All friends visiting this blog are invited to read my expressions and thoughts on movies, music 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. Your comments and suggestions on my articles are eagerly awaited.
Releasing with a very minimal promotional campaign, EMOTIONAL ATYACHAR is not likely to excite majority of viewers due to its unconventional title and not so famous cast. The film has nothing to do with Dev-D and its hugely famous song with a similar hook line. Still it surely has a lot of Emotional Atyachaar going on in its script where people are simply interested in the Big Money around them and they just damn care about anybody living or dead.
Revolving around a one night plot happening over the Mumbai Goa Highway, the script interlinks different stories of its various negative characters, who are all connected to each other in an indirect way. It starts off with a wounded man taking a lift on a lonely highway and then shows his connection with all the other characters in the script through a series of flashbacks.
The concept is no doubt inspired from the movies of Alejandro Gonzalez Inarritu who is known for several similar projects such as 21 Grams, Amores Perros and Babel. However, this particular style of repeating a scene from different angles (as experienced by few different characters of the story) was probably first used by the maestro Shyam Benegal, in his pure gem “Suraj Ka Saatwan Ghodha”. And I still remember the way its narration excited me when I first saw it in the mid nineties.
Returning to our current flick, it frankly cannot be considered as too good or perfect as it has its own share of flaws. But it certainly is much more enjoyable than many recent worthless films delivered by some renowned names in the Industry. The debutant director Akshya Shere displays his fine understanding of the medium through one specific sequence in the film where a newly appointed gang member tries to take out the bullet out of his wounded friend’s stomach and in that process unknowingly kills his friend with his own hands. This scene straight away brings back the memories of the good old RGV kind of cinema and that’s indeed a compliment for the talented Akshya and his entire team.
Ranvir Shorey and Vinay Pathak remain the highlight of the film with their famous kinky dialogues and style. But their fans are sure going to feel that there are not many scenes of the friendly duo together. The same may be the case with the viewers who were waiting for another movie of Kalki Koechlin after Dev-D. She no doubt looks charming and fresh but with a bit lengthier role she could certainly have added more glamour and spirit into the movie as required.
At one end, EMOTIONAL ATYACHAR scores on the basis of its unpredictable story plot and effective treatment but on the other hand its major drawback is its initial 45 minutes where the narration is too slow and uninteresting which fails to impress the viewers right from its start. However the film bounces back with a bang after its first hour and then its fast pace developments don’t even give you a second to think. But then the climax again hits a big low with a happy ending and the film finishes off without offering anything shocking or innovative.
In short, if only the director had taken care of its dull starting moments and the writers could have thought of a more engaging climax, EMOTIONAL ATYACHAR could have reached another qualitative status altogether. The Background score in this song less thriller supports the narration well and Cinematography captures its tense and exciting moments effectively. Performance wise, along with the famous notorious duo of Ranvir and Vinay, the film is full of many underestimated actors such as Kalki Koechlin, Ravi Kishen, Abhimanyu Singh, Snehal Dabhi and Anand Tiwari, who all contribute their best to this low budget venture. Especially Ravi Kishen stands out in his tapori avatar but Mohit Ahlawat & Sakshi Gulati are just ok.
Summing up, if you are really interested in the NEW AGE CINEMA Wave and don’t mind watching something out of the routine such as JOHNY GADDAR or SANKAT CITY then you may find EM much better than many recent big budget duds, which simply try to deceive the viewers with their grand looks and stars.
Ratings : 2.5 / 5
Tags :
Emotional Atyachar Movie Review By Bobby Sing, Emotional Atyachar Film Review By Bobby Sing, New Age Bollwyood Cinema, Snall Budget Wonders, New Bollywood Movies Reviews at bobbytalkscinema.com, 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
The latest offering from the house of Dharma Productions and Karan Johar consolidates two widely known facts about their projects post AGNEEPATH and GUMRAH which came in the early nineties. One that they now make films majorly for the overseas markets and the multiplex viewers with story-plots revolving only around the rich and upper class section of the society. And two that their films necessarily have to be all glossy, colour perfect and beautiful having no place for the harsh realities of a normal life.
