCHED (Hindi) - The positive wave continues with a story of 3 strong rural women, but this time especially made for the international/festival audience having many forced cliches. (Review by Bobby Sing).

BANJO - Why we keep going back to the same old subjects and then expect them to be a success taking the viewers as granted? (Review By Bobby Sing).

RAAZ REBOOT - Yet another similar and poorly made project to fool us in the name of horror. (Review By Bobby Sing).

PINK - Do watch this hard-hitting new age DAMINI, especially for Amitabh's SAFETY MANUAL for girls, boldly ripping off our visible social hypocrisy and sick biased mindsets. (A detailed overview by Bobby Sing).

FREAKY ALI - Avoiding a complete copy of HAPPY GILMORE, Sohail makes a highly inspired Indianised version that's neither entertaining nor exciting full of cliched and predictable moments leading to boredom. (Review By Bobby Sing).

BAAR BAAR DEKHO - Another unexciting, lengthy and feeble (read boring) inspired attempt to make a 'Time-Travel' film in Hindi cinema, missing the entertainment factor. (Review By Bobby Sing).

This Friday's ONE LINE REVIEWS for your weekend plans - by Bobby Sing.

A mesmerizing sensual love song from SHEHNAI (1964) and the hidden unique beauty in its lyrics. (Articles on Hindi Film Music by Bobby Sing) - BTC Exclusive..

DON'T BREATHE (English) - A fine tense psycho-thriller that actually becomes superfine in its final 40 minutes. (Review by Bobby Sing).

