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Some films prove you absolutely wrong when you just ignore them in comparison to few big films and then end up cursing yourself for making such a weak assumption about the movie. MIRCH was definitely one of those few under-estimated films which not only surprised me with its bold content but also made me think several times about all the relevant questions raised in its thought provoking script, after a long time.
But before praising the movie further, I would first like to mention that MIRCH is not at all a technically brilliant film from any angle nor it can be included in the list of all those perfectly acted or directed films either, to be precise. Yet, the reason why I am including it in my MUST SEE MOVIES List is that it is a very rare movie which is both likable as well as hateful in a very strange manner.
In fact MIRCH is a novel kind of daring attempt which at one end surely entertains you in a very fresh and mesmerizing style, but on the other hand it may also seriously offend both the MALE and FEMALE genders equally in a very dishonorable way. Talking about four different stories on the sexual relationship between man and women in contrasting backgrounds, the film is a pretty bold sex comedy which strictly calls for an adult viewing without any doubt. And in the end it may also turn out to be a dangerous movie putting many new unwanted ideas into your mind un-necessarily.
In short, its a Vinay Shukla directed film made on a very bold sexual subject, which for the first time explores the topic of adultery from the woman’s side. In all the four stories in the film, it’s the woman who betrays and cheats her husband in a very harsh way, whereas its only the fourth one in which the husband too is doing the similar kind of act on the other side. In each act of betrayal shown in the film, the women play on a certain trick and get away with their disrespectful act very smartly. On a controversial note, even after being a fairly entertaining flick, the film may come out to be both confusing and disturbing for a certain section of viewers who may like to take the depiction of Man and Women in its stories in a bad taste.
Where the women might feel being shown with an intolerably sickening attitude, the men too might feel being portrayed as fools and silly husbands on the screen with a pinch of humor. But at the same time, both the genders would also feel thoroughly entertained deep inside from their heart (which they may choose to hide). And that’s actually what I liked the best about MIRCH, a movie which can generate such wide diverse reactions among the viewers which may go beyond any imagination of human mind.
In bold words, the film may be thought provoking for some and a kind of soft porn for many. It may be enlightening experience for one and a disgusting thought of a pervert mind for the other. It may seem to be a journey into the mind of woman for one and might turn out to be a waste of time for the other. And since there are not many movies which are capable of generating such variety of responses in the viewers, MIRCH becomes an important film to be seen and studied in your own unique way. Here I would also like to add that in spite of being based on such bold subject, the seducing and intimate scenes in the film never go beyond a certain limit and remain un-objectionable, which indeed is a great job done by the director and his cinematographer.
Reportedly the film is partly inspired from the Italian Classic “The Decameron” by Giovanni Boccaccio and partly from “Panchtantra” as mentioned in the movie itself. However, I was quite surprised with the reference of “Panchtantra” in it, because I only had a vision of ‘Panchtantra’ as a collection of moral stories for the young ones. May be I would have to research on it a little more. Anyway, along with its interesting concept, director Vinay Shukla uses his entire talented star-cast in an intelligent way where no one looks like doing something wrong on the screen and also entertains. It only takes few initial moments to move into the actual theme of the movie and then it starts making its impact pretty fast.
On the whole, MIRCH is a movie which should be seen by all as a must because one cannot guess what actually you will make out of it in the end. After watching it, you may get a feeling close to the one mentioned above or in other case, you might go on to discover something of your own in the four stories unfolding on the screen one by one. But you essentially got to see it first to make your own decision.
Directed By Vinay Shukla
Starring : Konkona Sen Sharma, Raima Sen, Rajpal Yadav, Prem Chopra, Ila Arun, Tisca Chopra, Shahana Goswami, Boman Irani, Arunoday Singh, Saurabh Shukla, Sushant Singh and Shreyas Talpade.
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From the last few years, the team at Rajshri Filmsis regularly coming up with all similar kind of projects having some fixed characteristics. For instance, if a film starts with a pleasant family atmosphere where everyone is smiling at each other, there is Bhajan being sung at an in-house Puja Ghar with the idols of Ram Seeta & Lakshman, the first half goes on with no story development at all, a conflict arises just before the intermission, the rest of the film has a feeble plot with an important message for a society and essentially if Mohnish Behl is there in a key role………then the film is definitely a product of Rajshri Movies without any exception.
