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.


TOBA TEK SINGH - An unmissable adaptation, interpretation, visualisation, expansion, amalgamation and enactment of MANTO's immortal stories by Ketan Mehta and Pankaj Kapur together. (An overview by Bobby Sing) (Movies To See Before You Die - Drama).

The curious cases of lead actors doing similar roles in two films without realizing or revealing intentionally. (A bobbytalkscinema EXCLUSIVE).

MADAARI - Though its not any polished or realistic attempt supported by three fine acts, yet the well-written dialogues and the climax do make you feel like watching A WEDNESDAY sequel. (Review By Bobby Sing)‬.

KABALI - Why our icons agree to do the same things again and again so irresponsibly resulting in such a huge disappointment? (Review By Bobby Sing).

GREAT GRAND MASTI - Learning from the past, its a much toned down attempt mixing the genres of a sex comedy and horror offering a bearable second half. (Review by Bobby Sing).

GURU DUTT as a fun-loving, flirting youngster dancing on a Bhangra based song in one of his last films. (A Remembrance by Bobby Sing).

A positive change is here at Bobbytalkscinema dot com - By Bobby Sing.

KERRY ON KUTTON - Just an interesting attempt giving you nothing in return wasting the potential characters. (Review By Bobby Sing).

SULTAN - A typical masala movie having a better first half, casually showcasing the reputed events as well as the emotional tragedy, with Salman doing more hard work than his writer-director. (Review By Bobby Sing).

SHORGUL - Wish this was made more competently and responsibly exploiting the talented cast. (Review by Bobby Sing).

