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May 25, 2017 Thursday     
After a long gap of 8 years, post his fairly likable PYAAR KE SIDE/EFFECTS in 2006, director Saket Chaudhary makes a comeback with SHAADI KE SIDE/EFFECTS exactly like an eight year long affair gets converted into a marriage after a prolonged thinking and decision making. Now interestingly I am not sure that whether this should be considered as a praise or as a negative comment about the film. But Saket’s new product is quite similar to the confused mindset of the present generation which is really finding tough to understand this traditional concept of marriage in the right perspective. And that is the reason why we are having so many broken marriages, divorces, splits and live in relationships widely happening in our society, particularly since the last decade.
So making it clear in the beginning itself, yes SHAADI KE SIDE EFFECTS has its good, intelligent & entertaining moments mostly visible in its first half. But the film cannot be presented as any positive take on the ‘institution of marriage’ at all due to a pretty weird, puzzled and silly story progression in its final hour which simply ruins the entire fine build up in a highly casual or careless manner.
Besides, it is to be understood that ‘getting married’ and ‘having a child’ are two different steps of a newly formed relationship between a couple, which obviously have their own individual value, significance and timings. But since Saket’s film gives only 10-15 minutes to the married couple and more than 135 moments to their life after having a child, therefore it should ideally be called “BACCHA HONE KE SIDE EFFECTS” rather than “SHAADI KE SIDE EFFECTS” to be clear. So in reality this is not a film about the first few years of a newlywed couple (which certainly have a completely different meaning for the two) but a film about their changing relationship after having their first child to be precise.
Thankfully, SKSE begins on an interesting, fresh note focusing on how the couple is managing to keep the love flame burning in their first (one or two) years of a married life. And therefore does have that novelty and amusing humour too coming at regular intervals with few songs in its initial reels. Also, the moment it all starts becoming monotonous, the director plays a very intelligent twist with Ram Kapoor (just before the intermission) and you get assured that this surely is a smart take on the issue handled well.
But unfortunately everything crashes down with some deliberately added, over length subplots in the second half just like a honeymoon ending after the first 5-6 months of a marriage getting back to the real tough repetitive life as usual. The dramatic scenes result in loss of grip and the over stretched climax leads to boredom. However, most importantly it’s the confusing culmination of the script which simply pulls the film down drastically and you are just not able to make what the director wished to say with all this crazy mess representing nothing.
In short, if you are expecting it to be an entertaining and enlightening take on the concept of new-age marriage then you are seriously mistaken. Because the film is simply not made with any such clear mindset and it will leave you even more confused than before after the end credits start rolling. Though, the director tries many tricks to keep the smiles coming in the post interval sequences. But in the process shatters all the high expectations raised by its intelligent first half and you get nothing exceptional in the next hour right till the end.
Having said that the film does have some superlative performances by the lead couple, as well as the supporting cast providing you something to watch constantly. Farhan once again proves his amazing versatility and so does Vidya playing the enthusiastic mother (though I am still amazed how they said yes to such unconvincing script). The role fits like ‘T’ to both the talented stars and I seriously wish the writers had given them something more sensible and sane to do on the screen honestly. Ram Kapoor is excellent as the friendly guide and Ila Arun shows her under-rated skill of a great performer yet again. Vir Das tries hard to be funny but Rati Agnihotri, Purab Kohli and Gautami Kapoor are just there for only a few scenes.
The soundtrack has some peppy tracks used well. Plus both cinematography and background score are fine as per the limited requirements of the concept. So strictly being a multiplex film, it might get noticed by the youngsters thinking about their own marriage and their first child in particular. But at the same time they are also going to find the entertainment factor largely missing and the film not giving any enlightening message on this serious subject, performing below the expectation.
