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.

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PAPANASAM (Tamil) - The DRISHYAM saga continues to make us proud of our Indian Cinema with the team excelling once again led by Kamal Hassan. (Review By Bobby Sing).

SECOND HAND HUSBAND - Watching the gorgeous Geeta Basra on screen is the only positive in this flat comedy. (Review By Bobby Sing).

GUDDU RANGEELA - As usual, the routine writing doesn't let the decent performers and the burning issue of 'Khap Panchayats' leave any major impact. (Review by Bobby Sing).

SARDAAR JI (Punjabi) - A novel, innovative love triangle that remains fairly enjoyable with a terrific first half and a dynamically entertaining Diljit. (Review By Bobby Sing).

MISS TANAKPUR HAAZIR HO - Remains a realistic but not so gripping, below average comical satire, unbelievably based on a true event. (Review By Bobby Sing).

ABCD 2 - The routine formula largely works with enough in store for the ones having a dancer's soul, also reminding us of the 'almost lost' Indian tradition of 'Guru Shishya'. (Review By Bobby Sing) .

JURASSIC WORLD (English) - Its predictable following a set formula, yet well-made and engaging in its second hour providing the expected excitement. (Review By Bobby Sing).

HAMARI ADHURI KAHANI - Two intense performances cannot save an otherwise absurd & badly written film. (Review by Bobby Sing).

How DIL DHADAKNE DO reminds us of the classic PARTY (1984) and Raj Kapoor. (Articles on Cinema by Bobby Sing).

Kundan Shah's fascination with a corpse as prop continues in his P SE PM TAK - (By Bobby Sing).

