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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.

ENJOY!

SABKI BAJEGI BAND - An amateurish but disturbing, experimental attempt reminding you of a famous phrase - 'Ignorance is Bliss'. (Review By Bobby Sing).

GABBAR IS BACK - The intentions are noble but the content is all stale except the hospital sequence, few dialogues and two key performers. (Review By Bobby Sing).

KEVI RITE JAISH (Gujarati, 2012) - An enjoyable family entertainer teaching a crucial lesson to the youth about their 'impractical foreign dreams'. (Review By Bobby Sing).

SPIRIT (2012 - Malayalam) - Not perfect but a fine, noble effort focusing on an alarming social problem of alcoholism. (Review By Bobby Sing).

O KADHAL KANMANI (Tamil) - A predictable yet engaging, young film, perfectly getting into the mindset of a new-age couple. (Review By Bobby Sing).

JAI HO DEMOCRACY - A good-intentioned but loud and over ambitious political satire, partially inspired from MANTO's classic short story "Tetwal Ka Kutta". (Review By Bobby Sing).

KAAGAZ KE FOOLS - Such poor, directionless attempts only make it more difficult for all upcoming small projects and their makers. (Review By Bobby Sing).

COURT (Marathi) - A must watch fearful depiction of our police and judicial system that luckily got a national award instead of getting banned. (Review By Bobby Sing) (Movies To See Before You Die - Court Room Drama).

MARGARITA WITH A STRAW - Hindi cinema takes a big progressive leap with Shonali Bose, Nilesh Maniyar and Kalki Koechlin, the QUEEN of 2015. (Review by Bobby Sing).

MR. X - How could they even enjoy writing & making such a childish take on the exciting theme? (Review By Bobby Sing).

 
 
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May 07, 2015 Thursday     
Projected as the first reality film revolving around an upcoming filmmaker and his friend circle boldly confessing about their sexual lives and undisclosed experiences, SABKI BAJEGI BAND has just got people talking, bitching and hitting over each other in its less than two hours of duration on a single location, and nothing else in the name of storyline or script to give you a clear idea.
Yes, the basic framework of the film does seem to be quite daring and interesting, touching controversial subjects ranging from incest, homosexuality, infidelity and wife-swapping to impotence, virginity and casting couch with reference to the modeling world. But the way they get presented with a confused narrative and unimpressive (rather crass) writing, the film fails to strike a chord with its target audience and just remains a courageous, experimental effort lacking any focused vision.
Actually the biggest mistake the director makes here is to begin the film with a moving (handheld) camera shooting many extreme close-ups and then continuing with the same throughout, badly annoying the viewer. Secondly despite being a bold film about many hidden revelations made, SBB never gets into the ‘visual’ gear and mostly remains in the ‘talking’ mode only denying the expected entertainment factor to the eager viewer. As a result, after a point one completely gets out of sync with its supposedly brave characters and their poor acts. Moreover the director and its writing team remain utterly confused that whether it has to be a social emotional drama or a sex-comedy featuring many shocking one liners.
Talking about its art-direction, the filmy slides and the house in it (with a wide range of Hindi film posters displayed all over) looks much more experimental than the film itself and then the host with his constant grins turns out to be the most irritating character of them all adding into the uninteresting developments. Music as well as ‘Background Score’ fails to make any contributing impact to its various sequences and so do the performances that remain amateur to below average including the one by the known Swara Bhaskar.
Nevertheless there still remains one positive feature in SABKI BAJEGI BAND and that’s the way it shamelessly exposes the sick double standards of our society raising many straight forward, valid questions. And believe me these are the questions that are tough enough to deal with, moving into those dark, dirty closets of every man & woman’s life, they don’t really prefer to talk about.
For instance,
“How many youngsters would start thinking if there is an indecent offer made to them, along with a major chance in the modeling/film world and a big amount of money too, given as their professional remuneration?”
Or
“Why its considered to be ‘cool’ if a young boy has a flirting nature but the same standard doesn’t apply to a beautiful girl if she chooses to interact in a similar manner?”
Or
“Why a wife is supposed to be ‘understanding’ if she comes to know about her husband’s one night stand with another women but not the husband, who is considered justified asking for a divorce right away for the very similar reason?”
In all, as the friends in the film continue making fresh acquisitions and confessions shocking each other like never before, the viewer simply feels like saying “Please stop it”, since no-one wishes to even think about these ugly topics for their own individual reasons. And that’s where an old, thoughtful saying comes straight to your mind that “Ignorance is Bliss”.
Rating : 1 / 5 (Just for the bold effort made and few valid questions asked)
Tags : Sabki Bajegi Band Review by Bobby Sing, Sabki Bajegi Band Movie Review, 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
 
