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!

Munshi Premchand's short story and those innocent years of playing GULLI DANDA. (Food for Thought by Bobby Sing).

BAANKEY KI CRAZY BARAAT - Its basic plot might be absurd but the performances turn it into a fairly enjoyable film that could have been a lot better. (Review By Bobby Sing).

KAUN KITNE PAANI MEIN - What a wasted opportunity to make a fine satire on a crucial subject of water-scarcity. (Review By Bobby Sing).

PHANTOM - Reading an old Indrajal Comics on the actual Phantom is sure going to be much more logical, thrilling & entertaining. (Review By Bobby Sing).

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

MANJHI - Watch it as a respect towards the spirited man, his true love and the unbelievable task completed single handedly, much important than a well enacted film loaded with many deliberate insertions. (Review By Bobby Sing).

ALL IS WELL - Post a 100 minutes awful show, it tries hard to teach some family values in vain. (Review By Bobby Sing).

GOUR HARI DASTAAN - A must watch depiction of a shocking true story that is sure going to make us feel the shame contributing in the corrupt system. (Review by Bobby Sing).

BROTHERS - Having a miserable first hour, the remake somehow manages to deliver post intermission due to the brothers, their fights and the father well enacted by Jackie Shroff. (Review By Bobby Sing).

ANGREJ (Punjabi) - The immensely lovable performances, ethnic feel, well written dialogues and a fabulous soundtrack makes this familiar love story a worth watching film for sure. (Review By Bobby Sing).

 
 
