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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!

DAAWAT-E-ISHQ - An uneven and unconvincing plot marginally rescued by the performers and the message. (Review By Bobby Sing).

KHOOBSURAT - Thankfully its not a straight remake of the famous Hrishi Da classic and a fairly enjoyable venture too unexpectedly. (Review By Bobby Sing).

DON PEDRO - A true artist, his introspective vision and the creative orgasm he experiences after finishing off his passionate creation - An insight by Bobby Sing.

FINDING FANNY - Many would love it, a few would not but watch it for its fresh feel and performances, especially for Pankaj Kapoor & Deepika. (Review by Bobby Sing).

CREATURE - Its so boringly long with all unrequired songs and unexciting sequences that the horror becomes tiring as well as funny post interval. (Review By Bobby Sing).

MARY KOM - A pure filmy depiction of an inspiring, exceptional real life tale of a brave Indian sportswoman & a proud mother. (Review By Bobby Sing).

The story behind first FILMFARE Awards and its Trophy in 1954 (Did You Know - 81).

IDENTITY CARD - It begins realistically at a slow pace & then comes up with some extremely important questions raised on terrorism, Kashmir & STF reminding me of the dark days of Punjab. (Review By Bobby Sing).

RAJA NATWARLAL - When a con film is not able to con the viewers with its supposedly clever content then it actually fails. (Review By Bobby Sing).

TRIP TO BHANGARH - Another poor attempt in the name of Horror ruining a highly interesting, potential plot. (Review By Bobby Sing).

 
 
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September 21, 2014 Sunday     
If one considers the sincere presentation, worked upon performances and the important message against the Dowry system in this latest Habib Faisal project, once again coming from the YRF banner, then the intentions are all fine and the film does take you back in that Golden Era when movies used to be made on a social theme with an all Muslim background and characters. But later if you think upon its basic story plot and the unconvincing twist & turns in the script, taking all its major characters for granted going for some silly, unbelievable decisions regarding such a big aspect of one’s life i.e. marriage, then the film simply falls flat and offers nothing which can be treated as a Daawat (treat) or Ishq (love) in this so called DAAWAT-E-ISHQ.
Having said that, after some great graphics in the opening credits, the film does begin with all impressive content in its first 15 minutes depicting the middle class life of a father (a clerk in the court) and her well educated daughter (working as a salesgirl in a shoe store) living in Hyderabad searching for a decent boy for her marriage. But as it progresses further with a sudden twist dealing with Section 498 (A) of the Indian Law safeguarding a woman’s rights in her marriage, it slips down badly with all senseless decisions being taken by every (supposed to be) sensible character in the script falling into the weak trap planned by the duo. As a result, the narration loses the grip post intermission making it a big drag and comes up with all predictable stuff right till the badly handled climax following a typical Hindi film norm of a happy ending.
Certainly not the kind of film expected from the maker of DO DOONI CHAAR and ISHAQZAADE, the one major point which simply ruined it all for me was the sudden transformation of a solid honest character played by Anupam Kher who had not opted for the obvious despite being there in the court in his entire life. Further the way Aditya’s family agrees to every suspicious demand kept in front of them so hurriedly looked more deliberate and even funny, being far away from anything witnessed in our real lives (when it comes to a marriage).
Continuing the recent trend, this is another YRF film with quite a lackluster soundtrack except the catchy title song composed as per the requirement of its basic theme. In the technical department its Cinematography, Editing and Dialogues do try to keep the viewer engrossed in their various individual elements like the outdoor scenes, a fine local set of the eating joint, Hyderabadi accent tried by the actors and the pace giving you less time to think upon the logic. Still nothing works due to the unconvincing plot adapted in a weak script which fails to impress the viewer after its few initial moments in any of the tried genre be it love, con, drama or comedy.
Performances have another shock stored in for the fans as probably this is the first film where Parineeti comes as the last name in the list of good performers led by Aditya Roy Kapur and Anupam Kher. In fact many who considered Aditya as the wrong choice for the role (looking at the promos) would get hugely surprised by the excellent manner he has performed so confidently taking a lead from even a veteran such as Anupam Kher. Aditya shines throughout with his charming persona but sadly enters into the film only after a good 40 minutes as per the need of the script. Anupam Kher once again proves his known versatility playing the Hyderabadi father brilliantly, but after a while goes into a stereotyped shell too because of his badly written character going through a sudden illogical transformation.
On the other hand, Parineeti for the first time looked like pale to me in a film and the major reason for it remains the writing and the feeble plot adapted. For instance she is supposed to be a topper in her studies and yet goes for such a big and silly con-job like an immature girl knowing nothing. Yes, she tries her best adapting the accent, culture and details of a Hyderabadi girl, but doesn’t turn out to be that convincing at all as we have seen in her previous ventures, to be honest. In indicative words, the girl desperately needs to come out of her fixed production houses on an urgent basis. Karan Wahi is ok in a dragging, avoidable portion of the film’s first half and the rest of the cast is also just there as per the fixed requirements.
In all, the only thing favorable in the film is the loving father-daughter relationship between Anupam Kher and Parineeti, plus its attempt to spread some awareness about the ugly dowry culture followed in our country. However other than that, the film neither has any taste of a delicious dish nor any love in its showcased Ishq as promoted in its title.
Above all, I found it really confusing in the end thinking that what was the actual motive of the writer-director for making this film based on such an important issue?
Did he intended to make a film against this evil curse of dowry?
OR
Was he more willing to showcase the girls who take advantage of this particular law and try to extract the maximum out of their husbands playing a wicked game?
Frankly I couldn’t make out what his real intentions were but may be you can. So the choice is all yours and do let me know if you reach any solid logical conclusion, in case you still decide to watch it.
Rating : 2 / 5
Tags : Daawat-e-Ishq Review By Bobby Sing, Dawat-e-Ishq Film Review by Bobby Sing, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, 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
 
