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.


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 28, 2017 Friday     
As an avid or rather mad reader of Indrajal comics in the pastfeaturing Phantom, Mandrake, Flash Gordon and Bahadur, along with Star comics introducing us to the world of James Bond and Superman in the 80s, I was quite excited to watch this latest superhero movie like a child. And luckily the seats given to us (me and my nephew) were also just behind the row allotted to a big group of young kids below the age of 15 sharing the mutual excitement.
So instead of a detailed review, I would like to share what we together felt in those three hours in the theater watching the most awaited movie of the year featuring our favourite superheroes.
The film began without making any loud musical announcement and the kids started clapping excitingly expecting some great fun. The first few moments talked about the origin of the Batman story like a music video and soon it introduced the two heroic characters, cheered by the kids like a spirited team. The first 20 minutes went smoothly watching all the predictable sequences, but soon some restlessness was strongly felt with everything happening in a typically dark mode on the scene unlike any fun-filled, lively superhero film to say the least. The scenario didn’t change to anything favourable till the interval and the kids could easily be seen visibly confused watching a highly uninteresting, dark & humour less film shattering their big expectations.
In fact, a few of them started counseling each other saying, “Abhi Dekhiyo Aage Kuchh Hoga…… Pacca!”. And that’s exactly what I promised to my nephew too with a faint smile. Meanwhile the kid’s parents/guardians brought a lot of eatables that were quickly passed on in the entire row and the munching began waiting for it to begin after the deliberate brake.
Post interval, they all waited for just 10-15 minutes more and the patience got over as the film was giving nothing what they had come for in the theater. A few starting chatting with their partner and two began fighting over the eatables making big shouts. Studying their response, I could easily make out that they had simply rejected the film even before it had ended. And the conclusion got confirmed when I found my nephew too feeling dizzy, getting quite bored from the film that was entirely different from what he had been dreaming of since weeks. Hearing the kid’s loud conversations, I also discovered that they were actually not expecting BATMAN and SUPERMAN to fight with each other following their own innocent logics. Instead they were eager to see them both fighting together with the villain (that did eventually happen towards the end making them partially satisfied).
In the next 20 minutes, slowly the kids became much noisier and there were repeated requests made to the parents for keeping them all in control. So a few were taken out, but they were soon back, beginning their own new games running & jumping over the stairs counting them in repeated turns.
Anyway, this all stopped for a while as soon as The Wonder Woman was there bringing in the much required moments of entertainment and then they were all back on their seats sighting the big roaring demon challenging the two superheroes. Here watching the huge, ugly demon, one of them loudly announced, “Arey Yeh To Bilkul Meri Video Game Jaisa Hai” probably referring to his PRINCE OF PERSIA, GOD OF WAR or any other PS3 game having a similar BOSS to be fought and defeated in the end.
The group kept seated throughout these last 30 minutes of a tiringly long film with some occasional claps, but then again became completely silent watching the shockingly unexpected twist in the end leading to the graveyard. The culmination yet again made them pretty confused and not even one of them could be seen happily walking out of the theatre asking many obvious questions to their parents predicting the next sequel.
Here amazingly, despite having a pretty boring time in the theatre, the kids were still so innocently talking about the sequel of the film on their way out, pointing towards the questionable (insane) mindset that has been clearly developed by these cunning corporate houses in the last two decades. In more clear words, here is a film that makes you feel largely bored and less entertained in its more than 150 minutes of long duration. Yet you are eagerly expecting its next sequel to be much better, easily forgiving the present mess, thinking exactly like some pre-set robotic creatures controlled by a superpower. Now if this is not a very shrewd conditioning of mind by some thoughtful, visionary businessmen, then I don’t know what else it is?
Sharing my personal view of the film, I watched it getting into the skin of a child again and felt exactly the same as expressed by the kids including my young nephew. BATMAN V SUPERMAN gave me nothing to enjoy or cherish apart from the few sequences of its finale that were also not as exhilarating as they ought to be. No doubt it’s CGI, Sound, DOP and acting department delivers what was asked from them by the director. But it’s shockingly unengaging execution and a badly written screenplay simply fails to conceive any kind of uplifting experience for the viewer that always remains the first thing expected from such hyped superhero films.
So to be honest, I missed the fun, I missed the thrill, I missed the smiling faces of the superheroes and I missed a mighty villain too that is a must in such sci-fi fantasy films projecting the victory over the evil. As a matter of fact, I was never expecting such a dull film from the makers that fails to justify both its iconic heroes on screen as well as the passion among the fans, so miserably.
Moreover, it was quite weird to find the narration so close to our typical Hindi film format wherein the mother gets kidnapped by the villain, blackmailing the heroes to fight and kill each other posing as two super fools. Besides its finale also straight away reminded me of those Ramsay Horror films, wherein two macho heroes always used to kill the evil demon with a ‘Mantra-Charged’, spiritual Trishul in a supposedly happening climax.
Frankly speaking, while watching BATMAN V SUPERMAN’s prolonged final sequences, I strongly felt as if it was Puneet Issar as the Batman and Hemant Birje as the Superman killing the inhuman ghostly figure in an English film. And the statement itself should give you a strong, clear indication of its below average, disappointing content deserving two thumbs down.
Ratings : 1.5 / 5 (with the additional 0.5 for the Wonder Woman)
Tags : Batman V Superman Review by Bobby Sing, Batman V Superman Film Review by Bobby Sing, English Films Reviews by Bobby Sing, Fantasy Superhero films made on an Indian format, New Englsih Films Reviews at bobbytalkscinema.com
29 March 2016 / bobbysing /