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September 03, 2015 Thursday     
As an exciting patriotic spy movie, PHANTOM had a perfect timing to hit the screen with a theme quite relevant to the current political scenario dealing with sponsored terrorism. But one honestly expected a much better and logical espionage thriller from the director of most successful Hindi film of the present times BAJRANGI BHAIJAAN who earlier also gave us the decently made KABUL EXPRESS & NEW YORK dealing with related subjects.
Here many would find EK THA TIGER missing in the names mentioned above as I personally don’t rate it as any well-made spy-film completely dependent upon its huge star-enigma. But these references interestingly force me to assume that probably it’s the repeated theme used in more than 3 films of Kabir Khan that has resulted in such a lackluster product this time, with the director losing his much needed interest or enthusiasm dealing with the same things again and again in different forms.
Moreover if you consider BAJRANGI BHAIJAAN & PHANTOM together looking at their basic plot, then keeping aside their core purpose, both the films actually talk about a larger than life hero only entering Pakistan and completing his set task successfully. However the huge difference here remains that where in BB you immensely enjoy connecting with Salman Khan doing all the impossible acts in the neighbouring country just for the adorable little girl, there in PHANTOM you find it completely absurd when Saif does it all with a visible ease, killing few of the most wanted criminals of the world single handedly. And the major reason why you feel this way while watching PHANTOM is its ‘genre’ in which you cannot just set aside the logic, reasoning and intelligence as a political-spy-thriller dealing with terrorism and Pakistan to be exact. A fact that clearly got a much better support in Kabir’s own KABUL EXPRESS & NEW YORK along with BABY & D-DAY moving far ahead than PHANTOM in all respects.
Addressing the counter criticism here in relation to the foreign films, Yes, we have seen a ‘one-man-army’ completing the given spy-tasks in many hit western movies too performing the impossible. But the way PHANTOM presents its key sequences challenging the intelligent quotient of the viewers through an extremely childish writing and execution, it doesn’t allow you to draw any kind of comparisons at all putting it honestly.
Beginning with a very weird chase sequence in the first minute itself, its focus straight away shifts to the India’s Intelligence agency officers discussing a secret mission in a room like few friends casually talking about their next weekend program together. Moreover the way they all start looking for ‘a new capable, trustworthy spy’ in the old, dusty office files and vague references really make you laugh at the commendable imagination of the writers taking the maximum advantage of the so called ‘creative liberty’ granted to them with the job assigned.
The film goes on and on in the first half without offering any electrifying entertainment usually expected from such thrilling subject. And the same continues post intermission despite the spy-couple entering Pakistan with their fake identities. Besides the ease with which they keep on meeting the right people, at right places, acquiring heavy explosives and more within Pakistan itself, takes away all the remaining excitement left in the film leading towards an entirely predictable climax following the set routine.
In fact the writers continue walking on an unconvincing path till the very last, (portraying the Pakistan’s intelligence officers too in a similar comic tone), converting PHANTOM into a completely filmy take on a concerning theme that also becomes laughable at times due to the irresponsible and illogical execution as well as dialogues.
For instance just sample these lines written with an unintentional humour, said in all those tense situations in the film.
A. While passing on the remote for a mike-bomb, the so called bomb-engineer says,
“Mike aur remote ke beech mein kuchh nahin aana chahiye, nahin to remote kaam nahin karega”  (and this is supposed to be a technology used by highly trained, well equipped terrorists in 2015)
B. In the final sequences when a question is put to ‘the unofficial” Indian spy Saif (still there in Pakistan), about how will be get back to India? He says,
“Jaise Woh 10 Mumbai Chaley Gaye Thhey, Main Bhi Chala Jaunga"
(Now if this is not mocking at the country’s own security forces so irresponsibly then I don’t know what would be?)
C. Moreover when in the climax we get to see an Indian submarine entering into the Pakistani waters to get the spy back, then all barriers of ‘creative freedom’ get smashed like never before so brutally.
In short, only few things make some kind of impact amongst the less engaging progression of Kabir Khan’s PHANTOM. One is the camerawork, art direction and background score presenting the actions sequences well (especially the war-like ones in Syria). And second is the quite easy yet interesting murder sequence of David Headley in the first half providing the few thrills (appreciably using the real names of some known terrorists boldly). Other than that PHANTOM mostly remains an evenly paced unexciting spy thriller that ought to be a high paced, unpredictable, nail biting sensational killer-drama to be precise.
The performances remain mediocre exactly like the film despite the earnest effort of Saif Ali Khan playing the lead. And the actor must be feeling betrayed both by his writers and directors together since he is not able to make any kind of connect with the viewers whatsoever in his last few films. Katrina Kaif is just there as the ‘must-have’ heroine like a typical ‘bond-girl’, whereas its quite sad to see an actor like Mohammed Zeeshan Ayyub wasted in such a silly way along with Sabyasachi Chakraberty.
Coming back to its basic subject of vengeance for the 26/11 attacks on Mumbai (unofficially planned by the Indian Intelligence), it gives me a feeling that the book on which the film is based upon must be many times better than its onscreen depiction as it seems. However if Hussain Zaidi’s MUMBAI AVENGERS (the actual novel) is also having the same improbable sequences projecting it all in such easy-going terms too, then that certainly makes it a questionable choice for adaptation by all means. Particularly for the avid readers of Hindi pulp fiction detective-spy novels written by renowned authors (like Surender Mohan Pathak and more), who are well familiar with much better, engaging and pulsating content in comparison since decades.
Incidentally the reference of spy-thrillers and similar books makes me recall a reputed name and a brief interview that importantly needs to be mentioned here related with the subject. And it’s about one of the most successful authors of the present times, Mukul Deva, who happens to be an ex-army man turned author with loads of practical experience of the actual war-field.
To give you a fair idea (also mentioned in his official website),
Mukul Deva’s novel LASHKAR (2008) had predicted Osama Bin Laden's presence in a safe house in Pakistan and then SALIM MUST DIE (2009) predicted his capture by US Special Forces with many more interesting revelations in his other books.
Luckily I was witness to an on-stage conversation with Mukul Deva (in the Crime-Literature festival this year) in which the author simply said that I try to present a mission which is actually POSSIBLE in real life or has parallels executed in the past in some way or the other. So these missions depicted in my books are presented as per my personal experience in the field with logical reasoning and information that is not entirely fantasy or based on some insane imagination. But at the same time I don’t reveal any secret that needs to be maintained as a secret following the official protocol.
Exactly the point missing in PHANTOM that entirely remains an unreal movie, solely dependent upon ‘fictional feel good proceedings’ wherein surprisingly ‘a newly appointed spy’ of Indian Intelligence (found just a few days before the mission) enters the foreign jail as well as Pakistan and finishes off all the major conspirators of 26/11 ……. just like that.
Personally speaking (taking a clue from its title), I would love reading an old Indrajal Comics on the actual ghostly character of Phantom once again that unarguably used to have a much more logical, thrilling and entertaining narration if compared to this new-age PHANTOM.
Still many might enjoy watching it, who can keep the logic home even while going for a political-spy thriller dealing with the dead-serious issue of global terrorism.
Rating : 2 / 5
Tags : Phantom Movie Review by Bobby Sing, Phantom Film Review By Bobby Sing, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, New Hindi Films Reviews at bobbytalkscinema.com, Phantom Comics, Hindi films on global terrorism.
 