 
20 September 2014 / bobbysing /
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Beginning with an honest confession, many would agree to the fact that this was one particular film which everyone was expecting to be a pretty bad remake of the famous Hrishikesh Mukherjee-Rekha classic having the same title (with different spellings) released in 1980.
But surprisingly that is not the case since the film is not at all a straight remake of the 80s path breaking film from any angle. And the major argument behind this declaration is that Hrishi Da’s script was actually about a young energetic girl entering into the house of her newly-wed elder sister and dealing with her strict mother-in-law running the house with her own self-dictated discipline. Whereas the present 2014 official version is about a physiotherapy doctor visiting her client’s royal mansion in Rajasthan, looked after by a strict mother and her young son, instead of her old disabled husband.
So where the original was about the in-laws and the new big family where an elder sister has been married in, the latter is about a completely stranger family and that too of only 4 members, without any traditional values to be taken care of other than the professional ethics of a doctor. And any person living in India can easily understand that how difficult and different a script becomes when you are talking about the elder sister’s in-laws confronted by the younger sister visiting the house for a few days in comparison of a doctor staying in her patient’s mansion taking it as a professional assignment.
Hence clearing all doubts, Hrishi Da’s unforgettable gem KHUBSOORAT stays untouched excelling in its own distinctive theme talking about family values in a highly appreciable manner. And Shashank Ghosh’s current venture just revolves around the same basic plot but doesn’t copy any of the original film sequences as it is, despite being an official version.
Moving over the remake status, the film begins interestingly with the elegant Fawad Khan and the hyper and ever-smiling (overdoing it mostly) Sonam Kapoor as the (too) young physiotherapy doctor. It keeps moving at a good pace with an all likable feel before the interval and has only two avoidable, filmy sequences to put you off in its initial half. The first one is the below average and cheap song sequence of “Engine Ki Seeti” and the other is a ridiculous kidnapping scene which contributes just nothing. Still the overall enjoyable mood and few light comic moments manage to keep you engrossed and one forgets these pretty weak, silly insertions as it moves further.
Post interval the only factor which goes against the movie is that even if you haven’t seen the original, you still exactly know what’s going to happen next as far as the story line is concerned. But again this demerit of an all predictable progression gets smartly covered by two fine performances by Fawad Khan and Aamir Raza Hussain superbly along with few immensely likable, innovative songs composed well. Also the film gets a great support from its final 20 minutes which do have a killer scene between Fawad and Kirron Kher. And therefore what you take back home while moving out of the theater is a smile with ‘no complaints’ kind of feel despite having watched an all predictable film right from the word go. 
Speaking specifically this is not a Sonam Kapoor film like the original was a Rekha movie all the way. The new age version is more of a collective effort with some very important contributions coming from Fawad Khan, Aamir Raza Hussain, Kiron Kher and above all the intelligent, innovative background score which keeps the energy flowing. Few enjoyable sequences and entertaining dialogues offered at regular intervals lift up the film repeatedly and the two songs, “Naina” and “Jo Main Aisa Jaanti” (by Sneha) build up the mood in a beautiful manner. Plus whenever Sonam’s ringtone says “Maa Ka Phone Aaya” it does make you laugh effortlessly. And here I am not talking about any of those commercial, deliberate tracks wrongly promoted on the channels instead of the other well-made songs in its soundtrack.
In the performance section, Sonam leads from the front as per the script but not as per the impact on the viewers. No doubt she is much better, bright and energetic from all her previous films, still her act largely remains dependent upon the supporting cast till the climax unlike the original. Also she strangely vanishes from the screen for a good amount of time towards the end, though everyone keeps talking about her as the center of attraction. Fawad Khan in his debut movie excels in the same way as he does in his serials. The boy certainly has a special controlled charm in his stylized performance that helps the film big time including the comedy sequences, especially in the climax.
Ratna Pathak Shah suffers due to a confusingly written character and is no-where close to her mother doing the same role in the Hrishi da classic. Aamir Raza Hussain adds a lot to the overall impact of the film despite being limited to a wheel chair throughout. Kirron Kher, playing the Punjabi mother once again seems to be a bit loud at the beginning and I personally didn’t like Sonam calling her by name with a “Tu-Tadaak” kind of approach in the film’s opening moments. However the balancing scene in the end explained the importance of that particular approach quite entertainingly and I got my answer from the writers. Further capturing the outdoors and the big mansions as a part of the script, the DOP does its job skillfully and so does the supporting cast in a reasonable manner as required.
Summing up, this first presentation of Disney does have a routine, predictable script having few major drops too. However its young and lively feel, accompanied by some crisp editing, good performances and an innovative background score cover up its minuses well and result in a fairly enjoyable, clean family entertainer respectfully living up to the reputation earned by its title. So you can easily give it a preference over the other releases this Friday as per my opinion.
Rating : 3 / 5 (with a special mention of its inventive background score and few good tracks)
Tags : Khoobsurat Review By Bobby Sing, Khoobsoorat Review By Bobby Sing, Khubsoorat Review at by Bobby Sing, Official Remake of Rekha film of 1980, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, 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
 
