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.


HAPPY BHAG JAYEGI - A below average, feel good romantic comedy made on a repetitive predictable plot, once again trying to encash PAKISTAN as a comic element. (Review By Bobby Sing).

The inspirations behind SWADES (2004), including a '90s TV series where the director himself played the role of SRK. - By Bobby Sing (BTC Exclusive) (Did You Know - 87).

RUSTOM - Where the first half presents the real life case sensibly, the second half purposefully uses it as a spoof, resulting in a one-time watch crime drama that should have been just between Akshay and Pavan alone. (Review By Bobby Sing).

MOHENJO DARO - Its criminal to choose & agree to this kind of poor script for such a scale, investment and collective efforts by all. (Review By Bobby Sing).

GELO (Punjabi) - Despite its visible shortcomings, this is an appreciable attempt reviving the rich Punjabi literature & its inspiringly bold vision, especially for the young viewers. (Review by Bobby Sing).

BUDHIA SINGH BORN TO WIN - A well-made film on an amazing real life story that leaves you with a severe shock & many unanswered questions in mind raising an important debate. (Review By Bobby Sing).

FEVER - An overstretched thriller that stresses more on long conversations and steamy scenes than its mystery element. (Review By Bobby Sing).

THE LEGEND OF MICHAEL MISHRA - Once again a weird film forcing you to think that how such projects get approved and then made too without any alarm raised in time. (Review by Bobby Sing).

CHAUTHI KOOT (Punjabi) - A perfect example of cinematic art of storytelling with a thoughtful depiction of the dark times in Punjab, without any typical provocative inclusions or the usual biased stuff. (An overview by Bobby Sing).

The smart move of presenting old cult compositions as fresh Punjabi film songs to the unaware viewers. (A BTC Exclusive by Bobby Sing).