In strong words, till you are dealing with love, affair and friendship, everything is fine and can be taken in the lighter sense. But once you venture into the ‘serious theme of marriage’ then you got to treat it responsibly and just cannot play with it in a casual mode with the sole motive of delivering a hit at the box office, walking on a disrespectful or unbalanced path.
And since SHAADI KE SIDE EFFECTS does the same in an utterly confused, unsure and irresponsible manner so I am not able to give it any higher ratings and following are the issues I felt while watching this interesting yet baffling, silly take on ‘marriage’.
(Spoiler’s Ahead)
1. As mentioned earlier, though the film has the title SHAADI KE SIDE EFFECTS, it straight away comes to having the first child and gives no time to the year(s) spent by the newlywed together as per its promoted subject. And as I feel the term ‘marriage’ and ‘parenthood’ need to be dealt separately with the latter requiring more insightful & deep vision than expressed in the film.
2. Strangely the whole project is completely a one sided take on the theme, purely from the viewpoint of a man or a husband. It begins with the husband narrating his experience and remains the same throughout without giving any major emphasis on the child or the mother at all. In fact the female angle of a marriage is rarely touched in its entire duration till the end, which I found to be quite unfair and unrealistic too. Probably the writer-director only remembered a father who gets a new identity with his new born baby and not the woman who also gets reborn as the MOTHER.
3. Further, in a very questionable way, here the director is just interested in portraying the nagging wives exclusively like the main culprits. As if, a marriage becomes unsuccessful just because of the wife only in most of the cases. And for me that was not only objectionable but also quite silly of its writers, penning it with a clear male chauvinistic approach so proudly.
4. Pointing towards a highly weird sequence, I don’t know what kind of father can forget his 3-4 years old daughter taking a horse ride in the market and then returns back home alone in the evening without even remembering her?
5. Taking on the Ram Kapoor sub-plot in the film, before the intermission we are shown that he is staying in a hotel to live some independent days (with no angle of an illegitimate affair) displaying a great amount of intellect and elegance. But then in the last hour the same man is shown screwing her girlfriend in the hotel, walking on the same clichéd lines as just another betraying husband. And I really couldn’t understand what the director wished to convey with this infidelity act thrown in. May be this was another of those “Shaadi Ke Side Effects” he wanted to promote.
6. Next, it was quite difficult to relate with the way its makers were actually portraying ‘Marriage’ in such a stupid manner in the film. For instance, can a decent lady ever say this even as a joke to her husband that “This child is not yours but is of the neighbor’s?????????” Because thinking about the ages old mindset of an ‘egoistic man’, just this small joke can change the whole scenario in the household, leading to a ridiculous chain of events full of doubts, explanations and justifications. So I truly didn’t find this weird insertion even close to anything funny.
7. Lastly, I would like to address its makers as well as the readers here that yes marriage is a stepping stone in one’s life through which a couple has to rediscover themselves with the viewpoint of their better halves. But that discovering is not to be practiced by running away from the house, staying in a hotel like a coward, ignoring the other. Instead it has to be done by staying in the home only with the other like a shadow, as well as maintaining the individual space and identities intact to feel the much needed freedom.
As a matter of fact, in my opinion marriage is not merging into each other as it is mistakenly put. But on the contrary its actually staying with your husband or wife like a true companion and then accepting, respecting and protecting the identity of the other with your utmost love, care and devotion.
In the words of the mystic poet, KHALIL GIBRAN in an answer to the question that ‘What is marriage?” he writes,
“You were born together, and together you shall be for even more.
You shall be together when the white wings of death scatter your days. 
Aye, you shall be together even in the silent memory of God. 

