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April 17, 2014 Thursday     
A few weeks before when I was told that the upcoming film TOTAL SIYAPAA is an official remake of a Spanish comedy ONLY HUMAN aka SERES QUERIDOS (2004), I eagerly watched the original and was in big doubts as the script required a great amount of transformation suiting our Indian mindsets. The film had its entire story progression based on a typical element of foreign humour which essentially demanded a complete Indian makeover undoubtedly and therefore I was excited enough to see that how they are going to do that in TOTAL SIYAPAA. Moreover since the film was written (adapted) as well as co-produced by Neeraj Pandey, the mastermind behind A WEDNESDAY & SPECIAL 26, along with Eshwar Niwas being there as the director, I was expecting it to be at least a decent entertainer with some fresh interesting faces brought together.
But unfortunately what the team offered in those approximately 110 minutes was way below the mark or hugely disappointing, with the main culprit being the writing only, which is nothing but a scene to scene adaptation of its original Spanish film using the same elements of foreign humour, weirdly. In short we only get the nationalities changed here to Indians and Pakistanis, whereas the rest remains almost the same with only few minor additions by the makers. And certainly that is the reason why one feels like hugely disconnected while watching it and doesn’t get what was promised by its exciting promos in terms of family confusions, lovable fights and enjoyable humour served well in the short duration of less than 2 hours.
Talking about a family set in London, the film begins on a very routine note with a melodious love song coming in its first few minutes itself. A predictable, forced in sequence involving a Mr. Bean look-alike policeman comes next, which simply fails to generate any kind of laughter at all. And then the immensely likable Kiron Kher is there with some good entertaining sequences in the first 30 minutes. But soon, she also falls in the same trap of ‘tough to relate foreign humour’ after a while and the film starts moving on a downward swing from here on. Actually what hurts you the most, while watching TOTAL SIYAPAA is that the film never picks up post its initial good moments and stays in that same state of 1st or 2nd gear only throughout. The screen says interval in just about 50 minutes and the veteran Anupam Kher actually makes an entry in the second half.
The visible disconnection with the happenings on the screen continues to be the major drawback of the film, especially post interval and one doesn’t feel like enjoying its any supposedly funny scene in reality. The soundtrack does have a few melodious tracks such as ‘Palat Meri Jaan’ and ‘Nahi Maloom’ but they make no contribution in the overall impact of the film at all. Following a very questionable pattern, the director strictly follows whatever is there in the Spanish version as it is, like the problem created by the soup bowl, a little girl posing as pregnant, the father’s experience with the hookers and even the colleagues playing kinky in the office shown in the exact manner, which fails to make any kind of impact on the audience. Moreover even the Cinematography & Background score departments also take a lot of inspiration from its original source, probably skipping the tougher path of trying something new.
In the performance section, Ali Zafar suits the role perfectly and he tries his best looking fresh & involved. Kirron Kher once again delivers a polished but routine performance of a Punjabi mother and Yami Gautam leaves a positive impact as the gorgeous young lady in her second film too. As the blind grandfather, Vishwa Mohan Badola could have been used in a better way. Anuj Pandit Sharma gets nothing much to do playing the brother-in-law and Sagar Arya (Brother) overacts in his short role. Surprisingly Anupam Kher gets utterly wasted in a very silly kind of character and he is just there in few scenes towards the end only playing the lost father.  
However the one actor who simply catches your attention right from her first scene itself remains Sara Khan, playing Yami’s elder sister. In fact her act rightly proves that apart from the looks, its only the writing which can bring forward any single character out of a whole bunch of actors in a particular scene. The girl looks stunningly attractive and I truly found it amazing that despite Yami Gautam being there, my eyes were still searching for Sara Khan as she did manage to reach out to the audience much better than anyone else on the screen unarguably.
In all TOTAL SIYAPAA is a big letdown, particularly when it is coming from Neeraj Pandey and I was really surprised that its entire screenplay was not re-written but just adapted as it is from its Spanish original without putting in any serious thought, resulting in such a mediocre product.
