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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.

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February 11, 2016 Thursday     
It’s quite unusual and very rare to witness strong positive wishes expressed by almost everyone before the release of a film, expecting it to do well bringing its leading man back into the business after a long gap. Amazingly, such was the universal mood before the release of GHAYAL ONCE AGAIN, which unfortunately fails to leave any similar hard-hitting impact compared to its original.
In fact finishing off the comparison chapter first, one has to accept ‘the inevitable comparative evaluation’ as the very first response from the end-users giving their ultimate decision. And declaring the unfavourable conclusion GHAYAL ONCE AGAIN is not even close to the epic GHAYAL to be precise, since the original was a powerful Raj Kumar Santoshi film with a strong repeat value and its sequel has been directed by Sunny Deol himself missing that exemplary midas touch.
Interestingly thinking about both Raj Kumar Santoshi and Sunny Deol together, I recall a famous saying in Hindi as “Do Halwayion Ki Ladaai Hogi To Faayda Logon Ka Hi Hoga”. Meaning, if two sweet sellers would fight professionally then what would they do? They would obviously reduce prices or adapt other measures to win over the maximum buyers in the market that will eventually benefit the consumer only getting more sweets at a much lesser price due to the tiff.
Sadly the saying results in completely opposite outcome in film business, where when a powerful actor and an exceptionally talented director develop mutual differences resulting in an ugly separation then the ultimate loss always has to be of their fans-their viewers, much more than the two creative persons individually. Exactly the case between Raj Kumar Santoshi and Sunny Deol, who couldn’t remain together for long due to their own undisclosed reasons and we couldn’t get many more powerful films from the team post GHAYAL, GHATAK and DAMINI.
Anyway coming to this sequel beginning right from the scene where GHAYAL ended using the earlier film’s footage too, it admittedly can be rated as a sincere effort from the actor-producer-director Sunny Deol wishing to recreate the ‘90s magic with the same old formula exploited umpteen times. However with a tag of being ‘The GHAYAL sequel’, bringing in huge expectations in terms of blood pumping-action packed drama, the film fails to deliver anything exceptional and remains below average offering nothing unpredictable in either its storyline, treatment, performances or explosive clashes ruining the big opportunity.
Commencing on a pretty weak note in terms of visualization and feel, the film straight away reveals its basic plot inspired from English film BLOW UP (1966) that was also adapted by Kundan Shah in his JAANE BHI DO YAARON (1983). The story of a spoilt kid killing a person and his insanely rich, influential businessman father trying to save him by killing more is one of the oldest clichéd subjects in Hindi cinema that generates no curiosity at all in the viewers. Plus the writing never raises the bar even in the much awaited confrontation scenes with all routine dialogues unable to make any solid impact. Moreover huge cinematic liberties taken in otherwise well shot sequences of the fearful kids being chased openly in a well crowded mall and a brutal fight happening in the Mumbai local train in front of everyone (when Sunny is supposed to be a well-known personality of the town) never let you feel involved in the film as a participator.
In addition, there remains a big confusion throughout that whether Sunny Deol is an owner of news agency/newspaper or a social activist? The way he kidnaps a reputed person from his office in a highly funny manner (right in the beginning) gives you a clear indication of something more shabby coming ahead. And then along with many directionless characters such as Soha Ali Khan, Zakir Hussain and more, the film strangely introduces a shocking, bizarre angle of ‘the undisclosed daughter’ in its second half that really puts you off much before the film reaches it overstretched finale full of illogical and unconvincing graphical representation. Adding to the impractical insertions, a business tycoon is also clearly shown tapping the phones and hacking government servers by an officially appointed young staff as if it’s that easy and nothing illegal adapted to promote his huge empire.
No doubt the long chase sequences in the film have been shot & edited quite well. Still they are unable to impress as desired due to a completely unrealistic execution defying all logics. Besides if one excludes all the lengthy chases shown in the film, then nothing much remains in it in the name of exciting content or sequences putting it frankly. The music with (thankfully) a single song doesn’t leave any substantial impact providing the relief moments. But with such a haunting background score in the original, it was indeed surprising to notice the same missing in the sequel and new sounds introduced in the composition severely affecting the end-result.
In terms of performances, it’s a Sunny Deol film all the way as expected and the supporting cast is just doing its job as assigned. So no one stands out with his or her performance among either the known actors (Om Puri, Neena Kulkarni, Nadira Babbar, Soha Ali Khan, Tisca Chopra & Harsh Chhaya) or the youngsters (Aanchal, Shivam, Daina & Rishabh) except Narendra Jha, who does complete justice to his role of a hard-hearted businessman (modeled on one of India's richest business tycoon of Mumbai). As a matter of fact, the only common feature of GHAYAL and GHAYAL ONCE AGAIN remains the villain played extremely well in both the films by the respective artists.
As a solo hero Sunny Deol still has got a lot of power in him to be exploited rightly by a director having the caliber of Raj Kumar Santoshi. Honestly Sunny being a shy person, might not be able to write/approve/conceive such explosive, powerful sequences assuming himself standing in the middle, strongly holding the villain or punching him hard. Probably that is the reason you are not going to find any big lion roars in GHAYAL ONCE AGAIN going against the expectations of many.
However as per my personal opinion, it was quite intelligent of director Sunny Deol, not to include the usual, overdone shouting on the screen playing a mature character. Yet, the same level of maturity was nowhere to be found in the script of GHAYAL ONCE AGAIN written on an unexpectedly wafer-thin, routine plot minus the thrills.
Here would specifically like to mention what I actually found missing in the sequel not matching up to the level of its cult original.
A. GHAYAL’s storyline had a strong undercurrent of suspense dealing with the missing brother in its first half whereas GHAYAL ONCE AGAIN simply reveals everything in the opening sequences itself and rest all becomes easily predictable till the end.
B. GHAYAL was actually the story of a helpless common man fighting against the rich and the influential. But in its sequel Ajay is no longer a common man. He has a decent publication running famous all over the city, is a known figure of the town and the persona goes far away from the common man unable to establish any instant relationship with the general viewers.
C. Most importantly, a major portion of GHAYAL dealt with Ajay’s revolt against the Police and its cruel as well as thoughtful officers that actually gelled perfectly with the basic subject of the film. But Police is nowhere to be found as a significant part of GHAYAL ONCE AGAIN quite weirdly. In fact here the Police is projected as a spineless government department with no concern at all for the common man and his issues. As a result the clashes with the rich businessman and his foreign security men fail to make you feel the same aggression as felt in GHAYAL when Sunny Deol angrily hits the corrupt Police officer.
In short, Sunny at present doesn’t need any film where he once again keeps on shouting and fighting with a motive to bring back the magic last seen in his GHAYAL, GHATAK or GADAR. In reality he desperately needs a script where he can make the viewer feel that the person on the screen is fighting for him representing the common man along with providing the adrenaline rush. That was the core element which actually worked in all his hit movies till date and that’s what every Sunny Deol fan wishes to see in his new films.
Sadly the current one doesn’t give you any of that prominently, so you can watch it only if you are a die-hard fan of Sunny Deol and nothing else.
Rating : 1.5 + 0.5 / 5 (Including the additional 0.5 for having the courage to use a clear reference of the famous business tycoon of Mumbai and his peculiar skyscraper house standing in the middle of the city.)
Tags : Ghayal Once Again Review by Bobby Sing, Ghayal Once Again Film Review by Bobby Sing, Ghayal Part 2, Ghayal Sequel, 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
 
