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.


SULLY (English/2016) - A must watch exceptional classic that will reinstate your faith in both GOD and CINEMA together asking for a standing ovation. (Movies To See Before You Die - Biographical).

31st OCTOBER - Well-intentioned may be, but sadly another filmy take on the subject without any informative, educative or enlightening vision to portray. (Review By Bobby Sing).

BEIIMAAN LOVE - This should ideally be one of the last projects of Sunny Leone's India Tour before slipping into the avoidable new-age HUMA KHAN mode. (Review by Bobby Sing).

SAAT UCHAKKEY - Despite a mix of deliberate & natural acts along with lots of forced abuses, its still watchable and partially enjoyable too. (Review by Bobby Sing).

INFERNO (English) - Offers nothing fresh or exciting in a strictly routine or rather poor mystery thriller. [TTP (To The Point) Review by Bobby Sing].

LOCK (Punjabi) - An appreciable attempt from an honest & bold director who wished to break the set pattern of comedies but couldn't due to his evident limitations of a big star, producers and the fear of conservative Punjabi audience. (Review By Bobby Sing).

SHUTTER (Malayalam - 2012) (Movies To See Before You Die - Thriller/Drama).

MIRZYA - They killed MIRZA again after centuries, they just killed him once again like the betraying SAHIBA. (An unapologetic review by Bobby Sing).

TUTAK TUTAK TUTIYA - A surprisingly clean, comic-horror drama that keeps hanging between a below average & watchable film, yet again ruining two old cult Punjabi tracks. (Review By Bobby Sing).

GANDHI the film and paper planes flying in Chanakya theatre in Delhi. (Those Cherished Cinematic Moments : 2) - By Bobby Sing.

