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.


ANAARKALI OF AARAH - You praised Amitabh teaching the meaning of a woman's NO in the court, now praise Swara doing the same in a differently authentic manner. (Review By Bobby Sing).

PHILLAURI - It's a confusingly conceived Punjabi film made in Hindi, based on an interesting but inspired idea with the only merit being its emotional climax. (Review By Bobby Sing).

TRAPPED - Post an unconvincing start, it fairly keeps you engaged as a praise-worthy off-beat attempt featuring an impressive solo act and some notable merits. (Review By Bobby Sing).

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

KONG SKULL ISLAND (English) - Though lacks an emotional pull and the original charm, it's still an incredibly made entertaining comic-book adventure to be experienced in a well-equipped theater. (Review by Bobby Sing).

BADRINATH KI DULHANIA - A unique case of the makers returning with the same lead pair, a similar title, identical looks and the same old premise of a wedding, mocking at the viewers patience & choice. (Review by Bobby Sing).

LION (English/2016) - An emotionally uplifting film which once again depicts INDIA in a bad light and we know the westerners do have a fascination for such dark representation of our country since decades. (Review by Bobby Sing).

ANUPAMA (1967) - Its touching emotional climax and DDLJ - By Bobby Sing.

COMMANDO 2 - Focusing on suspense instead of action, Vidyut gets no support in this poor and so casually conceived film unfortunately. (Review By Bobby Sing).

LOGAN (English/Hindi) - You will make faces, tighten your fists and do several things going through this brutal, cold blooded must watch thriller for sure. (Review by Bobby Sing).

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March 30, 2017 Thursday     

Khaidi-No-150-BTCChiranjeevi (The Boss) is back in style and though he hasn’t got anything new to offer in terms of the basic plot, the veteran still successfully manages to provide the much awaited masala entertainment, wisely justifying his current political image too bringing forward three burning social issues hitting the right note.

An official remake of Tamil hit KATHTHI (2014), the film revolves around an ages old plot of a small time thief/convict taking place of his look alike, who happens to be an important social figure representing a whole village and its people.

As his 150th film (indicated in the title), coming after a gap of 10 years post SHANKAR DADA ZINDABAD in 2007, this can easily be called a near-perfect comeback venture of Chiranjeevi, with the only major negative being the routine plot. Having said that, the script still remains a very wise and apt choice for the actor turned politician, doing complete justice with both is on-screen and off-screen image satisfying the fans too.  

Directed by V. V. Vinayak, KHAIDI NO. 150 actually gets a big support from the writing of A.R. Murgadoss that keeps you engrossed, emotionally charged and pumped up at intervals too post the initial routine hour. The forced comedy and romantic side-plots fail to deliver anything great (wasting Kajal as the female lead along with a weak villain) and the film actually picks up with the action taking over in its second half.

Among the key highlights are the cheer-worthy dialogues and enough punch packed in the actions sequences, particularly the one showcasing the ‘coin-trick’ and the games played with the light. Cinematography, background music and the catchy songs do add their bit providing the entertainment factor and its really a treat watching Chiranjeevi still doing those steps on the screen after a long time (since the 90s). However (as informed by a friend) when I heard the background score of the original, it was indeed much better and well composed in comparison. Yet, I honestly did enjoy the one featuring in the film and loved watching both father and son dancing together in the song “Ammadu Let's Do Kummudu” (Ram Charan making a cameo), despite the tracks as usual deliberately added without any need as such.

Owning the show without going overboard in even a single scene, KHAIDI NO.150 honestly rises above the routine due to Chiranjeevi and the three crucial social issues addressed by the makers quite impressively. The veteran truly stuns the viewers with his electrifying onscreen presence, energy and still in form charisma. And you remain simply amazed watching him perform everything including emotion, romance, comedy, action and dance with an unbelievable conviction and spirit even at the age of 61.

Coming to the film’s most appreciable merit, though not at any great length or details, KHAIDI NO. 150 rightly brings forward three important social issues of the present times mentioned below:

A. It draws you attention towards the poor state of farmers and the unfortunate suicides regularly reported from various regions of the country since last many years. And a sequence related to the same does make your eyes moist for a while showcasing a mass suicide.
B. Forceful corporatisation targeting villages and their agricultural fields is the other social curse incorporated in the script, including the way foreign corporates take away the passports of their employees and get blank papers signed from them too, to be used for the company’s benefit in the future.
C. But most importantly the writer-director strongly reveal the ugly face of today’s biased and corrupted mainstream media, only interested in their TRP ratings and competition instead of the actual truthful journalism and much required responsible reporting.  

