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!

NOOR - What a confused and lazy way to make a crime investigative thriller with neither thrills nor any investigations ending on a weird note. (Review By Bobby Sing).

This Friday's One Line Reviews by Bobby Sing for making your movie plans..

When my Career Consultancy didn't work for a few strangely concerned parents. - by Bobby Sing (Few Life Inspiring Words - 23).

FAST & FURIOUS 8 (English/Hindi) - Partially enjoyable, but strictly for the fans loving the action genre. [TTP (To The Point) Review By Bobby Sing].

MANJE BISTRE (Punjabi) - It seems Punjabi Cinema is now stuck with period dramas focusing on a 'Vyah Wala Ghar' as their latest repetitive obsession. (Review By Bobby Sing).

BEGUM JAAN (Hindi) / RAJKAHINI (Bengali) - Benegal's MANDI meets Manto's TOBA TEK SINGH and Mehta's MIRCH MASALA in this bold but over dramatic effort, sadly remaining too bland to be called an epic despite its noble intentions. (An overview by Bobby Sing).

The last 2 shows at REGAL and the one man behind the event, nobody knows about. (A detailed emotional and technical description by Bobby Sing).

MUKTI BHAWAN (Hotel Salvation) - Could have been a classic, but surely deserves to be seen for its subject, performances and Varanasi in particular. (Review by Bobby Sing).

LAALI KI SHAADI MEIN LAADDOO DEEWANA - Stay away from this marriage and its tiring absurdity. [TTP (To The Point) Review By Bobby Sing].

MIRZA JUULIET - One of those strictly avoidable films that make you wonder why they got made and for whom? (Review By Bobby Sing).

 
 
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April 26, 2017 Wednesday     
Director Manish Gupta returning to the genre of ‘whodunit’ suspense thrillers was enough to give me that much needed excitement as I really loved his THE STONEMAN MURDERS and rate it as one of the best films in this particular category coming from the new age talented actors and directors of Hindi cinema. So eager to see Kay Kay Menon once again in a Manish Gupta film, I entered the theatre in high spirits and came out largely satisfied with another well-paced, engrossing and a fine crime drama giving you the worth of your money spent in those two hours.
Inspired from the infamous Aarushi Talwar murder case that kept everyone guessing till many months (or rather years), RAHASYA comes to the point right away with the murder and doesn’t waste any time on silly introductions breaking the set norm of a Hindi film. It considers the viewers intelligent enough to take this no-nonsense opening spiritedly and then goes on building the suspense factor with its exceptional cast ensemble quite well. The film gains it actual momentum once Kay Kay comes in playing the main investigation officer and his interrogation sequence in the lockup lifts up the story progression impressively.
The interest is kept alive post intermission too as the script unfolds many gripping twists and turns as expected from a worth watching murder mystery. Plus the usual format of the subject doesn’t get monotonous or boring, shifting the suspicion constantly. A song less film as it should ideally be, RAHASYA has an ok background score that could be more exciting as I personally felt, but the cinematography catches the feel of the theme perfectly. Here I would specifically like to mention the way Manish Gupta and his DOP conceive their dark (night) sequences, lighting them brilliantly with a visible distinction if compared to many other films. Interestingly Manish’s THE STONEMAN MURDERS also had the same merit, causing a huge difference in the overall impact of the film that had its major part of the story happening in the night only.
Kay Kay Menon being there in almost every scene of the film post his introduction, plays the intense lead role superbly (in his full form) along with Ashish Vidyarthi, Tisca Chopra, Meeta Vashisht, Ashwini Kalsekar and Manoj Maurya doing complete justice to their given characters in the script. Particularly it was a relief to watch Ashish Vidyarthi back in a good substantial role after a long gap and nice to see Ramesh Deo too in a cameo. However I wish Ashish and Tisca had more scenes together filling in the emotional depth missing in the film as far as the family conflict is concerned.
(Spoilers Ahead)
In other words, despite revolving around a young girl’s murder in her room possibly committed by the father only, RAHASYA doesn’t have that warmth making an instant heartfelt connect with the viewer. It remains a dry ‘whodunit’ crime thriller mostly that successfully manages to keep you engrossed throughout with some evident loopholes that can easily be caught by any avid fan of crime films or novels. For instance, the flats of any high rise buildings in the metros normally never have a false-flooring with that much space to hide a dead body so easily (for so many days!). Moreover the big involvement of Police officer in the case also turns out to be completely unconvincing, hampering its desired impact on the viewer post the climax-revelation.
Having said that, RAHASYA still remains a worth watching movie without any doubt, especially if you are a fan of Kay Kay and this interesting genre of ‘whodunit’ suspense thrillers ending on a shocking note. So do give it a try for sure and don’t reveal the secret to anybody else as a responsible movie-goer, keeping their interest alive.
Rating : 3.5 / 5
(Note : After watching TALVAR (Oct - 2015), I have revised my rating of RAHASYA from 3 to 3.5 admitting my earlier mistake of rating it lower than it truly deserved.)
Tags : Rahasya Movie Review by Bobby Sing, Rahasya Film 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, Real Life Inspired Films, Aarushi Murder Case Inspired Hindi Film, Worth Watching Hindi Whodunit crime thrillers.
 