As expected, ISI LIFE MEIN also suffers from the same above mentioned Rajshri Syndrome, which urgently needs to be looked upon by the people associated with the banner. The film is simply shot and weakly written having few average performances from the cast, which are incapable of making any kind of impact on the viewers. Moreover the music, which always has been an important quality part of a Rajshri product, is also below par this time which further acts as a major letdown for the venture.
The first half has everything going on in a pleasant manner which clearly indicates that something wrong will only happen towards the intermission. But against all the expectations the second half too keeps on moving at the same pace and the real plot only crops up in the last half an hour, which also fails to register. With such a lazy and uninteresting script, having all seen before kind of content, I don’t know why the reputed production house gave its green signal to this product in the first place.
The only likable feature of the movie remains its leading pair, who look pretty on the screen especially Sandeepa Dhar in the role of cultured girl with all the Indian Values. She acts pretty well and also looks gorgeous on the screen in both western and Indian attires. Akshay Oberoi too has got the talent and looks but he somehow scores less in comparison to his leading lady. Salman Khan making a cameo for a few seconds is wasted whereas Mohnish Behl has got the same old expressions to show in all those emotional scenes. Similarly the rest of the cast also acts exactly like you have already seen in many previous Rajshri Movies. Therefore there in no freshness or novelty in the treatment given by the director Vidhi Kasliwal to the film, which ideally could have been much shorter than its present length? In fact, the director should have ended the movie right after the marriage sequence in the climax as per the need of the subject.
Having said that, I would like to praise Rajshri people for their noble intentions of making films which always have some important social messages to give to their viewers. Following their valuable tradition, ISI LIFE MEIN too has TWO important messages for the society, pointing towards the concept of modernism and the ages old dowry issue still prevalent in our modern civilization.
As its first message the film tries to explain that a modern person doesn’t necessarily mean a person far away from his traditional values and customs. In other words its always possible that a person may be modern along with having the same rich culture and traditions in his heart which in turn enables him to lead a much better life than the West.
Secondly, the film talks about the still to be tackled Dowry issue in our society from a different angle never touched before. Moving away from the usual stuff, the story here emphasis more on the father of the girl, who with a heavy heart, always agrees to the greedy demands of dowry, for the sake of his own image in the society and relations. Instead of pointing the finger towards the dowry demanding families, the film asks an important question to the girl’s father that, “How can you even think of throwing your own daughter in the clutches of such greedy people and that too with all that glamorous show off? Why can’t a father just refuse such a ridiculous demand and wait for the right kind of families to make a relation with?
And as an answer to this question, the film has a sequence where Mohnish Behl himself stops the marriage of his own daughter and asks her would be in-laws to simply leave with his folded hands……The act really needs to be followed by every father of a girl in our society, since it’s the girl who later suffers severely till her last breath and yet cannot complain.
Hence, though ISI LIFE MEIN has got nothing in it as a movie experience, but as a social venture it does have a great message for our younger generation and their future. So you may give it a chance but only after it gets released on the Home Video after few weeks.
In the end, along with reviewing the movie here, I would strongly like to oppose this ugly one sided practice (Dowry System) of our society through this platform of my site and I hope my readers would also try their own bit to fight this unwanted curse imposed upon us from decades.
Ratings : 2 / 5 (including an extra star only for its subtle social message)
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A first of its kind of attempt in Indian Cinema, TOONPUR KA SUPERRHERO reminded me of a more than two decades old English Classic with the title WHO FRAMED ROGER RABBIT which came in 1988 and won 3 OSCARS for its excellent achievements in visual effects and editing. TKS is also made on the similar lines where a human character is deliberately pulled into the World of CARTOONS and then is forced to help them in their problems. The film revolves around a fictional setup where in various cartoon characters living in their Toon-world are interacting with a human figure and the images on the screen are a mixture of both cartoons and real actors talking to each other.
No doubt the producers of this path breaking Indian venture deserve all the praises for putting their money in this risky and out of the box project. But unfortunately the end result is not worthy enough of fetching them any good returns for their heavy investments made. And the conclusion arises because the experience of watching TOONPUR KA SUPERRHERO is like hanging on to a pendulum which keeps swinging between two extremes constantly.