In all, though (yet again) based on an old rotten plot, KHAIDI NO.150 can still be rated as a fairly enjoyable and largely satisfying comeback film of Chiranjeevi for his die-hard fans, especially considering the socially relevant sub-plots in its narration resulting in a much superior and appreciable project with a message.

Rating : 3 / 5
Apart from the review,
would like to draw your kind attention to a rare fact about our amazing South film industry with an infectious positive energy and incomparable spirit (don’t miss the end credits of the film representing the same).

Here a 31 years old Star produces a film for his 61 years old father, the Mega Star of the industry who is now a key politician too and the film happens to be a comeback venture for the veteran returning after a gap of 10 long years.

The Mega Star single handedly carries the film on his shoulder, doing everything as a youth icon convincingly, addressing three social issues of national importance and then both the father and son dance together on a peppy song too setting the screen on fire.

Probably the first instance of its kind in our Indian cinema, it’s really a pity that we still don’t have the culture, will and a system to watch our own regional language films with English subtitles in the country.

Worth giving a thought indeed!

Tags : KHAIDI NO. 150 (Telugu) Review by Bobby Sing, KHAIDI NO.150 Movie Review by Bobby Sing, Indian Reginal Language Cinema Reviews by Bobby Sing, Chiranjeevi Comback film post 10 years, South movies reviews at bobbytalkscinema, Remake of Kaththi (2014), Indian Regional Language Cinema Reviews by Bobby Sing
31 January 2017 / bobbysing /
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Qatl-In Broad Daylight-Bobby Talks CinemaAs a lesser-discussed and largely forgotten but ‘well-made’ Hindi crime thriller, QATL was released in 1986 post the sudden demise of one of the most gifted performers of Indian cinema Sanjeev Kumar and thus was dedicated to the legend too as respectfully mentioned in the very first slide of the film’s opening titles. Produced and directed by R. K. Nayyar, the project director of QATL was his wife Sadhna Nayyar (the famous actress) and the film was written by J. P. Choksey (story), Vinod Rattan (screenplay) and Madan Joshi (dialogue).

Featuring Sanjeev Kumar, Shatrughan Sinha, Sarika, Ranjeeta, Marc Zuber and Ashok Kumar (in a special appearance as the Fakir), QATL is the story of a stage actor who goes blind in an accident and then finds out the truth about his unfaithful wife and her affair in that helpless state. Controlling his anger, he smartly plans to murder the betraying wife and successfully does that too taking all possible precautions leaving no clues to trace. Enacted in a fabulously subtle manner by the maestro Sanjeev Kumar, the final hour of the thriller is about how he escapes the police enquiry and in the end comes up with a unique twist in the court forming the USP of the film.

With music given by Laxmikant Pyarelal and lyrics by Rajinder Krishan and Anand Bakshi, QATL has a couple of melodious, meaningful tracks too and it also uses clips from another famous film of Hari Bhai (Sanjeev Kumar), in which he did nine unusual roles with completely different get ups titled NAYA DIN NAI RAAT (1974).

Now coming to the revealing section of the write-up, which would sure disappoint many, I recently found the film almost entirely inspired (lifted) from an English TV film, after getting the valuable information in a comment received by a BTC friend at the site.

Its an American TV film titled IN BROAD DAYLIGHT aired in 1971 and is directed by Robert Day featuring Richard Boone, Suzanne Pleshette, Stella Stevens, John Marley and more. Written by Larry Cohen, the film has an exactly similar plot, story progression and many key sequences too as seen in QATL including the disguise, round fire staircase, the falling umbrella and the lady with the child in a pram.

However, the delightful silver lining in this particular case is that despite taking it all from the English TV film, QATL still comes up with its own unique climax which is completely different from the original and highly entertaining too. But at the same time the original IN BROAD DAYLIGHT also has a brilliant culmination which says it all without even a single dialogue in the final sequence of the film so cleverly.