 
31 January 2015 / bobbysing /
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Its really amazing to see what Hindi film directors mainly led by Vikram Bhatt, are doing with the Horror genre in the industry since RGV stopped making his scary flicks. Certainly they are fearlessly declaring the audience nothing more than fools loving this particular genre, who can be served anything in the name of horror along with few good songs and intense sexual scenes performed by some good faces. In fact that seems to be the only guideline to make these films and KHAMOSHIYAN is yet another absurdity tried with a silly conviction on the screen promoted well before its release through some bold press conferences.
To accept the impact, I was really impressed the way Sapna Pabbi was handling the press confidently before the release answering the questions asked on her sexual scenes so willingly. It really looked like as if they have a good project in hands and pretty sure of its success in advance. However the 2 hour film simply proved that it was over-confidence instead of confidence and perhaps an intentional coaching provided by the Bhatts that the girl was speaking so bravely about her major break and the bold scenes in front of the journalists.
Beginning on an all seen before, lame note the film keeps moving on a routine, boring path till the interval and one simply feels nothing watching the sudden emotional outburst between the lead pair without any believable justification given in its mediocre screenplay. The second half brings in the demon and the twist but a hangover of cult films like THE EXORCIST and Hitchcock’s PSYCHO is clearly visible used in a pretty lousy and unimpressive manner by the debutant director Karan Darra. With all ordinary graphical representations of a butterfly or a dog it fails in the cinematography or background score department too gaining the only goods marks in picturising the fine tracks. Moreover its every location/set or art direction strongly reminded me of the team’s earlier venture CREATURE too because of the clear similarities.
As far as performances are concerned Ali Fazal is a good actor but gets nothing great to do in this badly written film. Gurmeet Chaudhury also remains handicapped due to the short role offered without any meat and Sapna Pabbi looks sensuous, displaying her sex appeal well but does nothing more than that unfortunately. Probably she might be able to perform much better in an intense emotional drama with those appealing eyes keeping in mind her better act in the TV series 24. Anyway having such a limited star cast KHAMOSHIYAN once again reveals that Vikram is vaguely making his films on a set, safe format ensuring minimum losses if not profits with music proving to be the backbone of his projects as always.
Hence following the same pattern, the only USP of KHAMOSHIYAN is its soundtrack alone with few fine composition and lyrics led by the title song that sadly comes in the film just at the wrong moment. An early sequence in it has the famous “Aayega Aanawala” song too playing in the backdrop. But the film simply has got no merit to be associated with that cult classic MAHAL still remembered for his haunting music and entertaining suspense even after six decades.
In short neither sex nor music was able to stop me from taking few quick naps in the theater and I am still wondering why was this made and for whom?
Rating : 1 / 5 (Just for its soundtrack)
(On a lighter note : A scene in the film had a strange board reading "Hindu Shamshaan Bhoomi"……… now certainly that needs to be opposed on secular grounds! :) )
Tags : Khamoshiyan Review by Bobby Sing, Khamoshiyan Film Review by Bobby Sing, Similar Concept Films, Borrowed Themes, 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
 
