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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!

JUNOONIYAT - Where every decade essentially has a SAIRAT, it also witnesses hundreds of below average love stories desperately trying to be the one. (Review By Bobby Sing).

RAMAN RAGHAV 2.0 - A fine crime thriller, depending more upon its performances and dialogues instead of any exciting mystery, presented along a severely appalling sequence of incest. (Review By Bobby Sing).

DHANAK - The kids lift up the film beautifully despite all forced and unusual characters reminding you of a seen before theme. (Review by Bobby Sing).

The first scene in UDTA PUNJAB is all real and not any filmy insertion. (Articles on Cinema by Bobby Sing).

UDTA PUNJAB - Deserving to be seen, we have two films here to be straight. A partially realistic, impressive eye-opener in the first half and a slow-routine less satisfying one in the second, taking the easy way out. BUT remember Punjab is not a state of all criminals..... Please! (Review by Bobby Sing).

UDTA PUNJAB - Pre-release Questions and Fears (A preview by Bobby Sing).

THE CONJURING 2 (Eng/Hindi) - Has got the scares but nothing novel in concept or storyline serving less than its promising trailer. (Review by Bobby Sing).

DO LAFZON KI KAHANI - Based on a Korean film, it has a fine lead performance but a routine execution presented with some above average songs. (Review By Bobby Sing).

TE3N - An official remake of a Korean thriller, it has its moments but the end result suffers as the director remains more interested in the lead act of AB than the mystery itself. (Review By Bobby Sing).

KAAFIRON KI NAMAAZ - Directly released on Youtube, its a long, theatrical presentation pointing towards many suppressed issues of our society that deserves to be given a chance. (Review by Bobby Sing).

 
 
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June 29, 2016 Wednesday     
Directed by Vivek Agnihotri, who last came up with BUDDHA IN A TRAFFIC JAM, a ‘stuck’ political drama released after 4-5 years, JUNOONIYAT can easily be rated as one of the most casually made films with not even a single novel feature in terms of storyline, script progression, execution or performances of its lead couple. A project made in a ‘sleep mode’ will be the best phrase to describe it using an honest expression, as the film doesn’t even try to make an impression following an all dull and lazy vision right from its first tacky sequence to the very last.
In short, JUNOONIYAT has a first half typically made on the set Yash Chopra format taking a good 50 minutes to establish the romance using Kashmir, Punjab, a poem and a Holi festival song as usual. And then DILWALE DULHANIYA LE JAAYEGE takes over the second with the climax also shot at a railway station bringing the entire family there looking at the kissing couple. But what actually makes you feel completely disconnected with the movie is the utterly fake portrayal of just everything ranging from army offices, army men, Punjab, Punjabi families, the college picnic, the runaway, the confusion, glossy marriages, the functions, the would-be husband and the finale making no impact of any kind in terms of love, romance or emotions presenting a routine drama.
Where the director conceives the film targeting the 20+ youngsters who were born after the era of DDLJ, the entire cast acts in the scenes as if they don’t really know that this all has been already done to death in the last two decades. So after a while you are not even interested in watching the beautiful Yami Gautam or the charming Pulkit Samrat doing nothing on the screen playing ‘the eternal couple’. In the supporting cast, Hrishita Bhatt is just there completing her next assignment but Gulshan Devaiah tries his best in all the repetitive scenes playing ‘Parmeet Sethi’ of DDLJ.
Made strictly as a 90s romantic saga without incorporating anything new or fresh due to some strange unknown reasons, the film also doesn’t have any great songs providing the much needed support including the remake of an old hit Punjabi track "Nachange Saari Raat" by Stereo Nation. So it’s just the cinematography that can be mentioned as the only merit of this lifeless romantic film made without any interest or vision as such.
Summing up, as love is the most beautiful emotion gifted to the human race, love stories will always remain the most favourite genre of film-makers targeting the young viewers.
However since every team is not capable of delivering a ‘new generation love story’, there will always be only one SAIRAT among hundreds of weak, wannabe trendsetters like JUNOONIYAT in every decade to come.
Rating : 1 / 5
Tags : Junooniyat Review by Bobby Sing, Junooniyat Film Review by Bobby Sing, Inspired movies, DDLJ inspired love story, 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
 