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A few months back when I saw THE MAN FROM NOWHERE (2010/Korea - the film,  ROCKY HANDSOME is an official remake of), I personally never rated it as any great movie and certainly didn’t think of it as deserving enough to be remade in Hindi for two major reasons. One, as it was so brutally bloody in its action sequences that could have never passed from our censors if adapted truthfully. And two, since we had already made many similar movies in the past (involving a kid) that never worked at the box office due to their own distinctive reasons.
To name them all, copying the content from a much appreciated LEON – THE PROFESSIONAL (1994-France), we had BICHOO (2000/Bobby Deol/Rani Mukherjee) replacing the kid with a young girl innovatively, CHAMPION released in the same year featuring Sunny Deol with a kid boy and EK AJNABEE (Amitabh Bachchan) in 2005, taking its major content unofficially from MAN ON FIRE (2004) yet again revolving around a child. Ironically none of the above Hindi films could perform well at the box office. But the jinx got recently broken by BAJRANGI BHAIJAAN (2015), which actually had many other elements working in its favor apart from the cute little girl including comedy, Nawazuddin Siddiqui and above all Pakistan.
So keeping the track record and the original in mind, I was quite firm on the opinion that a remake of THE MAN FROM NOWHERE can only work if some fresh interesting angles are added into it deviating from the source itself. But sadly the makers do nothing of that sort in this official version and decide to go for an almost scene to scene adaptation, toning down the much important action sequences too, resulting in ‘an unimpressive film’ in totality, confirming the fear I had.
Beginning with an unrequired (flashback) song, ROCKY HANDSOME does make a decent impact in its first 15 minutes entirely focusing on the kid-girl itself. But the moment its attention shifts to the same old clichéd stuff of drugs, gangsters, secret agents and more, the film suddenly turns into a pretty ordinary product, marching towards a strictly routine Hindi film climax that actually should have been its major highlight following the original. In fact the most annoying scenes in the film are the ones featuring the gang of villains, who ironically include the director of the film too playing a significant role.
To give the technical department its due, ROCKY HANDSOME does have a fine cinematography and a well composed background score matching the international standards. But it’s stereotyped characters, over the top execution, annoying theatrics, unwanted rains, hamming dialogues and too much style focusing on the hero, together result in a completely ‘non performing remake’ that should have been avoided in the first place. Besides, even the action in the film, that was supposed to be a path breaking one as per the promotions, turns out to be nothing exceptionally great, apart from the climax and the sequences shown in the intercuts of song ‘Rock the party’.
Following the current Bollywood trend, its soundtrack once again has an almost decade old borrowed hit ‘Teri Toh/Rock The Party’ by Bombay Rockers and a few average unwanted songs in an action oriented project adding to its over-length. Still, “Yeh Kya Kiya Khuda” sounds good mainly due to its perfect placement in the film along with an emotionally shattering moment. But this particular track repeatedly forced me to think that, “Has SHOUTING become an essential feature of our songs today, even in the ones having some praiseworthy, heartwarming lyrics such as this?” Leaving the answer to be contemplated upon by the readers themselves, I did like the musical arrangement of some tracks, but wish the melody was also there as required.
As far as performances are concerned, ROCKY HANDSOME has either got simple, straight wooden acts or overdone, exaggerated enactments putting it bluntly. Where the straight faced acts come from John Abraham, Diya Chalwad (the kid girl), Shruti Hassan, Nathalia Kaur and the director himself, the overblown ones get delivered by all the bad-men loudly led by the hamming Ted Maurya. So Sharad Kelkar remains the only person performing in a sane manner in the film asking for your instant attention.
Joining the veteran actor-director Prakash Jha, ROCKY HANDSOME also has its director Nishikant Kamat playing the major role of a villain trying his level best. But personally speaking, its really painful to see such drastic transformation on the screen, when the director of thought provoking films such as DOMBIVLI FAST (Marathi) and MUMBAI MERI JAAN (included in BTC’s Movies To See Before You Die List) begins making all quick, average remakes like FORCE, DRISHYAM and the present one, taking the much easier path.
Comparing ROCKY HANDSOME with its Korean original, Nishikant partially alters its actual chronological order which doesn’t work and the impact gets lost in the narration repeatedly going into flashbacks unnecessarily. The references of ‘a pawn shop’ and ‘nails-art’ are taken as it is that might not appeal to many. Moreover a Korean film simply cannot be imitated when it comes to its brutally executed action sequences with a lot of blood, wounds and an awful manslaughter. Exactly the reason why everything gets toned down here quite severely, making way for all mindless style, particularly in the climax ruining the much effective ‘eye bottle’ sequence of the original.
Keeping it strictly a scene to scene adaptation, the director also retains a highly cliched scene, wherein the hero takes out a bullet out of his body with a knife. Now that’s what we have been seeing in our Hindi films since the late 70s, which certainly should have been ignored by the writers avoiding the nostalgia. Further there is also an amazing ‘window breaking chase sequence’ in the original, which is again copied in a highly timid manner using the graphics, revealing the casual vision of the team aiming just for a quick remake.
Overall, ROCKY HANDSOME has neither anything like ROCKY nor its HANDSOME enough to be given a chance spending your hard earned money and time. So go for it only if you are a die-hard fan of all bare bodied-stylized action sequences alone and don’t care about anything else in the film to be precise.
Rating : 2 / 5 (Including the additional points just for its background score alone.)
Tags : Rocky Handsome Review by Bobby Sing, Rocky Handsome Official Remake of Korean Film, The Man From Nowhere Hindi remake, Inspired films, Official Indian Remakes of Koream Films, 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 March 2016 / bobbysing /
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Considering many recent film soundtracks, the music scenario in Bollywood certainly seems to be going through a difficult phase as the makers are repeatedly borrowing hits from some already released old regional albums (or films) instead of creating any fresh ones.