WE ARE FAMILY also exactly follows the same pattern, where everything happens so perfectly and nicely within a rich family to such a level that it all becomes completely uninteresting, unmoving and pointless. In short the only merit of the movie in my opinion is that this time thankfully it’s an Official adaptation of Chris Columbus’s STEPMOM (1998) featuring Julia Roberts and Susan Sarandon.
But the negatives start right here from its inception, as I really couldn’t find the reason to adapt an ORIGINAL which was so English in its concept and also not entertaining enough to get inspired from. May be the makers, as usual only had the Foreign markets and multiplexes in mind to do so.
Anyway, being an honest adaptation, WE ARE FAMILY starts exactly in the same manner as STEPMOM, which in reality becomes utterly confusing for the viewers. Here we have a man still frequently visiting and spending quality time with his three kids and wife even when they have been divorced from the last 3 years……….Quite strange! And on top of this he is hugely interested to introduce all the kids to his loving girlfriend for no reason at all (because the main plot of terminal illness starts after this initial sequence). Now when the kids are happily living with their mom after 3 years of divorce between their parents, then why he is intruding so much in their happy home. At the most he should only visit at regular intervals to meet the kids and that’s it. If he is still so much involved with the family then why not accept the mistake and come back to them right away?
Moving ahead with this impact-less start, WE ARE FAMILY goes into the same old mould of Dharma Productions famous flick “KAL HO NA HO” revolving around the ages old formula of terminal illness of the hero. The only difference here is that instead of a love triangle, we have a caring mom in the film, who brings her ex-husband’s girlfriend in her own home, as she wishes her to become the mom of their 3 kids after she is gone. Interesting may seem to be on the paper, but on the screen it comes out to be utterly unconvincing, slow and even boring despite of some good performances by the trio of “Pati Patni aur Woh”.
Debutant director Siddharth P. Malhotra, makes a typical Dharma Productions film but minus the Hit music and the much needed entertainment factor. The narration keeps on moving at a constantly slow speed and is only able to impress in the last 5 minutes alone when the story shifts to the future mode, where all the 3 kids have grown up to become 3 good looking youngsters. Moreover all the comic scenes in the film, seem to be deliberately added upon to somehow spice up the proceedings and provide few relief moments to the viewers. As a result, the end product is not able to hold your interest throughout its two hours of duration.
Though equipped with two most sought after names in the Industry, Sidhharth fails to extract some energetic stuff from the duo and you simply miss the fire in their scenes together. In simple words, Yes, Kajol and Kareena are there on the screen once again, but they are not able to deliver what was being expected from them by their viewers. Individually Kajol is excellent and Kareena is impressive. But together, the script does not give them anything to excel upon. Kajol’s transformation from a healthy lady to a dying patient remains one of the few good things in the movie and the talented lady once again proves that she can easily rise above a not so fine script too.
Kareena displays her acting skills particularly in the second half but her character is not anything different from what she has already done before. Besides, I also couldn’t understand why the director tried to portray her as a vamp in the first half. The Original flick never showed Julia Roberts in a bad light in any of its scenes right from the start and that’s where the Indianised treatment of the second lady fails completely.
Arjun Rampal as the confused father is fine and the three kids put up an honest show with their sincere performances. But unfortunately, the film has nothing in particular for the kids coming to the theaters with their parents. The other major letdown in the film is its uninspiring music shockingly coming from the multi-talented Shanker-Ehsaan-Loy. The soundtrack is a big disaster with the main song even having few resembling notes with “Tere Hai Zameen Tera Aasman” from THE BURNING TRAIN. Further, the Cinematography had to be eye-catching since the whole film is set in the foreign locations and also has many glossy backdrops related to the fashion world.
So overall, WE ARE FAMILY falls flat in absence of anything exceptional or new to convey to its audience. But you can try it, only if you are interested in its honest performances and cast.
Ratings : 2 / 5
Tags :
We Are Family Movie Review By Bobby Sing, We Are Family Film Review By Bobby Sing, WRF Movie Review, Movie Review We Are Famiuly, Karan Johar & Dharma Productions, New Bollywood Movies Reviews at bobbytalkscinema.com, 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
“Our life has become too fast and everyone wants to achieve the maximum in the least possible time available with him……….!”. This was being explained by a professor to his morning walk friends who were complaining of feeling stressed and depressed from many days.