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September 29, 2016 Thursday     
Once Upon A Time In BiharMoving ahead of all those over dramatic and filmy takes on the issue by the renowned director Prakash Jha, here we have a much responsible film written and directed by Nitin Chandra that sincerely tries to reveal the actual state of Bihar, hinting towards the intended bias, humiliation and exploitation of its people both within and outside the state following a sick tradition.
To be honest, we are not talking about any classic here having its own avoidable shortcomings with many debutant artists in the team trying to perform to the best of their ability. But its actually the true to life execution and the purposeful vision of the film that forces you to consider it respectfully with many ‘realistic dialogues’ talking about the distressing life of even the highly educated youth in the ‘much talked about’ state.
Opening with the real life inspired riots-sequences of Patna during March 2005, it goes into more than a year old flashback introducing three key characters set in Buxar district of Bihar. And then starts looking into their individual life-struggles faced within their home-state dealing with their own people in power quite shamelessly. With the first half stumbling in the beginning moving on a slow pace, it’s the second half that makes a much better connect with the audience through all the thrilling moments related with the planned abduction gone wrong. In other words, as soon as the script starts talking about the crime-angle introducing the character of Ashish Vidyarthi, it pulls you in and starts delivering as an engaging film in terms of entertainment. However, despite the two halves dealing with their distinctive plots, Nitin never loses the vision of enlightening the viewers about the conflicting situations faced by a Bihari youth finally choosing the path of crime unwillingly.
The typical regional language used in its key conversations (with some noticeable lines) is sure going to appeal the people of Bihar undoubtedly and it’s the indicative insertion of many burning issues of the state that actually lifts up the film in totality. For instance the writing intentionally includes the reference of competition tuition classes business in Bihar, the bribe rate cards for government jobs, the gunda-raj of not paying for anything by the relatives of politicians, the fearless loots in front of spineless public in absence of effective Police-control, the known business of ‘ransom-earning’ chosen by the youth, the social problem of arranging big amounts for marriage by the girl’s family, the under-employment of highly educated youth forced to do some labour jobs, Bhojpuri films and music being made and promoted so openly close to soft-porn poisoning the present generation and naxalite problem hurting the nation since long.  
Musically OUATIB has a few well composed soulful tracks (played in the backdrop) working fine with its core subject and story progression, though the lyrics remain in the local lingo appealing to only selective audience (like “Chanarma Mein Daag Baa” & more). In the technical department the noteworthy art direction, background score and cinematography majorly help the film to make a decent impact shot at actual locations. Particularly the dark sequences executed well in the final hour of the film certainly need a special mention here giving the team of technicians their deserving due.
In the performances, both Kranti Prakash Jha and Deepak Singh underplay their given roles in a decent manner effortlessly along with Ajay Kumar playing the most nervous one of the trio quite well. Ashish Vidyarthi as usual impresses in the film’s concluding moments but being the only female character in the entire narration, Arti Puri keeps trying her best to bring in the emotional factor as required.
Coming back to the downers, OUATIB does become preachy at times (especially in the beginning or towards the long climax) and with many other films already been there made around the same theme of ‘ransom business in Bihar’, it could have done much better if released along with the ‘over-hyped’ Prakash Jha films in the gone years. Besides a more clear and explanatory climax could have added a lot to the last-minute impact on the viewers as I strongly felt. Because in the end it still remains a film focusing on the problems alone without any possible solution to give as a visionary project.