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July 29, 2016 Friday     
If a director gets three dependable veterans as Amitabh Bachchan, Nawazuddin Siddiqui and Vidya Balan (in a guest role) to work with, chooses an exciting genre of a mystery crime thriller to make a film upon and has even got a well-made foreign original to follow (buying the official rights), then the chances are very rare that the project goes wrong and doesn’t turn out to be anything above average, missing that much required grip and pace.
However, the rare example is here in the form of TE3N, which is an official adaptation of Korean film MONTAGE (2013) revolving around two different kidnapping cases of kids happening at a gap of 8 years. Riding high on the emotional trauma felt by a weak, soft-spoken old man still looking for the clues post 8 years of the tragedy, TE3N is certainly rich in its visual looks and craft, but doesn’t turn out to be any fast paced engaging thriller with a director functioning more in the awe of his lead legendary star instead of the film itself.
In other words, since the captain of the ship, Ribhu Dasgupta mostly remains interested in the character of Amitabh Bachchan a lot more than the pace, suspense and shock value of his film (especially in the first half), TE3N eventually suffers a lot and is only able to give you some thrilling moments in the concluding hour alone becoming its major saviour.
Yes, apart from the terrific performance of AB, the film has an eye catching backdrop of Calcutta too shot well by the cinematographer Tushar Kanti, making you feel the charm of an old city (and life) with the use of cassettes, tape recorders, an obsolete scooter, fountain pen, trams, telephone booths and a lot more as a visually well-conceived project. But its not as gripping and engaging as a mystery thriller should be with a lazy and boring first half to be specific.
Thankfully the director does get back to those expected twists and surprises in the final hour of the film as the secret unfolds. But a mystery movie or a novel actually works when its first half grabs you from the collar and forces you to be attentive looking for the clues left in the narration with no loose moments as such. Sadly here the suspense element remains at the back seat right from the beginning (using the unwanted songs too) and many silly insertions further ruin the impact bringing in the predictability factor. As a result, even when the climax has some good surprises for the viewer revealing the actual culprit, the film isn’t able to make any solid impact and one doesn’t feel like having seen something exceptionally engaging from the team capable of doing a lot better.
Personally I got the clear indication of mediocrity coming ahead, the moment I got to see the unusual and ‘strictly not funny’ church sequence, where the father (Nawazuddin) starts reciting the verses of a funeral in front of a couple standing there to get married with a smile. And on being reminded of the offensive mistake he says, “Arey its just the same thing, but you will understand only after a while!” (Great indeed!)
Further it honestly got worst, when this father only turned out to be the investigating police officer of the kidnapped girl’s case 8 years back. Frankly I couldn’t get the thought process behind such strange insertion in the film serving no purpose at all (Its not there in the original). May be it was done just to paint an unrelated picture of a secular India by using the characters of a father in church and a Muslim in the graveyard helping the old man.
Anyway, the other most disturbing scene raising some strong doubts about the personal experience or vision of its director Ribhu Dasgupta was also right there in the first 15 minutes itself, when I got to hear a cassette in a tape recorder getting stuck on a particular phrase & repeating it on a loop like a record player (LP). Now having used the tape recorder for a good two decades of my life, I haven’t seen any machine doing this ever as there is no mechanism in a tape recorder that can make it happen logically.
Here for many viewers, this might be a very minor thing to be ignored without giving much importance. But when a director is considered to be a great creator by noticing all the minute things only used in the backdrop of his major scenes then we also cannot ignore such strange minor insertion that clearly indicates that the man actually doesn’t have the ‘real’ understanding of that gone era and the nostalgic machines to be honest.
Besides, revealing the weakest point of the film, it’s the voice of the kidnapper on the phone call that straight away gives away his identity even to a layman spoiling the entire suspense. In short, the voice was not at all distorted and could easily be recognized heard somewhere in the last few scenes itself quite weirdly.
Depending entirely on the major final twist instead of any interesting build up, TE3N also gets indulged in a lot of spoon feeding that is one feature our Hindi films are not able to get off with. Where cinematography adds a lot in its overall impact, the background score adds to the boredom in the first half and then begins creating the excitement post a good 50 minutes towards the intermission. Plus mentioning a production catch, I think Amitabh’s house shown in the film was the one used in the short film AHALAYA too made by the same team (that isn’t any flaw of course!). Musically I couldn’t find a song that could reach out to me in musical terms. So this is yet another example of a soundtrack having some fine lyrics but not the melody, Hindi film music fans keep waiting for.
In all, it’s just Amitabh Bachchan who single handedly lifts the film through his emotionally moving performance and nobody could have done it better expressing the love, pain, guilt and old age other than the blessed actor. AB is just terrific in his portrayal as required but I wish the director had given much more attention to the script and the missing pace in it moving ahead than his personal love and admiration for the living legend.
With the story progression taking its own long time to come to the much awaited twists, the other department where the film is not able to deliver the expected results are the performances of both Nawazuddin Siddiqui and Vidya Balan (surprisingly). Where Nawazuddin is just there offering nothing fresh, Vidya Balan looks like wasted in a deliberately created role doing nothing significant. However Sabyasachi Chakrabarty, the Bengali veteran does it well reminding me of his Feluda movies.
Summing up, as a shocking crime thriller TE3N does have an engaging second half giving you the content expected. But it’s the sluggishly visualized first half that pulls the film down quite severely. So you can surely give it a try, but don’t expect any fast paced, spell binding, stunning mystery thriller to be exact.
Rating : 2.5 / 5  (including an additional 0.5 just for the terrific AB)
(For the readers, who wish to know what TE3N precisely missed as an adaptation of its original Korean film MONTAGE in comparison?)