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August 27, 2016 Saturday     
Hindi cinema hasn’t got many worth watching psychological thrillers since the genre never got any big encouragement either from the viewers or the makers ever since the origin. And I still recall the pleasant surprise I had watching Nargis’s National Award winning performance in RAAT AUR DIN, based on the split personality disorder performed brilliantly as her final appearance on screen in 1967. In the last few decades, Urmila shined brightly in Ram Gopal Varma’s KAUN playing the obsessed psychopath in 1999, and now we have Radhika Apte entering into that elite list giving a worth applauding performance in PHOBIA as an artist suffering from severe agoraphobia post a tragic incident, developing fear of people, market places and public interactions leading to some serious consequences.
Interestingly, the initial moments of the film dealing with a ‘sexual assault’ and its traumatized victim straight away reminded me of Konkona in 15th PARK AVENUE (2005) and Rekha in GHAR (1978) too for a moment. But the similarities ended right there as the film moved into a completely different direction with elements of horror and black comedy smartly incorporated in its otherwise ‘mind-related’ theme giving it a distinctive edge.
As a psychological thriller directed by Pawan Kriplani (of Ragini MMS fame), PHOBIA works superbly in its first half mainly due to Radhika’s fabulous act and the unpredictable story progression that keeps you guessing throughout creating an enjoyable tension. However when many big loopholes get visible in the second half and some major questions remain unanswered in the climax (ending on a confusing note), the film loses the chances of becoming ‘a masterpiece thriller’ and remains a more than decent one time watch, especially for Radhika alone.
Delivering a knockout performance in her first full length lead role in a Hindi film, Radhika Apte carries the complete movie on her strong shoulders and makes it worth watching for the viewers interested in this specific genre, without any slightest of doubt. The girl is simply sensational and highly impactful playing the suffering character and that too without any sensual sequences usually found in such ventures defying the set format.
Providing her a perfect support we have Satyadeep Mishra effectively playing the close friend, Yashaswini as the energetic college going girl and Ankur Vikal as the suspicious weirdo neighbour doing complete justice to their given roles. Cinematography, background score and editing successfully add a lot into the film’s overall impact and so does the catchy song ‘Roke Na Ruke’ used well, without disturbing the pace.
However it was really unfortunate to see the film slipping in its writing post a taut and engaging first hour contradicting its own conviction. And these visible flaws honestly didn’t match the master vision found in the script’s initial impressive moments. For instance, how can such a serious as well as dangerous (self-destructive) patient of agoraphobia be left alone in a new and big house by her own beloved so carelessly and how can the boy even leave a knife and all similar appliances openly lying in the house despite knowing his girl’s severe condition and intentions? Moreover when it suddenly ends without giving clear explanations of all the illusions, premonitions and hurting events happening in its final hour, one doesn’t feel like highly satisfied while leaving the theatre as if gone through an incomplete experience largely saved by the lead performer.
Having said that, despite these unanswered questions and a good dose of unpleasant blood and gore served with the pinch of horror, PHOBIA still deserves to be seen for Radhika Apte alone, who now officially announces her arrival as the mainstream Hindi film heroine, far ahead of many known names of the industry relying on their family bloodlines.
Rating : 3 / 5
(For friends interested in knowing more about Nargis’s RAAT AUR DIN, here is the link for the article including the references of its foreign inspirations too in details.)
Tags : Phobia Review by Bobby Sing, Phobia Film 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
28 May 2016 / bobbysing /
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If it’s a Rajshri film directed by Sooraj R. Barjatya (returning after almost a decade), featuring Salman Khan in the lead, with an ‘already hit’ title song presented with a surprising grandeur not usually related with the esteemed banner, then what does one expect?
Obviously not something great in its story department, but certainly something highly likable, emotional and relatable with all lovable, homely characters on screen, giving the worth of our money spent on the entire family tickets bought after a long time.
Obviously not something novel in terms of presentation, but surely something moving enough to feel the warmth between our close relationships, dangerously missing in our present films specifically made just for the quick weekend returns.
And obviously not anything path breaking, but certainly something worth watching that satisfies us both in terms of emotional fulfillment as well as entertainment exactly like the three films directed by the big name as MAINE PYAR KIYA, HUM AAPKE HAIN KAUN & VIVAH.
However what Sooraj delivers in his much talked about and awaited PREM RATAN DHAN PAYO after a gap of nine years, turns out to be nothing even comparable to the above three names, straight away reminding you of his two mistakes made in the past as HUM SAATH SAATH HAIN and MAIN PREM KI DIWANI HOON, clearly indicating towards no lessons learned from their big failures at all in a highly ignorant and casual manner.
Giving you the clear picture, nothing works in this latest venture of Rajshri-Sooraj-Salman, nothing whatsoever……except the man… Salman Khan, taking two steps backward from his last mega-hit BAJRANGI BHAIJAAN. The film neither has some great characterizations in its shockingly routine screenplay, nor any memorable well written sequences or simplistic dialogues continuing the tradition started by MAINE PYAR KIYA. Above all in PREM RATAN DHAN PAYO, the team comes up with such pathetically overused, clichéd storyline that makes you wonder that how confidently they keep on making films on the same stories again & again assuming the people to be dumb enough to keep on accepting them year after year with closed eyes without any complains as such. Yes, at times even the same stories become hugely entertaining due to the writer/director’s exceptional novel treatment & presentation. But sadly that is not visible anywhere in this film that unexpectedly even starts boring the viewers in its second half.