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October 28, 2016 Friday     
When one doesn’t expect anything from a project and still gets a surprisingly decent subject and a couple of fine performances too in an otherwise below average film, then it certainly cannot be considered as a complete disaster at all giving it the deserving credit.
However that still doesn’t allow me to recommend this mixed-genre product for a multiplex viewing to be honest, as such films can actually be enjoyed more on a TV channel, when one doesn’t have to make any extra effort or spend a good amount of money on the tickets along with the expensive food items.
A trilingual released in Hindi, Tamil (as DEVI) and Telugu (as ABHINETRI) simultaneously, TUTAK TUTAK TUTIYA is directed by Vijay (a famed filmmaker from the South) as his debut Hindi film and is also the first film of actor Sonu Sood as a producer.
Thanking JACKIE CHAN in the credits for probably the basic idea of the plot, which also makes you recall movies such as Nargis’s RAAT AUR DIN (1967), NASEEB APNA APNA (1986) and BHOOL BHULAIYA (2007), the film begins on a terrible note wherein the dubbing and language issue crops up in the very first scene introducing Prabhudeva as an employee flirting with a new entrant. The unbearable scenario continues for a good amount of time with Prabhu visiting his hometown to see his ailing grandmother. And the film thankfully gets on the track with Tamanna coming in as Prabhu’s wife and they both returning to Mumbai beginning their new life in a rented or rather haunted house.
So it’s from here onwards that the film reveals its interesting comic-horror theme defying all the logic (declaring the interval). And post intermission it’s all about how Prabhudeva gets forced to manage his wife and the ghost of a struggling film actress together living in the same house.
Sounding good as a basic subject of a film dealing with comedy and horror, the director surely comes up with a few good sequences at times focusing on Tamanna and Prabhu. But overall the team fails to play with the idea in any highly appreciable manner using the interesting cast ensemble (wherein the three leading actors have their own experience in Hindi, Tamil as well as Telugu film industry) shooting the scenes thrice in three different languages.
Completely revolving around Prabhudeva and Tamanna as a couple, TTT manages to find some ground only in its second half (dealing with its actual plot) and till then you just have Prabhudeva trying to act and entertain, especially in its initial 30 minutes. Strangely you don’t see him dancing at all post his opening song which is sure going to disappoint many die-hard fans. But the choreographer turned actor-director surprisingly delivers a much better performance in the latter half displaying his fine comic timing recovering amazingly from a visibly shaky start.
Making a grand entry as a superstar of Bollywood, Sonu Sood is mostly there in the second half of the film but is unable to add anything significant playing a highly clichéd role seen many times before. Moreover when an actor turned producer is more interested in showing his body and six packs in a song instead of focusing on the film, then its surely sends some wrong signals to the team affecting the end result.
In short, TTT majorly gets saved by Tamanna playing her difficult role well using some entertaining voice modulations portraying the contrasting personas. She is much more than a glamour doll in this film moving ahead than her last few ventures. And providing a perfect support is the consistent Murli Sharma as the realistically entertaining star-manager of Sonu.
Technically the film doesn’t offer anything above the routine with the music failing to make any impact whatsoever, yet again rehashing or ruining two (decades old) cult Punjabi tracks as Tutak Tutak Tutiya (originally sung by Malkit Singh) and Saadi Rail Gaddi Aayi (originally sung by Mangal Singh), both from the late 80s.
Taking the hint from these songs, the makers decide to call their film TUTAK TUTAK TUTIYA when neither the title has any meaning nor the film has anything to do with these unusual words. In fact this is yet another strong proof of the truth that how Bollywood repeatedly goes back to PUNJAB again & again for its themes, characters, music and titles too.
Overall this is no doubt a rare, clean, comic-horror film which can simply be recommended for a time pass routine watch on a TV Channel, but not for a theatre viewing for sure involving a big cost.
Rating : 2 / 5
Tags : Tutak Tutak Tutiyan Review by Bobby Sing, Tutak Tutak Tutiya Film Review by Bobby Sing, Comedy Horror genre, Hindi comic-horror 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
07 October 2016 / bobbysing /
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Toba Tek Singh - Review by Bobby SingIf you are in any way related to India and Pakistan, but yet unaware of a legend called Saadat Hassan Manto, then allow me to say that you haven’t really experienced one of the most blessed and brutally honest story tellers belonging to both the nations yet. And probably haven’t felt, read or known the actual, hidden reality behind three key subjects of life namely - a human’s eternal struggle with sexual lust, the sad state of woman in our sick-biased society and the unimaginable-horrendous bloodbath seen in the years of Indian partition around 1947.
In fact any kind of study about Indian Partition can easily be considered as ‘Incomplete’ if the person hasn’t looked into those times through the deep, sharp and straightforward expressions of Janaab Saadat Hassan Manto.
Among the most famous characters created by the maestro is of Sardar Bishan Singh, also known as Toba Tek Singh by the name of his native land, and this one story has been adapted several times before by various writer-directors of different eras since its origin post the Indian Partition. However after watching this latest adaptation by Ketan Mehta and his team featuring Pankaj Kapur, I haven’t got a slightest of doubt in rating it as the best ever film made on this particular story till date …….. that is sure to remain THE BEST looking at the present scenario around in terms of thoughtful filmmaking.