Having said that, there is no denial to the fact that ONCE UPON A TIME IN BIHAR has been made with all positive vibes and intentions by its writer-director Nitin Chandra hoping for the much needed change coming soon in his home state. The film will no doubt appeal more to the residents of Bihar and the people migrating to the other states only due to its regional feel, but its time such problems are considered as ‘national issues’ by the central government too before its gets blown to much grave proportions reaching the other states.
The basic idea of the film is to enlighten the viewers about the present scenario with a highly authentic portrayal of its regional theme and that’s exactly one of the most important motives of ‘Cinema’ along with providing the usual entertainment to its target audience. Hence at times, we as the viewers also need to strongly support such courageous attempts made giving us the real (scary) picture by purposefully ignoring any of its visible shortcomings.
Ratings : 3 / 5 (including the special brownie points for the sincere and concerning intentions of the talented team)
Tags : Once Upon A Time In Bihar Review by Bobby Sing, OUATIB Film Review by Bobby Sing, An authentic Hindi film on Bihar, Bihari Language, Bhojpuri Cinema, 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
30 October 2015 / bobbysing /
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The publicity posters of the movie said, “From the makers of BODYGUARD” and that was enough to shatter any expectations from this projected comedy loosely based on the recent real life incidents in Delhi. Still I was willing to see something interesting made as a comic satire on the burning issues of corruption and political scams. But beginning with 2 horrible songs in the first 15 minutes itself along with few cheap double meaning dialogues and loud acting, my only hope got vanished quickly and then I was only having some quick naps in between this terrible forced comedy, good for nothing.
Yet to give you a fair idea, O TERI is simply a deliberate & poorly written attempt which vaguely aims at being an enjoyable comedy as well as a thoughtful satire on the present system and its fresh scams. But the real truth is that a completely different, well read and visionary mind is required to make a satirical-comedy on the lines of cult classic JAANE BHI DO YAARON directed by Kundan Shah, which is simply missing in this confused, directionless and below average project from Umesh Bist.
Taking its major inspiration from Shah’s all time gem, O TERI is also about two good friends looking for a scandalous story for their TV program. Plus there is ‘a dead body comedy’ and ‘a falling bridge’ too straight away reminding you of JBDY. To give it a more up-to-date feel, the writers use the above mentioned plots in context of the latest ‘Games Scams’ in Delhi involving many known leaders and further try to give a social message too in a completely uninteresting climax making no impact whatsoever on the viewer.
In short, despite having all the required ingredients of making a good entertaining comedy (also having a song on FB & Twitter), O TERI fails miserably due to a bad script, over the top acting and all avoidable social messages in which no viewer is interested at all. Its humour remains dull, the dialogues are overdramatic and most of the sequences are not able to generate any kind of excitement among the audience. So guessing the same, I lost all my interest in the movie from the beginning itself and actually felt sorry for Pulkit Samrat, whose career was really progressing well till this silly mistake. Moreover just like DISHKIYOON, here too I didn’t stop to see Salman Khan dancing in a special number played along the end credits.
Rating : 1 / 5 (Only for the scenes of Vijay Raaz and Manoj Pahwa)
Tags : O Teri Movie Review By Bobby Sing, O Teri Film Review, 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,
30 March 2014 / bobbysing /
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First clearing the air about its inspired status, the team clearly accepts its sources in a detailed caption in the titles, making it all official this time which needs to be appreciated. The caption said that the film is based on a Gujarati play, 'Kanji Virrudh Kanji' or ‘Krishan Vs Kanhaiya’, which was adapted from the original film “The Man Who Sued God” (2001) and then there were two more lines written below it which I couldn’t read as it stayed for only less than 2 seconds on the screen, as if they didn’t want us to read it. So though I wished to know what was written in those next two lines, still it was good to see that the right kind of credits were given to the original creator of the idea as it should be.