If you are really interested in this particular genre of crime mystery thrillers, then you will be both surprised and annoyed knowing an extremely important or the most crucial point completely ignored or shockingly missing in this Hindi adaptation.
(Spoilers Ahead – Please read it after watching the film as it reveals all)
A kidnapping-murder case of a young girl is 15 years old and the very first scene in MONTAGE shows the detectives visiting the mother of the girl (converted to the grandfather in TE3N) giving her an unexpected, disheartening news all of a sudden.
The disheartening news is that as per the law of the country an unsolved case has to be dropped after 15 years of its happening stopping any kind of official proceedings. So the detectives are here to inform that its all going to end in a couple of days and we will not be investigating any more following the set procedure. The lonely mother gets shocked and cries, “No, you cannot do that”.
That very night, the detective visits the place of accident (besides the river/sea) to pay his last personal homage to the dead girl and is shocked to find a flower nicely wrapped and placed at the very spot as if someone else was also there to pay his own respect. The detective at once calls the mother to ask whether it was her but gets the answer in negative. So that had to be the killer, also visiting the place for the last time with a flower, as the case was going to be closed in a day making him free forever.
In clear words, even the killer was waiting for this specific tenure of 15 years and the case getting over officially. But now finding the flower, it was evident that the wanted man was right there in front of everyone only to be found in the remaining time before its all over as per the country’s law.
Hence from here onwards the fight against the time begins, wherein the detective becomes desperate to find the culprit within the next 24 hours and the mother also gets hopeful beginning her own search for the same individually.
The time keeps on passing and despite getting close to their man, they are not able to find him in the given period. Suddenly, just a few hours before the official deadline, there is news of another kidnapping happening in the town exactly in the same manner as it was done 15 years back.
As a result, though the lawful limit of investigation is soon going to be over, the old case still cannot be closed as a new crime has been committed with the same modus operandi after 15 years.
And who has done the fresh kidnapping, it’s the mother herself as she did manage to find the real kidnapper within the short time but couldn’t find any solid proof to submit to the authorities. So skipping the idea of killing the man herself, she had to do something that the old case doesn’t get over in the next few hours making him free forever.
THAT PRECISELY is the rock solid base behind the well written Korean film MONTAGE, which goes entirely missing in TE3N for some unknown reasons, sadly resulting in a pretty average film.
As a matter of fact, TE3N also once again reveals our decades old style of film-making where the STAR is treated much more important than the script itself. And the point gets strongly proved in this particular case as where MONTAGE entirely progresses considering the detective as its lead character, TE3N always keeps it major focus on the old grandfather changing the entire perspective and the important center-point of the original mystery.
What a miss we have here unfortunately!
Tags : TE3N Movie Review by Bobby Sing, TE3N Film Review by Bobby Sing, Inspired from Korean origial, Korean films adapted in Hindi, 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 Films, World Cinema Inspired Films, Official Remakes of World Cinema films
10 June 2016 / bobbysing /
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The present Hindi version of TRAFFIC is the third official remake of the Malayalam hit released in 2011 with the same title. It got earlier remade in Tamil and Kannada, but this recent remake was considered special as it was directed by the man behind the original, Rajesh Pillai, who unfortunately left the world in February this year at an early age.
Reviewing the film as an individual project away from any comparisons, TRAFFIC doesn’t turn out to be any great, exciting watch bringing you on to the edge of the seats as desired. The film begins calmly introducing all related characters and keeps moving at the same pace, even after the race against the time begins post the initial 50 minutes. The background score that ideally should have been the backbone of this particular film fails to create the excitement and a completely dull feel throughout ruins the whole spirit of urgency in a highly unexpected manner. Moreover apart from the two suffering mothers, all other characters are not able to contribute in the emotional need of the subject making you feel the pain felt by the parents, particularly of the dying boy.
In short only a few things make an impact apart from the sincere performance of Manoj Bajpai in this latest Hindi version of TRAFFIC. One is the heart wrenching portrayal of the trauma faced by Divya Dutta, Kittu Gidwani and Sachin Khedekar together (that even surpasses the original). A melodious and meaningful sad song ‘Kai Khwaab Hain Baaki’ coming just at the right moment making an instant connect, Jimmy Sheirgill trying hard to create the tension to his level best and the end credits mentioning the actual event with photographs of the families involved.
In other words, one would easily rate TRAFFIC as a well-intentioned film with its heart at the right place that can be seen once. But still, I would not recommend it to BTC readers as I don’t wish you to form an inferior opinion of the theme and drop the urge of watching the original Malayalam film after going through this strange, lousy remake by the same director.
In fact I was quite surprised seeing the latest version of TRAFFIC by the same man, as here instead of enhancing it further, he goes too soft in his execution completely ruining the plot. And this is the first time I have witnessed a director deciding to underplay a fast pace thriller instead of overdoing it while going for a Hindi remake having a much wider reach all over the world.
Traffic - OriginalSo paying the right tribute to the director not with us anymore, I would sincerely wish that his original Malayalam film gets seen by all friends instead of this Hindi remake, giving him the much deserving, loving and respectable farewell.  No doubt, the original too has its own minuses and isn’t any perfect film, but it certainly is a far better venture and a must watch for all interested in fast paced, innovative thrillers based on a real life event.  
The Official DVD of Malayalam TRAFFIC (with English Subtitles) can easily be bought at just around Rs.100 online at leading portals like Amazon. And following is the link to its review at BTC mentioning some ‘exclusive’ features that might be compelling enough to make you go for it at the earliest.
However for friends interested in a comparative study in terms of execution, do watch both the original and Hindi version in a day and notice:

