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April 19, 2015 Sunday     
If one wishes to list the negative features associated with this first biggie of 2015, then TEVAR has got many. Beginning with once again being an official remake of a south hit titled OKKADU (Telugu – 2003) revolving around the same old repetitive plot seen many times before with a much longer length than required due to many below average unwanted songs thrown just at the wrong timings slowing its otherwise racy pace quite severely. Full of fights, swords, guns, goons and murder it has all clichéd characters ranging from a carefree boy-hero, his group of friends, a police officer father, a caring mother, a bubbly sister, an active politician with his cunning brother and a heroine who is the center of attraction as always in a typical Bollywood film.
But despite all the above mentioned flaws, I am still not willing to ridicule the film completely since it does give you many decent masala moments within this fixed format and has many technical merits in its favour too ranging from a pulsating background score, excellent camerawork and some well-conceived long action/chase sequences shot on actual locations, providing the much required exciting moments throughout along with some fine performance delivered by the known names.
Starting with an enjoyable local feel of a small town TEVAR opens energetically featuring Kabaddi, an introductory fight and a well-choreographed song "Superman" in the first 15 minutes. But then goes back to all formula twists as Sonakshi and other major characters enter the screen with some entertaining dialogues. Its major plot gets revealed just after the dragging “Radha” song and the film becomes entirely predictable post that sequence unarguably. The poor songs keep hindering the pace one after another adding to the over-length of the film making it more than 150 minutes long. And then, though the film keeps coming up with some engaging moments at a regular basis both before and after the interval, it sadly all ends with a pretty poor, obvious and over the top climax that should have been altered.
However what still makes TEVAR a fairly entertaining film for the masses is the sum of few well written dialogues, superbly conceived action as well as confrontation sequences and Manoj Bajpai alone to be straight. Arjun Kapoor gives an honestly worked out performance (particularly in the action sequences) justifying his banal lead character making a visible effort but his overall impact still lacks the punch probably due to the thin voice texture and a bit of over-confidence. Astonishingly Sonakshi Sinha once again does a similar ‘seen before’ kind of role as if she is doing it in a sleep walk whereas the supporting cast efficiently lift up the film featuring the impressive Raj Babbar (as the father), Deepti Naval (mother), Subrat Dutt (as Bajpai's sidekick), Rajesh Sharma (as the politician) and the girl playing Arjun’s younger sister.
Returning to Manoj Bajpai, the main savior of the film, its really amazing how he manages to add a lot of newness in a character that he has already played in a few films before. And that’s exactly the reason why he is considered one of the most gifted actors of our present times unanimously. In other words TEVAR majorly survives due to Manoj Bajpai ruling the scenes in particular along with the worth watching action, dialogues and cinematography capturing the local feel effectively. Having said that, its editing taking out at least 3 songs and few sequences could have resulted in much better film for sure.
Directed by the talented Amit Ravindernath Shar as his debut film, it does give you glimpses of an experienced man who knows his job well. And I hope he chooses a fresh theme next time coming up with a complete entertainer surprising both the masses as well as the classes together. The man has got the eye and probably an ear too as he aptly uses a soft sad number “Main Nahin Jaana Khereyan De Naal” towards the end that is an original song sung by the maestro Tufail Niyazi from Pakistan.
Ending on a nostalgic note, whenever there is a film like TEVAR solely made for the masses and smaller centers, I prefer to watch it in a single screen theater if possible as that remains the best place to watch such movies with the energetic roaring crowd instead of the silent, sophisticated audience of a multiplex. And all readers above the age of 35 would readily agree with the fact that watching a Bollywood masala movie in a single screen theater makes a major difference in your viewing and enjoying the film altogether without any doubt.
In short, nothing can beat the experience of watching a typical masala Hindi film at a single screen and its really sad that the coming generations are going to miss it. So if you love watching these movies specifically made for the masses and are a fan of Manoj Bajpai too then TEVAR can be tried as a one-time watch for the exceptionally talented actor alone,  preferably at a single screen.
Rating : 2.5 / 5
Tags : Tevar Movie Review by Bobby Sing, Tevar 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
 
 
09 January 2015 / bobbysing /
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If one wishes to give it a particular genre, then yes THE XPOSE can be called a murder mystery, more interested in portraying something else ahead than its actual crime. A ‘Who-Dun-It’ investigative drama, in which the murder actually happens just before the interval and till then the makers remain too involved in reliving both the famous and not so famous controversies of the most memorable era of Hindi films (before the 90's namely 60's & 70's).
THE XPOSE begins exactly like a 60's film with a song playing with its titles and then a voiceover introducing its entire cast with some interesting one liners. Next it straight takes you on to a revival journey into the Golden Era, revealing few dark secrets of the industry pointing towards some known names and therefore fails to give you anything in the name of a murder mystery till intermission.
The film returns back to its actual theme in the second half dealing with the various suspects, but here too we have another detailed reference of a major 70s hit which flopped initially. The narration manages to keep you engaged in its final 20 minutes when the pace picks up and the revelations are made. But again a very weird & hilarious way to point out the murderer (by simply staring at them) ruins the minimal impact generated quite cruelly. Throwing another fine twist towards the end, the director tries to justify its basic genre forcefully. Yet the film simply cannot be rated as any highly focused, intelligent crime mystery, all together.