Therefore, intentionally skipping writing anything about the two different and equally praiseworthy endings keeping the mystery intact, I am sharing the links of both the original and inspired film here for all the interested readers, so that you can also see them together and enjoy their individual excellence in execution, reaching your own conclusions.

QATL (1986) - https://youtu.be/3_kpP021HEw
IN BROAD DAYLIGHT (1971) - https://youtu.be/tVMcLffeL6s

Do write in post watching the films, as I would love to read your views about the two unique endings.

Note : A big thanks to V. Madhurageetha for giving the exclusive information.

Tags : QATL (1986) took it all from IN BROAD DAYLIGHT (TV Film/1971), Qatl (1986) and its inspirations, Inspired Films, Lifted Films, Copied Films, Inspired but still original, Sanjeev Kumar playing the blind, Inspired Cinema List at bobbytalkscinema.com by Bobby Sing
30 January 2017 / bobbysing /
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Beginning with an undeniable fact, there was nothing you didn’t know about KAABIL before its official release as the promotion clearly revealed it all displaying a solid confidence and now the only excitement left was in witnessing Hrithik’s blind act and the way he takes the revenge killing the ruthless rapists.

Ideally, that isn’t any recommended or appreciable feature for a crime-thriller, when the viewer already knows the script and now just has to see HOW instead of WHAT in return of his money spent. Plus a film has to be exceptionally good in this case, essentially equipped with a few undisclosed shocks and surprises for the viewer moving much beyond the obvious or already known details.

Unfortunately KAABIL doesn’t turn out to be any nail-biting revenge drama on the similar grounds as it neither has any twists nor any pleasant surprises in its final hour missing the much required crescendo. It confidently begins as a soft and sweet romantic story of a blind couple and then turns into a simplest revenge saga post intermission, forgetting everything else (even the supporting actor along the lead, his only close friend). Moreover it also doesn’t have any solid portrayal of villains too, missing another important ingredient of this particular genre.

The film completely revolves around the blind Hrithik alone and that’s exactly where it works due to the actor’s individual skills making an instant connect of sympathy, especially when he decides to do it on his own fooling the police officers. A differently abled central character always finds an emotional link with the audience and KAABIL smartly exploits the same despite being quite weak in its execution of revenge and the planned killings in its second half.

So for me it’s just Hrithik Roshan who strongly scores in this completely predictable and simplistic film but nobody else. Yami Gautam is no doubt one of the prettiest faces in the industry with a lot of untapped talent, but the girl is weirdly getting exactly similar roles in almost every project where she is there in the initial moments and then has to die soon disappearing from the rest of the film. Yami looks beautiful and acts well as the blind girl too, but I would really like to see her in a much more lengthy and meaningful role as seen in VICKY DONOR. Both Rohit and Ronit Roy as the two bad men fail to rise above the routine looking like the typical villains from the 90s whereas Narendra Jha does leave a mark as the investigating police officer. Having a minimal supporting cast, no one else gets any significant scenes in the film including Suresh Menon, Akhilendra Mishra and Girish Kulkarni.

As a result, it eventually comes down to the lead star alone, who once again delivers his best with sincerity and conviction winning over the majority of viewers. Hrithik truly makes the portrayal look like highly believable along with a supporting Yami and together they both give you a sweet and adorable first hour becoming the highlight of the film. Later as the action takes over, Hrithik gets back in full control and you just keep watching him on the screen ignoring many major shortcomings.

Coming to the technicalities, a Sanjay Gupta film is always rich in this particular department and thankfully he doesn’t go for any of those tinted colours this time giving it a natural feel. But I was really surprised finding some easily catchable or tacky kind of digitally added backdrops in many of its crucial scenes.Though the camerawork is very fine along with an apt background score in the two different halves, yet I couldn’t find any highly melodious or memorable track in the music by one of my favourite composers Rajesh Roshan. Also it was really awful to hear an unnecessarily remade and noisy version of “Saara Zamana” (coming just after the interval) strangely recreated with the approval of the man himself.

As a director, Sanjay Gupta is probably the most stylish visualizer in the industry, who always likes to be experimental and inventive deeply following the Korean and World cinema (without making any official acceptance) except his last average film titled JAZBAA. I personally loved to watch his works ignoring ‘the inspired fact’ (in the early years) and may be his inclination towards the intense and shocking Korean thrillers might be the reason, I was actually looking forward to a much matured, well-crafted and killer kind of second half focusing on the three planned murders.

