A warm welcome to all friends visiting the site with a loving invitation to read my personal expressions on movies, music, poetry and life.

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July 02, 2015 Thursday     
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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After watching this not so appreciable adaptation of the original Tamil hit with the same title PIZZA, I reached an important conclusion on why many of my friends are not interested in watching the actual South movies being regularly remade in Hindi Cinema. And logically the reason is that when the adaptation turns out to be so uninteresting and disappointing for them all then they are obviously forced to assume that the original might be a fluke hit with more avoidable similar stuff and nothing else. As a result they remain deprived of many great worth watching projects and the blame completely goes to the Hindi film-makers adapting such path breaking films so unimpressively.
Sadly this week’s ‘horror-thriller-suspense’ remake once again commits the same serious crime of disgracing the original and why I have used the phrase ‘horror-thriller-suspense’ to describe the film, would only be clear once you have watched it knowing the real secret of its ghosts as its major surprising twist.
Talking about the experience of watching PIZZA as a new release (irrespective of its remake status), the film actually doesn’t work since it takes too much time to deliver the much awaited spooky content, has much less to offer in terms of horror or 3D and fails to build up the tension as expected by any fan of this particular genre. The first half keeps trying to make an impact with only one character alone which becomes monotonous after a while and then the deliberately prolonged climax spoils the whole game (which is not there in the original). No doubt the novel revelation in the finale does provide you something to think about while walking out of the theater. But the huge damage made earlier never lets you praise the movie despite its interesting culmination to say the real truth.
Actually the fault completely lies in the re-writing and unimaginative treatment adapted by director Akshay Akkineni who forcibly tries to add something of his own to the script unnecessarily. Particularly towards the last 30 minutes of the film, which turn out to be the major drag making much lesser impact on the viewer than it could, with a quicker and smarter climax as seen in the original. Further weak handling of two main characters in the story progression, the lead actor’s spooky wife and the tantric visiting the pizza joint in the beginning, truly fail to create any kind of mysterious premise for the viewers as brilliantly conceived in the Tamil hit.
The performances range from below average to mediocre, soundtrack gives you nothing to write about and cinematography despite being decent, fails to incorporate any special angles for the 3D, going against the huge expectations made from the specific format. On the other hand, background score and sound effects do try to bring you on to the edge of your seat, but it’s the long lazy sequences in the film which don’t let them achieve their desired results on the screen.
To sum it all, PIZZA is an experimental attempt having some novelty in its theme unarguably. But watching the Hindi remake of the original is sure going to spoil the magic of its splendid suspense beautifully tackled in the Tamil Hit. The actual version is rough, raw, believable and a worth watching venture indeed for all horror genre lovers. So if you are really interested in witnessing something out of the routine then do watch the original Tamil PIZZA with subtitles and skip this lousy version of the same made ambiguously.
Rating : 1+1 / 5 (With an additional one just for the great experimental twist in the climax.)
Tags : Pizza Review By Bobby Sing, Pizza Remake Review, 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, Copied movies, Official Remake of Pizza (Tamil)
 
 
19 July 2014 / bobbysing /
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