 
25 June 2016 / bobbysing /
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There are two kinds of movies based on serial killers. One, where you are not shown the real identity of the killer and the film is all about the search completely depending upon the mystery element involved in the investigation process, and two, where you are straight away introduced to the psycho man and then get to see him making all his random or specific killings with the police trying to catch him as the third party.
Interestingly where the first kind of presentation makes an engaging and exciting watch due to its teasing suspense, the second largely remains a psychological film heavily depending upon its way of presentation, the performances and the director’s personal interpretation of the theme reaching out to his target audience.
The present RAMAN RAGHAV 2.0 is the second kind of film to be specific, so the viewers looking for some food to satisfy their hungry grey cell are going to be disappointed. More so because the film doesn’t have any kind of deep justifications or detailing given to its characters leaving you with many unanswered questions about the crimes committed so ruthlessly.
Having said that there still is a masterstroke played by director Anurag Kashyap through his clever title and the pre-release hype created around a man, the film is least concerned about in its entire duration of more than two hours.
Inspired from a brutal serial killer of mid 60s operating in Mumbai and a short docu-fiction kind of film made on the subject by director Sriram Raghavan (with Raghuvir Yadav) in the early 90s, Anurag named his film as RAMAN RAGHAV 2.0 and the whole world started thinking as if the film was all about that 60’s weirdo serial killer and Nawazuddin was playing the same in his own peculiar style visualized by Anurag Kashyap.
But as the film begins, a few slides inform you about the original Raman Raghav and the next one clearly says that, This is not about that Raman Raghav of 1960s, simply mocking all those web-articles, news-items, features and more written with a wrong assumption taking it a bio-pic on the lesser known criminal made by the controversial director. In fact the complete title using two names Raman and Raghav adding a 2.0, gives you an entirely different meaning in the end, which exactly is a masterstroke reminding you of the ones associated with the renowned film-makers such as Quentin Tarantino who certainly have a strong influence over Kashyap and many more new-age Indian directors of this present age.
Dividing the film into several chapters (on a similar format seen in many QT films), the second clever feature of RR 2.0 remains its well written dialogues that force you to think upon them repeatedly. And the rest is done by the fine performances with Nawazuddin Siddiqui once again delivering a gem of an act (as a psycho killer) followed by the talented Vicky Kaushal (as the drug addict inspector), Sobhita Dhulipala (as Vicky’s girlfriend), Amruta Subhash (as Nawazuddin’s sister) and Vipin Sharma (in a cameo appearance).
Opening with strobe effects in a pub playing the ‘Qatl-e-Aam’ track, the film straight away gives you the surprise of being a story of a fictional serial killer in the present era and not the one from the 60s. The progression remains engaging with a tight editing, but not for everyone sitting in the theatre due to some severely shocking and mentally violent scenes along with a particular appalling one (discussed in details later). Unnecessary abuses can be noticed in a few scenes besides the brutal killings and the parallel track of the inspector adds a different angle into the storyline making it an interesting watch. Yet it largely remains dependent upon the acting skills of Nawazuddin Siddiqui alone till interval and doesn’t have any exciting twists and turns normally associated with such intense crime thrillers focusing on a cunning character.
Post intermission, a monotonous kind of feel, deliberate song insertions and the romantic track of the investigating officer reduces the impact further. But it thankfully ends with some decent sequences conceived around its two key characters completing each other. However I personally didn’t find any kind of big or fresh, unpredictable revelations made in its final moments.
Majorly saved by his performers instead of any exceptional writing or screenplay, no doubt Anurag is back in a good form with his Raman Raghav, but this also cannot be rated as any winning innings from the director visiting his favourite genre of dark and violent crime thrillers. Yes, one doesn’t feel bored looking at the quick story developments talking about more than one psycho character on the screen. Yet it doesn’t turn out to be any powerful, mind blowing serial killer movie forcing you to think and keep guessing on a constant basis. Also, a strong ‘Déjà vu’ kind of feeling is always there watching the entire film. May be because we have already seen Nawazuddin doing several similar kind of roles in the past as in BADLAPUR, MISS LOVELY, TALAASH, GANGS OF WASSEYPUR and more. Admittedly playing such creepy characters Siddiqui looks so convincing, that probably the directors are not able to think of any other name for such roles (sadly) typecasting a terrific performer.  
