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     
Ravi - Bobby Talks Cinema.com
One of the most talented but under-rated Music Directors in Indian Film Industry was Ravi Shankar Sharma popularly known as RAVI, who left this world for his next musical journey on 7th March 2012.
But this is not an OBITUARY article written for the genius as I simply don’t believe or like writing such pieces just after the death of any great personality. In fact reading all those posthumous articles published everywhere I just feel as if everyone gets the time to remember such great men simply after their death and not before that.
So then why I am writing this? The answer to this question lies in an interesting fact which I wanted to share with all friends here about the master’s music.
Music Director RAVI has an immortal, unique and amazing relationship with the personal lives of Hindi film music lovers living all over the world. In fact, such is the deep connection of our personal lives with his few exclusive creations that it cannot be denied or avoided by anyone loving the melodious Hindi film music and its golden era. In other words, these few tracks loudly declare Ravi as the only music director who was able to participate or enter our family celebrations like nobody else, irrespective of whether you are a big fan of his or not.
Coming to the point, Hindi Film Music remains hugely incomplete if we take out the following three cult songs from its gigantic repertoire. And in the last few decades these three tracks, have been a part of three essential social events in the wedding ceremony of every Bollywood fan without any doubt.

1. Aaj Mere Yaar Ki Shaadi Hai from
 the film Aadmi Sadak Ka (1977), lyrics by Verma Malik and sung by Mohd. Rafi, Ravi & Deven Verma , was and is still played by brass band groups in Baraat processions as the key feature of a marriage, making all friends dance together.
2. Babul Ki Duayen Leti Ja from the film Neel Kamal (1968), lyrics by Sahir Ludhianvi and rendered by Mohd. Rafi is again a song religiously played at the time of Doli or Bidaai of the girl from his parents’ home after the marriage ceremony. Further, it’s also essentially inserted in the video coverage of marriages till date.
3. Aye Meri Zohrazabin, Tujhe Maloom Nahin from the film Waqt (1965) with lyrics by Sahir Ludhianvi & voice by Manna Dey: A song that is played or sung at every Sangeet ceremony (a musical get-together on the eve of a marriage) involving all the lovable elders of the family creating an atmosphere of fun and celebration. Plus, any DJ cannot just survive without having this particular track in his collection while going to perform at an Indian wedding anywhere in the world.
The fact that all these songs have been composed by only one person, Ravi, clearly proves that his music was, is and will evidently be there in the personal lives of all lovers of Hindi film music for ages to come.
In addition, there are four more creations which nine out of ten times come to our mind whenever we try to express the following human emotions through a film song.
1. Chaudhvin Ka Chaand Ho from the film Chaudhvin Ka Chaand (1961), lyrics by Shakeel Badauni & sung by Mohd. Rafi: The song instantly strikes us the moment we wish to praise a beautiful woman. Husbands often sing this to impress their wives as they are dressing up for any special occasion and lovers use the expression more than often.
2. Dil Ke Armaan Aansuon Mein Beh Gayefrom the film Nikaah (1982), lyrics by Hassan Kamaal in the unusual voice of Salma Agha: This phrase at once comes to our mind whenever we have to express grief, sorrow or sadness through a song. In fact, this line is also many times used in a comical manner, in order to create some fun inthetense moments of life.
3. Garibon Ki Suno, Woh Tumhari Sunega from the movie Dus Lakh (1966) with lyrics by Ravi himself & rendered by Mohd. Rafi & Asha Bhosle: The opening lines of this song or its selective words are still occasionally used by beggars asking for food or money at roadsideor at traffic signals in India.
4. Chanda Mama Door Ke from film Vachan (1955) with lyrics by Ravi/Prem Dhawan and voice by Asha Bhosle: The children song till date remains the most famous and widely sung Lori (Lullaby) by mothers and kids remember it by heart due to its so innocent words, expressions and melody.
Proving the point we began with, again these four songs have been composed by only one person, Ravi, with the contribution in lyrics too, putting in a spiritual thought about the theory of Karma in the third.
The genius not only composed for over 70 Hindi films (including many Jubilee hits), but also gave music for more than 12 Malayalam films (majority of those songs were huge regional hits), which eventually earned him a new name as Bombay Ravi, fondly given by the people of those regions. And this is surely yet another amazing and lesser known fact associated with the illustrious career of the master music director Ravi, whose creations will continue to be part of every Indian family function forever.

