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May 28, 2016 Saturday     
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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Before watching TALVAR, you need to be very clear that what exactly you wish to see in a film based on the famous Aarushi-Hemraj double murder case of 2008 in which the parents were convicted as the murderers after five years.
Making it more clear,
Do you wish to see an exciting murder mystery with an investigating officer reaching the culprit through many shocking twists and turns coming at regular intervals keeping you guessing?
You wish to the see a realistic (or rather artistic) documentary kind of drama that actually focuses more on real investigations held by different officers, deliberately hinting towards the wrong decision taken by the honorable court.
Now for friends in favour of the first, there is not much thrilling stuff in store since the film is not exactly made like a twisted murder mystery case solved by a clever detective. But for the viewers more interested in the documentary kind of narration giving an artistic account of the entire investigation process raising many questionable issues, TALVAR does become a decent watch revealing a lot about our Police, CBI and their inner workings.
However I don’t think masses would be really interested in watching such docu-drama kind of product ending on an introspective note. And as a fan of this particular genre of ‘whodunit’ movies, I personally also couldn’t find the content I was looking for putting it honestly. In other words, when its publicized that this is a film made on the famous rare case full of some shocking proceedings, then all I expect is to watch an engrossing murder mystery bringing me on to the edge of my seat but not any documentary, purposefully indicating towards a doubtful verdict.
Having said that, TALVAR does manage to make a decent impact as a whole due to its overall artistic texture, an appreciable (but one sided) detailed case-study and the final 20 minutes of discussion between the two teams executed brilliantly.
Describing the experience of watching it in the theater, the film begins straight from the case itself and then keeps progressing well with some interesting revelations about the UP police followed by introduction of the girl’s parents, all ‘next door’ realistic characters and Irrfan Khan as the newly appointed sharp investigating officer. The first half follows an interesting style of narration offering a unique kind of experience to the viewers. But the pace drops as soon the second half begins with the ROSHOMON inspired execution focusing on various versions of the murder narrated by different persons. Thankfully just when the viewers are about to feel some kind of impatience, there comes a long finale ‘meeting sequence’ between the two investigative teams, that turns out to be a clear winner (with many hilarious moments) ending the film on an open note that might not appeal to many.
So as the major plus points of the film, you have the shocking display of careless handling of evidence by the UP Police (the first investigating party), the blunt revelation of how the official protocol can even be twisted in CBI influenced by friendly relationships, professional greed or ego problems, an exceptional narrative in technical terms and Irrfan Khan saving the film from becoming a complete documentary without any engaging moments. In short, the four key characters that score the maximum in TALVAR remain of Irrfan Khan, Atul Kumar (the second investigator with the kid), Sohum Shah (the betraying officer) and Prakash Belwadi (the retired head) despite having a few other renowned names in the cast.
As the major downers in this particular department of performances, I found both Konkona Sen Sharma and Neeraj Kabi as wooden characters performing only in a one dimensional state missing the human touch. May be that is the reason they are not able to make any kind of emotional connect with the viewers right till the end. On the other hand, Tabu enacts the most irrelevant and forcibly added character of the film that has nothing to do whatsoever with its basic theme. Here I would also like to mention the strange vision of the art director too, who chooses to show the servant’s room so filthy as if it was situated somewhere on the terrace and not right on the entrance of an otherwise clean and well maintained flat. I frankly found it quite weird both on the part of director and her set designer together.

(*Spoilers from here on)
Moving ahead, I didn’t find TALVAR close to any real or intelligently written film made around two mysterious murders too, basically because it leaves many important aspects of the case simply untouched and ignored as mentioned below.

A. There is no logical justification given to the sudden change of murder weapon and confusion regarding the time of murder, when that has to be the first thing mentioned in the post-mortem report only submitted officially.