 
30 January 2015 / bobbysing /
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Gulzar SaabIt was the last quarter of 1996 and the first night show of MAACHIS at Liberty cinema, the still operational single screen theatre in the famous Karol Bagh region in New Delhi. This particular Friday was one of the most awaited ones especially by the Sikh community since many months, as everyone was more than eager to see how Gulzar has depicted the sad state of Punjab and its people in the film with reference to the infamous terrorism, the invisible sufferings and exploitation of the youth ruining numerous families of Punjab in the ugly decade of 80s and early 90s.
The Punjabi community had many hopes from the film mainly because MAACHIS was directed by Gulzar, who with a Sikh background was expected to understand the core issue much better than any other director of Mumbai as a logical deduction. Thankfully the expectations were largely fulfilled for a major part of the audience all over making a solid impact and the hit song “Chappa Chappa Charkha Chaley” played a key role in it unarguably. The track was widely being used for Bhangra performances in colleges, schools or private functions and mind you it was still not the time of DJs coming for every small family party or get-together without an exception.
The song was one of our favourites too and by ‘our’ I mean my group of friends who used to meet every Friday night for the new Hindi film released unconditionally (whatever it takes to be there at the theatre, at any cost). And therefore that night too we were all sitting in the back rows of Liberty cinema, excited enough to watch the film with no information about what was in store for us next offering a surprisingly pleasant gift to be cherished for long.
A few advertisements were running on the screen as usual before the film when suddenly the lights came on again and there was a strange unrest in the hall with whispers all over. After a few moments, the person in our next row said,
“Koi Aa Raha Hai Kya?”
And then the other said, “Hero Kaun Hai Film Mein………Main To Pehchaanta Bhi Nahin!”
To this the first man replied, “Hero To Gulzar Hi Hai, Wohi To Nahin Hai Kahin!”
I was excitingly hearing their conversation and was feeling the goose bumps too with the name of Gulzar coming up in their talks. Was he really coming and am I going to see him in person tonight all of a sudden? The thoughts were fast running in my mind looking at the doors in the front when few people started rushing in hurriedly. And in the group behind were two young boys dressed stylishly (Chandrachur Singh and Jimmy Shergill as I can remember) along with a person in complete white attire who had to be the man I was looking for. As they all stepped on to the small stage in front of the screen, there was a huge roar of applause and I got the first glimpse of the maestro waving towards the crowd and then standing with folded hands on the stage till the compere asked the people to settle down.
Making many repeated requests the compere was unable to control the crowd and in no time big shouts of ‘Bole So Nihaal, Sat Sri Akal’ were all over the theater since almost 70% of the audience were Punjabis and students of Khalsa College situated quite close to the theatre. With the young ones not interested in calming down, the organizers decided to make it short and gave a quick introduction of the stars and then Gulzar Saab, asking him to say a few words. As the mike was passed to him he started addressing the people calmly and in no time I found myself rushing towards the front pushing everyone coming in the way quite rudely. Few of my friends accompanied me and in just a few seconds we were standing right behind the crowd gathered around the director and his cast willing to shake hands with them as their true fans (there were no mobiles at that time to click pictures......making it more beautiful & real).
Noticing the crowd becoming restless inching ahead slowly, the compere asked the cast members and Gulzar Saab to move out and they once again waved to the audience before stepping down. During these few minutes, I didn’t even notice what was being said on the stage as I was only interested in being close to the master once and touch his feet too if possible. With the same intention as they all came off the stairs, I just bent down stretching my hand from within the people standing ahead of me and somehow managed to reach Gulzar’s Saab’s feet feeling the magic touch. The maestro probably realized someone has touched his feet and was willing to see the face for showering his blessings too. But by the time I managed to come up again to make an eye-contact, he had already moved ahead and just turned away not having found the face who touched his feet from within that crazy crowd as a passionate, loving fan. And watching him move out of the door, I found myself standing still like a stone with a big wish fulfilled all of a sudden without even making an eye contact with my beloved magician of words – Gulzar Saab.
Cut to, today after so many years gone by, I decided to share the personal experience here with all friends of BTC because of a loving inspiration coming from Sh. Pavan Jha and I truly hope this honest expression of mine somehow reaches the maestro too as another respectful, pyar bhara Charan-Sparsh after a gap of two long decades since 1996.
HIS BLESSINGS
Tags : Gulzar The Magician of Words, When I touched the maestros feet, Those cherished cinematic moments By Bobby Sing, Nostalgia, Nostalgic Hindi Cinema of the 90s, Liberty Cinema Karol Bagh, Maachis, Gulzars film on Punjab Terrorism, Chappa Chappa Charkha Chaley, Articles on cinema, Articles on Music, Poetry and Life, Vinage Films and Articles.
 