Rating : 1.5 / 5 (Including 0.5 only for its 2 melodious songs)
Tags : TOTAL SIYAPAA Review By Bobby Sing, Total Siyaapa Movie Review By Bobby Sing, Total Siyapa Film Review by Bobby Sing,New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, Official Hindi Remakes of Foreign Films, Inspired Films, Copied Films
07 March 2014 / bobbysing /
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(Spoilers – The review reveals film’s basic storyline)
The appreciation showered upon this unusual but delicious LUNCH BOX all over and the well planned publicity campaign (turning it into a talk of the town in few weeks), did manage to cross the visible limitations of promoting such off-beat projects successfully. But the day I saw its first-look poster with a catchy tagline, featuring the lead stars sitting in vertically opposite positions (facing each other), it appeared to me as something, both seen and read before in some other projects. Still, the excitement was quite there due to its inviting star-cast and the film did manage to provide that expected creative satisfaction too, mainly due to its stellar performance and few innovative, well thought of insertions used brilliantly. So keeping the discussion on its inspirational sources for the last, let’s first talk about the exceptional merits of the film revolving around the wrong exchange of a LUNCH BOX by chance.
To begin with, this is not exactly a love story as widely publicized in its promos and posters. On the contrary it is a beautiful and expressive film on LONELINESS, experienced by various persons in their distinctive lives individually. And when a film dares to talk about those lonely moments of life so lovingly, then it is bound to touch every sensitive adult giving it a serious watch, since we all have felt that loneliness somewhere in our life, sooner or later. To give you a fair idea about all its interesting characters dealing with their own complexities of life alone……..,
 LUNCHBOX is a story of a loving housewife, who is being regularly ignored by his busy husband, probably due to an affair with another lady.
It’s about a lonely widower who is about to retire after 35 years of a single job and gets excited as he accidently gets in touch with an unknown housewife who is an excellent cook.
It’s about a grown-up orphan, who has an innocent smile and tries to learn every art of life alone with his own efforts.
And it talks about an old lady who is fed up of feeding and looking after her ailing husband single handedly, every day and night from years.
Now reading the above description it may sound like a depressing movie talking about all the gloomy days lived by its various characters on the screen as the sub-plots. But THE LUNCHBOX rises much above this negativity surrounding its entire proceedings and comes up as an extremely positive film with a single master stroke played by the director, of a voice without a face calling from the upper floor. And truly speaking, the whole film simply turns into an enjoyable tale, depicting the hard realities of life just because of this single insertion of Bharti Achrekar’s voice and her passion for music cassettes playing the hit track of SAAJAN and more from the floor above. Supporting these positive vibes, we have the ever smiling character of Nawazuddin too, providing those much needed lighter moments in the film to keep the memento going. But actually it’s that one invisible voice only, which certainly remains the most appreciable and innovative thought incorporated in the film directed by Ritesh Batra as his debut venture.
As expected, THE LUNCHBOX is a must watch for its powerful performances by Irrfan Khan, Nimrat Kaur and Nawazuddin. But surprisingly the order of these worth watching acts is not the same, routine one as before. To be honest with their art, THE LUNCHBOX is more a Nawazuddin and Nimrat Kaur film than a Irrfan one. No doubt Irrfan puts up a great show playing the lead role of an aging old man (especially in the scene talking about that odd smell in his bathroom). Yet the show stealer here remains Nawazuddin as the trainee, followed by Nimrat Kaur, superbly playing the lonely housewife caught in a dilemma. The supporting cast featuring Nakul Vaid, Lillette Dubey and more are just fine. And so is the background score and cinematography of the film providing the desired realistic feel of our daily life impressively.