B. It’s never revealed that what was exactly the reason behind the second team strongly opposing the theory presented by the first. (And if the director wished to convey that it was only ego issues and professional rivalry and nothing to do with any pressure or corruption within the department itself then I would simply like to salute the vision humbly.)
C. Most importantly, in a highly unusual and bizarre manner, there is not even a single person in the film shown as the corrupt one (asking money from the parents to save them), neither in the Police, CBI or the Govt. officials, as if we are living in some kind of RAM RAJYA where these department are far away from getting involved in such big scandals.
As a matter of fact, even the first police officers reaching the crime-scene (foolishly destroying the evidences) are never shown to be corrupt or taking bribe (because the bribe could be actually given by the wealthy parents only). Instead they are all projected as some silly, untrained officers not knowing how to do their job professionally in a very insulting and superficial manner.
Here addressing the writer/director specifically, I would like to convey that in the real world we are living in, this ugly demon of corruption and mandatory bribes actually becomes the first thing you have to face when it comes to such high profile and rare cases having the reputation of the family on stake. Interestingly the officials in the film do become corrupt for their own promotion & image creation but they never ask any kind of bribe from the accused or suspects ever as if coming from a different world altogether. Now if that is realistic than I am surely living on some other planet full of all contrasting reality.
And in case the writer-director really don’t know how it happens on the ground level, then I would ask them to smell the coffee again……….or on second thoughts I would like to pray that they never get to smell that distasteful coffee ever sitting in a police station.
D. Talking about the evidences, there comes a reference of letters/mails of SORRY written by the daughter to her father repeatedly. But neither the first nor the second team of investigators find it important enough to investigate, what was the SORRY really all about?
E. Also there happen to be some gossiping whispers of the parents practicing WIFE SWAPPING and EXTRA MARITAL AFFAIRS in the case investigations. But again neither the first nor the second team picks it up as a crucial clue. Whereas in real life, this angle would have been lapped up immediately by any first grade detective or investigative officer sensing some deep secrets involved.
Now if you look at the above mentioned points and think again then you would easily come to the conclusion that this was all purposefully done as the makers of TALVAR were never interested in pointing any kind of fingers towards the father or the mother even once, putting a big question mark on the actual purpose of making this particular movie.
In other words, watching the unexpected open climax clearly questioning the court’s verdict boldly, the viewer is bound to feel a major confusion that,
Whether this film was made as a realistic, visual documentation of the contradicting investigations done by the various authorities?
Was this purposefully made to put the ‘convicted parents’ in a favourable light, winning the emotional sympathy of the viewers for some specific motive?
The above statement has been specifically made here because no-where in the film the director is interested in showing the parents as some negative or grey characters, not even in a single sequence. In fact the one scene where they are shown getting prepared to cry artificially finding the girl’s dead body is the visual description of the sarcastic argument given by Irrfan in support of the mother-father only.
Continuing with the same angle, one also clearly gets the justification that why nobody is shown as corrupt or taking bribe in the film at all. That’s because the bribe could only be given by the ‘rich parents’ alone among the entire scenario. And since the director didn’t wish to portray them in any kind of suspicion or negative shades (defying the basic purpose of the film), so there is not even a single reference of bribe, corrupt system or social influence used, taking TALVAR miles and miles away from the actual ground reality.
Adding another strong perspective to the theory, the film is also solely based on the analyses, findings and conclusions of just the investigating officers and never shows any actual TRIALS IN THE COURT since the court proceedings in reality had few significant changes in ‘the given statements’ too raising many serious doubts.
Hence looking at the entire attempt from this particular angle, it seems that neither TALVAR was conceived to win over the common viewers, nor it had any intentions to present an unbiased, balanced view of this rarest of rare case surprising one and all. If truth be told, all the film and its makers seem to be interested in was to question the court’s verdict given against the parents, making a clearly visible effort to evoke sympathy for them among the viewers. And for that purpose, even the title of film was cleverly kept as TALVAR (referred as the Sword of Law), also straight away pointing towards the parents with actual names of Nupur and Rajesh Talwar.
Coming to the conclusion, TALVAR didn’t really work for me since it kept on imposing its own one-sided verdict acting as some kind of judge of a self-appointed court quite forcefully. It didn’t work as it failed to present a balanced view of the case and tried to take sides of the already convicted parents ………. intentionally.
In short you can surely praise the attempt in terms of filmmaking with reference to its frames, background score, music-lyrics, style of narration and cinematography successfully building a superlative aura around its virtual existence. But thinking about the case and its presentation realistically, the film simply crashes down and isn’t able to impress as anything great or real at all.
(In comparison to RAHASYA directed by Manish Gupta)
In comparative terms, though Manish Gupta’s RAHASYA was only loosely inspired or influenced by this famous case, it was a far better film from TALVAR if you take the particular genre of ‘whodunit movies’ in consideration. The crime thriller had got that excitement and suspense factor working perfectly as expected from a murder mystery and it even had Kay Kay Menon giving a superior performance in comparison to Irrfan Khan.
Besides, revealing the inside story behind the film, RAHASYA released in January 2015 got completed long time back but couldn’t reach the theaters as a legal case was filed against it by the parents Nupur and Rajesh Talwar themselves. The case was in court for about 11 months and then it received the green signal by the judge in favour of the director in January itself, giving Manish & his producers only few days to run their publicity campaign.
So now the question arises that if Rajesh and Nupur Talwar had filed a legal complaint against RAHASYA for using their personal case without any written consent, then why didn’t they file a similar court case against TALVAR too which is more specifically made on their real life event only?
Was it because TALVAR is a film made with their mutual consent?
If yes then it’s pretty clear why it isn’t also interested in putting the parents in any bad light too.
Anyway ending on a positive note, do watch TALVAR if you are more keen in noticing the technical nuances of film-making (especially for its last 20 minutes). But do watch RAHASYA as a must as its indeed one of the best murder mysteries coming from Hindi film industry in the recent decades.
Rating : 2.5 / 5
(Note : After watching TALVAR I would like to revise my rating of RAHASYA from 3 to 3.5 admitting my earlier mistake of rating it lower than it truly deserved.)
Tags : Talvar Review By Bobby Sing, Tavar 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, Real Life Inspired Films, Aarushi Murder Case Inspired Hindi Film, Worth Watching Hindi Whodunit crime thrillers.
02 October 2015 / bobbysing /
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