 
09 February 2016 / bobbysing /
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For a Hindi romantic film, a talented-likeable lead pair and a melodious soundtrack are the two most important ingredients ensuring a successful venture. So it really hurts when an otherwise capable director-duo chooses to waste both these difficult to acquire, precious elements in their film offering nothing fresh in either the storyline or the treatment throughout its tiresome 155 minutes of duration, unfortunately.
In clear words, it would have been great if directors Radhika Rao and Vinay Sapru had adapted a different novel script with the same perfect cast and melodious score giving us much more to praise wholeheartedly. Because after watching their latest project SANAM TERI KASAM one seriously wises to know that what they exactly found great in this kind of stereotyped, lifeless and heavily borrowed plotline for their major venture ruining a potential lead pair and more than four good songs in the soundtrack.
Focusing on all realistic characters living in a society building, the film honestly doesn’t disappoint in its opening 45 minutes in spite of everything predictable reminding you of the American television series UGLY BETTY, its most famous desi TV version JASSI JAISI KOI NAHIN and many more cinematic adaptations in the past. Till this moment it’s the sweet performance of the fresh pair (especially the girl), two melodious tracks, a soothing background score, fine cinematography and all decent supporting acts that keep you engrossed without any big complains as such.
But as soon as Vijay Raaz appears on screen playing a makeover specialist, abruptly singing a peppy number with girls dancing at the back in a highly absurd manner, you start looking around to see how others are reacting to this foolishness happening on-screen. And it’s from here onwards that the film starts delivering all monotonous, seen before stuff introducing a twist repeatedly witnessed in films such as ANKHIYON KE JHAROKHON SE (inspired from English flick LOVE STORY) and the most recent KATTI BATTI. The overstretched length continues to annoy severely and by the time it reaches the climax, one starts wondering that how they all keep agreeing & making films on the same subjects again & again displaying so uncaring & irresponsible attitude towards the viewers.
Further a highly flawed execution of the sub-plots like the bizarre father-son relationship, shifting into a big deserted house without any reference of an owner, a silly grown-up girl more worried about her own marriage than the elder sister being through out of the home, a cowardly fearful mother and a father executing the final rites of his still alive daughter further pulls down the film to much lower levels. Still it’s the lead performances, their strong emotional moments and the enjoyable soundtrack that doesn’t let it sink till the last and one genuinely feels bad for these two noticeable merits being wasted in such a clichéd subject.
Inthe acting department, apart from flaunting his perfectly toned body (remaining mostly topless in the film), Harshvardhan delivers a fine controlled performance with a subtle charm in his silently expressed love and anger. But it’s the strangely named Mawra Hocane from Pakistan, who remains the clear winner in the film with an immensely lovable & innocent act that doesn’t let you forget her soon after moving out of the theater. The girl is a sheer treat to watch in the first half and is nothing less than a big asset for a director deserving a much better film soon exploring an intense subject.
Having said that, I personally also found huge similarities between the lead pair and actors Ali Faizal-Shruti Hassan throughout the film so strongly, wherein even the voice-tone of Mawra sounded so close to that of Shruti. In the supporting cast Manish Choudhary and Murli Sharma stand out prominently in their respective scenes, whereas Vijay Raaz remains an unnecessary addition in his sequence conceived idiotically.
Providing the biggest support to the film is its soundtrack composed by Himesh Reshammiya, proving the fact that the man still has got a lot in him in musical terms without any doubt. Here the finest song of them all ‘Haal-e-Dil’ (especially in the female version) was interestingly a track chosen by Salman Khan for his TERE NAAM which couldn’t be a part of that film somehow (as tweeted by Salman). ‘Kheech Meri Photo’ remains the second song winning over the listener completely and then we have the title track ‘Sanam Teri Kasam’,  'Tera Chehra', ‘Rehnuma’ and the weirdly peppy ‘Ek Number’ too with a melody that works as an individual item number (unrelated to the film). In short, SANAM TERI KASAM has a great romantic soundtrack with more than 4 melodious songs, strangely not promoted well by the makers for their own undisclosed reasons hurting the film a lot.
Lastly mentioning the director duo Radhika Rao & Vinay Sapru, its really sad that since last many years they have been trying hard but still unable to deliver a hit despite being competent enough in terms of emotional as well as technical handling of a project. So here we have a team that has been a victim of wrong choice of subjects and the game of destiny which undoubtedly remains a major influential factor in the show-business. In all SANAM TERI KASAM can surely be seen once but just for Mawra and the songs alone without expecting anything novel or path-breaking.
Rating : 2.5 / 5 (Including a big one for Mawra’s sincere act and the enjoyable soundtrack)