 
19 September 2014 / bobbysing /
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Don Pedro by Bobby SingThe article is an honest interpretation of a particular extraordinary sequence in the film FINDING FANNY dealing with a true artist, his vision towards the chosen subject and the shocking revelation he makes after finishing off with his canvas all of a sudden.
With a fear that whether I would be able to express myself rightly or not, I admit that many friends reading this might disagree with the article presented from an artist’s perception and many might not be able to relate with it at all due to my own limitation of putting it into a few words making a deliberate effort. Still I would love to try conveying the thoughts to the best of my ability as its indeed an important subject and hope the message reaches all friends of BTC in its purest form somehow.
To begin with, not many films come up with such a classic, masterpiece scene presenting the three major gifted characteristics of an artist (painter in the film) putting him/her into a different league altogether in comparison to everyone else. Homi Adajania’s FINDING FANNY brilliantly delivers such precious sequence after a long time and thus deserves to be seen, cherished and grasped by all interested in this particular genre.
But before describing those valuable minutes of the film, I would like to state three basic qualities of an artist as personally seen, experienced and discovered in those creative moments.
First of all, it’s a widely known fact that a gifted artist (involving any creative stream) enjoys a distinctive vision to look upon the things around and certainly sees something beyond the power of a normal eye in his subject matter, which cannot be expressed in any kind of language whatsoever, other than the creation itself once it reaches its final form. In simple words, suppose a common man and an experienced sculptor are standing before a huge piece of rock in a thinking mode, then they both would be having completely contrasting visions of the rock coming to their minds indisputably. Where the common man would not be able to go beyond the original rock, its basic shape or its rough surface visible to the naked eye, the sculptor would be busy finding his own idol hidden beneath the various layers of the rock, waiting to be extracted out using his own set of tools and the creative eye.
So the same piece of rock is being looked upon by the artist in a certain mystical way which cannot be known to anyone else until he comes up carving the final idol he had seen hidden in the rock itself. The same happens when a natural scenery is being enjoyed by a simple person and a painter standing together during a beautiful sunset. And this is so since the artist visualizes the world around him with a completely different perception based on his own creativity beyond explanation or interpretation till his final creation gets completed after passing through various painstaking processes of creation.
Don Pedro at bobbytalkscinema.comSecondly, once an artist moves into his own world of creating the artistic expression be it a painting, a sculpture, a poem, a song, a story, a write-up or anything else, many a times he suddenly becomes a totally different person, displaying some strange mannerisms, gestures or even tantrums going beyond his own control in a state of some kind of meditative trance. Perhaps the most appropriate word here seems to be “Junoon” explaining this particular stage of an artist while he is creating, when you cannot talk to him in a normal mode, do not find him behaving in a sane manner (while he is deeply involved with his art) and there is a complete stranger standing in front of you who is not your known friend, relative or the master living inside his own ongoing creation.
Thirdly and most importantly comes the feeling an artist experiences once he completes his work, comes out of it and then sits back thinking about his creation in a relaxed mode. And its this stage of creativity which actually reveals a much deeper, purer and celestial, important truth enjoyed by the artist alone which probably can only be understood once a person goes through the same becoming the mad artist.
Going into a bold explanation of this most divine stage in some clear words, the soulful peace or the blissful satisfaction experienced by an artist after completing any of his passionate ongoing work is actually quite equivalent to the feeling of sexual orgasm felt after an intense intercourse.