As his friends were not looking convinced by his verbal explanation, the professor decided to teach them his theory with a demonstration. And next day he met them all in the morning with some common articles in his hands.
The professor first of all placed a Jar and few tennis balls on the bench lying outside the tea shop situated within the park. And then he started filling the jar with all the balls till it was full of them and had no place left for any more. Looking at the jar, he asked his friends, “Is the jar full now?” Everybody said, “Yes”.
But the professor said “No” and then started putting some small stones inside the jar, shaking it a little. The stones quickly took the place lying between the balls and filled the jar. Now he asked them again, “Is the jar full now?” Everybody again said, “Yes”.
But the professor once again said “No” and then started pouring some sand into the jar, out of a small pouch he had brought along. The sand also made its way in the space available in between the balls and stones and further filled the jar a little more. Now looking at his friends, professor asked, “I think now it is full.” They all collectively answered “Yes, surely”.
But the professor wasn’t satisfied and he quickly ordered two cups of tea from the tea-seller. On getting the cups he started pouring the tea too into the jar which also started floating along everything inside the jar and made its own place.
And then Professor started smiling, looking towards the faces of all his friends staring the jar in a strange manner and explained:
“Dear Friends, Just think of this Jar as your own life and Tennis balls as the most important elements of your life like your family, children, friends, health, your passions and your worshipped GOD.
Consider the small stones as your job, car, big house and other secondary things of life and.............Sand as even smaller matters such as your many avoidable conflicts, disputes and fights.
Now if you had filled the Jar with the Sand first then there had been no place for the Tennis Balls or Small Stones in it. Or if you had filled the Jar with the small stones first, then again Tennis Balls would have remained outside, however sand surely could have been added along with the stones.
The same formula is applicable in your real life too. If you keep stressing upon the small un-necessary things around yourself then you are sure going to miss the bigger and more important elements of life within your limited allotted time.
Now for your own good and peace, it simply depends upon yourself that how you want to fill your own Jar of Life with creativity. Play with your kids, go on long walks with your beloved, throw away the wastes lying in your store-rooms, pursue your hidden hobbies or passions, learn a musical instrument, play some game you love and just feel happy with gratitude towards your GOD and existence.
In short, do worry about the Big Tennis Balls in your life first and then the rest will automatically take care of itself. As rest everything is just like the sand which can easily adjust with all the other things in your jar.”
Everyone listening to the professor was stunned and felling calm in that fine morning in the park. Suddenly one of them asked “But what about those two cups of tea you poured in that Jar……You didn’t explain their significance to us.”
The professor smiled and answered, ”Those two cups of tea teach us that whatsoever kind of busy life we may be living around, one should always take some time out to have a cup of tea with his dear old friends and just enjoy”.
To this everyone laughed out loud and just hugged each other and started walking again.
(I hope my readers find this small story an enlightening one, which very beautifully teaches us to have a new vision in our attitude towards our gifted lives.)
(Contributed by Mr.Bharat in Hindi through mail. Translated by Bobby Sing)
Tags :
A Empty Jar and Two Cups of Tea, Few Life Inspiring Words, Inspirational Stories at bobbytalkscinema.com, Life Inspiring Stories by Bobby Sing, Articles on Life, Articles on Inspiring Stories, Life Teaching Short Stories at bobbytalkscinema.com
If a HELLO DARLING kind of film comes from the renowned production house of MUKTA ARTS lead by the Showman Subhash Ghai, then it clearly indicates that “All Izz Not Well” around him and his close associates. Directed by Manoj Tiwari, the film is a complete disaster right from the word “Go”, as it offers nothing in the name of entertainment despite of having a good story plot and three beautiful young ladies in the lead.
