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.


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.

NIKKA ZAILDAR (Punjabi) - Go for this Hrishikesh Mukherjee kind of clean family comedy drama featuring Nirmal Rishi in a terrific form bringing the house down. (Review by Bobby Sing).

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October 24, 2016 Monday     
When a film is planned specifically talking about an ugly communal chapter of our history post three long decades, then the makers are ideally expected to come-up with something relevant to say, adding into the already known, reaching out the younger audience in particular born in the years after. Moreover an important subject like this essentially needs to be handled with an exceptional extra-care without provoking or misinforming the present generation of the actual violent events, maintaining the peace & harmony.
Unfortunately 31st OCTOBER doesn’t turn out to any important film as mentioned above. On the contrary it neither serves any purpose of information nor is willing to make any strong convincing comment on that particular time period ruining the opportunity given. In fact it’s nothing different form just another routine Friday movie simply interested on focusing on its lead couple’s miraculous (filmy) escape from the attacking goons and therefore deserves no brownie points for its chosen subject rudely screwed through its ineffective, feeble and predictable onscreen portrayal.
In other words, spending a good 25 minutes on the casual build-up in its 102 minutes of duration, 31st OCTOBER is a too simple film made on a too complicated and horrifying subject talking about those ghastly attacks on Sikhs beginning from the evening of 31st October (around AIIMS, South Delhi) and continuing till the next 3 days in the city, putting the entire nation to shame.
As a matter of fact, it’s not only a simple film but also a poorly conceived, written and researched project which marginally works only due to the emotions involved in a few sequences in its second half. The film neither has any fresh angle to reveal nor has any exceptional vision to convey the history to the younger generation of the country born after the mid-80s.
In short there seems to be no other purpose or vision behind the making of this film except a personal attachment with its subject of its emotional producers, who most probably wished to make a film on ‘Delhi-84’ as some kind of duty to be fulfilled towards their own people and community.
However I seriously wish they could find a better, mature and knowledgeable team researching, writing and making the project, performing much more than just some professionals hired for a job.
Anyway without going into the details of those ‘ugly days’, would like to mention why 31st OCTOBER fails to reach the level of even an average project made on a still burning religion-based subject unexpectedly.
A. The film doesn’t work as it tries to present everything in a typically filmy style, adding (sad) songs right in the middle of all tension-filled sequences along with many clichéd characters and last minute miraculous escapes of the hero that don’t appear to be realistic or natural from any angle. In fact throughout the film you just feel like watching a highly dramatized filmy version of the terrifying events far away from anything close to the scary actual happenings. 
B. Adding a few look-alike faces like a one with black glasses (pointing towards H. K. L. Bhagat) and another with French-cut beard (reminding you of Jagdish Tytler), the makers try to sensationalize the issue without incorporating any noticeable brave sequence or some powerful revealing dialogues. Probably it was all done keeping in mind ‘The Censors’. But if you are fearfully making an attempt with such obvious concerns in mind then there is no use of taking up a subject like ‘Delhi-84’, delivering an ineffective and weak film unclearly and timidly pointing towards ‘the justice promised’, when even generations have changed of those hundreds of unfortunate, victim families.
C. In the entire film the director keeps trying to recreate the scenario within his limited budget using a group of 20-25 men roaming around shoddily designed sets (unlike Delhi), generating a feeling of nothing significant or drastic happening on screen like a typical B-grade Hindi film showing some road-side killings. A few of the goons also have big scars on their faces holding a sword just like any trashy movie.
And this only remains the biggest drawback of 31st OCTOBER unintentionally misguiding the young viewers about the actual magnitude of the brutal killings, loots and shameful sins committed on the Delhi streets in those 3 unforgettable days of November 84.