Anyway, moving on to the review I would like to describe the film in three different parts as given below.
As an Adaptation of the original film “The Man Who Sued God” (2001)
The film is actually developed from the basic idea introduced in this lesser known Australian venture featuring Billy Connolly in the lead. And if one has seen the same then he is sure going to give a mixed response to OMG as it somehow reduces the impact generated by the original. Reason being, that in the English film the proceedings just keep moving in and out of the court and that’s it. There are no separate tracks of various God-men and there is no Real GOD coming into Billy Connolly’s home to make it filmy.
In the original we only have a case filed by Billy against the God (involving the Church) catching the phrase “Damages caused by the ACTS OF GOD” in the Insurance Company’s papers and then its all about the court and arguments given for or against the claim filed the applicant. In short, the film has everything focused on the logical points brought forward by the lawyers along with a beautiful insertion of “A Sign from the GOD himself” coming into the court-room towards the end, which serves as a pleasant surprise for the viewers.
So where the original keeps stressing on a single point in its script, OMG tries to bring in too many good points to impress the viewers which take the focus away at times which could have been avoided. Plus the original had a brilliant culmination wherein Billy takes his case back, sighting a drastic conclusion for the society whether he wins or loses, which is sadly not there in this Hindi adaptation. Yet OMG scores decently on its own merit with its Indianised version of the concept which remains highly recommended even if you have watched the original flick or play.
As an individual film making a new breakthrough in Hindi Cinema.
Looking upon OMG as an individual film for viewers who haven’t seen the original English film or the Gujarat-Hindi play, it is no doubt an appreciable attempt by the makers giving us something fresh and new which we have been loudly craving for in the last few years. Moreover it can also be called a daring attempt by the team, considering our society’s conservative state of mind which always gets active when it comes to RELIGION. So in that terms the film successfully manages to make us aware of the so called “Religious Markets” strongly functioning around us like big super-malls with different names and titles.
Director Umesh Shukla and his writing team adds many good entertaining punches which are able to make you think and laugh at the same time. Hence as it progresses, the viewer largely feels entertained as well as tickled regarding his individual religious beliefs, which I personally consider nothing short of an achievement by the entire team. But at the same time the film has its flaws too. It takes too much time to come to the point and then tries to add too many elements into the narration which were not required. For instance, its first half is not able to impress until the film comes into the court and reveals its actual interesting plot. To put it straight, where the English film takes only 20 minutes to reach the court, OMG takes almost an hour to get there following our usual film-making norms.
Further, if you think about the concept after it gets over, then its main publicized theme talking about the GOD himself coming on the earth, seems to be of no use in its basic storyline. So it thankfully remains far away from the Sanjeev Kumar classic YEHI HAI ZINDAGI (1977). In other words, Askhay posing as KRISHNA (and that too on a modified bike like BATMAN) does nothing substantial in the film and is just added to give an extra edge to the project commercially. And that’s where I can say that the English film remains more meaningful or beautiful since it makes the presence of GOD felt in the tense court without showing any REAL GOD incarnated on the earth in the human form.
OMG also loses its grip towards the climax with some overstretched references of Paresh reaching the hospital and then THE GOD giving him the healing touch, which in turn seems to be added just to satisfy the religious sentiments of the viewers emotionally. And it surely would have been more impactful with a sharper and enjoyable climax right within the court-room itself. But despite of all these flaws, the film can easily be rated as a feel good project mainly due to the novelty offered by its fresh plot to the viewers who have not heard of its original sources before.
Performance wise OMG is one of those few films which has its script as the biggest performer in its more than 2 hours of duration. However regarding the cast, Paresh Rawal is as always first rate carrying the entire film on his experienced shoulders, well supported by his entire cast namely Om Puri, Mahesh Manjrekar & Govind Namdeo. Akshay Kumar making his entry just before the intermission looks cute but the scene stealer in the second half remains Mithun Chakraborty as a Spiritual Leader (like never seen before). In reality the few Spiritual Icons shown in the film are based on some highly famous Guru’s presently active in the country which you can easily judge without taking any names. Musically OMG doesn’t have much scope but even then the producers have added an item song “Go Govinda Go” to en-cash the festival season featuring Prabhu Deva and Sonakshi Sinha dancing to the beat energetically. Cinematography and Background Score just serve the purpose well making a decent impact along with the minimal special effects used to showcase The GOD.
However rising above all these usual features of a Hindi film, the producers of OMG rightly deserve a special mention here for going ahead with such a risky venture (having some bold dialogues) which could easily hurt the religious sentiments of our sensitive society. The makers have visibly added many safe justifications in the film (like Paresh’s hospitalization in the end) to guard their commercial interests, but still its undoubtedly a courageous decision to make such a delicate project in India taking all the necessary precautions.
The Social Message in OH MY GOD.
If one considers the great importance or relevance of the Social Message in the film targeting the common man, then OMG rises much above the status of a movie alone which needs to be watched both by the believers and non-believers in the concept of GOD. It tells you the naked truth at your face about all those “Religious Shops” operating right in front of your eyes which have been exploiting the common man from ages. But here instead of getting preachy (which also remains one of the avoidable features of OMG), I would like to share a personal real life instance with all friends here which will clearly give you the message I wish to convey in a more thoughtful manner.
Once a foreign delegation came to New Delhi for a seminar and on their humble request they were all taken to a famous Religious place of Delhi related to a specific religion (I would not like to disclose). Now they all liked the spiritual ambience there filled with peace and love but one of them had a question in mind which he asked when they were back in the office and having their lunch. The wise man asked,
“I understand that there was a big Donation Box placed right in front of every single place or door where we were supposed to bow down with respect. I understand that a person is supposed to put in whatever amount of money in it as per his own capability and devotion.
Now till here its all perfectly right for me…..But what I don’t understand is that why all those Donations boxes were having Big LOCKS hanging on them quite shamefully………Are you all thieves who can even steal money from there too?”
Apparently, this honest question of that thoughtful foreign delegate sums up the entire “Religious or Spiritual Mafia” operating in our country and can easily be considered a tight slap on our own faces painted with different religious colours. And the ‘Ultimate Truth’ is that if we simply throw away all those Money Boxes planted in every religious place of the country, then that will clearly show us the ‘Original Colours” of their so called ‘Godly Caretakers’ in the open.
In the last century, New Age Indian Spiritual Masters like J. KRISHNAMURTHY and OSHO kept saying this for many years throughout their life but very few heard them resulting in the present chaos in the country and world over. So here is OH MY GOD giving the same message to the people once again but deep inside I also know that the situation is never going to change for the very reason that,
“We all are taught to be GOD FEARING and not GOD LOVING people by our so called Religious Teachers!”
Rating : 3 / 5
Tags : Oh My God Movie Review, Oh My God Review by Bobby Sing, OMG review, OMG Review by Bobby Sing, Review 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
28 September 2012 / bobbysing /
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