An intense crime drama all depends upon how the director conceives his individual characters and their mutual relationships on the screen skillfully. However that’s exactly where THE XPOSE falters badly since the script fails to justify any particular character, their various affairs, allegations and the hidden jealousy arising from the flops or hits. The culmination sequences start happening too easily without any major explanations provided, taking away all the charm. Further the well promoted but surprisingly small appearances of stars like Yo Yo Honey Singh and Irrfan Khan turn out to be mere ‘publicity cheats’ played by the makers to bring in some added footfall. In its technical department, the background score successfully manages to keep the spirit alive and the DOP effectively gives a glossy look to the film as required. However the same cannot be said about the Art Direction and Costumes which don’t really take you back in time as projected.
Musically, once again Himesh has more than one melodious track with some fine lyrics in it like "Sheeshe Ka Samunder" & “Dard Dilon Ke Kam Ho Jaatey”. Honey Singh shines in his part of the song in "Hai Apna Dil To Awaara" and here I would certainly like to compliment Himesh for his catchy, selective and minimal arrangements which really sound quite soothing, away from all the overstuffed noise served as music.
However in the performance section, Himesh looks too arrogant and stiff playing it over confidently (probably keeping RAAJ KUMAR in mind). Yo Yo is there for only a few sequences but handles them well carrying his own carefree persona as it is. Irrfan Khan plays a cameo of just two scenes and the leading ladies, Zoya Afroz & Sonali Raut strongly display their confidence in some good skin show. Ananth Narayan Mahadevan (the director) is fine playing the director in the film too. Nakul Vaid, Ashin Dhir play it well, whereas Adil Hussain, Rajesh Sharma & Jessy Randhawa remain wasted. 
In short THE X-POSE performs pretty badly as a murder mystery and can appeal only to the viewers who can easily relate with all the realistic events of the decades before the 90s. And in case you are interested to know which all instances have been used in the film to give it a wicked feel, then here is the list given below. And the film does become an exciting one time watch, once you perfectly know who they are referring to and in which scene.
1. Himesh plays the famous actors RAAJ KUMAR, who was in reality a police office before joining the films, as shown in THE XPOSE too.
2. It has a scene between Himesh & Nakul, which reportedly took place between Rajkumar & Govinda in probably JUNG BAAZ released in 1989 (as I can remember).
3. Sunil Dutt actually saved Nargis from the fire at a set and the instance is incorporated in a similar sequence here in THE XPOSE.
4. One can see Parveen Babi emerging from the sea line, like the Bond Girl, played by Zoya Afroz in the film.
5. You can easily recall Zeenat Aman in a transparent white saree, praying in a temple in Raj Kapoor’s SATYAM SHIVAM SUNDARAM (1978), played by Sonali Raut in the film.
6. It depicts the era when there were no personal vanity vans for the artists to vanish into. And everyone had to sit in the open under the big umbrellas surrounded by their personal staff.
7. The time period when the main magazine was FILMFARE and the whole gossip trend was started by STARDUST in the 70s (with a famous woman editor).
8. A sequence relives the scenario when the competitors used to buy tickets in advance only to sell them at a lower price through the black marketers, as a clever strategy to sabotage a potential film of the opponent released on the same day.
9. The era of long cars, the Impalas.
10. Two fictitious titles used in the film are 'Ujwal Nirmal Sheetal' and 'Reena Mera Naam' hinting towards SATYAM SHIVAM SUNDARAM & JOHNY MERA NAAM clearly. Interestingly this also reminds you of the tussle between the titles of MERA NAAM JOKER and JOHNY MERA NAAM before their close releases.
(Would soon try to post a detailed article on the same)
11. A song resembles the sound design and voice of R. D. BURMAN singing in films like APNA DESH (1972).
12. The sudden death of an actress, falling from a high rise building, reminds you of the sad, untimely & shocking demise of Manmohan Desai and Divya Bharti.
13. A detailed sequence in the second half, indicates towards the death of Meena Kumari just after the release of PAKEEZAH turning it into a late HIT. The makers here show that the director of the film records a fake message in the voice of his dead heroine by a dubbing artist and uses that message to bring back the audiences in the theaters. However whether this was actually done or not, cannot be said.
14. Irrfan Khan in his special appearance plays Alec D’Costa, a black marketer showcasing the truth that in those times, selling tickets in black was such a huge business that people used to make big houses out of it. Plus it was these “Blackiyas” only (as they were called) who were used by one producer against the other for sabotaging a particular film.
Now reading the above references, you can sure enjoy the film more, recalling each and every incident as they come on the screen. But in case you are just interested in watching a thrilling murder mystery using your grey cells, then watch Vidhu Vinod Chopra’s KHAMOSH (1985) instead. Because in THE XPOSE it seems the makers were more interested in the controversies than the murder mystery.
Rating : 2 / 5 (Including 1 for just reliving that Golden Era & the soothing songs).
Tags : The Xpose Review By Bobby Sing, The Xpose Movie Review By Bobby Sing, Hindi Films on Real Life Events, Realistic Films of Real events, 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
 
 
16 May 2014 / bobbysing /
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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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