In cinematic terms, if budget constraint is there then you ought to find a different symbolic way of recreating the similar tension and bloodbath on screen justifying the crucial subject. But you cannot and should not conceive those sequences with only a group of 20-25 people attacking the unaware Sikhs, when in reality there were hundreds and thousands of well instructed men coming in trucks from ‘God knows where’ to attack the already known addresses and shops in the market.
In more clear words, either you show it ‘as it is’ on screen in ‘a similar measure’ or try to convey the same through some other intelligent means as seen in film AMU. But its nothing less than a criminal and unforgivable mistake portraying the unbelievable SCALE of killings with such a miniscule vision, misguiding and wrongly informing the youngsters painting a relatively smaller picture.
Explaining it further, if you are portraying an inhuman genocide of more than 4000 people on roads (in the capital of a country) including men, women and small kids burned and thrown away like dead animals on roads to be later picked up as trash, then the viewer should strictly get the same solid impression in mind or else there is no use of making it, wasting both your time and money.
D. As said earlier, if you wish to educate and enlighten the present generation about those black days of our history, then just poorly showing the unexpected political assassination and its after effects doesn’t work, unless you tell them at least something about the backdrop of ‘Blue Star Operation’ and more, may be, with some still pictures and a voice-over mentioning the specific sequence, which is nowhere to be found in the film confirming its unclear vision or purpose.
Coming to the research, writing and art direction of the film – Don’t know how many people with personal experience of those days were involved in the film’s research and art direction. But it was quite disappointingly done, unable to provide any kind of realistic touch to the movie hampering its overall impact. 
E. Was surprised to see Tilak Nagar area of Delhi and its lanes in the year 1984, presented as a remote village of Punjab with heritage kind of buildings used for living. In reality the region never looked that way in 1984 at all (as experienced personally).
F. There were no private buses running in Delhi at that time with only DTC buses functioning under the government ownership. But a sequence still shows the goons spotting a DTC bus owned by a Sikh setting it on a fire immediately.
G. The writers give Vir Das and Soha Ali Khan a mixed language to speak with words from both Hindi and Punjabi merged together, which becomes the major reason why they both always look like uncomfortable playing the given role of a Sikh couple rendering a weird kind of lingo.
H. In one of its scenes mentioning the choice of religion, a character says,
“I was also a clean shaven boy like you, but my Sikh uncle always used to tease me. So I also kept long hair and beard ……. became a Sardar……What big deal?”
In exact spoken words he says, 
“Bas Rakh Li Kesh Aur Daadhi….. Aur Ban Gaye Sardar..... Ki Pharak Penda Ae”
Now what kind of pathetic writing was that, I honestly cannot even comment upon!
I. Further tackling the religious aspect on screen, in one of its tension filled sequence Vir Das looks upwards towards the Almighty and says “Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh” asking for help.
Here although at personal level one might say anything to that Supreme Power. But in a film, the expression should have been either “Waheguru Mehar Karin” or simply “Satnam Waheguru” asking for a timely help looking towards the sky.
Because probably the writers were not aware that actually “Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh” is a phrase to be used as a mutual greeting by two Sikhs meeting each other like an official salutation. Yes, “Sat Sri Akal” is also used as a common phrase by all, but the more prescribed way of salutation is “Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh” in Sikh religious circles (strangely used in the film while addressing the supreme power!)
J. At a fewplaces a complete dialogue has been muted by the Censors and something else has been dubbed in a hurry. But in one particular dialogue the word ‘Hindu’ gets muted abruptly, whereas there wasn’t anything objectionable in the dialogue expressing the reality. And the line is,
“Sikh Kaum, Hindu Dharam Ki Raksha Ke Liye Bani Thi”  (with Hindu muted).
Perhaps now everyone is willing to rewrite the known proven truths of our ‘collective-proud-past’ for their own vested interests.
K. Surprisingly the film has been directed by Shivaji Lotan Patil, a National Award winning Marathi film director who probably wasn’t aware of the scale of killings seen on the those four days starting from 31st October, 1984. But even if one gives him the benefit of doubt, the film’s overall feel, the below average performances, the irritating background score and the forced songs thrown right in between the tense sequences isn’t anything even close to the expected results from a National award winning director to be straight.