However, what KAABIL offers in its second half is a too easily conceived, executed and written revenge drama that doesn’t turn out to be as believable and enjoyable as expected. It keeps on going with a visibly questionable ease, which can simply be phrased as ‘too convenient’ for a blind man operating without any kind of help from an able friend or associate. Personally speaking there was a much superior similar kind of final hour in APPU RAJA or the recent I, that too had a differently abled protagonist setting the accounts straight.

Besides, the film has such big loopholes in its writing and onscreen execution that it doesn’t seem to be a Sanjay Gupta and Rakesh Roshan film post some initial good romantic moments. For instance, where the kiddish insertion of voiceover skills used to fool everyone involved becomes repetitive after a while, one wonders how even the shrewd politician too starts responding like a kid after a single phone call without getting it confirmed. A rape victim commits suicide but there is no postmortem done or police involved in the case and there are no neighbours too (quite astonishingly) disappearing after a song and just one scene.

In short, KAABIL successfully manages to score due to Hrithik alone and you may like it if its only Hindi films for you and nothing else, either from our own Indian regional language movies or the World cinema. However for friends who are well versed with much more quality movies being made both in the country and abroad, this is just another of those masala Hindi entertainers completely dependent and riding high on its exceptionally talented lead STAR.

Rating : 2 + 1 (with the additional one just for the guts and courage of Hrithik Rohsan going for such an off-beat, experimental and risky role of a blind.)

Note : Regarding inspirations, though not having any direct relationship, the film does remind you of many similar revenge thrillers like a Korean film BROKEN (2014/put a daughter in place of a wife) and our own MERA JAWAAB (1985/just add a blind angle to it).
        But the most closest it makes you recall is QATL (1986) featuring Sanjeev Kumar as the blind husband going for a smartly planned murder post an unexpected betrayal. (Do watch it as a must since it is indeed a fine underrated film ending on an interesting note.)

Tags : Kaabil Movie Review by Bobby Sing, Kaabil Film Review by Bobby Sing, Inspired Films, Kaabil and Broken, Kaabil and Qatl, Kaabil and Mera Jawaab, 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
28 January 2017 / bobbysing /
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SRK or the King Khan as he is popularly known, certainly has some serious issues with his films since MY NAME IS KHAN released in 2010. At times it’s an old subject that becomes the problem but most of the times it’s the script and the writing which brutally betrays him and his sincere efforts made putting it honestly.

Unfortunately, the same happens once again in his latest RAEES too, which shockingly remains strictly routine right from the first childhood scene and doesn’t have anything fresh to offer to the audience except a fairly enjoyable clash between Shah Rukh Khan and Nawazuddin Siddiqui playing the honest cop.

To be straight, if in a SRK film, Nawazuddin gets more cheers and shouts on his entry than the Khan himself, then it clearly reveals the viewers expecting much more entertainment and ‘return for their money spent’ from him instead of the leading man, which in my humble opinion surely deserves to be considered as an alarming indication for the thinking actor Shah Rukh Khan.

Coming to the film’s key subject, its yet again a story of a gangster’s empire built with the nexus of police, politicians and the system together reminding you of the famous and far superior English TV series NARCOS about Pablo Escobar, the lord of drugs in Colombia. Said to be based on the true story of a Gujarati bootlegger turned gangster of the 80s, Abdul Latif, who was later also charged for the involvement in 1993 blasts, the makers haven’t officially accepted or announced the inspiration but remain too close to the events happened around the same period.

Following the set format of 70s Hindi films written by Salim-Javed beginning from the childhood accompanied by strong dialogues and sequences building the central character, RAEES doesn’t seem to be bad film at all from the perspective of making, shot-takings, background score, presentation and the key performances. But it’s the so depressingly stale and unexciting basic plot of the film that never makes you feel like watching something new or different especially post the intermission.

In few words, where you do enjoy the clash between the good and bad forces in the first half, the second half offers nothing of that sort at all and nose dives at once post the unwanted song added just after the interval (again following the fixed format of the 70s wherein we always had a song coming back from the washroom or canteen).