Recalling the experience of watching it in the theater, I was really surprised to see simply nothing executed on screen with the backing of some solid writing (post the decent opening Ramlila sequence) and the film progressing so casually without incorporating any kind of much needed suspense or enjoyable tension involving the double role. In fact, a few catchy songs and comic scenes remain the only relief moments in its first half, with the second turning out to be so painfully long that you keep looking at your mobile/watch repeatedly as if it’s already gone beyond 3 hours shattering all kinds of expectations raised.
The cast ensemble including a couple of forgotten names, seem to be only interested in carelessly completing their given jobs establishing no emotional connect with their ultimate viewers, contributing ‘nothing’. And the names include veterans like Anupam Kher followed by Swara Bhaskar, Sonam Kapoor, Neil Nitin Mukesh and the snake-man Arman Kohli. To be fair, there is only one person who randomly makes you laugh in his few scenes and he is Deepak Dobriyal who sadly remains under-utilized in the entire film displaying a shocking lack of vision.
Rephrasing the above, in PREM RATAN DHAN PAYO we have two lovers but no loving chemistry between them despite the hit tracks, brothers and sisters with no depth in their vaguely written characters placed just to get united again, villains with no emphasis given on their evil intentions or villainy and many deliberately inserted sequences like the unexciting football match post interval lacking the much-desired universal appeal and joy. Moreover except a couple of catchy compositions, both the lyricist and composer desperately keep trying to get into the Ravindra Jain/Ram Laxman mood making a conscious effort.
Ruining it further, it was hard to understand the director’s obsession with the highly outdated mirror sequences towards the end that had no charm at all reminding you of the famous climax sequence of Bruce Lee's ENTER THE DRAGON. Besides the never-ending final hour of the film becomes so tough to bear, exactly like watching the last few overs of a one day cricket match that has already been lost in its 40th over.
To be honest, in the entire film I kept wondering that,
A. Was this the story Sooraj R Barjatya kept searching for since 2006 which is clearly a take-off from famous novels such as “The Prisoner of Zenda” and “The Prince and the Pauper” (with the shades of BAWARCHI), already adapted several times in the West as well as in numerous Hindi films changing the theme from Kings to Dons since the mid of last century? Ironically Rajshri itself had earlier made a film with a similar subject as “Rakta Bandhan” in 1984 featuring Mithun Chakraborty in the double role of a simple villager and a dacoit.
B. Was this the film Salman approved of - full of old time obsolete feel, based on a ridiculously stereotyped theme, having only a few engaging moments, at your face brand promotion, lackluster background score, unimpressive ‘big-empire’ grandeur (that only worked in the promos) and loads of full length songs thrown in just like that, assuming that the viewers are still living somewhere in the 90s?
C. Or Was this a mess, wherein Sooraj was not allowed to do what he was willing to, with the major suggestions/interventions coming from the now much bigger STAR with no intentions of breaking through his own comfort zone?
In all, a big unexpected let-down, PREM RATAN DHAN PAYO actually has nothing Rajshri, Sooraj and Salman together are known for, not even the emotional warmth they used to offer in their earlier films. But here I will like to end on a much alarming note addressing the younger brigade born post the 90s, watching just Hindi films alone and nothing else.
If you fondly consider yourself as a true lover of cinema, but still watch just the mainstream Hindi movies only due to any kind of personal reservation or assumptions, then you are actually keeping yourself deprived of the REAL INDIA – that is a land of diversified cultures full of uncountable great stories told in its different languages.
And since Cinema is simply ‘The art of Story-telling’ using the combined impact of sound & visuals on the screen, you are actually not watching Cinema if they are not giving you all ‘new virgin stories’ in these films conceived by your favourite writers, directors or the influential actors.
So if you are seriously interested in the REAL CINEMA capable of adding a lot into your personal perspective towards life, then boldly ask for new stories, new insights into relationships, breaking new grounds in these films coming from your lovable icons and not just be satisfied by the same old dull, routine, overused stuff they keep on offering in the name of mainstream entertaining Cinema on regular basis.
But admittedly, since that is not going to change in the near future, therefore shed off any of your childish inhibitions and start watching the HINDI CLASSICS and REGIONAL CINEMA being made within our own country that will shockingly stun you in such a way that you would start cursing why I wasn’t told this eye-opener truth before……… saving all those years spent just watching the new Hindi mainstream movies released every Friday.
For instance, the day I watched PREM RATAN DHAN PAYO in the morning, I also witnessed the National Award winner Malayalam movie titled INDIAN RUPEE in the afternoon and then saw the trailers of upcoming KATYAR KALJAT GHUSALI & NATSAMRAT (both Marathi) in the night. And realizing the gigantic ‘quality’ difference in the vision expressed in these gutsy regional movies ……. I wrote,
“Yeh Khaali Bajte Gharhey Se Naam, Kaisa Shor Macha Rahey Hain,
Yeh ‘Kya Cheez’ Dikha Rahey Hain, Aur Woh ‘KYAAA CHEEEEZ’ Bana Rahey Hain”