At one end the film is simply superb in its technical department with visual graphics matching up to the Hollywood standards which can easily be considered as a great achievement by everyone involved in its visual effects team. But on the other end, TKS is complete disaster as far as entertainment factor is concerned. The film falls flat in its script department as the writers are not able to hold the viewers attention throughout its short duration, which is not what you expect from an animation film.
In straight words, I would like to ask a question here that basically for what target audience an animation film is made for? The answer obviously comes as ‘for all the kids and the kids hidden in the hearts of all age groups’. But while making TKS, the makers probably forgot this basic rule of the genre and just kept focusing on the technicality involved in the graphics section of the project. As a result the film turned out to be a bad experience both for the kids as well as for the adults young at heart. In fact I myself saw the few kids in the theater teasing their parents restlessly instead of watching the animated characters moving on the screen. And that was more like witnessing an instant review of the movie sitting right there in the theater. Hence as an animation film made for the children, TKS fails to hit the bulls eye but as a technical project, its indeed a brilliant and brave attempt from its creative team of animators.
If only Kireet Khurana, the director, had taken more care of the content than the execution, the project could have been the talk of the town this Christmas. The second half of the movie is much better than its first as it has many interesting developments and games taking place in the narration. But then again the hurried up climax, leaves a bitter taste in the end and you feel like leaving the theater as soon as possible. Actually an animation movie mainly works when anyone of its cartoon images successfully makes an immediate connection with the kids watching it. But in TKS, the writers are not able to establish any emotional connect with the viewers and therefore no one falls in love with any of the cartoon characters shown on the screen.
Performance wise it’s Ajay Devgan’s film all the way, surrounded by many watchable animated characters seeking his help. Ajay does a real good job in the movie since its not an easy task to emote to just blank curtains with position marks made on them for your eye contact. And Ajay passes the difficult challenge with distinction. Kajol, as the mother has got nothing much to do in the film, so she cannot be blamed for anything. But other than the lead pair, the real stars of TKS are its animated characters such as Bolly, Guppy and their creators behind the screen who must have spent thousands of hours in order to present them so perfectly. Musically the film gets only an average score from Anu Malik, wherein I didn’t find any special catchy song especially composed for the kids. However the art direction flawlessly serves the demand of the subject as required.
In the end, I would like only like to add that TOONPUR KA SUPERRHERO is just like a half baked cake, whose base has been baked to perfection but the top remains completely flavourless. So you can make your own choice if you really want to taste it.
Ratings : 2 / 5 (including one star only for its brilliant animation and the creative team)
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The first thought which came to my mind after watching TEES MAAR KHAN was that “Jin Ke Apne Ghar Sheeshe Ke Hon Woh Doosro Per Patthar Nahin Maara Karte”. The dialogue fits on both brother sister duo Farah Khan and Sajid Khan as a T since it was Sajid Khan who used to reveal every inspired film and its original source in his T.V. show few years back. And now in the present both Sajid and Farah are coming up with the same kind of inspired films and also enjoying their box office success in an amusingly ignorable manner.
Talking about Farah Khan and her TMK, I already knew that the film was heavily inspired from the plot used in Peter Sellers AFTER THE FOX (1966). And as I expressed this view on Facebook, I was told that the film is an Official Remake and the producers have bought the rights for the same. The news did make me happy since this was the right way of doing it like Karan Johar did it in his WE ARE FAMILY. But sadly, there was no declaration of any sort anywhere in the starting titles or in the ending ones from the makers about its copyrights. Therefore I would take TEES MAAR KHAN as another shameless copy from the West which is surely not a decent gesture from anyone involved with the film. And in case they have bought the rights but not revealing it then I would further like to call it A SIMPLE ACT OF CHEATING the audiences, wherein you are hiding your actual source and don’t have any GUTS to admit in public that its not anything original of your own. Moreover, it was quite strange to see this kind of hurting product associated with the reputed house of UTV Productions.
Coming to the movie itself, in simple words it’s a very pale and mediocre interpretation of a very exciting plot. In fact I was quite surprised to see Farah Khan, ruining such a brilliant plot which could have worked like wonder having all the elements of fun and excitement in it. Revolving around the character of a wanted criminal Tees Maar Khan, the story mainly deals with a big heist planned by him fooling a whole village of innocent people including a policeman. The plot is as it is taken from the Peter Sellers famous Classic Comedy and even some jokes are adopted like a true remake. The only difference in both lies in the character played by Katrina Kaif. In the original, she is the sister of the famous criminal, who madly wants to feature in movies, whereas in TMK she is the girlfriend of the lead character having the similar kind of craze.