As widely discussed in the social networks, I don’t think it’s the censors this time but the makers (writer/director/SRK) themselves who fearfully toned down the film and its politically revealing sequences to avoid many severe cuts or government opposition resulting in such a below average product. May be the director Rahul Dholakia alone might not be responsible for that, but its unarguably weird to choose such a controversial subject for a SRK film when you are not daring enough to reveal it all fearing the censors and the system. Wonder what they found interesting and exciting in such overused and boring storyline other than the controversies involved.

Apart from the writer and director following the 70s films with childhood dialogues such as “Battery Nahin Bolne Ka” and “Baniye Ka Dimaag Aur Miyan Bhai Ki Daring”, Shah Rukh Khan also (once again) follows the footsteps of the veteran Amitabh Bachchan with surma in his eyes and a little variation in the voice (reminding you of the cult AGNEEPATH). However both the unoriginal, sloppy writing as well as the confident act together fail to deliver the magic still felt in the movies of the energetic 70s (incidentally also seen in a clip running in the backdrop in one of its action sequence).

No doubt Shah Rukh Khan truly carries the film with enough swagger and conviction, but an actor actually cannot do much if there is no meat in the subject, repeating the same old ‘seen before’ scenes coming one after the other in a highly irresponsible manner. Both Mahira Khan from Pakistan and the talented Mohammed Zeeshan Ayyub get affected from the uneven writing too and so does the remaining supporting cast failing to make any impression at all including Atul Kulkarni. In the technical department where both cinematography and background score excel, I was really not moved by any particular song in its soundtrack, except the marginally better “Zaalima”.

In short other than the King Khan and the dialogues, its only Nawazuddin Siddiqui who actually saves the film giving you something to cheer and smile in the much better first half. Otherwise you can easily guess the confidence level of the makers who even decided to add an item number of Sunny Leone in a Shah Rukh Khan film and that too remaking (read ruining) a cult 80s track.

Summing up, No doubt RAEES is a weak, repetitive and once again not a wise choice of a script by the KING KHAN, but the film has one unique quality I would like to loudly praise it for.

And that’s for being a brave Hindi film focusing on a Muslim protagonist after years (or decades) boldly participating in the sacred rituals on the screen too, displaying the religious sentiments in all positive light, that can easily be rated as a rarity in the present tense scenario redefining ‘tolerance’ as a term.

In other words, in the times when we have deliberately stopped writing the film titles in URDU like we used to do in the last millennium and tactfully need to add a word before ‘Bhaijaan’ to make it a universally likeable title/film, such a strong religious portrayal in RAEES is nothing short of a daring statement indeed.

In fact that’s exactly what you can call it as “Miyan Bhai Ki Daring”.

Rating : 2 + 0.5 / 5 (with the additional 0.5 for the above mentioned tolerant daring by the Khan)

- About an absurd key dialogue repeated throughout the film.
As mentioned above, RAEES can easily be called a forceful tribute to the spirited 70s, but as an afterthought, I found its key dialogue used repeatedly to be quite absurd and foolish contradicting with the over-intelligent and ‘Robinhood’ kind of image given to the central character.

Giving you the details, the writers portray the mother as a highly positive character similar to the roles of Nirupa Roy in cult movies like DEEWAR and more, giving her a highly questionable dialogue as,
"Koi Dhanda Chhota Nahin Hota............. Aur Dhandey Se Bada Koi Dharam Nahin Hota" to which she later adds “Agar Ussey Kisi Ka Bura Na Hota Ho”.

Selectively making the first two lines as his life teaching, Raees goes on to be a bootlegger and keeps on repeating the lines at regular intervals in the film supplying illegal liquor all over the state.

Now at one end Raees is portrayed as a Robinhood helping the poor in the time of need and on the other is shown indulging in trade practices which severely affect the life of these people only (majorly the poor) defying his very purpose.

So every time he says, "Koi Dhanda Chhota Nahin Hota....... Aur Dhandey Se Bada Koi Dharam Nahin Hota" with some kind of weird pride or ‘Guroor’, it looks like quite silly as this Dhanda only was killing many of his people around who considered him as a Godfather and he was foolish enough to not even realize it.

Give it a thought.


Tags : Raees Film Review By Bobby Sing, Raees Movie Review By Bobby Sing, Inspired Films from real life characters, Hindi Movies on a Gangster Life, Hindi film on gangster Abdul Latif, 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
26 January 2017 / bobbysing /
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