Rating : 1.5 / 5 (Including the big 1 just for its couple of melodious songs & some better tracks)
For friends interested in more on Inspirational sources, please click the following link for the same.
Prem Ratan Dhan Payo (2015) and Sooraj R. Barjatya's fascination with old Rajshri films.
Tags : Prem Ratan Dhan Payo Movie Review by Bobby Sing, Prem Ratan Dhan Payo Review by Bobby Sing, Sooraj Barjatya, Rajshri film, Inspired Cinema, Copied Subjects, Cliched Themes, 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
14 November 2015 / bobbysing /
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Prithipal SinghBeginning with a basic question, “Why films are made on our worth-knowing heroes of the past?”……That’s because they wish to entertain as well as enlighten the young viewers with the inspiring stories of the heroes who could scale such astonishing heights in their respective deeds or fields setting new benchmarks to achieve for the coming generations.
However when one an unknown film informs you about something so important you are not even aware of (despite being a follower of the related sport), then it certainly becomes a much greater and appreciable attempt deserving a loud applause. So with a heartfelt thanks to the entire team for attempting a feature film on such a huge yet unknown chapter of our Indian sports history, I would love to give you the details of the triumphs achieved by the forgotten hero (in the later part of the review) who is strangely not remembered by even the hockey enthusiasts in our country of the present times.
But before that, reviewing it as a film, PRITHIPAL SINGH is unfortunately not any highly impressive bio-pic in terms of filmmaking, conceived with quite a casual and laidback approach by its debutant writer and director Babita Puri. Yet keeping in mind the limited budget of the project and mostly ‘first-timers’ working in its technical as well as music department, it still cannot be termed as any awful project since the makers do present it with a sensible approach making an intelligent use of the archive footage and sequences presented in Black & White, along with all average to above average performances given by the supporting cast, somehow serving the basic purpose of informing and enlightening the unaware viewers as desired.
Having said that, no doubt such a strong subject truly deserved much better execution by an experienced team in order to reach a wider audience all over the country as well as abroad like earlier seen in the case of BHAAH MILKHA BHAAG and PAAN SINGH TOMAR. In fact Prithipal Singh’s story being quite close to Paan Singh Tomar’s individual struggle for life, it surely had all the elements of making an effective, powerful bio-pic inspiring many youngsters, especially the ones playing Hockey in their school and college teams looking for a career in it.
Anyway moving ahead revealing the major or rather only merit of the film, it’s the performance of Vikas Kumar featuring in his debut movie, whom you must have seen in many TV serials playing some interesting roles (like CID). Vikas not only manages to reach the soul of his character with all the required aggression, anger and ‘no smiling’ mannerism portrayed well, but also looks like the role he is playing of a Sikh sportsman without any concerning visible hassles (and that too minus the over-famous six-pack abs or gym preparations as shown in BMB). In fact many would be surprised watching his published pictures after watching the film, as it really becomes hard to accept him in his original appearance entirely different from the character of Prithipal Singh in the film (just like Farhan Akhtar). Indeed a big compliment for the actor, who tries his best putting everything he has got in an unfortunately weak film made without any passion or fire as it seems. Here I would also like to mention the appreciable work of Vikas’s make-up artist and the cinematographer too adding a lot to his spirited performance on the screen in technical terms.
Coming to the most important section of the review, I would like to mention all the lesser known achievements of Prithipal Singh and the astonishing facts related with his professional as well as personal life that are sure going to be an eye-opener for most of the readers here in all possibilities.