TMK starts as an uneven ride right from the start with a long plane sequence which is not able to raise enough laughs. The first half has no story development as such and the actual heist plan starts post intermission. As I feel, Farah Khan knew that she has got a weak first half and that’s why she very smartly included both the item songs, “Shiela Ki Jawaani” and “Wallah Wallah” in the first half of the movie itself to keep the viewers hooked in.
The second half starts off on a brighter note and does manage to entertain the viewer for a few moments. But then everything starts happening so easily that you lose the interest in the proceedings and the weak climax leaves you in a confused state where you start thinking, that what was it all about? From the performances view-point the film is one of the best guidebooks on hamming and overacting. In fact kudos to the director, Farah Khan for directing such a unique movie in which almost every single actor is hamming and overacting like never before. Yes, we know that this is her own style of making a film, but atleast it has to be entertaining for the audience, as it was in her last "Om Shanti Om".
Reviewing TMK in it various departments, I would like to write more about the movie in the following straight forward points.
A. The film simply wastes a great potential comic plot in all that hamming and overacting by its entire star-cast.
B. The only saving grace of the movie is “Shiela Ki Jawaani” song along with “Wallah Wallah” coming one after another in the first half.
C. Akshay Kumar does show his old comedy sparks at regular intervals, but here I would like to convey him that “there is a very thin line between confidence and over confidence which clearly shows off on the screen very easily. So please be aware of that”
D. Katrina Kaif should unarguably include TMK in her weakest or worst movies ever, as she just remains a mere show piece in the whole movie and has not got even a single good scene except the famous item song. In fact, I think some of her fans might question her that “Why you had to do it?”
E. Akshay Khanna can easily forget about this venture since he has done only shouting and hamming in all his scenes which is far away of being termed as Acting.
F. Raghu and his brother Rajiv, unexpectedly play complete contrasting characters on the screen moving away from their famous small screen images. And somebody tell them that they both look like fools in the movie, as the joined villain brothers, who just have to giggle and speak together in their few scenes. In the supporting cast Akshay’s three con friends are funny at places and Arya Babbar makes a feeble impact. But both Murli Sharman & Aman Verma in the role of two Officers try too hard to be funny.
G. Truly speaking, from the entire cast if any person made me laugh loudly in just a few scenes then it was Sudhir Pandey in his short role of Akshay Khanna’s secretary.
H. Musically, I didn’t find anything exciting in the soundtrack other than its innovative and catchy title track sung in different voice textures. Interestingly this track is credited to Shrish Kunder and the rest of the songs are from the famous musical duo Vishal-Shekhar who have done just an above average job. Frankly speaking, I even didn’t like “Shiela Ki Jawaani” a lot as I strongly feel that the song surely would not have become so famous minus Katrina Kaif in another project not backed up by any Akshay Kumar and Farah Khan. And in the Cinematography and Art direction department, TMK doesn’t have anything exceptional to showcase to the audience. However I would like to mention here the brilliant opening animation sequence of a child dancing in the womb, which was really well thought of and executed.
I. It was really amazing to see Shirish Kunder taking the whole credit of STORY and SCREENPLAY in the titles where in reality it is all taken from the cult Peter Seller movie almost entirely.
J. Farah's love for Manoj Kumar and his works continues in TMK too. But what a degrading way to use the hugely famous national integration song "Mere Desh Ki Dharti" in the climax.
K. Overall, coming from FARAH KHAN who gave us “Om Shanti Om” in the past, this is a weak project which works only in parts and fails to connect with the audience instantly. With neither the lead character of a thief winning over the viewers nor his heist making the things exciting, the film fails to give you a wholesome entertainment as expected from its successful director.
In the end, I would only like to say that you can watch it if you are dying to see “Shiela Ki Jawaani” and her moves on the big wide screen along with Salman Khan dancing in “Wallah Wallah”, or if you are a big fan of watching Akshay Kumar in the comic genre. Otherwise just search for the DVD of the Original Peter Sellers Classic Comedy AFTER THE FOX and treat yourself with some good decent humor in your homes.
Rating : No Rating (Since its just a Shameless Copy and even if they have bought the rights, they never disclosed it in front of the viewers by writing that in their titles.)
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