The above expression might sound ‘a bit exaggerated’ to many, but there is actually more than one reason for such praises articulated in the descriptive heading above, explained in the following points.
Adaptation – The present version of the story TOBA TEK SINGH excels as an adaptation since it rises much above the level of mere presenting the story as written by Manto, following a quite descriptive and innovative narrative never seen before in any other adaptation of the subject till date.
Interpretation – It has the rare merit of interpreting the original idea of its writer in the most authentic, meaningful and heart-touching manner that was more or less missing in all the previous attempts made by the various directors. May be because, they were just sticking to the famous storyline without trying any innovation or reaching its actual depth in absence of any gifted artist to play the lead role of Sardar Bishan Singh.
Visualisation - Though having a short duration of around 70-75 minutes, Ketan Mehta never visualizes it as a short film and shoots it exactly like a full length feature with a brilliant art direction, splendid camerawork and a perfect casting. Plus it’s the background music that truly enhances its overall impact on the viewer exactly like ‘a period drama’ shot at a decent scale. Having said that, I personally did feel the much required heart-piercing melody missing in those traditional verses & alaaps added just at the right moments in its various important sequences.    
Expansion - The most important and exclusive feature of Ketan’s TOBA TEK SINGH remains its highly appreciative, well thought of and pleasantly creative expansion given to the story idea by Ketan as the writer too.
And why it’s exceptional?
Because (hold your breath), Ketan adds the character of Saadat Hassan himself in the script as the Officer-In-Charge of the mental asylum, who has a passion of writing short stories. So he narrates the whole story of Sardar Bishan Singh and his inmates through the eyes of Saadat only that truly deserves a great unanimous applause indeed. 
Amalgamation - The second exclusive feature of this unmissable venture is that its just not the presentation of a single story of MANTO, but an amalgamation of more than one famous works of his, beautifully interwoven in the narrative giving a sudden unexpected shock to the viewers (as always there in Manto’s last lines). But maintaining ‘the exclusivity’, I will not like to ‘OPEN’ the name of that other prominent story featured in the film as a significant addition.
Toba Tek Singh - Review by Bobby SingEnactment - A film like TOBA TEK SINGH can never be made by a director alone, even if he has an outstanding vision in his mind to present a particular script idea. A director always remains dependent upon a team of equally talented actors who can enact his vision on screen in the most accurate manner. And to give them their much deserving credit, this particular gem could only become possible due to three highly talented and blessed artists namely Pankaj Kapur (as Toba Tek Singh), Vinay Pathak (as Officer Saadat Hassan) and the actor playing the role of asylum’s old caretaker. Together these three simply transport you into that painfully tragic era when even the decades old friends suddenly turned into two deadly enemies.
Individually where Pankaj gives another powerful, career best performance as Sardar Bishan Singh; Vinay very subtly plays his assigned role of Saadat Hassan with an adorable elegance and the old caretaker simply wins your heart with his constant smile and well written one liners right from the first scene itself.
In fact post experiencing this magnificent film, one is forced to accept the ugly fact, that how in our country we do not recognize and honour the blessed masters of their art in their given lifetime and always try to present them as the most loved and respected achievers of their field when they are already gone.
Sharing my personal viewpoint, the moment I read the story of TOBA TEK SINGH in the early 90s, I had only two actors in mind who could authentically portray the tough character on screen with their own conviction. One was Virender Saxena, who played the role of an eccentric, thin-bodied Sikh in the widely acclaimed TV series TAMAS, and two – Pankaj Kapur who could easily slip into the body of Sardar Bishan Singh knowing the language, tradition and region at a personal level. Luckily the role reached the most deserving candidate after almost three decades and the result is finally here proving my assumption right.
On a concluding note, this ‘lesser known’ gem should soon be released by the producers (Zee) either in the selected theaters or on any of their TV channels at the earliest, since TOBA TEK SINGH is not only a film with the power to transform hearts at both sides of the wires installed ...... but its also a rare masterpiece created by a blessed, visionary team that ideally should not be kept away from its starving audience for long.
(Note : The film has been made as a part of the Zee’s Zeal of Unity initiative wherein renowned directors from India and Pakistan are brought in together for making some thoughtful films.)

Rating : Movies To See Before You Die
(Make sure you do watch the film (when available) as well as read MANTO as the ‘next urgent task’ of your life and stay blessed.)
Tags : Toba Tek Singh Review by Bobby Sing, Toba Tek Singh Short Film Review by Bobby Sing, Manto's Toba Tek Singh by Ketan Mehta, Films made on Manto's stories, 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, Movies To See Before You Die, Must Watch Hindi Films, Unmissable Films made on Manto's stories.
27 July 2016 / bobbysing /
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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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