Bobby Talks Cinema.com - Bollywood Movie Reviews, Inspired Cinema, Movies To See Before You Die, Articles on Cinema, Music, Poetry & Life.

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!

ARRIVAL (English) - One might have different views overall, but this should not be missed and essentially needs to be seen in the theater as an unmissable audio-visual marvel spreading the message of PEACE. (Review By Bobby Sing).

MOH MAAYA MONEY - Such immature and outdated crime-deceit drama in the present times could have only been made by a team not well familiar with many crime mystery films or (Hindi/English) novels to be straight. (Review By Bobby Sing).

DEAR ZINDAGI - Unexpectedly repetitive and a wannabe kind of film from a promising director, irresponsibly wasting the earnest performances of both Alia and Shah. (Review by Bobby Sing).

MERE SAPNO KI RANI - The one exceptional phrase connecting K. L. Saigal, Mohd. Rafi, Kishore Kumar and Rajesh Khanna together. (Did You Know - 88).

CHAAR SAHIBZAADE : RISE OF BANDA SINGH BAHADUR (Punjabi/Hindi) - With no energetic & exciting portrayal, this can strictly be watched for some lesser known historical facts of the early 18th century, but not as any detailed, insightful account of the era. (Review By Bobby Sing).

DOCTOR STRANGE (English/Hindi) - Begins like a classic but ends on the same routine note with some splendid, worth watching graphics in 3D. (Review by Bobby Sing).

TUM BIN 2 - An emotional first half, likable performances and the nostalgic cult song results in a fairly watchable (average) film, sadly based on an almost exact (cliched) format of its original. (Review By Bobby Sing).

FORCE 2 - If only you interpret a spy movie as nothing else than continuous action, chases, guns, explosions and foreign locations. Strictly avoidable! (Review by Bobby Sing).

ROCK ON 2 - It has a few mature sequences but not recommended even if they offer the tickets in return of the old currency notes. (Review By Bobby Sing).

MSG: Messenger of God Films - A cleverly planned series serving more than one hidden purpose using the medium of cinema, media and social networks altogether. (A revelation by Bobby Sing).

 
 
