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July 04, 2015 Saturday     
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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Coming straight to the point, SARDAAR JI brings a big positive as well as a big negative news for Punjabi Cinema, if one looks at this latest release (having all the potential of becoming a major hit), with a deeper understanding of the trend witnessed in the last decade of Punjabi film business.
However sharing the good news first, here we have a film that promises to entertain you well through its novel and innovative script revolving around a strange love triangle performed superbly by the cast after a long time. And in case you quickly wish to know the key merits of SARDAAR JI in short, then the film has Diljit Dosanjh, the superstar of Punjabi cinema back in his terrific form with a perfect comic timing after the mistake called DISCO SINGH. Director Rohit Jugraj returning with another well-made project post his successful JATT JAMES BOND introducing a fantasy ‘ghost’ plot for the first time ever in Punjabi Cinema. And a script that has enough to keep you engaged throughout it’s more than two hours long duration (with some fine songs) despite the usual hiccups post intermission.
Having a comparatively better, fast moving and hugely entertaining first half, SARDAAR JI begins on a bumpy note (with few unfamiliar faces on screen) but then pulls the viewers in through many well-conceived hilarious sequences and some engaging story developments before the intermission. In the second half though the pace drops due to the usual predictable plot of a love triangle and some repetitive scenes, still it keeps covering the mistakes fast with the dependable Diljit and never tends to lose the grip heading towards another comical (unusual) climax giving you the worth of your money spent.
Being based on a ‘ghostly’ fantasy plot, it would be foolish to search for any logic in its various sequences related with the bottled spirits and more. Especially when writer Dheeraj Rattan delivers a mostly engaging screenplay (with a winner first half in particular) and Raju Singh providing his much important support through a noteworthy background score in its enjoyable sequences.
But let me tell you about the most crucial essence of a Punjabi comedy movie that remains its strong backbone throughout undeniably. And that’s its hilarious, well written dialogues with many timely punches coming one after another rendered with a perfect timing in the local lingo by actors like Diljit, Jaswinder Bhalla and more. A Punjabi comedy movie majorly depends upon its one liners alone since the slapstick part (almost) always comes in the climax resulting in a crescendo as last seen in CARRY ON JATTA. And since SARDAAR JI simply excels in this particular department of dialogues in its every frame right from the electrifying entry of Diljit till its witty finale, therefore for me the real unsung hero of the film is its dialogue writer Jatinder Lall putting it honestly.
Adding to its merits, SARDAAR JI has an eye-catching cinematography, some decent special effects as required and an enjoyable, catchy soundtrack with many good songs composed, written and rendered well. Having said that, a few tracks could easily be edited out of the final print resulting in a shorter duration as its always irritating when a love song comes even after 110 minutes of the film unnecessarily.
In the performance section, it’s a Diljit Dosanjh film all the way along with the dialogue writer Jatinder Lall. And the director makes the best use of the talent ensemble here with his quality vision clearly visible on the screen as expected. Diljit confidently leads from the front displaying his multi-talent of acting, singing, comedy, action and emotion. And it’s his enigmatic presence on the screen only that takes the film to another level altogether without any slightest of doubt. Neeru Bajwa as the spirit in love performs well (though she isn’t the main lead of the film unexpectedly) but its Mandy Takhar (in a comparatively bigger role), who shows a great improvement looking fresh, natural and different, moving ahead of all her previous attempts giving a pleasant surprise. Jaswinder Bhalla in his cameo kind of role largely provides the expected entertainment in his few scenes and so do the rest in the supporting cast except the members of the rich ‘England’ family (calling Diljit as the ghost hunter from India), taking it quite casually.
In all, due to its stronger merits mentioned above, SARDAAR JI can easily be rated as a largely enjoyable film having its few glitches that demand to be ignored due to a thoroughly entertaining Diljit keeping the smiles intact.

Ratings : 3.5 / 5
(Including special points for choosing a novel spooky subject by the team)
Now coming to the big negative news for Punjabi Cinema mentioned in the start.
No its not about any one-man-show (with almost all the big blockbusters till date featuring Diljit only in the lead), as that has been the feature of every film industry at one time or the other. Like the era of Amitabh Bachchan and more, that gets broken sooner or later with other competitive performers coming in with the changing trends & tastes.
But the concern is much more serious here because with the super success of SARDAAR JI, where at one end the Punjabi film industry might be sensing a quick revival in the coming months, there at the other it actually gets stuck deeper into the same monotonous mess (threatening the industry from the last few years) since the latest hit is yet again A COMEDY failing to push the envelope any further as desperately desired.
Giving you a broader picture of the present scenario of Punjabi mainstream cinema, it all revolves around only three basic subjects, finding no courage to go beyond them either from the producers, directors, actors and even the viewers since last 4-5 years. And these three key subjects are:
A. Comedy films (taking the biggest share of current projects).
B. Films made around the dark events of 1984
C. Religious Projects revolving around Sikh History or Sikhism.
And unless Punjabi cinema makes a major breakthrough coming up with a worth watching, successful film made beyond these three overused, clichéd subjects of comedy, 84 and religion, it will keep revolving in circles generating a fake picture of cinematic development in just money terms and nothing else.
Tags : Sardar Ji (Punjabi) Movie Review by Bobby Sing, Punjabi Films Reviews 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
27 June 2015 / bobbysing /
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