In straight words, HELLO DARLING is just another forgettable patch on the years old reputation of MUKTA ARTS and the name just adds on to the long list of weak ventures coming from them post 2000. Besides this it was also quite shocking to know that the film is again an undisclosed inspired version of 20th Century Fox film “NINE TO FIVE” starring Jane Fonda, Lili Tomlin and Dolly Parton. The roles similar to these three ladies are played by Gul Panag, Celina Jaithely and Isha Koparikar in this hindi version of the American comedy.
Interestingly, “NINE TO FIVE” also inspired another Tamil film “MAGALIR MATTUM” in the year 1994, featuring Revathi, Rohini and Urvashi in the lead which was directed by Singeetham Srinivasa Rao. Now the question arises that why this particular English film was adapted by two different directors of diverse regions at a gap of more than 15 years. That’s because its based on an amusing comic plot, written around a major problem faced by the working women in their offices, which sadly still remains prevalent in the year 2010.
Three young female colleagues working in a fashion house decide to teach a painful lesson to their playboy boss, who keeps making sexual advances to all of them almost every day. The idea, no doubt had some great potential of making it as a fine comedy. But HELLO DARLING ruins it disastrously with its weak direction, amateurish acting and un-necessary comic sequences which don’t even bring a faint smile on your face.
The writers fail to convert the original story idea into an enjoyable sexual comedy and therefore with an extremely weak script, everything falls apart in this two hours long senseless comedy. The film keeps shifting between its various deliberate sub-plots, out of which not even one is hilarious enough to be mentioned here. The actors can be found hamming all the way towards the end including the experienced Javed Jaffery in the role of a cunning opportunist boss.
From the entire lot, only Gul Panag and Divya Dutta can be found acting a little with conviction and the rest collectively make it highly awful to digest. Celina as the dumb secretary just stays there as a compulsion and Eesha never looks or speaks like a Hariyanvi girl at all. Chunky Pandey, Seema Biswas, Mukesh Tiwari and Asawari Joshi, all are simply wasted whereas Vrajesh Hirjee in a short cameo of a thief is the most irritating.
It surprisingly also has Sunny Deol making a special appearance in the climax who was probably added at the last minute like something got as FREE. But like most of the FREE things don’t work in the real world, Sunny also fails to leave any mark and remains ineffective. In the music department too, there is more confusion than melody. Both the background music as well as the songs are totally out of place with no sign of “Pritam” anywhere in the tracks.
In all HELLO DARLING is quite bad to be associated with the name of MUKTA ARTS and that too with the unrespectable label of an Inspired one. So better keep away from these 3 beautiful darlings and their freaky plans.
Ratings : 0.5 / 5
Tags :
Hello Darling movie Review by Bobby Sing, Hello Darling Film Review By Bobby Sing, Mukta Arts, Subhash Ghai Production House, Inspired Films, Copied Films, New Bollywood Movies Reviews at bobbytalkscinema.com, 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, Inspired Movies, Inspired Cinema, Bollywood Plagiarism, Plagiarism in Hindi Cinema, Copied Movies, Movies Inspired From, Movie is Inspired By, Borrowed Concepts, Inspired Plots, Bollywood & Hollywood, Reviews by Bobby Sing, Bollywood Gets Inspired, Cinema Gets Inspired, Bollywood & World Cinema, Inspiration from World Cinema, Bollywood Movie Inspirations
The site is a collection of personal expressions of the writer to share his own views on different mediums of art, with no intention of hurting any person or organisation in particular. The site is also not responsible for any inappropriate acts practiced by the third party links added here only for information purposes.
Visit bobbytalkscinema.com for Bollywood Movie Reviews, Inspired Cinema, Movies To See Before You Die, Amazing Bollywood Facts, Articles On Cinema, Music, Poetry & Life
Debutant director Siddharth P. Malhotra, makes a typical Dharma Productions film but minus the Hit music and the much needed entertainment factor. The narration keeps on moving at a constantly slow speed and is only able to impress in the last 5 minutes alone when the story shifts to the future mode, where all the 3 kids have grown up to become 3 good looking youngsters. Moreover all the comic scenes in the film, seem to be deliberately added upon to somehow spice up the proceedings and provide few relief moments to the viewers. As a result, the end product is not able to hold your interest throughout its two hours of duration.
“Dear Friends,