But let there be spaces in your togetherness, 
And let the winds of the heavens dance between you. 
Love one another, but make not a bond of love. 
Let it rather be a moving sea between the shores of your souls. 

Fill each other's cup but drink not from one cup. 
Give one another of your bread but eat not from the same loaf. 
Sing and dance together and be joyous, but let each of you be alone.
Even as the strings of a lute are alone 
though they quiver with the same music. 
Give your hearts, but not into each other's keeping. 
For only the hand of Life can contain your hearts. 

And stand together, yet not too near together. 
For the pillars of the temple stand apart, 
And the oak tree and the cypress 
grow not in each other's shadow.”
To sum it all, a married couple needs to live like two islands of the same stream, maintaining the beauty of the space and togetherness untouched. And the day any one island of the two tries to take over the other……….., the whole scenery gets disturbed, losing all its beauty and feel…..forever.
Furthermore, returning from the theater, I really felt the void, since there was a time when Hindi Cinema used to make beautiful movies on marriage like PIYA KA GHAR (1972) and more recently even VIVAH in 2006. But unfortunately it has all come down to films like SHAADI KE SIDE EFFECTS which is promoting running away from the house, hideout stays in the hotels, irresponsible parents, infidelity and what not!
Rating : 1.5 / 5
Tags : SHAADI KE SIDE EFFECTS Film Review By Bobby Sing, Shadi Ke Side Effects Movie Review By Bobby Sing, SKSE Review By Bobby Sing, New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, 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
 
 
28 February 2014 / bobbysing /
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By reading the simple title of the movie, one might take it as another emotional drama around a loving mother and her children having a moving theme. But giving you an indicative idea of its script, MOTHER is without any doubt, one of the most original, novel and shocking kind of films, presenting a completely new respectful meaning of the term ‘motherhood’ in a fresh perspective never used before in the cinematic history ever. In few words, its brutal yet emotional climax would literally blow your mind away, leaving you in an utterly confused state thinking about its final moments for hours or even days. So don’t just get deceived by its one word title at all and watch it as a must, especially if you love the genre of investigative suspense dramas a lot. And in case, you are still not convinced then here is a brief description of the film without giving away its basic plot or the suspense, mentioned below.
 
It’s the story of a mother who lives with her young son in his 20s and practices acupuncture in the village. Her son is an over protected boy with a low intelligence disability and one morning he gets arrested after a girl’s brutal murder and charged with the killing with some unclear evidences. The incapable detectives get a confession signed from the boy and he is now sure to get a sentence for the deadly crime soon. However the mother refuses to believe this and tries to find the actual truth, disclosing the real culprit behind the murder with her own efforts. And in the process she is ready to go to any extreme without any limits whatsoever and does that too with an unbelievable conviction going beyond our wide imagination.
 
Brilliantly directed by Joon-Ho-Bong, the engaging suspense drama won many deserving awards at various film festivals and has some really surprising twists in its unique storyline to keep the viewer hooked like a magnet. The performers truly deserve some loud praises for their superb acts, particularly Hye-Ja Kim who amazingly plays the lead role of the mother to perfection. The eye catching cinematography adds a new dimension to its completely unpredictable progression and there is no way that one can guess what is going to happen next in its last half an hour.
 
To put it straight, the final moments of film just leave you stunned with your jaws dropped and the film unveils a new meaning of the divine word, MOTHER through its unforgettable climax executed in a remarkable style. The film simply takes the World Cinema to its next level in terms of story-telling, emotions or performances and it would be crime to miss this highly impactful masterpiece to say the least. It’s a new-age classic which redefines the blessed status of a mother with an unimaginable fresh angle and you are certainly going to feel the refreshing difference after watching this impeccable gem for sure. A must watch for everyone who has got the urge to see something unique in the literal sense and a highly recommended watch for all the young students of cinema willing to learn the art seriously.  
 
Directed By Joon-ho Bong
Starring : Hye-ja Kim, Bin Won, Ku Jin and more.
Tags : Mother / Madeo (2009 Korean), Movies To See Before You Die World Cinema Suspense, Must Watch Movie List by Bobby Sing at bobbytalkscinema.com, Not To Be Missed Movies List By Bobby Sing, Worth Watching Movies From The World Cinema, Great World Classics, Films made on Mother theme, Rare Unique Classics in World Cinema
 
 
27 February 2014 / bobbysing /
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Main Zinda Hoon - Bobby Talks Cinema.com