In all no doubt there must have been noble intentions behind the project of its concerning producers. But the end product cannot even be recommended lacking the desired depth and vision representing 31st October. Sadly, sincerity and honesty alone cannot make a solid, thought provoking film reaching its target audience.
Rating : 1.5 / 5
Apart from the Review:
For friends really interested in knowing more about those times and the brutal, unspeakable killings in the capital itself. Please watch AMU (2005) directed by Shonali Bose, which till date remains the most appreciable and thought provoking film made on the issue and that too by a non-punjabi director understanding the pain, anger and the loss in a much better and relatable manner.
AMU is also included in Movies To See Before You Die List at BTC. And here is the link to the write-up for all new friendly readers.
One of the film's sequences also shows a school bus of "Guru Harkrishan Public School" coming for picking up the kids, where I used to study in that period in the Vasant Vihar branch. And what a big mob did to our school on the 1st of November 1984, will probably be there in details soon in one of my next write-ups.

Concluding it with an important observation,

reading many online reviews and write-ups I found that almost every critic/correspondent/interviewer has used the word SIKH RIOTS of 1984 in his or her article on the film 31st October released this Friday……… which means that even the educated need to be re-taught the actual meaning or definition of the word RIOTS.
It was not SIKH RIOTS dear respected, knowledgeable writer friends...... it was SIKH GENOCIDE.
So now onwards whenever you read, discuss or talk about those four dark days beginning from the evening of 31st October 1984 till the 3rd November, please ensure that they are referred to as SIKH GENOCIDE and not SIKH RIOTS in particular, since there were no two sides clashing with each other as per the definition of the word RIOT.

There was only one side on the receiving end…………….. still waiting for the JUSTICE to be served…….. even after 32 years.
Tags : 31st October Review by Bobby Sing, 31st October Film Review by Bobby Sing, Sikh Riots-Genocide Debate, Hindi film inspited from Real life events, 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
21 October 2016 / bobbysing /
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As mentioned in the earlier reviews of films featuring the infamous Sunny Leone, this is yet another project that seems to have begun once the lady said YES to its producers doing the legal signings. And who needs a fresh story or some great actors when Sunny is ready to be there in almost every frame of the film and its sensuously shot songs delivering the much obvious.
Interestingly here the most amazing and honest fact remains that in these kind of projects both the makers as well as the actors very well know that why this film is being made and what are they supposed to do in it, without worrying about anything else in terms of performance, talent, cinema or creative satisfaction to be straight.
So in BEIIMAAN LOVE, we once again have the same rotten storyline of a bet between the friends to win over a beautiful girl, a mother with an undisclosed shameful past, a guilt-ridden suicide thrown as a twist, a second marriage arranged with a questionably modern girl (and a father too) and then the revenge planned by the victim heading towards a supposedly innovative but pretty badly executed climax contributing nothing.
Beginning with a song right away focusing on Sunny - the only ‘so called’ asset of the film, BEIIMAAN LOVE is full of ridiculous dialogues, painfully clichéd sequences and many poor performances featuring Rajneish Duggal in the male lead and Sunny’s real-life husband Daniel Weber too (reminding you of the 90s when Bhagyashree used to force the producers to take her husband Himalaya as the hero of her every film).
In short there is no filmmaking here to be straight and ‘the product’ is not even enjoyable for the ones looking for some sleazy kind of entertainment in return of their money spent. In fact this should ideally be one of the last few projects of Sunny Leone’s India tour and she will have to take a decision before she slips into the mode of becoming the new-age HUMA KHAN signing such pathetic ventures.
Overall if EK PAHELI LEELA can be rated Sunny’s best ‘Hindi’ film till date, BEIIMAAN LOVE can easily be called the worst and she will have to seriously think of something exceptionally great to make a comeback from here.