The article forms a chapter of my book
DID YOU KNOW (Vol.1) – 51 Interesting Facts About Hindi Cinema, published in Sept-Oct. 2014.
Available online at all leading portals at: https://notionpress.com/read/did-you-know
And it also got featured on IBNLIVE.com with the title,
Remembering legendary composer Ravi: How his music became a part of our life.” on the veterans birth anniversary on 3rd March 2016.

Link :

Tags : Music Direct Ravi, 70 Hindi Films, 10 Malyalam Films, Nikaah, Waqt, Articles on Cinema, Articles on Music, Poetry and Life at bobbytalkscinema.com, Did You Know Facts about Bollywood, Amazing Bollywood Trivia at bobbytalkscinema.com
27 March 2012 / bobbysing /
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Whether one loves watching this new spy movie from Bollywood or not, largely depends upon the picture of Spy-Thrillers already there in your mind and the way you conceive it as a movie.

To be precise, if you think that films belonging to this particular genre, only have a well trained commando kind of a person, having a sharp mind with an amazing ability to fight in all situations, has many well shot chase sequences ruining expensive cars with a fabulous cinematography, a narration which keeps jumping from one location or country to another, a charming lady to assist or support the spy, a nuclear bomb which needs to be de-activated, big moles within the system, many brutal murders and betrayals followed by an exciting climax where the mystery get solved without any basic storyline or plot then you may like watching AGENT VINOD. The film has all the above features with a technically polished look which tries to keep you engaged with something or the other happening every 5 minutes in its script following no specific direction or progression (and a lot of confusion).
But if you are a die-hard fan of exciting fast paced spy movies from the world cinema, especially the Bond and Bourne Series and have also seen the director’s last two movies, then the case might be just the opposite. Honestly, I couldn’t find the maker of “Ek Hasina Thi” or “Johny Gaddaar” anywhere in “Agent Vinod” since it keeps moving from one sequence to another without any thrill, excitement and feeling of a well made thriller. In fact the very first action sequence of the movie clearly reveals a lot where Agent Vinod with only a pistol in his hand, defeats the whole gang of terrorists firing on him with machine guns and rocket launchers.
Its no-doubt a technically sound film having some great production values visible on the screen. But at the same time it lacks the actual spirit associated with all the enjoyable films made under this particular genre. The writers do try to add the wit & romance of James Bond in the script which sadly fail to make any impact throughout. There are big confusing loop-holes staring at you in the entire film like a spy opening an Intelligence Website in the home of a Don, a terrorist cum lady-spy changing sides like clothes and The Indian Intelligence Bureau taking major decisions about exploding a Nuclear Bomb from their control room without consulting the Central Government, Prime Minister or President.
The film is surprisingly directed by the talented Sriram Raghavan, who earlier gave us two famous and well crafted crime thrillers in the last decade. AGENT VINOD being his third movie was therefore awaited with huge obvious expectations from the man. But what I feel, the following might have been the cause of this misfire from the potential gun of the director as it seems.