As a Anurag Kashyap film, RR 2.0 is unable to deliver that expected depth and pull which was much better in his UGLY in comparative terms. Though Kashyap successfully makes you feel the blood and violence happening on the screen without even showing it visually through an intelligent camerawork and sound, yet one doesn’t feel any kind of empathy for either the victims or the lead characters throughout the film in any way whatsoever. In fact you don’t even feel any strong hatred too for either Nawaz or Vicky at all as they never turn out to be some compelling characters reaching out to the viewers in any impactful manner as desired. One just keeps watching them emoting on the screen and doesn’t feel like exploring their criminal mindsets, their personal reasoning behind the murders and more, unlike a film revolving around a mad, sinister serial killer. Moreover it was really strange to see such a childish depiction of Police in the film, where the officials simply forget about a person locked in a deserted building and then casually hold a dangerous wanted murderer as if he is a local pocketmaar being taken to the police station.
On the technical ground, as always Anurag delivers a polished product with a noteworthy camerawork shooting at actual locations and a captivating background score giving a rhythmic edge to the film enhancing the onscreen proceedings. However there can be no denying to the fact that such catchy riffs, beats or songs commencing at just the right moment do make you feel pumped up as if participating in the criminal activity shown on the screen that can easily be stated as glorifying or romancing the violence in a dangerously influential manner. Also at times provocative, violent lyrics served with appealing beats or arrangements do make me think about the impact they can make on the youngsters in a dark, smoke filled night club playing them too loud. For instance, imagine a song like ‘Behooda’ being played in a disco and people improvising on its lyrics making different postures.
Spoilers Ahead
Coming to the most disturbing sequence in the film, Anurag continues with the subject of incestuous relationships in his present RR 2.0 too as seen in his THAT GIRL WITH YELLOW BOOTS released in 2013. But here the insertion is quite deliberate that could have been easily avoided as the purpose of character assassination of both Nawaz and Amruta was already done in the explosive lines spoken just before the introduction of the appalling incest angle. To give you a clear idea, the moment Nawaz makes all those shocking revelations about Amruta’s young days right in front of her husband without any hiding at all, it completely crushes her entire persona in a much decisive manner in just a few seconds. But Anurag willfully doesn’t stop there and goes on adding the incest angle into the sequence too in order to make it more brutal and disturbing. In other words, when the mention of all young premature sexual relationships and incest was already made in the dialogues itself, it was clearly deliberate moving into more verbal and physical depiction of the same sensationalizing the entire scene.
For records, the topic of incest has been there in Hindi Cinema in more than 25 films since the 1940s (mentioned in details in the last chapter of my book DID YOU KNOW (Vol.1) available online), but it has never been presented with such a disgusting visual execution ever till date as in RR 2.0.
However, comparing this particular sequence with the 89 cuts given to last week’s UDTA PUNJAB, its really strange that the censor board find the abuses spoken in a scene as objectionable but not there visual depiction on the screen quite weirdly. So you cannot say it as an abuse but can practically show it in a scene justifying your character’s requirement. That’s really a great insightful thinking indeed with some amazing logic. (I hope you can easily get what I wish to express here without using the exact words).
Concluding the review with another worth mentioning scene in the film, this is where we get to see the mental level of Nawazuddin’s wacko character (that can also be stated as the best scene of the film as per my personal opinion), where he is not able to count even two thousand rupees with a few notes lying on the counter getting confused repeatedly. The scene actually conveys that though his physical age might have crossed 30-35, but his mental age is still somewhere stuck around under-10. And in reality this can also be noticed in many of the normal people in the society too…………. who are not any criminals!
In all RAMAN RAGHAV 2.0 can certainly be seen once for Nawazuddin Siddiqui and his thoughtful dialogues alone without expecting any great, path breaking serial killer film from the over-famous Anurag Kashyap.
Rating : 2.5 + 0.5 / 5 (with an additional 0.5 just for the clever trick played with the title)
Tags : Raman Raghav 2.0 Review by Bobby Sing, Raman Raghav 2.0 Film Review by Bobby Sing, RR 2.0 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
 