Rating : 0.5 / 5 (And that too strictly for its few above average songs with some catchy beats)
Tags : Beiimaan Love Review by Bobby Sing, Beiimman Love Film Review by Bobby Sing, Sunny Leone in Hindi Films, Best and Worst Hindi film of Sunny Leone, 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
17 October 2016 / bobbysing /
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At one end SAAT UCHAKKEY can easily be called as the unofficial ‘desi’ sequel of DELHI BELLY due to its continuous abusive rant and the Delhi link. But on the other it can also be referred as an interesting watch that begins with the touch of Tarantino and Guy Ritchie but ends like the typical Priyadarshan movie offering a mixed bag of chaos and entertainment.
Based and filmed entirely in the old lanes of the capital (making a good use of chroma option) this is about seven guys who just want to get rich taking a short cut and with the same motive plan a heist in a local haveli, with not even one of them being expert of any such criminal activities. Sadly the ‘heist part’ comes much later in the film and till then the writer-director keeps introducing his characters with another ‘fake-murder’ plan which never turns out to be anything convincing or entertaining in the first half.
Besides, the language throughout remains crass and vulgar, which gets muted in some scenes in the beginning, but later probably the censor also couldn’t go on with its ‘muting act’ as then the film would have become a mostly silent venture affecting 70-80% of its dialogues written in the local lingo. In fact even in the performances, one feels like everyone going overboard in their initial sequences. But then you accept them as they are, offering a partially enjoyable film along a superfine camera work and noteworthy sound design retaining the relatable local flavor of Delhi-6.
No doubt in its first half, the parallel storylines remain confusing, the character defining is considerably long and it takes a good amount of time to reach the impressive part of the second half that should have been taken care of. Yet you don’t get much to complaint in its final hour as the pace entertains and many of the ‘abusive’ dialogues generate a kind of ‘guilty pleasure’ too, putting it honestly.
However, I really wish the spiritual inclusion in the end was handled more skillfully, because in the present form, though having its own insightful meaning; it largely remains disconnected, absurd and forced, coming all of a sudden without any solid reasoning or build-up.
In short, SAAT UCHAKKEY has some major issues in its language and scattered story progression too that cannot be called great or highly entertaining. But it’s not bad or crap either and has its own good moments in the latter half which can easily be rated as partially enjoyable and funny despite the excessive abuses.
Actually the characterization and the local ambience plays the real trick here providing the promised humour to the viewers. For instance sample the names as Pappi, Sona, Jaggi, Babbe, Khappe, Haggu, Phodoo, Bichy and then a Tejpal. Playing these realistic characters where Manoj Bajpai seems to be having a real good time, Kay Kay Menon as always is in his top form and Vijay Raaz once again entertains as the local lawyer Bhai. Aditi Sharma as Manoj’s lover looks beautiful as well as sensual.  Aparshakti Khurrana, Nitin Bhasin, Vipul Nag and Jatin Sharma play it fine as the friends, whereas both Annu Kapoor and Anupam Kher remain too close to hamming in their few scenes coming at long intervals.
Overall SAAT UCHAKKEY had all the elements of becoming another KHOSLA KA GHOSLA minus the tactless language. But writer-director Sanjeev Sharma couldn’t polish it well stressing more on the abuses brining in the humour instead of his situations or execution, which will also become a crucial factor affecting its satellite rights.
The film has its merits and many might like it much more than me for their various reasons. But if you miss it in the theatres then the official DVD will remain the only means of watching it in the coming months.
Rating : 3 / 5
Tags : Saat Uchakkey Review By Bobby Sing, Saat Uchakkey Film Review by Bobby Sing, Tarantino Guy Ritchie Priyadarshan inspired mix, Delhi-6, Old Delhi Lanes, Vijay Raaz, 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 October 2016 / bobbysing /
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