A. How the right background score successfully adds the much needed adrenaline rush to the narration in one and simply fails in the other.
B. How fast intercuts by the editor (using an upbeat song too in the end) brings you on to the edge of your seats getting so involved in the journey.
C. How the change of sequence from the ‘Superstar-Fans’ to ‘A Religious Procession’ completely hampers the pace affecting the film quite badly.
D. And how the spirit of the film grows like a crescendo post the initial 45 minutes in the original and doesn’t turn out the same in the Hindi version progressing in an unexpectedly lazy manner.
Summing up, this is certainly an opportunity lost wasting a highly potential plot in a film that is not going to impress the Hindi film viewers for sure. Hence with a heavy heart, I would once again request to go for the original Malayalam version instead and have a great evening together with the family raising a valid question that,
‘What would have been the scenario, if the patient here was a daughter of a poor common man instead of the rich and influential superstar?” - Give it a thought!
Rating : 2.5 / 5
Tags : Traffic Movie Review by Bobby Sing, Traffic in Hindi Review by Bobby Sing, Traffic Remake in Hindi, Inspired Hindi films, 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, Offical Remakes of South Hit films, Must Watch Indian Regional Films Reviews at bobbytalkscinema.com
06 May 2016 / bobbysing /
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In commercial terms, a sequel of a big surprise hit known for its novel, entertaining concept exploiting the infamous Osama Bin Laden looks like a pretty safe bet. But in terms of huge expectations to be fulfilled offering an equally good or a better time in the theatres, it’s an extremely difficult target to achieve for a sequel and TERE BIN LADEN: DEAD OR ALIVE isn’t any exception to the accepted fact unfortunately.
In few words, this time director Abhishek Sharma fails to deliver an equally engaging and hilarious film despite having an interestingly written plot roping in the original hit, its making, the success story and the consequences of its over-famous status all over the world (due to the exactly similar looking Osama) surprising the various terrorist groups as well as the American government.
However it’s the screenplay that is unable to materialize on the potential plot and all we get to see are some occasional witty scenes mainly in its first half like the wickedly unusual Olympic organized by the terrorists, the star-attitude in eyes portrayed by Manish-Pradhuman and the introduction sequence of the American president along with Sikander Kher as his intelligence officer looking for the body double of Osama. Giving the due credits, the entire cast keeps trying hard to come up with something good constantly but the low humour quotient in the writing & dialogues, doesn’t allow them to tickle our funny bones as desired. In fact the clichéd beginning with a supposedly comic sequence (again) based in Delhi’s Chandni Chowk forced me to think that why suddenly these narrow lanes of Chandni Chowk have been an essential part of many Hindi Comedy films in the recent past?
No doubt the film keeps progressing fast due to its crisp editing but with a strictly below average soundtrack (except the catchy rap number), routine camerawork, not so noticeable background score and a tacky VFX, it simply turns out to be a half-baked product shattering all expectations raised from the sequel. Moreover at times it also strongly reminds you of a hit Hollywood comedy TROPIC THUNDER (2008) revolving around a related theme.
In the performance department it’s really ironical to see Ali Zafar, the man who won hearts in the original, becoming the most annoying factor in the sequel, more interested in singing songs and showing his six packs instead of any acting skills. The otherwise highly talented Manish Paul also fails to make you laugh due to the uneven writing and same is the case with Pradhuman Singh, who was honestly too good in the original. Among the other wasted actors, Piyush Mishra and his partially enjoyable sequences remind you of another similar dud BANGISTAAN, whereas the actor playing the cameo of President Obama could have been utilized much better. In all, only one man makes his presence felt in the entire film and he is Sikander Kher as the surprise package playing the twin roles of an American Intelligence Officer and an Indian Film Producer with an appreciable ease. As a matter of fact, though his make-up and American accent seems to be over the top at times, yet Sikander remains the only person you enjoy watching TERE BIN LADEN : DEAD OR ALIVE to be precise.
Overall, where many might not feel thoroughly entertained sitting in the theater post buying a costly multiplex ticket, many might consider it entertaining enough while watching on a TV channel in the coming months without making any extra effort or expenditure. So do wait for the same and catch it later especially for Sikander Kher.
Rating : 2.5 / 5 (including the additional 1 only for Sikander’s spirited act becoming the big saviour.)
Tags : Tere Bin Laden 2 Review by Bobby Sing, Tere Bin Laden Dead or Alive Review By Bobby Sing, Inspired Films, Inspired ideas from the West, 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
27 February 2016 / bobbysing /
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