In fact that is the reason, artists seem to be very close to being eccentric as they are not even concerned about what’s happening in the outer world while they are deeply involved in their passionate work……….exactly like one feels while being into a deep sexual act with the eyes closed. And once they come out of this process of an ecstatic creation they feel immensely satisfied, contended and at peace just like one gets relieved post having an enjoyable sexual union.
No doubt interpreting the above complex artistic features in a film-scene is certainly not an easy task. But thankfully its right there in FINDING FANNY with its Don Pedro brilliantly portrayed by the one and only Pankaj Kapoor following his subject of art Ms. Rosie, also entertainingly played by Dimple Kapadia quite bravely.
Don Pedro and Rosie at bobbytalkscinema.comThe Sequence in the Film
Rightly following the description attempted above about an artist’s persona, Don Pedro in the film has all lust and less love in his eyes for Ms. Rosie and her voluminous body before he is given the permission to make a painting of her by the lady herself. In the initial part of the film, Pedro is willing to do anything to get closer to her before he picks up his brush and sets up the canvas to paint Ms. Rosie posing as his loved subject.
But once he is into his creative process of making the painting, he suddenly becomes a changed man, an angry obsessed person who starts scolding the lady to stand straight quite arrogantly. He doesn’t allow her to put her hand down for even a second without caring about any kind of discomfort she must be feeling and slips into an entirely different persona away from the Don Pedro we had seen and enjoyed before the commencement of his painting.
Further the moment he finishes off with his artwork after a few minutes in the sequence, he makes the most stunning, shocking and unusual revelation about Ms. Rosie, after looking through her entire personality in and out through his blessed eyes of an artist or a creator.
And taking his canvas off from the stand he declares (not in exact words),
“No, you are not as beautiful from the inside as you seem to be, owning an inviting body and a glowing face.
No you are not the person I would like to meet or spend time with, as disclosed by my honest brush.
No you are not any likable person at all but an ugly, horrible lady with an overgrown body.
No I don’t want you any more…………… I am just done with you………. so get lost!”
In simple words, he is not feeling the same lust or love for the lady anymore or is now all done with her without even touching her body even once because he has witnessed something quite awful and dark in his adorable subject, along with enjoying an unexplainable sort of sexual satisfaction in the process too pacifying him by all means.
Moreover, his honest interpretation of Ms. Rosie post the painting session also gets justified or accepted by the lady herself since she doesn’t feel like denying, revolting or fighting back despite going through the unexpected humiliation all of a sudden. Because deep inside she also knows that the painter has said it all right about her inner reality she had been hiding since long and Don Pedro is the real artist who could see it all as it is, through his gifted visionary eyes and creative ability.
As a frank confession, I haven’t seen or probably cannot recall witnessing such powerful scene about an artist and his creative process in any other Indian or foreign flick portraying the concept so thoughtfully along with the added humour taking it to much greater heights before. So in my opinion, this surely calls for an essential watch at the earliest making an extra effort in the theaters itself. Plus this particular scene needs to be included in one of the “Ten Most Thoughtful Sequences” of our Hindi films for sure without any doubt.
So you just can’t afford to miss it and I hope the article is able to express the difficult truth reaching all like-minded friends of BTC with HIS BLESSINGS.
Bobby Sing
(Sept. 2014)
Tags : DON PEDRO A true artist and his vision, FINDING FANNY and its Don Pedro, Rosie and Don Pedro in FINDING FANNY, Articles on Cinema, Articles on Music, Postry and life by Bobby Sing at bobbytalkscinema.com, Ten Most Thoughtful Sequences of Hindi Cinema, Best Sequences in recent Hindi Films
 
 
17 September 2014 / bobbysing /
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