 
27 January 2015 / bobbysing /
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Clearing the confusion over its inspired status first, yes the early half of the film (or the initial 20 minutes) are exactly similar to the Punjabi film RONDE SAARE VYAH PICHHON aka RSVP released in 2013. But since both the writers deny seeing each other’s films and claim to have taken the idea from few real life instances featured in the daily newspapers, hence we are forced to consider this as possibly a rarest of rare exception of two unrelated minds writing and visualising exactly similar sequences in their individual films released at a gap of more than one year.
Next keeping in mind its fairly novel plot of a ‘Looteri Dulhan’ and a whole con-family involved it the cunning business, DOLLY KI DOLI does have an interesting premise to offer. But after making a fine, enjoyable beginning, what the writer and director do with the film post intermission (different from RSVP) is really sad and awful, completely ruining its winning potential altogether. For instance it straight away begins with an abrupt scene introducing the lead pair chatting casually followed by an item song by the producer (Malaika) herself and then displays several big loopholes in the con games being played by the ‘Looteri family’ with two young boys. Still few enjoyable performances, funny local lingo and double meaning dialogues thankfully steal the limelight and one doesn’t really care about the flaws in its initial 45-50 minutes to be honest.
However post intermission, the 100 minute film goes entirely off-track and starts moving in various weird directions involving betrayals, silly love angles, revenge and more. The writers come with such weird and forced ideas like the family fleeing fearing a police raid, but forgetting to take along their old age (fake) Dadi…….and then remembering about her while sitting in the train. Moreover here we have a young energetic inspector who is unable to find the con-girl but the other victim boy can find her so easily, reaching her new home too without any problem as such. Plus, I really couldn’t understand what help did the film get from a lackluster cameo of Saif Ali Khan doing nothing.
In other words, in its second hour DOLLY KI DOLI simply fails to encash on its fresh con-plot leading towards an illogical climax and only three people give you something to enjoy in its short duration namely, Rajkummar Rao (with his excellent Haryanvi accent), Varun Sharma (reminding you of his ‘Choocha’ act in FUKREY) and Archna Puran Singh (as a loud Punjabi mother looking for a better girl for her boy). Strangely Sonam Kapoor is simply there in the lead role just to smile or look good and both Pulkit Samrat and Mohammed Zeeshan Ayyub are not able to deliver the expected due to their badly written roles. Brijendar Kala, Rajesh Sharma and Ishtiaq are entertaining in their small cameos, whereas debutant director Abhishek Dogra really could have delivered a much better enjoyable con-comedy with such a cast ensemble. The cinematography and background score remain average and so does its soundtrack having all mediocre unimpressive tracks (except “Mera Naina”) with sick lyrics such as “Aaj Phatte Tak Nachhna” (now I really don’t know what it means!) and “Launda Jawaan Banega Yahan Mere Passion Mein”…….great indeed!
To conclude, as the film ends another song starts playing along the end-credits with the words,‘Baba Ji Ka Thullu’. And one truly feels like having shown the signature sign while walking out of the theatre. In short, one might enjoy it partially while watching it (free of cost) during a channel telecast but sparing your precious time and money on a multiplex ticket is certainly not recommended.
Rating : 1.5 / 5
Tags : Dolly Ki Doli Review By Bobby Sing, Dolly Di Doli Film Review, Inspired Films, Similar Concept Films, Borrowed Themes, 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
 
 
25 January 2015 / bobbysing /
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