Sriram made “Ek Haseena Thi” in 2004 as his debut film which was executively produced by Ram Gopal Verma. Since it was his first chance, the director made what he really wanted to make under his favourite genre with his full spirits supported by everyone in the production team. The result was a cult film applauded by both the critics as well as by a particular section of viewers. But it was not a Hit and it didn’t do well at the Box Office. As a result the director must have felt depressed. Now who was the culprit here? It was We, the viewers who didn’t go to watch that movie in the theater but later praised it so much and gave it a cult status in the Home Video Market in the next few years.
Cut to 2007, after 3 years Sriram again gathered all the courage inspired from the appreciation received for his first film and came up with another gem called “Johny Gaddaar”.His first movie was not a Hit but it was still accepted well by all after few years, which must have given Sriram the much required strength to make another Crime Thriller, a genre in which he believed in strongly. However “Johny Gaddaar” too opened to a poor response and then later on gained to some extent and faired reasonably well at the box office. But it was still not a Big Hit and the director must have got discouraged again with a near perfect film not doing that well at the Box office as per the expectations which even had a Hit youthful track “Doob Ja Mere Pyaar Mein”. Again who were the culprits here? – We the Viewers repeatedly who didn’t really convert the second great attempt of the director into a Big Hit and just showered praises on his good work in the press and net.
Cut to 2012 in the present, after a long gap of 5 years, the director returns with his third film in the same genre called “AGENT VINOD” taking the title from another spy movie of 1977 which had Mahendra Sandhu in the lead as Agent Vinod. Paying an honest tribute to the first, Sriram takes the name of Mahendra Sandhu in one of the early sequences of the film quite similar to the way he paid tribute to “James Hadley Chase”, “Johny Mera Naam” and “Parwana” in his second venture.
But in this third project, the talented director supported by his famous producer-actor Saif Ali Khan, wanted to make it Big with a surety, taking some clear lessons from his first two movies. And with this vision he walks away from all the intelligent writing, intriguing sequences and exciting twists in his third film and makes way to everything wafer-thin, glossy, stylized & shining, shot at various locations of the world with two leading stars of Bollywood. So the banner, grandeur, budget and the reputation of the stars came into the limelight instead of a well written plot, captivating performances and lovable characters. In other words, to avoid a failure for the third time, the exceptional director makes many avoidable market-based changes in his fresh project to win over the viewers, moving away from his usual worth praising style and in the process disappoints hugely.
So, what I frankly want to convey here is, that today we have a mediocre AGENT VINOD coming from the gifted director Sriram Raghavan mainly because the man didn’t receive the expected response for his first two extremely well made movies in the rare genre of Crime-Spy-Thrillers. As a result, he changed paths and went on to add all the famous must have Bollywood ingredients in his third venture, bowing down to the public-demand and the star status of the two well established stars in his movie, resulting in an unexpectedly poor film. And this deprived us from having another well made gem from the director on the lines of EK HASEENA THI and JOHNY GADDAAR.
Another reason Why AGENT VINOD might have turned out in this form may be the pressure of making it under Saif’s own production house, justifying his & Kareena's present star status in Bollywood. At the time of EK HASEENA THI, it was a different scene and this major factor might have forced the director to incorporate many unwanted commercial features in the film, contrary to his own vision. For example I really couldn’t believe seeing a Western MUJRA Song in a Sriram Raghavan film talking about an International Spy dealing with the smuggling of nuclear bombs. And that should clearly explain, what I want to say here.
Apart from the technical excellence supported by its brilliant shot taking and cinematography, AGENT VINOD gets ample support from its background score at few places. But I was really not convinced with its editing which should have been taken care of by the director in its final version. For instance, the badly timed inter-cutting of old Hindi Film songs in few scenes and a sequence showing Charlie Chaplin’s film without any purpose was really painful. Also the over length of the movie towards the climax forces you to take a look at your watch repeatedly which was certainly not the feature of any of director’s last two movies.