However despite the above praises, I would not be able to call it as an exceptional or near perfect film due to its few unfortunate shortcomings related to its length and the open climax. At around 109 minutes, THE LUNCHBOX goes beyond an acceptable length and becomes quite monotonous after the initial 20 minutes. Actually it can easily be called a short film of 60-70 minutes overstretched to an excessive length of 109 minutes resulting in some repetitive and forced in sequences (like the one of Nimrat’s parents). Secondly after playing it real well in a path breaking mode throughout, suddenly the film ends in an indecisive, confusing or inconclusive manner which just breaks the great momentum built leaving a sour taste. May be, both the monotonous sequences and the abrupt ending are kept to represent the real nature of life as it is (which is in fact repetitive as well as abrupt). Yet as a film, I strongly felt that it could have connected more with a different and enjoyable ending written with an unpredictable approach.
Therefore, YES as the representative of the new age cinema wave, THE LUNCHBOX is a must watch film, depicting ‘Loneliness’ in a positive way, rarely tried in our Hindi Cinema in the recent decades. But at the same time, its also not a masterpiece or a great path breaking film as being promoted. In reality, this is a more than a year old, unreleased project, which received wide appreciation in the festival circuits, waiting for a buyer. And probably it was only after seeing the success of SHIP OF THESEUS that the corporate production houses sighted this new arena of earning money (by promoting small budget films made on an off-beat subject) that they took THE LUNCHBOX and it got a decent release all over.
Now looking at the present scenario its indeed a tricky and debatable situation when Corporates acquire the rights of such thoughtful projects and then try selling them in the multiplexes at very high priced tickets by creating an overhype around them as per their known style. At one end it can be argued that at least they are making these films available for the willing audience in the theaters. But on the other, is it right to first create an undeserving hype around them in the media and then try showing such off-beat projects only in the high end multiplexes on some steep prices.
Taking the same thought further, Isn’t this biased practice going to make these unique films available only for the richer and elite section of the audience (who can easily afford the high prices multiplex tickets)? Or Are we assuming that the lower and middle class people of our country don’t have the intelligence, the mindset or willingness to watch such meaningful ventures in the theaters? Anyway keeping this subject open for further discussion in the comments, I would like to mention the inspirational sources of this LUNCH BOX as stated in the beginning of the review in the following points:
1. Firstly the poster of the film with the vertically opposite photos of its two lead characters seems to be highly inspired from one of the posters of film LOOPER (2012). And you can have a check by clicking at the link given.
2. Secondly the basic theme of the movie, wherein two strangers fall in love (without seeing each other), through their exchange of letters only, is not a novel or original one, since it has already been used more than once in English as well as Hindi movies stated below.
(In English)
THE SHOP AROUND THE CORNER (1940) - Exchange through postal letters.
IN THE GOOD OLD SUMMERTIME (1949) (Remake) – Exchange through letters & Post office.
YOU’VE GOT MAIL (1998) (Remake) – Exchange through E-mails sent from different names.
(In Hindi)
SIRF TUM (1999), NA TUM JANO NA HUM (2002), MITR MY FRIEND (2002) – All inspired from the “You’ve Got Mail” (1998) syndrome and the same reference was also there in MUJHSE FRAANDSHIP KAROGE (2011).
Interestingly, what the writer & director of THE LUNCHBOX have done in their script is that they have beautifully mixed the borrowed theme of ‘Exchange of Letters Between Strangers’ with the Indian proverb ‘A Way To The Man’s Heart Is Through His Stomach’, introducing the lunch box in their plot quite smartly. So here we have the letters not coming through any post office or e-mail portal but inside a lunch box wrongly delivered to a different person who is just passing through a changing phase of his lonely life. Further they have used two triumph cards to reach the niche festival audience in the world over and they are “A feeling of loneliness” subtly depicted throughout the film and the insertion of “Mumbai Dabbawalas” who have already got a global fame for their management skills and undying spirit of doing it right.
Summing it all, due to an inspired subject, long length and unclear ending, I would not be able to rate THE LUNCHBOX as higher as compared to the other reviewers. Still it undeniably remains a must watch movie for sure for its fabulous performances and for that one strong voice full of positivity from the above, which has no visible face like the Supreme Power.