 
03 May 2015 / bobbysing /
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Ironically the one dedicated follower of MANMOHAN DESAI school of film-making (focusing more on entertainment and less on logic) has not been Hindi cinema but South cinema instead, making loads of such films turning into major box office hits in the last few decades. And that's exactly the reason why we get to see repeated remakes of South films, even of a decade old venture RAMANAA (2002) presented as GABBAR IS BACK since it has all those essential elements of entertaining the masses full of larger than life action, revenge, punchy dialogues and fast paced progression not allowing you to think about the missing logic.
But having said that, following a 13 years old hit revolving around the same ‘all seen before’ crusade against corruption in films such as HINDUSTANI, A WEDNESDAY, HOLIDAY, JAI HO, UNGLI and many more, GABBAR IS BACK has nothing fresh in the name of subject matter and thus isn’t able to win over the viewers wholeheartedly as Akshay’s SPECIAL 26 or BABY. Moreover using the name of the most famous villain of Hindi cinema in its title and main dialogues, the team simply tries to make a fool of their audiences gaining some instance attention since the project has nothing to do whatsoever with the evil dacoit of SHOLAY and his infamous persona.
GABBAR IS BACK begins with a few kidnappings shown in its opening sequences only giving you a feeling of ‘Deja-Vu’ as something similar seen before in Akshay’s HOLIDAY (that was also written by A. R. Murugadoss). So its first 40 minutes are strictly routine with many clichéd and unconvincing scenes served with some good action along with a catchy love song having some hilariously written lines (discussed later in details). However, just when the viewers are about to give up, the director comes up with a terrific hospital sequence, revealing the shameful truth behind the exploitation practiced by the hospitals and their pressurized doctors. The particular sequence wins over the viewers in a big way despite the fact that an exactly similar scene was earlier there in GOD TUSSI GREAT HO (2008) having Priyanka Chopra in the place of Akshay Kumar. But obviously no one is expected to remember that forgettable sequence, not given much mileage in that non-performing project as a comedy.
Anyway getting back to GIB, the film impressively pulls in the viewers just before the interval and then again falls back to all routine stuff like a typical Hindi film made on the ages old formula with only one fresh side-angle of Sunil Grover. For instance in the second half, we have an expected tragic background of the hero where he loses his family, gets humiliated and then decides to change the social system taking the bloody path. There is a well shot song depicting his love life and then later a ‘must-have’ item song too featuring Chitrangda Singh, who was once considered with a lot of respect as a talented actress. As usual, there are mentally lost police officials who strangely know nothing about GABBAR (not even his appearance) whereas the loud, hamming villain more concerned about his ‘brand image’ than his own son’s life, can easily get Akshay’s picture from the CC camera footage of his hospital. Adding to the inspirational angle, a particular sequence of the politician being hidden in his own house is straight taken from Sunny Deol’s GHAYAL and the finale crowd scenes look like something highly overused, preachy and unrealistic. In addition the last scene forcibly incorporating the line “Tera Kya Hoga Kaaliya” fails to make any impact due to its weird placement. In other words, the absurd insertions keep coming one after another without caring about the logic, but the tightly written script progressing at a good pace with a pulsating background score doesn’t let you raise a question putting it honestly.
Not treating its women well, the film has a completely silly role given to Shruti Hassan which she also chooses to perform half-heartedly and then we have the cameo of stunning Kareena Kapoor who is strangely there to provide more glamour and not any (much needed) emotional support to the film playing the victim lady. The supporting cast has its own share of annoying actors like the noisy villain, shouting police officers and the over-reacting doctors in the hospital. Plus though GABBAR has a big team of ‘comrades’ working with him for the cause, but the viewers do not really know even one of them properly by name or face.
In straight words, the film is largely saved by only two names considering the performances. And those are of Akshay Kumar playing the cool revolutionary professor with a winning smile and Sunil Grover as the enthusiastic hawaldaar investigating the case on his own. Akshay remains a pleasing and fit figure on screen delivering all the well written dialogues and action sequences with a charming ease. Whereas Sunil Grover, surprises one and all with his sincere act, coming out of his famous image of a funny women popularly known as ‘Guthhi’.
Musically, the title track of “Gabbar Aa Jayega” is enjoyable, two love songs have catchy compositions (but strange lyrics) and the item song is lifted from a Pakistani number “Kundi Na Kharka Sohneya, Sidha Andar Aa”. Giving you the details of the bizarre lyrics, just sample the following in one of its song,
"Aankhen Coffee Peetey Peetey Mil Rahi Hain,
Aankhen Pyar Ke Jhonkon Se Hil Rahi Hain,
Aankhen Pyar Ke Dhaagon Se Sil Rahi Hain"
Here an interesting point to be noted as that in the Youtube official Jukebox of the film, this song clearly has the third line where the eyes are also being stitched with threads of love. But in the film, this line has been intelligently withdrawn, probably after some objection raised by a thinking mind asking “Bhaiya Ye Ankhein Sil Kaise Sakti Hain?”
But wait the stupidity doesn’t stop here as the song further says,
"Saansein Achanak Uchhalney Lagi Hain,
Nazrein Yeh Baatein Ugalney Lagi Hain,
Certainly something I haven’t heard before as a reference to ‘Sansein’ and ‘Baatein’ in a love song.
Next coming to the second and more beautifully shot track ‘Teri Meri Kahani’, its lyrics begin with the male singer calling the beloved as a female gender,
“Mujh Mein Safar Tu Karti Rahey,
Har Ik Saans Mein Guzarti Rahey”
But with the very next line the gender changes as,
“Shaam-o-Subah Tu Mera,
Tere Bina Kya Mera”
whereas the singer remains male only. (Chalo Itna To Chalta Hai!)
Summing up, GABBAR IS BACK directed by Krish (from South) has an okay cinematography, clever editing, some powerful dialogues and an uplifting background score, collectively pointing towards a relevant theme of corruption with all noble intentions and two key performances to enjoy. But since its content matter more or less remains the same with nothing fresh or innovative to offer lacking a lot on the logical grounds, the film doesn’t turn out to be anything more than a one-time watch and that too preferably in a single screen theater to have a better entertaining experience.
Besides the fact to be considered seriously is that since the 80s, films have been made featuring a personal mission undertaken against the corrupt system, but this demon of corruption is still haunting us all with no major change seen in the last few decades. May be because we widely consider such attempts made just for our three hours of entertainment alone and the message is not to be taken along while moving out of the theatres contributing in the social drive. So if possible just think about it too in case you enjoy watching the typical masala entertainer looking forward towards a better society ahead for the coming generations.
Rating : 2.5 / 5 (Including additional 0.5 only for its noble, inspirational theme.)
Tags : Gabbar Is Back Review by Bobby Sing, Gabbar Is Back Film Review by Bobby Sing, GIB Review, South Remakes, Inspired movies, 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
 