Musically, you may have already heard the news of Pritam again doing the “Lifting practice” in his soundtrack. However I could only enjoy the title track to some extent and not any other songs which all seem to be deliberately forced into the narration, unlike a Sriram film. In the performance department too I really didn’t feel the thrill watching Saif as a Spy. He doesn’t amuse you like The Bond since he never smiles in the whole film unless required. The humorous charm required by such a character who could take the viewer along on to his thrilling investigation was missing in the film. Kareena also on the other end never rises above an average performer due to the limitations of her own character which remain confusing right till the end.
Summing up, I only enjoyed three things in the movie. One - the smart cameo of Ram Kapoor who entertains well in his weird get-up. Two - Prem Chopra, who returns to the screen after a long time in his famous grey tone and Three – the final moments of de-activating the bomb and killing one of the Business Mafia Kings which was the only entertaining sequence of the movie having the stamp of Sriram Raghavan. Hence the decision is all yours if you are still excited enough to watch it.
Rating : 2 / 5 (Including 1 only for its Final Killing Sequence)
Tags : Agent Vinod Movie Review By Bobby Sing, Agent Vinod Film Review, Agent Vinod Review. AV Film Review, 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
23 March 2012 / bobbysing /
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Handover - Bobby Talks Cinema.comWatching HANDOVER in the “UFO 0110 International Digital Festival” in New Delhi was a great enlightening experience after a long time. As the end credits started rolling I recalled writing, “One of the most enjoyable moments in life is when you get a completely unexpected surprise beyond your wildest imagination in the theater”. And HANDOVER undoubtedly was one of those pleasant surprises of the year 2012, which I enjoyed immensely in the festival amongst a selected audience.
But moving over to something serious, it also reminded me of an idea shared in one of my recent reviews about the kind of movies being offered to us repeatedly without having anything novel or fresh in their content. In the last few years we have seen many such hugely insane and silly (mainly comedies) movies made with a whooping budget of 30-50 crores featuring some reputed artists in the lead. So, instead of making “One Avoidable Big Budget Project”, Why not distribute that amount of 30 crores to say 20 debut directors to make their own distinctive movies based on some new, interesting and worth watching subjects. That way, not only it will be easier to recover their costs (from all the new formats or platforms) but it will also be beneficial for the ultimate viewers who are desperately waiting to see something different on the screen coming from our own Bollywood.
In the present, “Star-Worshipping Era” the above mentioned idea may take time to get applied. But after watching HANDOVER, I do see a ray of hope somewhere in the dark with producers such as Ravi Agrawal, who showed the courage to give a much deserving break to the debutant director Saurabh Kumar for making his first independent film in a limited budget. And what Saurabh has done within those fixed resources, along with his technician and actor friends, is nothing short of a commendable, worth praising attempt.
Made on a digital format, dealing with the lack of many basic technical requirements for a film project such as the right lighting and exposure, Saurabh has delivered a fine product which never makes you realize the lower format in which it has been made. The overall impact of the film is such that it rarely allows the viewer to notice its technical aspect as it completely bowls you over with its shocking content and storyline. Here I would like to add that a common moviegoer damn cares about what Camera or Equipment has been used and how. If the movie is able to spell its magic over the viewer, through its fine execution & direction, then he is least concerned about its technical details and this fact clearly gets proved by HANDOVER loudly.
Coming to the enlightening plot of the film, it is sadly based on a real life story taken from a news article published in “The Hindu” by Harsh Mander on the “Child Selling Issue”. It revolves around a poor helpless couple who decide to part with their newly born girl child for her own safety. But this voluntary 'handover' gets wrongly projected as a news of "Selling A Child" in the papers, which eventually leads to an inhuman drastic consequence in the end. Without revealing its real turning point I would only like to say that don’t consider it as another “Art-House Movie” as it may seem to be from its subject. Despite talking about a rural poverty issue and its debatable conditions, the film never drags and keeps you engaged throughout with its well written script and crisp editing. Brilliantly supported by some captivating sincere performances in its 74 minutes of duration, it strikes a hard blow with a harsh but true climax, putting you on to a “Thinking Mode” while walking out of the theater.
And after its over, one realizes:
“How can a Leader or an Officer operating from the Center, actually feel the pain felt by the people living in the remote areas, facing the actual brutalities.”
“Can Journalism still be called “Journalism” practiced in the true sense? Isn’t it fast becoming synonym to the word “Sensationalism”? and
“Sometimes, what is referred to CRIME in the eyes of LAW, might not be A CRIME at all for the people who are actually there at the receiving end.”