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July 07, 2015 Tuesday     
PapanasamBeginning on a serious note, I really feel sorry looking at the way our Indian regional cinema is ignored by the Hindi film viewing audience, considering it always something loud, over the top and action based fast moving drama to be eluded. In fact it really makes you feel the pain finding a film like DRISHYAM (Malayalam) not reaching a wider audience all over the country despite being capable of redefining ‘Indian Cinema’ breaking all the preset notions and assumptions about regional movies.
So as a review of the film’s original concept, its similarities with a foreign flick and other triumphs achieved, I would like you to read my earlier write-up on DRISHYAM (included in BTC’s Movies To See Before You Die List) at the following link:
And as a review of PAPANASAM, here are my honest views about the worthy, must watch remake given below.
Directed by Jeethu Joseph himself (the man behind DRISHYAM), PAPANASAM is a very loyal remake of its original since it even follows the lengthy first half as it is, that was pointed out to be ‘a drawback’ by many viewers and critics together. But looking at these initial 40 minutes of the film from a different viewpoint, it does help in building a solid base of individual friendships, rivalry and family-bonding having their own interconnected importance in the later crucial part of the film as required.
The biggest attraction of PAPANASAM (literally meaning ‘Destruction of Sins’) remains Kamal Hassan returning to his much adored portrayal of a simple, common man that was missing in most of his recent films featuring all ‘heroic’ or ‘larger-than-life’ characters away from reality. So here we have a loved maestro (Kamal) carrying the bright torch lit by another hugely respected maestro (Mohanlal) with the same dedication, sincerity and perfection that deserves to be experienced as a must.
Plus PAPANASAM also has Gauthami reappearing on screen after many years, once again proving her immense talent in the tough role superbly. In fact it was great watching them together as a couple making me recall those lighter days of APPU RAJA and many more. Just like the original the entire supporting cast here is again well chosen (a few retained from the original), contributing hugely in the overall impact of the film with many key sequences bringing you onto the edge of your seats repeatedly. Having a longer duration (3 hours) than the Malayalam film, PAPANASAM has a couple of catchy tracks and a powerful background score that successfully takes the film to the next level undoubtedly. And one of the major highlights of the film is its climax conversation scene between Ananth Mahadevan (better than the original) and Kamal Hassan that forces you to join your hands together praising their commendable job wholeheartedly.
No doubt, comparison between the two veterans is bound to become a matter of debate within film institutions & keen students of cinema in the coming months or years. But ideally instead of comparison, one should focus on the different approaches followed by the two in their individual portrayals on screen deserving a huge applause.
To give you the exact gist, where Mohanlal’s solid act in DRISHYAM stressed more on intelligence, confidence, patience and ruthless expressions in his interpretation of a concerned father, there Kamal Hassan in PAPANASAM keeps emotions in front and stays an intelligent emotional father right till the finale sequence crying in front of Ananth Mahadevan. And this major difference in their respective visions can be studied in the police torture scene & the climax in particular, dealt distinctively.
However in my personal opinion since a super composed, intelligent and less emotional personality remains more close to the ‘thinking’ character of the father hiding the unintentional crime, therefore Mohanlal and his DRISHYAM stays ‘one step ahead’ venture for me putting it honestly. But at the same time that doesn’t allow me to rate PAPANASAM any lower deserving an equal praise, successfully giving you the same pulsating, unpredictable, emotional and mind boggling experience in the theatre that needs to be cherished at the earliest without any slightest of doubt. Moreover it also becomes a must watch for the younger generation in particular since it raises a valid question on the use of all new age gadgets that can become both a boon as well as a curse if used with wrong intentions following an evil mind.
Coming back to the subject of regional films, if after reading and listening such strong positive views about the exceptional content of Malayalam DRISHYAM and now the Tamil PAPANASAM all over the media, if you still haven’t seen any of these films due to some of your own (silly) language reservations………. then that’s like a crime committed willfully by a supposedly true lover of great cinema if I must say that.
Summing up, where most of us (in the north) unfortunately missed watching DRISHYAM on the bigger screen making us feel the unparalleled excitement and the jaw dropping thrill like never before, PAPANASAM is right there in the theatres this week (with English subtitles) and we should certainly make an effort to watch it as a must grabbing the opportunity given.
Ratings : As DRISHAM, PAPANASAM also goes into BTC’s Movies To See Before You Die List right away. And it’s the first instance when both the original and the remake are there together.
(On a personal note : If you really wish to feel the magic on screen like never before, then please don’t wait for its Hindi remake version to release soon with the same title DRISHYAM featuring Ajay Devgan, Tabu & more. Since it’s going to be ‘almost impossible’ to excel what Mohanlal and Kamal Hassan have already displayed in their gigantic portrayals. However that’s my personal opinion and I would love to be proved wrong supporting great cinema)
Tags : Papanasam Tamil Film Review by Bobby Sing, Papanasam Drishyam Review by Bobby Singh at BTC, New Regional Film Reviews by Bobby Sing, Kamal Hassan in Papanasam Review at bobbytalkscinema.com, Tamil Film Reviews by Bobby Sing, Movies To See Before You Die, Must Watch Indian Classics, Not To Be Missed Indian Regional Cinema
05 July 2015 / bobbysing /
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For a change, instead of a typical review, I would like to state a few pointers here that would give you a clear idea of the film and its flat comedy, despite having many known names and also being the debut film of actor Gippy Grewal & director Smeep Kang (from Punjabi Cinema) along with Tina Ahuja (Govinda’s daughter) as the lead heroine.
A. Punjabi cinema has its own flavor of comedy that mostly remains dependent upon its witty one liners and taunting dialogues instead of any active slapstick comedy of making faces. Whereas Hindi cinema does require a fine mix of all and cannot sustain for 2 hours just on supposedly funny lines and few messy situations alone.
B. It seems the film’s dialogues were first written in the regional language and then translated into Hindi, as at few places, Punjabi words or phrases have been used as it is. Moreover the “Tu-Tera” in the lines instead of “Tum-Tumhara” sounds pretty awkward right from the beginning.
C. There is a typical Punjabi feel throughout in the film, particularly due to the verbal expressions used in the irritating, loud background score repeatedly. Moreover the lead hero Gippy Grewal has a strong, unintentional regional tone in his dialogue delivery ruining even the potential scene or a potent dialogue at times.
D. Though the film has an interesting plot woven around divorce and alimony, its writing and visuals both lack that required finesse on the screen. For instance, a practicing lawyer herself is not clear about the case & its judgment she was fighting. Plus in a scene at police station we can see four policemen wearing dresses of four Khaki shades adding to the stale comedy.
E. Director Smeep Kang ropes in few comic actors from Punjabi cinema as Gurpreet Ghuggi, Karamjit Anmol & Rajiv Thakur along with many known names of Hindi films as Alok Nath, Mukesh Tiwari, Ravi Kissen, Rati Agnihotri, Deepshikha and more converting it into a film led by the supporting cast instead of its key stars. Yet none of them delivers anything worth mentioning except Vijay Raaz and Sanjay Mishra in their individual scenes.
F. With a routine cinematography it has a couple of good songs as “Rabb Varga” and “Channa” (that is take-off from a traditional Punjabi song “Chann Kithan Guzari”).
G. Addressing the young lead actors, Gippy Grewal should move back to the world where he is a superstar as he is now done with the dream of featuring in a Hindi film. Tina Ahuja looks confident but she should have chosen another project for her debut with a better written role having at least some chemistry on screen as a love bird. And I wonder why Geeta Basra doesn’t get some big projects since she simply looks stunning on screen (with a comic timing too) becoming the only positive feature of this dull comedy (also featuring Bhajji in a scene towards the end).
H. As a friendly advice for director Smeep Kang, he has got an already proven talent that can easily deliver an enjoyable comedy unarguably. But for a Hindi film, he needs to re-invent himself in entirety coming out of the hard Punjabi shell taking a new avatar.
I. In the end coming to one of my most loved actors Dharmendra, would only like to say that I highly respect those veterans who are blessed with the insight of when to quit keeping their respectable image intact like Dilip Kumar. And that should say it all in an indicative way about our beloved He-man’s questionable portrayal in the film.
Rating : 1.5 / 5
Tags : Second Hand Husband Review by Bobby Sing, SHH Review by Bobby Sing at BTC, 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
04 July 2015 / bobbysing /
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When it’s the director of PHAS GAYA RE OBAMA and JOLLY LLB returning with the same lead artist (Arshad) and a title like GUDDU RANGEELA, then the expectations are bound to rise and the viewers look forward to witness something engaging enough with a fresh message oriented subject dealt differently. But sharing the sad news, director Subhash Kapoor doesn’t deliver anything even close to the entertaining PGRO or JOLLY LLB and shockingly comes up with a film which has nothing fresh to say post its engaging opening sequence to say it all.
In support of the above point, sample this big blooper in its first scene itself.
The film begins with a private musical show and we have Amit Sadh coming on stage to crack a stale obscene joke (with a beep). Now just after that on the same stage we have a devotional song being sung by Arshad Warsi with red chunris tied to everyone’s forehead singing the lyrics “Kal Raat Maata Ka Mujhe E-mail Aaya Hai”. And watching this silly mess happening in the first 5 minutes itself it becomes pretty clear that this is not what was being expected from the same team unfortunately.
Moreover the fact that the promoted identities of both Amit and Arshad as small time stage performers have nothing to do with the film’s actual script (after the initial song sequence), becomes another big drawback for the project, since that exactly was the key point making its trailer interestingly different and promising. In other words, the audience expecting a blast with reference to some stage performances reminding them of the small hilarious insertion in Dibaker’s OYE LUCKY LUCKY OYE would be hugely disappointed since the film is not at all about that in reality.