 
01 May 2015 / bobbysing /
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KEVI RITE JAISH

As an entertaining Gujarati family satire, KEVI RITE JAISH (meaning How Will I Go?) is a film made on the ages old mad-craze in the youngsters of going abroad and getting settled there earning loads of money. Interestingly this obsession of flying to the foreign land has been a key feature associated with Punjab and its people too since the 80s. And that is the reason, why even in the recent years many Punjabi films still have the same plot somewhere running in their side-stories, following the decades old trend that probably began with films like MAUJAN DUBAI DIYAN (1985).
As a matter of fact this enlightening subject best suits both these communities in particular since they have made their own name in the west in various regions such as England, America and Canada. However it’s a different story altogether that any such kind of success achieved has its own hidden cost paid in terms of pain, suffering, hard work and family sacrifice, not really visible to the present generation. Thankfully KEVI RITE JAISH tries to convey the same bitter truth in an entertaining manner to its target audience and in the end turns out to be an impressive film with an important message for the youth delivered well.
Making a new breakthrough in Gujarati cinema in terms of box office success, the film directed by Abhishek Jain begins with a scene of few young boys heading towards the airport in a car teasing each other and then the story takes you back into a flashback explaining the series of incidents happening just before that. In its opening 20-25 minutes, the film seems to be a spirited first time effort by most of its young key faces. But as the characters reveal more about them with a simple, realistic portrayal, the film slowly starts growing on you and then makes a decent emotional impact through an enlightening climax.
Revolving around a Patel family and its circle of close friends, KEVI RITE JAISH has many mature performances from Kenneth Desai, Anang Desai and Deepti Joshi playing the elders along with Divyang Thakker and Veronica Kalpana-Gautam as the lead couple. It also gives you a feeling of watching something related with Bollywood when you find names such as Rakesh Bedi and Tom Alter playing the visa agent and an American embassy person respectively. Its crisp edit doesn’t let the emotions hinder its brisk pace and then a fine camerawork and good music helps a lot in making a personal connect with the youngsters very much interested in its basic subject.
In all, despite having a predictable story progression and conclusion, KEVIN RITE JAISH will still be loved by anyone watching it whether he is a Gujarati or not, since it has characters with similar ambitions like yourself or one of your dear friends who simply dreams of boarding a flight to the foreign land at the earliest either by hook or crook.
But as they say, the grass always look greener on the other side, the film makes you understand this decisive fact beautifully and guides you to rectify your thought process on an urgent basis before it gets too late and you find that there is no returning back getting illegally trapped in a foreign land forever. A young feel good film with a worth sharing message, you will not regret the decision of watching KEVIN RITE JAISH at all, so do go for it irrespective of the language barrier and have a good enjoyable time with the Gujarati family.
Rating : 3.5 / 5 (Including additional 0.5 for its inspirational theme targeting the youngsters)
Tags : Kevi Rite Jaish Review By Bobby Sing, Regional Films Review by Bobby Sing, Regional Films made on soical issues, Appreciable films being made in Regional Cinema of India, Enjoyable regional cinema of india, Gujarati Blockbuster, Films made on Foreing obsession in India
 
 
29 April 2015 / bobbysing /
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