 
28 August 2015 / bobbysing /
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New releases directed by respected veterans of Hindi film industry always put me in a serious dilemma of choosing the right words. Since at one end I got to see their latest projects (despite a limited release) expecting something extra-ordinary justifying their cult image but on the other, have to review them impartially too pointing towards their major shortcomings without getting influenced by the nostalgic factor associated with their reputed names.
However the situation becomes worse when you get to see a downright trashy film from the man behind much appreciated projects such as JAANE BHI DO YAARON, KABHI HAAN KABHI NA, KYA KEHNA and the life teaching serial NUKKAD, forcibly making you think about skipping the review to avoid the severe harsh assessment deserved by the awful project. Honestly I wasn’t expecting Kundan Shah’s latest film P SE PM TAK to be that bad and this eventually puts me in the same tough situation as previously experienced while reviewing the last films of Dev Anand and Subhash Ghai.
Interestingly when it comes to the old-timer experts of our Hindi film industry still working in the present scenario, we are unable to find personalities like Clint Eastwood who amazingly manages to deliver great films even in his eighth decade of life celebrating the spirit of cinema. May be it’s our different working patterns, questionable system or other social (personal) factors that might be the cause behind such repeated failures. Yet the truth remains that here we have seldom seen a director playing a long consistent innings till the last phase of his life churning out cinematic gems.
Returning to Kundan Shan and his P SE PM TAK, where P stands for ‘prostitute’ as per the film’s impractical storyline, it can easily be rated as one of the most tacky and annoying black satires that fails to grab your attention right from its first scene. Revolving around a bold girl’s journey from a brothel to the major political stage becoming the Chief Minister (the post of PM is only used as a reference in the end), the film refuses to talk logic and remains mediocre in execution with all uninteresting sequences coming one after another with many terribly written dialogues muted more than 15 times by the censors with a beep. A badly conceived film based on a weird subject, its neither a comedy nor any satire with the most irritating factor remaining its background score that keeps screaming loudly in almost every scene unnecessarily.
Having a quite poor script progression and a distasteful style of narration, the film features an otherwise beautiful girl Meenakshi Dixit in the lead, trying hard to deliver a noteworthy performance in vain, looking unconvincing throughout in the given role. Plus its really painful to see the entire known supporting cast acting as amateurs including Bharat Jadhav, Aanjjan Srivastav, Deepak Shirke, Mushtaq Khan, Yashpal Sharma and the lesser known face Indrajeet Soni. Interestingly the ugly get-up of the minister also reminded me of a similar one tried by Kamal Hassan in his film MAYOR SAAB.
The below average songs inserted at regular intervals just for the sake of it keep irritating you constantly and then the post interval inclusion of an absurd idea of a corpse made active again (speaking, walking and even dancing) through a remote control and some electronic gadgets fitted in the body by an eccentric scientist, makes you look at the screen with an unbelievably shocking amazement and jaws dropped. Perhaps director Kundan Shah is still somewhere stuck in the fascination of using a corpse as an entertaining prop in the storyline since JAANE BHI DO YAARON released three decades back. But here the particular senseless sequences with all forced humour turn out be a big disappointing let-down from the experienced director unarguably.
Summing up, frankly this is not what we expected from the ‘once creative genius’ Kundan Shah. And it’s actually quite disturbing to admit that a film like P SE PM TAK will now get included in the filmography of the same person who will also be remembered as the vision behind JAANE BHI DO YAARON, one of the first five cult black comedies of our Hindi Cinema. Unfortunately a fact that is sure going to confuse many students in the future studying the hugely contradicting body of work of the well-known director.
RATING : 0.5 / 5
Tags : P Se PM Tak Review by Bobby Sing, Kundan Shah's black political satire, Kundan Shah's fascination with a corpse, PSPT Movie Review by Bobby Sing, 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
 