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December 03, 2016 Saturday     
Pink-The FilmFinally here is a mainstream Hindi film that is interested in presenting the harsh truth of our society as it is without any holding back. A film that can easily be called a bold representative of today’s modern age woman, who unfortunately never got presented and talked about in such brutally honest manner in the last two decades of our Hindi cinema despite many young energetic writers and directors coming up with their fresh ideas and projects including the ones revolving around women oriented subjects (made by women directors only).
So the fact certainly makes PINK a highly significant and path-breaking film of our times that deservingly needs to be supported by one and all, especially in the present scenario when many similar incidents are being reported almost every second day mocking at our social structure, internal security and amazing ‘blind eye attitude’ followed till the fire reaches our own household.
Having said that, though I am in complete support of the film and its brave, eye-opener presentation taking up a burning issue, PINK still has many major shortcomings in its characterizations and thus isn’t any perfect film for me, explained in the later part of the write-up, not in agreement with many fellow reviewers/writers, perhaps purposefully skipping or avoiding its visible drawbacks.
Also since the film has already been talked and read about a lot in the last couple of days, I would try to give you a distinctive write-up on PINK (a title probably used to represent girl-power) with less repetitions and references of many related awful instances experienced personally.
The Basic Format  
It’s nothing less than an amazing, revealing truth that it took mainstream Hindi Cinema more than two long decades to adapt a bold, realistic court room drama revolving around shameless, questionable interrogation in a RAPE or MOLESTATION case post DAMINI released way back in 1993. No doubt, a couple of lesser known smaller films such as JAAGO (2004) and UNDERTRIAL (2007) were there in the last decade, many might not have even heard of. But the fact that they actually couldn’t find the courage to make any expressive court room drama from the woman’s perspective in particular, clearly and loudly says a lot about our suppressed thinking patterns, gender based biases and filmmakers losing their spine in the last two decades (as if the problem was completely solved and we didn’t need to take up the issue again disturbing the peace prevailing).
As a matter of fact, PINK follows the exact pattern of DAMINI wherein the avoidable incident happens in the first half building the tension (as a thriller) and the second half completely focuses on the court case trials with a known retired lawyer returning to the court fighting the victim’s case.
However accepting the incomparable status of both films and their respective directors, where DAMINI simply excelled in its intelligent amalgamation of a woman’s moral duty and her family responsibilities, PINK excels in its verbal depiction of the state we are actually living in supporting two different gender biased meanings of the word FREEDOM imposed on the young boys and girls.
Secondly where DAMINI was successfully able to reach even the common man of the smaller centers through all commercial elements brilliantly incorporated in its script without sacrificing the core message, PINK thoughtfully refuses to do the same and comes up as a strong message oriented film simply interested in focusing on the trauma faced by the three young girls after the ‘avoidable night out’ resulting in a terrible mess.
Also the way it showcases the usual suspicious treatment given to all independent working girls living in a rented flat together away from their home city, unarguably makes it a much more relevant and relatable explosive shocker from Hindi Cinema, raising many hard-hitting pertinent questions like never before.
The Novel & Realistic Execution
PINK doesn’t offer you a usual (linear) or an easy viewing as you never get to see what actually happened in that night till the director reveals it all in the end credits following a novel path. So the film intentionally maintains the suspense and the viewers are forced to assume the event as per their own vision and conclusions breaking the set pattern.
Beginning with completely silent titles (probably the first in the present millennium films), the director quietly prepares you for something unique to unfold in the next two hours and then straight away jumps on to the tension without any routine introduction of characters or some casual build up. So the film actually comes to the point with its very first scene and then continues building up on the same till the climax with an impressive minimal background score and soothing, melodious ‘Kaari Kaari’ song running more than once in the backdrop adding to the silent tension.
As far as the storyline is concerned, admittedly PINK has nothing new or fresh which you haven’t seen before as subplots used in numerous Hindi films involving minister’s spoilt kids or relatives. But the way director Aniruddha Roy Chowdhury and his writer Ritesh Shah narrate an entirely familiar plot with many inspiring conversations, strong emotional sequences and frightening court room proceedings, thankfully raises the bar of our slowly progressing Hindi cinema and gives a solid punching answer to every such person willing to write off Hindi films without even watching them.