(Spoiler’s Ahead)
Anyway moving ahead, as soon as we finish with the opening 15 minutes, GUDDU RANGEELA fast turns into the same routine fair revolving around two people kidnapping a young girl (falling into a trap laid), their long time rivalry with a flashback, the girl having her own plan to take a revenge from her sister’s husband, a political career at stake due to a secretly recorded cd, love blossoming between one of the kidnappers and the girl, the goons catching them all finding the mole and then the climax with big bomb blasts and guns coming out of nowhere strictly following the same seen before routine ruining it all. In fact with a heavier second half pulling the film further down, the basic plot (and its few one liners) reminds you of several similar movies ranging from SHOLAY to FARGO, LOVE KE LIYE KUCCH BHI KAREGA and lot more made on related subjects.
But wait, being a Subhash Kapoor film we do have a decent message here and two novel insertions in the script too that were never seen before in a Hindi film till date giving the director his deserving due.
As far as message is concerned, Kapoor plays it real well bringing in the controversial Khap Panchayat issue clearly & boldly with the impressive Ronit Roy portraying the baddie. But a message actually works when it successfully manages to reach the viewers through an equally hard hitting narrative. Sadly here it gets lost in the routine script and doesn’t make any long lasting impact on the viewer walking out of the theatre (working against the noble motive).
Mentioning the two ‘never before’ scenes in the film, as a positive one GUDDU RANGEELA has a fabulously shot sequence where a group of saffron-dressed sadhus are playing soccer with the reference of Messi and more names making it a great sight. But as a negative, the film has an extremely shamefully vulgar dialogue making a clear offer to the girl for sexual favours as never heard before in a Hindi film in such a straight manner. Probably the censors were sleeping while that line was being said or possibly they heard it all wrong not getting to its actual hidden meaning in the sequence.
As a director, Subash Kapoor perfectly catches the local feel of the subject as required but is not able to get the writing as sharp and fresh as expected. Many of the silly, overheard jokes cracked with the reference of a certain Mr. Singh, reveal the biased mindset of the writers and its really strange why Kapoor selected such a rotten subject for his next film to be honest.
Luckily the director gets saved by his chosen actors performing sincerely, led by the supremely effective Ronit Roy instead of Arshad. Playing the village demon, he is intense, he is tough, highly believable and spells terror on the screen just perfectly. Arshad Warsi once again performs a ‘done-before’ kind of role with a visible ease, entertaining the viewers in the first half. But Amit Sadh slowly gets into his character in the later part of the film only doing fairly well. Aditi Rao Hydari looks beautiful in a confusingly written role having nothing to do towards the end along with the other lady. However in the supporting cast, a big comic support comes from Rajeev Gupta as the careless cop, Dibyendu Bhattacharya as the middle man goon and Brijendra Kala in an entertaining cameo as always.
The soundtrack hasn’t got much to say other than the “Mata Ka E-mail” track, whereas background score truly lifts up some key sequences as required. Cinematography & action remains average but the editing could have been much sharper resulting in a shorter length.
Overall, this is neither GUDDU (a Shah Rukh Khan dud), nor RANGEELA (a Aamir Khan hit). This lies somewhere between them sliding more towards GUDDU with a message that fails to reach the masses due to a routine script. Still the film might perform better in the smaller centers as compared to the metros due to its local feel of the subject.
Rating : 2 / 5
Tags : Guddu Rangeela Review By Bobby Sing, Guddu Rangeela Film Review at BTC, 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 July 2015 / bobbysing /
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