An admirable film by Sudhir Mishra, this is one of those significant movies of Indian Cinema, which strongly points towards our ages old traditional rituals and asks that why its only the woman, who always finds herself at the suffering end unconditionally? An enlightening story which forces you to sit back and look at this serious plight of a newlywed girl, who actually has no-where to go when suddenly her husband goes missing and the paternal home is also not ready to accept her back fearing the social criticism.
In fact, this was the film which made me think about the real home of a woman, once she is married and sent into her husband’s house following the traditional ritual. Now Is it her father’s home or the husband’s house which can be called as her own in any extreme situation? Yes, as per the Indian tradition it has to be her husband’s house always and she needs to spend her entire life in that new home only till she dies. But what if the husband is not there, what if he just goes missing after only a few weeks or months of a marriage, running away from his family responsibilities. Will she be treated the same way like a daughter by everyone in the house after this shocking unexpected incident or she would soon be considered as just a guest expected to return back home in the next few days.
The film asks this first important question in the early part of the story and then shows the changes in all its key characters, when the newlywed starts doing a job and brings home the money to meet the expenses with. The attitude changes, the tone is different and the love blossoms once again all of a sudden for the young girl, looking after the house like a man. But now what if the girl falls in love with another person and decides to get married. Would her new parents (in-laws) be interested in marrying her again with another man? Would they readily agree to let the “Golden Goose” move away from their house all of a sudden? And Is the girl also ready to leave her new family just like that for the sake of her newly acquired love?
Anyway, moving ahead they all find a solution and the matter is settled soon, taking care of everyone involved. But wait, it’s not all over yet as now what if the husband returns from his secret exile one fine day? How the poor girl is going to face this upsetting turmoil and what she is supposed to do now as per the Indian tradition? The attitudes have changed again, the tone is no more the same and the love has simply vanished from the old eyes staring at her in anger. Its like a suicidal moment for the girl and nobody has got anything in mind to solve this unusual situation at all. And that’s where Sudhir Mishra’s thoughtful title makes you think about the helpless, unfortunate girl who is screaming loudly…………that please think about me, please somebody think about me………….Main Zinda Hoon!........I am still alive!
Admitting it honestly, this was the film which made me accept the truth that a woman is much stronger than a man from the inside unarguably and she goes through much more rough weathers in her life in comparison to the man. Particularly in our part of the world, where all the centuries old traditions are simply formed with a sick, one sided mindset, favouring the man alone.  
Recalling those college years, when I first saw this film in the mid-nineties, its concluding moments were hugely disturbing for me and I was unable to think anything else for a few days. The mind just kept wondering on the inner gifted strength a woman has, enabling her to face such severe twists and turns of life so calmly. And to say the truth, MAIN ZINDA HOON made me respect the identity of a woman much more than ever before. So I would certainly like to thank writer-director Sudhir Mishra for making this socially relevant movie with such a hard-hitting execution as required.
Now I don’t know how the today’s net generation would see this movie in the present times. But if I am asked then this is one of those important films which can still become a major life teaching lesson for any young seeker on the path who wishes to know more about this life and its hidden disgraceful truths related with the suppressed identity of a woman. It’s a film which makes you realize ‘the respect’ she deserves from every single person in both her homes, before and after the marriage in any extreme unfortunate situation. Plus MAIN ZINDA HOON reminds you that a woman also has a right to live as per her own will and the men are just not the owners as is being taught to us from many centuries through our questionable traditions & scriptures.
It has one of the career best performances of Deepti Naval playing the girl in a dilemma and she gets some great support from her immensely talented co-stars namely Rajendra Gupta, Pankaj Kapur, Alok Nath and Kulbhushan Kharbanda. After watching the film, the final appearances of Deepti Naval keep haunting you for many days and that’s the power of great cinema which actually makes you think and see our own shortcomings upfront, like a great teacher. Its music has it own precious role in portraying the tense moments and Sudhir Mishra has directed it with all his heart and soul, visible in its every frame.
A must watch film; MAIN ZINDA HOON is sadly not available in the home video market till the time of writing this article. But I am sure NFDC will soon be coming up with its digitally restored DVD in the next few months for all the friends who would love to have this enriching experience at the earliest.
Written & Directed By Sudhir Mishra
Starring: Deepti Naval, Rajendra Gupta, Pankaj Kapur, Alok Nath, Kulbhushan Kharbanda & more.
Music - Sharang Dev    Lyrics - Javed Akhtar
Tags : Main Zinda Hoon (1988), Movies To See Before You Die Drama, Must Watch Films List by Bobby Sing at bobbytalkscinema.com, Not To Be Missed Movies List By Bobby Sing, Worth Watching Movies From Indian Cinema, Sudhir Mishra Classic Movies Main Zinda Hun Review by Bobby Sing
 
 
26 February 2014 / bobbysing /
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Amar Akbar Anthony Book Review by Bobby Sing