Rating : 3.5 / 5
(Note : As a suggestion, if you really wish to see a masterpiece of Indian Cinema on the subject of Loneliness then essentially watch Vijaya Mehta’s PESTONJEE (1988) and give yourself a visual treat.)
Tags : Lunch Box Review By Bobby Sing, Lunch Box Movie Review By Bobby Sing, Movie Review at bobbytalkscinema.com, New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, Copied Films, Inspired Films
21 September 2013 / bobbysing /
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The Attacks of 26/11

The country was stunned with the barbaric terrorist attacks in Mumbai on the night of 26/11. And the film fans all over the country were further taken back when they saw the reports of Ram Gopal Varma visiting Taj after the ghastly event along with Ritesh Deshmukh in an official tour of his father, Late Vilasrao Deshmukh, the Chief Minister of Maharashtra in 2008. But as his answer to all the allegations imposed on him related to that unexpected visit, the veteran director later said that he was there just by chance and had no intentions of making a film on the event at all in the future.
Evidently the famous “Commitment" dialogue from Salman Khan’s WANTED clearly doesn’t fit in here as RGV did make a film on that unforgettable national tragedy after 4 years, contradiction his own statement given at that time, which in fact cannot be appreciated by a die-hard fan like myself. In other words, without supporting this breach of promise to the nation by the maestro himself, I calmed myself and went on to see this latest realistic thriller by RGV, once again expecting a come-back film from the trendsetter as always.
And hardly after 10 minutes into the film, it was really exciting to realize that RGV had just nailed it right this time and the master was back with his own personal take on the bloody attacks of 26/11 with a bang. Moreover as the end credits started rolling I frankly forgot that controversial issue or statement given by the director in 2008 and truly felt thankful to him for making this potent classic in his own unique way, which in fact is a must watch for every thoughtful person living in any part of the world irrespective of his caste, religion or region.
Putting it more bluntly, I felt extremely grateful to both Ram Gopal Varma (along with his team) & Nana Patekar for bringing it on in such an explosive manner on the screen, because in reality, no one else could have thought of making the movie with this vision in the whole industry other than RGV himself. And no one else could have portrayed the role of the helpless Chief of Police so brilliantly other than Nana among all the presently active big names you can ever think of. To be precise I would like to include the performance of Nana Patekar in TAO 26/11 among his 5 Career Best Performances till date wherein you get to see a completely different actor nowhere similar to the one we all love or are familiar with.
Coming to the FILM as they call it, I would like to say that THE ATTACKS OF 26/11 is not at all a film we are used to see in our usual Indian format. The project actually lies somewhere in between the genres of documentary and realistic depiction of such historical happenings. The reason being that it neither tries to show the real life events with some added flavours of heroism, nor does it care about any essential commercial elements to be added to earn some quick bucks in the first 3 days itself at the box office. In honest terms, this is a director’s personal expression or aggression on the screen talking about that deadly tense night and all its subsequent attacks at various places of Mumbai in his own lethal manner, which might not be approved by some selected sections of viewers (as expected).
For many it might be a disturbing take on the bloodshed with too much brutality on the screen continuing for much longer than expected. Few may find many actual known events missing in the portrayal by the director ending on an abrupt note showcasing the recent hanging. A few might be interested in pulling down the film as just another extreme project by the veteran with no conclusion of any sort. And a handful of people may consider it only as a good attempt made without any particular directions.
The Attacks of 26/11But for me it’s not easy to comment upon or rate a film of this stature so casually in just a few lines considering it like any other release of the month in routine. Because to say the truth, we don’t normally make films of this particular genre very often in our Hindi Cinema rising above the vision of the sick 100 crore target at the back of our minds. In the present commercial market, we don’t plan films which have the caliber to make us think about the uncertain world we are living in. The films which boldly question all the negative groups operating in the whole globe, targeting the lives of thousands of innocent victims for their own so called ‘causes’. The films, which give an opportunity to introspect deep within ourselves, about our precious life, which can be taken away by a wandering bullet or a bomb any moment, all of a sudden.