Especially I loved the smart minute detailing in the film depicted through the Punjabi landlord played by Vinod Nagpal (so good to see him again after a long time), the typical neighbours always interested in bitching becoming mute spectators instead of providing a timely helping hand to the girls, the giggling co-workers laughing at their own known colleague post a morphed sexy photo of her appears online and the horrifying indifferent cops including the lady SHO who has actually lost her sense of duty playing with the entire future of the young girls simply arrested without any reason as per the orders given. These small insertions in PINK truly represent life as it is in a metro city in particular without any hiding at all.
Ripping off our social hypocrisy with a well thought of SAFETY MANUAL for girls.
This might surprise many but the best part of PINK for me was not the way AB fights the case in the court creating many ‘moral confusions’, but it was the SAFTEY MANUAL for girls, he keeps mentioning in his strong arguments before the judge throughout the second half.
Yes, a few of these points have earlier been mentioned too in various women oriented films in their well written sequences and dialogues. But the thought was never presented in such an impactful, consolidated and straight forward satirical way ever before mocking at our ages old social hypocrisy and sick double standards. Each and every mention of this SAFETY MANUAL makes you feel uncomfortable sitting in your seats and you instantly remember all the young daughters in your family, who more or less are made to face the same discrimination in one way or the other by their parents or the grandparents without an exception.   
So the most appreciable feature of PINK remains this superfine piece of writing that actually turns the film into an extremely important document skillfully presenting the case of ‘Gender Inequality’ in our country that should ideally be watched by every single household bringing up a girl child.
It’s not just about DELHI as the problem actually resides in our regressive minds and not any particular city as being reported and publicized.
Though based in a posh colony of South Delhi, PINK is not just about Delhi alone as such instances can happen in any other metro city in India unconditionally. Moving ahead of the politics of defaming a particular city, the following worth contemplating points remain the same for every city in the country, where people tend to form an opinion without any deep thinking, confirmations or personal investigations.
A. There are more stares and comments made on girls wearing jeans/skirts/shorts or sleeveless shirts on the road, whereas nobody seems even concerned when someone wearing traditional Salwar-Kameez passes by.
Why? – Because we actually are more interested in forming an opinion looking at the clothes, without even knowing anything about the unknown girl’s very existence.
B. You meet a girl who is very shy, stays at a distance and talks less in a party. But then you meet a girl who is always smiling, laughs out loud and is quite friendly in her casual talks sitting very close to you.
Just notice how that simply changes our opinion because of her frank nature?
C. Apart from the way a girl dresses, works in odd hours or has a frank nature, another thing which at once results in different personal opinions about her character is the name and religion she belongs to without any slightest of doubt.
For instance, if you are told that the new working lady as the tenant in the building is Malini – then you form one opinion. If the name becomes Maria or Gurpreet Kaur – your opinion changes and if the name turns out to Gulbano – the opinion changes drastically!
D. A vacant flat in your building/locality is given on rent to 3 beautiful working girls, who keep coming late at night after their individual office hours dressed elegantly.
What happens after a few weeks? - The residents start gossiping making their own biased assumptions largely remaining negative questioning the girls characters.
However if the same flat is given to 3 working boys, then nobody even cares when they all come and go for months unless something extremely unusual is reported/noted by the landlord or any other person in the building by chance.
E. Does any alcoholic drink bottle mentions – ‘Only for males’ on its label?
NO – But still we keep on assuming that these drinks are just for males and females do a crime opting for them. And the same is more strongly assumed by the police officials, who are ideally supposed to be much more broad minded and less opinionated. The moment they find girls in a car also drunk along the boys, they assume them to be corrupt and indulged in some dubious activities. (The cops and counter questioning on drinks in PINK proves this point quite clearly)
F. In a normal office in any metro city, a boy likes a girl working in the same department. But his loving proposal gets refused saying a simple NO. Disturbed from the rejection, he takes up a picture of the girl, morphs her face on a sex worker’s body pic taken from the net and then posts it online along with her number mentioning “Call me for fun!”
What happens the next day?
In just a few minutes with a single click, the complete life of that innocent, working girl gets ruined forever.
Why? – Because we are too keen and quick to form an opinion without looking into the actual reality making an extra effort. In other words, in just one day the simple, hard working girl turns into a whore in our opinion and we start referring to her as “Aisi Waisi Ladki” recalling various instances of the past during the office hours.