The moment anyone talks about ‘Manmohan Desai’, the man who pioneered a new phase of cleverly packaged wholesome entertainment in Hindi Cinema, then the very first film which comes to your mind has to be AMAR AKBAR ANTHONY undeniably. And certainly that is the reason why well known author & journalist Sidharth Bhatia selects this particular film out of the rich repertoire of the veteran director for his amusing small book called Amar Akbar Anthony: Masala, Madness and Manmohan Desai.
To begin with, for all the movie freaks who have fondly seen this cult entertainer several times in their different phases of life till date, even the news of a whole book written on its making should be exciting enough to opt for it at once. But in case, you have not seen the film at all or have just watched its few scenes vaguely on the various film channels, then just go for this book at the earliest and experience what film-making used to be in that fabulous, happening decade of our Hindi cinema. Particularly in the year, when the hit-machine Manmohan Desai was directing four films simultaneously (sometimes in the adjoining studios too) with few common stars and amazingly all the four movies went on to become Big Jubilee Hits on their consecutive releases.
The first three projects were DHARAM VEER, CHACHA BHATIJA and PARVARISH, whereas the fourth AMAR AKBAR ANTHONY turned out to be the one reaching a cult status bigger than any other movie directed by Manmohan Desai in his hugely successful career. Interestingly with AAA, the confident director converted the decades old idea of ‘Lost & Found’ into a big hit once again and that too along with an impressive social message of “Equality among different Religions”. Beginning with a short introduction on the loving madness seen in the director most famous films, the book has its second chapter completely devoted to the detailed storyline which actually remains worth reading for the viewers who have not seen the film yet.
However the most exciting part of the book begins from its third chapter which exclusively talks about the making of AAA and then the fourth one on how to spice up a movie with all the Indian masalas added in the typical Desai style. The final few chapters revolve around the ‘MD School of Secularism’, ‘The Mumbai film’ and ‘The last word in Entertainment’ dealing with some other aspects of a Manmohan Desai film since his first project. But since the writer regularly keeps sharing many interesting observations related with the diversified subjects, the book becomes an engrossing read even when it is not saying anything about AAA in particular.
Taking you behind the scenes (back to the conceptual stage), Sidharth tells you how the story idea got conceived from a newspaper article about a man who went on to commit suicide after leaving his three sons in a park. Script writer Prayag Raaj developed it further with Manmohan Desai and later Kader Khan superbly added to the project with his amusing dialogues. More unknown facts are revealed through some exciting interviews with the cast and crew such as Amitabh Bachchan, Rishi Kapoor, Shabana Azmi, Kader Khan, (cinematographer) Peter Pereira, (special effects) Ramesh Meer and Ketan Desai (the director’s son). And being a fan of Desai’s cult cinema, its really a treat to read how the director used to shoot his distinctive scenes through his hidden instinct, how the name Anthony Gonsalves got into existence, who wrote the opening rap lines of this ‘item song’, how the famous ‘mirror scene’ was shot, how quickly the director used to complete his scenes (with reference to Satyajit Ray), the thought of adding a devotional qawwali with a miracle and how the film was instantly loved by the audience on its first day of release all over.
As a value addition the centre pages of the book have pictures of its coloured posters, lobby cards and film stills with some interesting footnotes. Plus the writer also mentions few of the film’s ignored flaws too making it a complete study of just 148 pages presented in a compact size. In short this is not any detailed account of the making, going into some extreme lengths. But a sweet and immensely likable book on one of the most famous films of Hindi Cinema, which can easily be read in only one or two sittings and it will certainly entertain you well just like the film always does whenever we get to see it again on DVD or the cable channels.
Amar Akbar Anthony: Masala, Madness and Manmohan Desai – By Sidharth Bhatia
Published by Harper-Collins India (2013) – Pages 148 (Small Size Paperback)
Tags : Amar Akbar Anthony: Masala, Madness and Manmohan Desai by Sidharth Bhatia, Book Review By Bobby Sing, Books on Hindi Cinema Reviews by Bobby Sing, Articles on Cinema by Bobby Sing, Vintage Books Reviews at bobbytalkscinema.com, Nostalgic books on Hindi Cinema.
 
 
25 February 2014 / bobbysing /
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