1. Prithipal Singh (1932 – 1983) was an Indian hockey player nicknamed “The King of Short (Penalty) Corner” by the then hockey commentators as he was known to surely convert the corners into a goal with his exceptional skills.
2. He participated in the Olympic field hockey thrice and every time scored the highest number of goals by a single player. The Indian team won Olympic silver in Rome (1960), Gold in Tokyo (1964) and Bronze in Mexico (1968), but Prithipal had to leave or retire from the sport (post the Mexico games) after getting fed up from all the internal politics played by the official selectors against him.
3. In Rome (1960) India lost for the first time in Olympics and that too to Pakistan, settling for the Silver medal. But the team bounced back in the next games in Tokyo (1964) winning the Gold, and out of 22 goals in these games 10 were scored by Prithipal alone making another big record.
4. Even after winning the Gold in Tokyo Olympics (1964), due to the personal conflicts with the selectors, in the next Games held at Mexico the Indian team was sent with two Captains heading the boys………..Yes (unbelievably) two captains…….. only to humiliate Prithipal Singh and divide the team members negatively getting into two different groups. As a result, the team was not able to perform as earlier and could win only a Bronze medal due to its inner tussles, forcing Prithipal Singh to leave or retire from hockey forever.
Prithipal Singh5. A post-graduate in agriculture, after working for both Punjab Police and Indian Railways, Prithipal Singh became the deputy director for youth welfare in Punjab Agricultural Unviersity, Ludhiana. And it was there that he got involved in students politics leading to many serious consequences in the early 80s.
At one end, he was supposedly accused of murdering a famous student leader active in campus politics, on the other was also known to be a guiding figure for many involved in various college sports too. But with the group clashes taking a decisive turn, it came as a shock for everyone when Prithipal Singh was shot dead in broad daylight right within the campus in front of several students and officials witnessing the bullets being fired.
Shockingly none of the people watching the brutal murder came forward as witness to support Prithipal Singh identifying the known accused and the case got closed without any person booked allowing the killers to roam freely.
(However the death was not in any way related to Punjab Militancy active in the early 80s. Still it might have made the availability of arms easier for the students as it seems causing the campus bloodshed.)
6. Mentioning the awards, apart from receiving various honours from Agricultral College Ludhiana and Indian Railway Police, the first-ever Arjuna Award to a hockey player was conferred upon Prithipal Singh in 1961 by the Government of India and he was later also given the Padma Shri in 1967 for his meritorious contributions to the Indian Hockey.
Admittedly where a few readers might be already familiar with Prithipal Singh and his life history through any of their personal experiences, I was honestly not aware of the name before watching the film, despite having many friends actively following the game of hockey (as Delhi has a large number of hockey lovers, particularly living in West Delhi). So where I am extremely thankful to the makers for attempting a film on this ‘must-know sports personality of India’, I frankly also wish the impressive Vikas Kumar had got a better writer-director visualising this proud but rather unknown, shocking, upsetting, shameful and scary chapter of our Indian sports history on the silver screen.
So you should ideally watch it not as any film but as an informative document featuring the spirited Vikas Kumar, reminding us about a forgotten chapter of our proud sports history which also reveals how sports authorities have been questionably working in our country since the mid of last century.
Ratings (as a film) : 2 / 5 (with a big thanks for making us aware of the Indian “King of Short Corner” named Prithipal Singh)
Tags : Prithipal Singh Movie Review by Bobby Sing, Prithipal Singh Film Review by Bobby Sing at BTC, Real Life Inspired Films, Hindi films based on Indian Sports Personality, 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
31 October 2015 / bobbysing /
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