G. Remembering my college days in Delhi’s north campus, though it is thankfully no longer the same, but I personally did experience the ill treatment given to friends coming from North East regions of the country calling them with different names and terms, particularly the girls. And I really felt deeply ashamed when a first year girl just broke down in front of we seniors, fed up of the daily harassment made by the students of another college coming in the same ‘Youth Special’ bus she used to travel in.
However the most disgraceful part of this truth is that the girls coming from this particular part of the country are widely considered to be ‘available’ following a strange misconception based on highly condemnable (statistical) assumptions.
H. Reminding you of another ‘administrative/governance issue’ in our country since the independence, try to think about the helplessness felt by the old man (Amitabh) in the film, when he clearly witnesses a van pulling Tapsee in and then moving out of sight without any number visible to him due to the distance and light.
Now if the same happens with any person anywhere in our big country, where he needs to go and complaint? Which number he needs to call in the first few minutes of the incident? And what should he do instantly as even dialing 100 doesn’t necessarily mean any prompt action within next 4-5 minutes in the area saving the kidnapped girl…….!
When a woman says NO, she actually means NO – very loud and clear.
This is the bottom line message or the basic premise of PINK on which the whole argument in the court and the final judgement is also based upon. When a woman says NO then it means Stay Away/Back Off or I am not interested and there should be no forced action post the clear declaration made whatsoever. However if a man continues to tease/touch/grab her even after the clear NO, then as per the law it becomes an assault as declared by the judge giving her the right to defend herself with even a counter attack.
A very valid point, which is mostly forgotten by married men in India, who wrongly consider it to be their lawful right to have sex with their wives whenever they wish to (as if she’s not a wife but a dummy sex doll bought for a price who also makes food, looks after the house and gives birth to the kids too). Stunningly our law-makers are still confused how to deal with this issue rightly termed as ‘Martial Rape’.
(For friends interested in this particular subject of Marital Rape, watch a recent, lesser known gem of a film titled AKAASH VANI released in 2013.)
Interestingly, PINK is not the first film to present this point for me and a small group of friends of mine who actually discussed the same when it was first said by Sunny Leone during her stay in the BIG BOSS house a few years back. In that particular episode, a fellow male participant forcefully picked her up and she kept saying NO. On asking how she felt during the particular incident she clearly meant that,
“Don’t form an opinion thinking about my body of work, as that doesn’t mean I am available. When a girl says NO then that clearly means Back Off and Leave Me Alone irrespective of who she is and what she does for a living.”
As a matter of fact, the statement honestly changed my personal viewpoint about Sunny Leone at that time and the point very well gets presented and argued before the judge in PINK too making a solid impact (which again also puts you in a big confusion about the actual incident in the script discussed in the downers.)
Performances
Leading the film in the second half, Amitabh Bachchan as the elderly lawyer yet again proves that he is the only one and probably will remain the only one in Hindi cinema, spelling magic on the silver screen at the age of 73. He performs superbly as the old retired lawyer suffering from Bipolar Disorder, also looking after her beautiful ailing wife lying on the bed. But strangely the frequent mood swings and sort of stammering completely disappears all of sudden in the court room sequences and more post intermission. In all, though this certainly remains the best performance of the veteran in comparison to his last many releases, but still it isn’t one of the career best performances of AB in my personal opinion. Probably PINK is another film post TE3N, where the director interacted and instructed the fatherly figure remaining in a respectful awe of him.
Coming to the three talented girls, the film truly belongs to them with Taapsee Pannu, Kirti Kulhari and Andrea Tariang not really looking like acting even in a single scene. They all come up with complete natural acts in their individual portrayals and even Andrea leaves a strong noticeable impact despite having much less scenes and screen-time. Both Taapsee and Kriti are just exceptional in their difficult interrogation sequences in the court as its certainly not an easy task to perform with such conviction standing in front of the ‘Mahanayak’. And not to forget Taapsee looks simply great in her various hair-styles (more than 4-5, I suppose in the entire film).
Among the boys, both Angad Bedi and Vijay Varma strongly make you feel the anger and disgust together whereas Tushar Pandey remarkably displays his dilemma being the connecting link. As the judge Dhritiman Chatterjee proves the right choice made but becoming the sole problem in the cast is Piyush Mishra who once again decides to overact to the extent of hamming, may be on the instructions given by his director in order to bring in some crude humour.