 
01 June 2015 / bobbysing /
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The magician Raj Kumar Hirani is back with his PK played by the perfectionist Aamir Khan enacting yet another unique character in a film produced by the experienced Vidhu Vinod Chopra who perfectly knows how to keep a team of exceptionally creative geniuses together to get a Hit conceived.
However this write-up is more about the possible inspirations of PK beginning from the most obvious one released in 2012 titled OH MY GOD, which was an official Indianised remake of the English film THE MAN WHO SUED GOD (2001).
Moving a step ahead than OMG, PK doesn’t showcase any real GOD coming on to the earth and also isn’t about any court case filed against the supreme power copying the concept completely. But it would be simply bizarre to say that it has nothing similar to what we earlier enjoyed in the courageous project made in 2012 becoming the first Hindi film boldly talking about the issue without any fear or hesitation.
To give you an idea (as written in my review), in the first half both films have their own sequences questioning the GOD’s existence, mocking the rituals blindly followed all over putting up many relevant queries. And then in the second half we have a collective session involving every major character in the script giving their own justification in favour or against the concept of GOD quite boldly. Now where OMG had this collective session in a court with all the GOD-MEN standing in the box in front of the judge, PK has the same kind of arguments given to the GOD-MAN in a news channel’s talk show going live, anchored by the leading lady of the film herself. So it would be really posing blind if one cannot see the exact similarities in both the films as mentioned above.
Further PK really puts me in doubts that whether Hirani had this idea of using the concept of GOD in his film before the release of OMG or developed it after that film getting some clear inspirations from its famous scenes. Giving the director a benefit of doubt, if he really had this idea before OMG, then he & his writers must have done a great amount of re-writing after watching Paresh Rawal asking all similar questions in that film in his own impeccable way.
Revealing the other possible inspiration of PK, the name is again of Robin Williams, the man Hirani seems to be a true fan of, since his MUNNA BHAI M.B.B.S also had the shades of Robin’s PATCH ADAMS (1998). And this time its MORK & MINDY, an American T.V. series aired between 1978-1982.
The famous sit-com is based on an exactly similar plot wherein the character of Mork, an alien played by Robin Williams, arrives on Earth in his spacecraft, assigned with a job to observe human behavior. Here he meets a young girl Mindy (Pam Dawber), who is feeling sad after a split/argument with her boyfriend and Mork offers her a friendly assistance. Looking at his odd dress up and strange talks she first considers him as a priest offering help, but soon gets the shock of her life when Mork very innocently tells her the truth about him being an alien coming from a different planet.
Knowing the unbelievable fact, Mindy promises that she will not reveal this secret to anyone and then takes Mork to her home as a caring friend. The story moves further as they both start living together with Mindy trying to explain Mork how to adjust with the life on Earth and then the couple eventually falling in love too as usual. But Mork is used to do everything as per his own customs learned showing some magical powers. For example he keeps speaking few gibberish words repeatedly and doesn’t know how to lie to anyone as Lying is considered a joke on his planet. The end of the episodes in this series was of utmost importance as in the last scene Mork used to send his reports back to his master ORSON, telling him what he had learned about Earth through his weird experiences. And these end-summaries used to have many humorous comments on the social rituals followed on Earth.
Incidentally the character of Mork appeared in an episode of series HAPPY DAYS aired before MORK & MINDY which was in fact an extension of another American sitcom telecast in 1963-66 titled MY FAVORITE MARTIAN in which the alien visiting the Earth could also become invisible, read the mind of people he used to meet and the one helping him out happened to be a news reporter too. Plus another film titled EPSILON (1997) was also based on a similar concept discussed above.
Hence in short, we can easily conclude that PK is OH MY GOD meets MORK & MINDY conceived entertainingly by the director who knows his craft well, featuring all his fixed enjoyable elements as it is………. except novelty.
You can read more about the series at the following links :

http://www.imdb.com/title/tt0077053/

http://en.wikipedia.org/wiki/Mork_%26_Mindy

http://www.imdb.com/title/tt0120764/

and can watch the first episode of the two series by clicking below :

https://www.youtube.com/watch?v=U6aePsEBWuE

https://www.youtube.com/watch?v=T9PZ4VfPtXc
Cheers!

(A big thanks to V.Madhurageethan for giving this valuable information in his comment resulting in the present write-up)
Tags : PK and OH MY GOD, PK inspired from Robin Williams, PK inspired from MORK & MINDY, Copied Hindi Films, Inspired Hindi Films List at bobbytalkscinema.com
 
 
20 December 2014 / bobbysing /
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