No, we don’t make films like these very often here in our part of the world. And that’s the reason why in my opinion THE ATTACKS OF 26/11 is not less than an insightful achievement made by the innovative director after a long time. Having said that, here we also have a new RGV in picture who has no issues to part with all those trademark camera angles of his and who even daringly points out the system’s incompetence in tackling such unexpected attack on its people, quite loudly. For instance, for the first time ever, I heard a top police official expressing his helplessness on the screen in these superbly written lines wherein he says that,                 
          “In my 27 years of service, the police always used to reach a crime spot after the crime was done with. But here was a case where the brutal crime was being committed right in front of our eyes and was even getting bigger and bigger with each passing moment quite easily. Yet we were unable to control it in absence of any formal training given to face such extreme situations and really didn’t know what was supposed to be done in order to save all those innocent victims.”
Now truthful dialogues like this and the many more in a unique thought provoking sequence on the teachings of Islam, between Nana and Kasaab in the second half were never seen before in a film by RGV (more inclined towards all fictional subjects). So if you are a fan of the maverick, then here is the one product you have been waiting for from pretty long with a new RGV behind the camera willing to take on the issues right from the front.  
THE ATTACKS OF 26/11 manages to shake you hard through its shocking sequences, not only because it has Nana Patekar admirably playing the clueless officer. But also because of Sanjeev Jaiswal who rightly plays the role of Kasaab with the much required hatred, jealousy and vengeance in his eyes enacted strongly. In fact I would like to rate the morgue confrontation scene between Nana and Sanjeev as one of most moving, transforming and disgusting scenes ever witnessed in our Indian Cinema till date.
The film certainly becomes more impactful due to its pulsating background score which successfully sends shivers down your spine while you watch the guns shooting blindly all over the place like a child’s play. Therefore I would suggest to watch it in a theater (instead of TV or Laptop screens) which has a great sound system installed otherwise you might hear distortion more than the sound as recorded. Being a thoughtful viewer you are bound to go silent as the voice of crying child stops with another shot from the gun and your eyes might feel the tears as you see the constable crying loudly seeing hundreds of innocent victims lying dead in front of him at the station.  Undoubtedly the stunning impact on the screen is a result of a fine team work comprising of its writers, cinematographer, art director and editor deserving praises. But apart from that the entire supporting cast also contributes hugely in the narration lead by Atul Kulkarni, Asif Basram, Ravi Kale, Ganesh Yadav and more.
Summing up, THE ATTACKS OF 26/11 made me speechless, it made be numb and I really wish the film is seen by more and more people just for the sake of good cinema to flourish in our part of the world. Further it will be really unfortunate and a sign of hypocrisy too, if we show enough enthusiasm and spirit to applaud similar genre of films attempted in the west like ARGO or ZERO DARK THIRSTY but refuse to praise our Indian film-makers to come up with such well made insightful projects as THE ATTACKS OF 26/11.
In short this is a film, which might teach you that precious lesson that CINEMA is not just meant to be watched for mere entertainment in the weekend holidays. It is a medium of expression which can equally bring forward some burning issues of the society on the lines of fine poetry, painting and literature. So, perhaps such films need to be watched as the food for your thoughts, avoiding the usual munching of your popcorns or burgers in the theaters.
Rating : Giving any Star Rating to the movie, would be like rating the martyrs of our own force, all innocent victims of the attack and its meaningful message. So I refuse to rate THE ATTACKS OF 26/11 out of sheer respect and would like to add this film into my list of “Movies To See Before You Die” right away.
Tags : THE ATTACKS OF 26/11 Movie Review by Bobby Sing, TAO 26/11 Review by Bobby Sing, THE ATTACKS OF 26/11 Review, Reviews by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews By Bobby Sing, New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
28 February 2013 / bobbysing /
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