Downers
Supporting PINK wholeheartedly for its important message, novel execution and praise worthy key performances, I am still not able to rate the film as any perfect masterpiece honestly, since it has got many flaws that can easily be stated as big downers in this trend-setting film of the year as mentioned below.
1. PINK completely ignores the family connection of the two girls and only Tapsee’s father is prominently shown informed about the so important case that’s quite abnormal. In other words the girls are being accused of such serious charges of being sex workers in a case involving the minister too but there is nobody from their families supporting them at this utmost crucial time that sounds really awkward. (A few people can be seen sitting behind them in the court but there is no individual scene of the parents interacting with their girls other than Tapsee).
2. As some vague insertions that don’t really work or gel with an otherwise excellent execution, it seems the gas mask used by Amitabh was only included to have some mysterious visuals for the promotion without any other use as such. Similarly the ailing wife track doesn’t make any additional contribution to Amitabh’s character in the film’s context in any way, whatsoever.
3. In the first half Amitabh keeps staring at Tapsee in the park, and then at the girl’s balcony too like a suspicious figure without any reason.
4. Amitabh is also shown to be well connected (in the first hour) with even the higher Police officials making direct calls (that are duly responded too) but the powerful connect is never shown or used during the investigation of case in the second half. (Or was that included only to feature the known journalist Dibang as some kind of friendly gesture!)
5. (Now this was really shocking for me as a fan of crime-mystery genre) In the first half, Tapsee gets kidnapped by the boys pulling her in a van. Amitabh clearly sees that happening, makes a call to the police station and higher authorities too and the police reportedly does a search failing to find the van.
BUT surprisingly no one reports about that indicative kidnapping and molestation within the moving car to the police later, nor anyone even mentions it during the case proceedings in front of the judge. In fact, everyone simply forgets about that one big incident as if it somehow got deleted from their collective memory cards including the writer/director.
6. But most importantly, the film is about three young Indian girls living in Indian society, having a long life/career in front of them to live with dignity and pride. So the first motive of an experienced person defending them all in the court is to get them out of the case reinstating their innocent character and reputation in the society forgetting the ugly incident.
However what actually happens in the court is that in the process of proving their innocence, at one end Amitabh himself reveals the too personal past of Tapsee explaining the meaning of mutual consent and on the other Piyush proudly discloses Kriti’s affair with an already married man in his arguments admitted by the girls themselves.
Plus further when Kriti accepts the ‘money taken for the deal’ in a state of forced repulsion purposefully provoked by the shrewd lawyer, a complete character assassination of the three girls happens in the court itself ruining their entire social reputation and future prospects.
Now watching it as a spirited Hindi film climax, you also must have clapped considering it as a triumph with Amitabh emotionally winning the case saving the three girls. But did he really win the case giving their dignity back as desired or lost the same forever, getting them a life-long stamp of three young independent sex-workers duly acquitted by the court.
7. Elaborating on the same point, the director very cleverly ends the film on a positive note leaving the confusion unattended about the money taken or denied, despite mutely disclosing the actual ‘night incident’ in the end credits.
However everyone forgets to admit the truth that the judgment in the film was actually based on the ‘NO’ argument given by Amitabh (instead of the more appropriate ‘Self-defense’ one), clearly stating that a NO said by a woman means NO, even if she is operating as a sex worker. Now can this judgement be considered as a positive one for the girls is definitely a point to seriously think upon, where they are no doubt free to move out of the court but along with a declaration that they readily took the money for sex and then decided to say NO.
Summing up
As mentioned in the beginning I am in complete support of the film’s basic message pointing towards the biased upbringing of a girl child in comparison to the boys. And I wholeheartedly applaud the inclusion of the sarcastic SAFETY MANUAL for girls written and executed superbly in the film by the entire team with a special mention of the insightful poetry read along the end credits.
At the same time I cannot really appreciate the line of arguments given by the defense in the court and the new confusing definition of the word FREEDOM conveyed to the young working girls living far away from their homes. Besides I am also unable to support the final judgement too as it though sets the girls free but doesn’t end it all at any positive note creating much more difficulties ahead to be faced in their personal lives.