Summing up, being a digital film of only 74 minutes, HANDOVER might not get a decent theatrical release due to our present partial distribution and exhibition system. It may have got neglected due to its “Anti-Government Tone” at the National Awards too this year. But it perfectly follows the forgotten responsibility of the medium and enlightens you about a scary truth of our own society, its so called social workers and its elected leaders ruling from the center.

So, along with all the awards it has already won, HANDOVER undoubtedly deserves a wider audience not only due to its socially relevant theme, but also due to the excellence achieved by its entire team lead by director Saurabh Kumar (within his limited budget). So do watch it as a must, whenever it gets screened in your city or after it gets released in the home video market.
Directed by Saurabh Kumar
Produced by Ravi Agrawal
Music : Pupplipriya, Lyrics : Hadi Sarmadi
Starring : Vikas Kumar, Nutan Sinha, Prabhat Raghunandan, Auroshikha Dey, Shaista Rashid, Vijay Kumar, Narendra kumar, Sudhir Kumar and more.
Tags : Indian Biographical Movies, Must See Movies List by Bobby Sing, Movies To See Before You Die List at bobbytalkscinema.com, Real Life Inspired Movies from Bollywood, Handover by Saurabh Kumar, Movies To See Before You Die Biographical, Must See Movies List at bobbytalkscinema.com, Not To Be Missed Movies, Must See Indian Films
17 March 2012 / bobbysing /
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As the few opening words describing this unbelievable piece of art, I would only like to say that.....
“They Still Make These Kind of Movies in 2008”.

The emotional experience named “Changeling” made me a bigger fan of Clint Eastwood, the veteran actor director who earlier hugely impressed me with his “The Bridges of Madison County”. Also featuring Angelina Jolie in the main lead, the movie completely shatters the immensely famous image of the beautiful actress and introduces you to a new, talented and emotional side of her lovable identity. Eastwood inventively, extracts a highly impressive and life time performance from Angelina, along with worth praising acts from the entire supporting cast and comes up with yet another gem in his exceptional career.

An outstanding adaptation of a shocking true incident, the movie remains unbelievable even when you are told that it is all based on the TRUE happenings. The story revolves around a single mother living with his sweet nine year old kid in Los Angeles in the year 1928. Their simple & happy life moves on to different path altogether when one fine day the little kid simply vanishes into thin air and can be found no-where around. The crying mother keeps searching for her dear child and in the end reaches the police station to file a complaint. And from there on the movie takes a sharp turn and drives you into a completely unexpected arena with some devastating truths being told on the screen which actually happened in the life of that victim lady and her child. I will not like to reveal anything more about the plot as that will certainly take away the spirit of watching this emotional and engrossing tale, well told by the master craftsman Clint Eastwood.

But I will surely like to end my brief review, with a quote that “Changeling is undoubtedly one of those rare movies which have the power to make you forget all the essential and urgent assignments of your daily life and would compel you to see it in one go, sitting on your favorite couch in the room.”

A terrific suspense drama, which deserves to be seen at the earliest.

Directed By Clint Eastwood
Starring : Angelina Jolie, John Malkovich  and more
Tags : Movies to See Before You Die, Must See Movies List By Bobby Sing, Changeling, Clint Eastwood Masterpieces, Angelina Jolie, John Malkovivh, Suspense Drama Based on True Happeningns, Tru Inscident of 1928, Not Be Missed Flicks at bobbytalkscinema.com, Not Be Missed Movies at bobbytalkscinema.com
16 March 2012 / bobbysing /
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