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May 25, 2017 Thursday     
LahoriyeComing to the point right away, LAHORIYE might not be a classic realistic film, but it’s indeed an emotionally entertaining and musically rich venture offering you a decent return of your time and money spent, along with transporting you into a positive fantasy world portraying a friendly political relationship between India and Pakistan.
However, you need to allow one major creative freedom taken by the writer-director Amberdeep Singh in his debut directorial project, otherwise you will not be able to enjoy the film and would keep raising big doubts and questions on its various sequences dealing with border securities, visa restrictions, inter-caste marriages and the actual bitter relationship between the two neighboring countries throughout its 137 minutes.
Revealing the same, LAHORIYE basically talks about an unrealistic fantasy world wherein we don’t have any cross firing or war like situation at all in the border areas and a Punjabi (Sikh) boy can still think or afford to fall in love with a Pakistani girl and then visit the country too with a marriage proposal despite the regional, cultural and religious differences between the families.
A world I would personally love to be in ……. even if it’s for just 3 hours in a film forgetting all negativity around.
Key Positive Features
The film begins on a simple-sweet note and then keep progressing maintaining the same romantic feel till the intermission with a few melodious romantic songs and the boy meeting the girl, crossing the border on a legal ‘visiting’ visa posing as a family guest.
The twists and turns actually get revealed post the intermission, where some major characters get introduced and wedding celebrations are seen featuring some enjoyable songs and sequences leading to a highly emotional climax.
The well written finale forces you to think about the political hatred spread since the partition in 1947 and the situation worsening every passing year, despite the citizens feeling the same love and warmth for each other.
The major merit of the film remains its melodiously pleasing soundtrack based on traditional folk music and the tracks beautifully enhancing the proceedings on the screen (often used in the backdrop).
The chemistry between Amrinder Gill and Sargun Mehta thankfully works again, though it lacks the lovable intensity and the pull enjoyed in ANGREJ. Yuvraj Hans tries his level best in an appreciable role but the entire supporting cast remains just fine, because of a too fast second half running at a brisk pace, not letting any individual character to leave his or her mark on the viewers. Having said that, it’s because of the pace only that one doesn’t find any dragging or boring moments in the much better second half giving you a good time.
The avoidable downers
The first half of LAHORIYE doesn’t have much to convey, moving on a simple, sweet, musical but monotonous tone with nothing exciting happening apart from the couple meeting each other in Pakistan. In the second half, the director straight away takes the film into the fourth gear with everything happening too quick without leaving any major impact on the viewer (once again reminding you of DDLJ), till we have the emotional finale sequence of the grandfather once again visiting his ancestral home. As a result, the film remains unevenly distributed or forcibly stretched in its two contrastingly different halves.
As the lead hero, Amrinder once again enacts in his typical routine mode as repeatedly seen in his previous films. But I would not like to blame him for the same as here the (insecured) actors tend to keep doing all similar kind of roles unless they face rejection from the public itself (and we rarely get to see a performer too keen to experiment with himself taking the big risks). Besides it was really strange to see Amrinder wearing a Pagdi in one scene and then taking it off in the next, painting an utterly confusing picture of his (Sikh/Punjabi) character, strangely not noticed or taken care of by the director too. On the other hand Sargun gets something fresh to do playing a Muslim character on screen, different from her earlier Punjabi films.
A much hurried second half of LAHORIYE almost wastes veteran actors such as Nirmal Rishi, Gugu Gill, Hobby Dhaliwal and even Rajiv Dhingra (seen in only few initial scenes). Wedding celebrations yet again become a major part of the film following the present (repetitive) trend of Punjabi cinema and then the writer-director simply skips the actual wedding rituals adapted in an inter-religious marriage between a Punjabi (Sikh) boy and a Muslim Girl, cleverly avoiding all the controversies or objectionable visuals through a quick and smart edit (a safe and intelligent move, I liked a lot).
Finally, though the climax ‘blindfold’ sequence successfully brings tears in your eyes, it still needed to be more expressive and detailed focusing on the unexpected meeting of the two old friendly souls post many decades. The sequence ends quite abruptly returning back to the comic feel and therefore you leave the theater with a smile instead of thinking about the much needed peace and harmony between the two brotherly countries.
Summing up, as a sweet, positive romantic film talking about a peaceful fantasy world existing between India and Pakistan, LAHORIYE certainly works as a decent one time watch family entertainer. But I was personally expecting much more deep and well-written project from the experienced writer and the debutant director Amberdeep. So would certainly be looking forward to what he will be coming up as his next, which ought to be much more superior and impressive than the present.
Ratings : 3 / 5
Tags : Lahoriye Punjabi Film Review by Bobby Sing, Punjabi Film Reviews, Punjabi Cinema, New Punjabi Film Reviews by Bobby Sing, Punjabi Cinema Reviews at bobbytalkscinema.com
14 May 2017 / bobbysing /
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Sarkar-3Once trendsetter director Ram Gopal Varma was written off and declared finished by many reputed film reviewers and trade analysts long back. But I always believed he still had a few probable aces left in his sleeve as a sequel of BHOOT, SARKAR and a remake of one of his recent regional successes to be honest.
Unfortunately BHOOT RETURNS came in 2012 and it didn’t work.
VEERAPPAN (the remake of RGV’s hit KILLING VEERAPPAN) came in 2016 and it didn’t work.
And now SARKAR 3 is here in 2017 which also doesn’t have any worth mentioning merit capable of winning over the box office without any doubt.
So with SARKAR 3, it seems we have lost the director RGV forever, who at present is more active and in elements on Twitter instead of his films which are now being avoided by even the die-hard fans fearing just another dud wasting both their time and money as usual.