In other words in a country like India, the real shocking story actually begins from where PINK ends with a sex-worker tag associated with the girls staying with their names forever.
Having said that, do watch the film in the theatres and make it a success as if this doesn’t work at the box office then we will not get to see much better works from the team and many other young filmmakers in the future pushing the envelope further. So would love to see this 'must watch' becoming a decent HIT, bringing in a new positive change in our cinema deservingly supported by the viewers in the coming weeks.
Rating : 3.5 + 0.5 / 5 (with the additional 0.5 just for the Girl’s SAFTEY MANUAL)
--------------------------
For friends willing to read something shocking as well as thought provoking related to the subject.
Coming to the most scary and cunning part of the write-up, firstly think twice before you read further, as this is strictly for adults and might disturb many who don’t like to think hard or are habitual of disagreeing to the harsh blunt reality despite knowing the truth.
Secondly don’t consider this as my personal opinion, as the following is just how a story writer thinks about several possible situations, angles and culminations of a storyline and its key characters before moving them all to a specific direction. And when a MANTO inspired writer like myself starts assuming all the possible probabilities taking sides of its various characters, then at times he becomes extremely dangerous and scary exploring many sick dark truths hidden in our multi-dimensional psyche we ourselves are not aware of. So be warned and here it goes.
One -
Mr. X meets a beautiful lady in a pub/disco of a five star hotel. From the waiter he finds out that she is a sex worker. Knowing the inviting fact he decides to ask her for a night out. He makes an offer calmly. But the lady replies, “Yes, I work for money, but today cannot accept the offer as I have to return home”. So she says NO.
Hearing the denial, Mr. X gracefully accepts it saying, “May be next time” and moves away from her table heading towards the dance floor.
Everything fine…… following the rule of mutual consent….. respecting each other’s choice!
Two -
Mr. X meets a beautiful lady in a pub/disco of a five star hotel. From the waiter he finds out that she is a sex worker. Knowing the inviting fact he decides to ask her for a night out. He makes an offer calmly. The lady hears the offer and readily agrees to the same and asks for the entire amount in advance.
Paying the agreed sum right there, they both walk towards the room booked by Mr. X. In the lift the lady cracks a vulgar joke and they enter the room laughing out loudly. Post a few minutes of usual introductions, they have a couple of drinks together sitting on the bed ... and now Mr. X is ready to begin the desired task for which he had already made the complete payment in advance. He takes off his shirt and switches off the light. But just then………. the lady gets up from the bed, starts wearing her shoes and puts the money back on the table ready to walk out of the room.
As Mr. X asks “What happened?, she says, “I have changed my decision, In no mood for doing it tonight. So its NO from me for now”.
The man remains stunned and from here onwards its you to decide what MR. X is supposed to do at this particular point of time when he has already spent the money on advance, room rent and drinks.
How should he react?
Should he react in anger, get violent and refuse to accept the unexpected denial opting for a forced act OR Should he calmly accept the refusal thinking “When a woman says NO, it clearly means NO without any further questions about the timing”.
Okay, let’s assume he decides to refuse the denial and then tries to get what he had paid for in a forceful manner. But fighting with him on the bed, the lady picks up the bottle and smashes it on his head causing severe injuries and then walks out of the room taking the money too.
Next suppose Mr. X files a police complaint against that sex worker and the case goes for a trial in the lower court.
Now whatever Mr. X tries to do, spending both his time and money together bringing in any big lawyer having a huge reputed fame and some powerful connections, he will not be able to win the case in all probabilities as the assault will always be considered as a self-defense act by the court taking the woman’s side.
But who should be considered guilty here in reality?
Or its too complicated to decide the culprit here!

Just give it a thought!
(Note : Informing all interested readers, the last ‘not to be missed – strictly must watch’ women oriented film (not any court room drama) added in BTC’s ‘Movies To See Before You Die’ list remains BOL (2011), which ironically was from Pakistan, known for its much more suppressive attitude towards their women. But as they say, it would be a crime to miss BOL. So just go for it at the earliest and amaze yourself.)

Here is the link to its BTC review.
BOL - Movie Review : One of most shocking and stunning movies, which will shake you hard as never before for sure.
Cheers!
Tags : Pink Review by Bobby Sing, Pink Film Review by Bobby Sing, Inspired Hindi films, Similar Hindi films, 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
 
 
17 September 2016 / bobbysing /
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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.)
Cheers!
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.
Cheers!
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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