[Note : A dialogue in the film saying, "Apne Mann Ka Ho To Achha, Na Ho to Aur Bhi Achha, Kyunki ................" is originally supposed to be a thought expressed by Sh. Harivansh Rai Bachchan, that is often quoted by Amitabh Bachchan in his interviews and TV appearances (like in KBC). But the film uses it without any mention or acknowledgement.] 
Tags : Sanam Teri Kasam Review by Bobby Sing, Sanam Teri Kasam Movie Review by Bobby Sing, 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, Mawra featuring in a Hindi film.
 
 
05 February 2016 / bobbysing /
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Khoon - Amardeep Singh Gill

Punjabi Cinema doesn’t give you gems to praise very often and I refuse to applaud anything just because it belongs to my mother language or religion with no other substantial merits to showcase in cinematic terms. But luckily after a long time, here is a worth watching and worth praising small gem as a short Punjabi film directed by Amardeep Singh Gill (of “Sutta Naag” fame) along with his talented lead star Harsharan Singh, titled KHOON (Blood/Murder) based on a very touching emotional short story by the well known author Gurbachan Singh Bhullar.
Honestly, I kept watching the film's highly authentic portrayal of rural (pendu) life without much expectations heading towards a sudden culmination offering a shocking twist. And the film does need a lot of patience watching the long realistic shots depicting the forgotten life style of the villages with a monologue kind of story progression.
However when it actually reached its final sequence with that One Line Delivered and Received’ in a powerful heart-piercing manner shaking you real well, it simply resulted in twinkling moist eyes looking at the two protagonists on screen embracing each other.
Praising the film wholeheartedly, I completely endorse and support this new movement of making short films on the stories taken from the rich Punjabi Literature not being considered worth reading by our present ‘net-age’ generation quite sadly and hope this initiative leads to many more commendable ventures in the coming future.
Yes, the film does take its own time to establish a relationship with the viewer, but once you get into the feel of it and reach the last 5 minutes, it’s worth experiencing the effortless emotional explosion all of a sudden, depicting the power of love expressed through just a few innocent words.
So do give this a try even if you don’t understand Punjabi with the help of English subtitles at the following link and have a great insightful journey titled KHOON without any sight of even a drop of blood in its 35 minutes of duration.
Cheers!
Tags : KHOON (Punjabi Short Film/2016) by Amardeep Singh Gill, Punjabi Short films based on stories from Rich Punjabi Literature, Punjabi Short Stories, Harsharan Singh, Emotional Short Punjabi Film
 
 
03 February 2016 / bobbysing /
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