No doubt SARKAR 3 has the mighty Amitabh Bachchan, once again ruling the screen as Subash Nagre. But it’s nothing else than brutally wasting an actor like Amitabh, if you are not able to come up with even a single worth mentioning scene in your entire film. Interestingly the list goes on and you get to see names such as Manoj Bajpayee, Rohini Hattangadi, Supriya Pathak, Jackie Shroff, Ronit Roy and Yami Gautam too wasted criminally in their badly executed scenes that actually seem to be taken straight out of one of those Aneez Bazmee films. Amit Sadh does try to make the best of the opportunity grabbed, but it’s truly amazing to see Yami accepting such a miniscule role at this stage of her career as if she has already accepted the defeat and ready to move on to something else soon.
Probably the first RGV film where you don’t even get impressed or fairly engaged by the (unusual) cinematography, (supposedly) innovative lighting, a loud (disconnected) background score and above all the (weird) dialogues that once used to be the director’s major USP.
Giving you the gist, this might be slightly better than his films like SATYA 2, but I don't think such kind of casual third part of the series was even required. Frankly the first RGV and Amitabh Bachchan film in which I took a quick nap between a few repetitive or completely boring scenes post the intermission. And coming from a long time sincere fan of both, I think that should say it all like a detailed review.
However ending with the mention of two appreciable dim lights in this dark thriller, the film has an outstanding Ganpati Aarti sung by Amitabh himself and an amazing fact of simply no catchable difference between the look, feel and mannerisms of a character in 3 different films coming in the long time span of 12 years.
In other words, from SARKAR in 2005 to SARKAR 3 in 2017, it’s unbelievably tough to find any difference in the visual onscreen portrayal of Subhash Nagre by the veteran …………, ironically reminding us of the exceptional director still existing somewhere in the body and mind of an over-confident, big-headed and self-indulgent kind of complex personality.
Rating : 1.5 / 5 (0.5 for the technical crew, 0.5 for the Ganesh Aarti and 0.5 for Amitabh Bachchan alone looking as if coming straight out of a 12 years old film.)
BUT continuing my solo drive against the 'Shameless Increase in Ticket Prices' by the multiplexes, will deduct one star for this spineless act which is neither being addressed by anyone in the industry nor the government since last few years.
NET RATINGS : 0.5 / 5


Tags : Sarkar 3 Film Review by Bobby Sing, Sarkar 3 Review, 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
13 May 2017 / bobbysing /
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Meri Pyari BinduLong back I mentioned a term as ‘Filler Projects’ or ‘Feeder Movies’ in the present commercial world of Hindi Cinema in my reviews. Explaining it again in short, the term can be used for all the quickie projects made just to fulfill the continuous requirement of exhibitors (multiplex chains) who cannot really survive without multiple constant releases delivered every week. In other words these posh multiplexes desperately need ‘New Releases’ coming each and every Friday to bring in the (high paying) weekend footfall and the big productions houses assure them such projects along with the biggies coming at regular intervals in an year around the major festivals.
So this week’s MERI PYAARI BINDU can easily be considered as one of those quickly and casually made projects that have nothing new to offer either in terms of storyline or performances giving you a clear picture. The film once again revolves around the same old overused plot of a confused relationship between a boy and a girl wherein the boy remains a one side lover throughout and the girl never considers him to be a life-partner. Ending on a sudden and unexpectedly weird note, the film never turns out to be a fresh, enjoyable romantic saga in its entire two hours and even bores you with many unnecessary sequences added just for the sake of nostalgia.
Putting it bluntly, if a film fails to touch your heart despite having immensely relatable references of old Hindi film songs, the era of cassettes & tape recorders, Hind-pulp fiction novels, the cheap erotic literature of those times and more, then one can easily guess how badly it must have messed with such likable insertions in its poorly written script and story progressions.
Completely missing the most important ‘emotional quotient’ in such stories, MERI PYAARI BINDU keeps confusing the viewer with its irregular timelines and overstretched second half ending on a bizarre note. For instance a girl who has been portrayed as a modern, bindaas, fearless, bold character in the entire film, suddenly comes wrapped in a sari as a ‘traditional Indian woman’ and the makers do not find necessary to give any kind of explanations for the same.
At one end, the debutant director Akshay Roy displays a good command over eye-catching presentation capturing Kolkata and the city’s other key features impressively, on the other he doesn’t come up with any similar kind of excellence in the writing and story-execution department, resulting in an unexciting, below average product, exactly as it looked in its promotional campaign.
Parineeti yet again does a typical stereotyped role she is known for and one doesn’t find any kind of freshness in either her looks or performance to be honest. Ayushmann Khurrana too looks the same in a repetitive kind of boy-next-door role adding not much to the film and the supporting cast is just fine without offering anything great to mention here in particular.
In all there are only two positive features in MERI PYAARI BINDU.
One – A few good songs by Sachin-Jigar and the inclusion of many cult classics of the past, also featuring a full length title track taken from Mehmood’s PADOSAN. (However I really don’t understand why they tend to use one or two Punjabi words forcibly in the lyrics sounding so awful?)
Two – For a change, this time we have a private pop-album released by the heroine, failing in the market teaching her a realistic lesson of life. Otherwise we have always seen such albums becoming a huge success in films painting a false picture of reality in front of the unaware viewers.
Ending on a different note, keeping in mind the one-sided affair in the film with a close friend, this can also be called an early version of the HALF GIRLFRIEND instead of MERI PYAARI BINDU.
Rating : 1.5 / 5
BUT continuing my solo drive against the 'Shameless Increase in Ticket Prices' by the multiplexes, will deduct one star for this spineless act which is neither being addressed by anyone in the industry nor the government since last few years.
NET RATINGS : 0.5 / 5
Tags : Meri Pyaari Bindu Review by Bobby Sing, 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
12 May 2017 / bobbysing /
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