 
24 June 2016 / bobbysing /
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The most difficult part of a film revolving around one or two kids is to find the right ones who have a likeable screen presence, can express the emotions well and render the dialogues too as visualized by the film’s writer and director. Thankfully Nagesh Kukunoor manages to find two perfect kids to play his key characters in DHANAK and the film majorly gets lifted by them alone despite having many weak character insertions in a script based on an unoriginal theme reminding you of two earlier similar projects widely appreciated and awarded too in the festival circuit. But keeping those references for the last, let me first convey why I wasn’t that impressed from the film in spite of two remarkable child artists and a few matured acts.
DHANAK begins introducing a sweet brother and sister duo arguing over Salman and Shah Rukh Khan as their true fans. The 8 years old kid brother is not able to see and the elder sister of around 10-11 cares about him as a mother along with fighting over the issue of SRK being the best, whom she adores a lot. The film is about their journey towards Jaisalmer, where Shah Rukh is shooting for his new film and the girl wants to meet him looking for some financial help in getting her brother operated (as per the doctor’s instructions). So it’s a road movie with the kids meeting several people on the path and then reaching the destination to have a pleasant surprise.
Commencing with a couple of highly impressive scenes, the major triumph of DHANAK remains the two talented kids besides some entertaining dialogues that keep bringing the smiles and laughter in at regular intervals. Particularly it’s the charming performance of Krrish Chhabria as Chhotu that beautifully elevates up the film into a fine light hearted entertainer along with an adorable natural act by Hetal Gada as his elder sister Pari. Together the kids deliver a delightful time that doesn’t disappoint as far as the performances, good music and dialogues are concerned. But as per its basic theme and added characters into the script this doesn’t seem to be a Nagesh Kukunoor film from any angle.
(Spoilers Ahead)
In clear words, if a director of films like HYDERABAD BLUES, ROCKFORD, 3 DEEWAREN, IQBAL, DOR, AASHAYEIN and LAKSHMI offers such weak, unconvincing, stereotyped and badly conceived supporting characters in his film as seen in DHANAK, then if forces you to assume that something has drastically gone wrong either in this particular project or somewhere in these recent years quite honestly.
For instance it was shocking to see a Nagesh Kukunoor film having a female Rajasthani bandit (holding an antique kind of pistol-cum-gun) putting loads of make-up like a ramp-model blocking the road with big stones, a child-trafficker running away on a deserted road in a desert (God knows where?) leaving his SUV behind with two unconscious kids tied at the back, a wicked scary looking ‘Banjaaran’ aunt who can gaze into the future, a young Tom Alter kind of foreigner traveller forcibly trying to pose as some enlightened being wandering on earth, an eccentric/ mad man constantly walking on the lonely roads with a Car Staring in hand, and above all a fake spiritual God-woman who was earlier a struggler in Bollywood along with Shah Rukh Khan only.
Exploiting the backdrop of Rajasthan just to impress the festival audience all over the world, I personally wasn’t expecting such childish presentation of the region from the man who has a classic DOR in his repertoire that can be easily be taken as a reference material without any doubt. Yes, DHANAK has a fine cinematography offered with an enjoyable soundtrack with some good songs. But I frankly couldn’t believe hearing guitars being played in a track when the musicians on screen were all playing the traditional Indian instruments. After all that is exactly where the director comes in approving the questionable execution.
So what exactly works in DHANAK that doesn’t allow me to call it a non-performer?
It’s majorly the two outstanding kids, their pleasant and charming performances, the enjoyable dialogues (mostly by Chhotu) and one mature supporting act from Vipin Sharma. Mentioning the only few scenes I could feel connected are the ones where the kids have a friendly interaction with Vipin as their caring uncle, the sequence where Chhotu stops an ongoing truck completing a song being sung on the people on board, the marriage talks between the three kids at a night stoppage and watching the truck driver who drops them midway towards Jaisalmer emoting realistically.
Otherwise, the basic choice of theme by Nagesh disappointed me the most as I was really expecting something fresh and novel from the director who always used to come up with a new and unique subject. Giving you the exact references, a kid travelling all the way to the city to meet an icon was earlier seen in two films and in both these films, the icon was never shown on the screen with any actual footage exactly like DHANAK. So what we get to see in the climax of all these three films is the use of some clever shots that give you an impression of the icon being there having some kind of interaction or the child connecting to him in an indicative manner.
Naming them all, Raj Kapoor conceived AB DILLI DOOR NAHIN in1957 without Pt. Jawaharlal Nehru (directed by Amar Kumar), Nila Madhab Panda made I AM KALAM in 2010 without A. P. J. Abdul Kalam & now Nagesh Kukunoor makes DHANAK in 2016 without Shah Rukh Khan working on a similar pattern
So if you haven’t seen any of the two films mentioned above, then DHANAK is obviously going to be novel and enjoyable too due to the two terrific kids. But don’t expect something highly mature from the director who is ironically widely known for the same.
Rating : 2 + 1 / 5 (with the additional 1 especially for the fabulous (film saving) performances by Krrish and Hetal)
Tags : Dhanak Review by Bobby Sing, Dhanak Film Review by Bobby Sing, Inspired Films, Ab Dilli Door Nahin, I Am Kalam and Dhanak, Simialr theme 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
 
 
22 June 2016 / bobbysing /
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