Last year Akshay’s SINGH IS BLING had two borrowed tracks. One was ‘Tung Tung’ created by Sneha Khanwalkar for her MTV program of 2012 that also introduced ‘Nooran Sisters’ two years before they actually became famous with the ‘Jugni’ track of HIGHWAY. And the second was “Aaja Mahi”, a more than 6-7 years old song of UK based RDB group that was also performed by Akshay in a Bollywood award function in those years.

Recently his AIRLIFT too had a track “Soch Na Sake”, that was a re-worked version of Punjabi song ‘Soch’ by Hardy Sandhu released in 2013, plus “Dil Cheez Tujhe De Di” had a hook-line inspired from Khaled’s fusion song ‘Didi’ released in early 90s.
However, before that Imtiaz’s LOVE AAJ KAL featured decades old Shaukat Ali’s song from Pakistan ‘Kadey Te Hass Bol Ve’, Tushar Kapoor’s CHAAR DIN KI CHANDNI had years old hit Punjabi song of Dr.Zeus’s ‘Kangna Tera Ni’ and Bipasha’s ALONE had Dr. Zeus & Rouge’s fusion track ‘Feel My Body/Don’t Be Shy’ with 8 lyricists contributing in a single track (probably making a record of its own kind).
Following the similar format, this week’s KAPOOR & SONS also has its hit song ‘Chull’ taken from an already released Hariyanvi track in 2014 featuring Fazilpuria and Badshah having their own lavish video shot in style.
Incidentally this is not a first from Dharma Productions/Karan Johar, as they did the same in HUMPTY SHARMA KI DULHANIA too, that also had its most famous songs taken from two different sources released more than a year before.
The film’s club song ‘Saturday Saturday’ was borrowed from a Indeep Bakshi-Badshah release that did well in the Punjabi music circles with a trendy video, and its still famous hit love song ‘Main Tainu Samjhavan Ki’ was originally sung by Rahat Fateh Ali Khan as a part of Punjabi film VIRSA, directed by Jawad Ahmad (Pakistan) featuring Arya Babbar, Gulshan Grover, Amaan Ali, Mehreen Raheal and more.
Interestingly, the act of borrowing continues and this week we have John Abraham’s ROCKY HANDSOME with another reworked track ‘Teri To’ borrowed from a 2007 hit song of Bombay Rockers.
Here a point to be noted is that most of the above mentioned tracks have their origin in Punjabi music and with such (readymade) borrowed songs becoming even bigger hits than their originals, it seems the trend is working fine and its here to stay for long. A fact, which certainly should be more concerning for the known Bollywood composers in particular.

This article was published on IBNLIVE.com in an edited form with the title :

“Kapoor and Sons: The original 'Chull' song and the trend of borrowed hits in Bollywood” - By Bobby Sing

Link : http://www.ibnlive.com/news/music/kapoor-and-sons-the-original-chull-song-and-the-trend-of-borrowed-hits-in-bollywood-1219170.html

Posting / Publishing Date : 21st March 2016
Tags : The current trend of 'Readymade Borrowed Musical Hits' in Bollywood by Bobby Sing, Articles on Music, Articles on Cinema by Bobby Sing at bobbytalkscinema.com, Punjabi Songs in Hindi Films, Punjabi Rap Artists in Hindi Films, Bollywood borrowing songs from Punjabi music industry.
22 March 2016 / bobbysing /
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Kapoor & Sons

It’s always a great enriching experience to be pleasantly surprised by a film, you expected to be one of those hazily made products coming from the famous production house targeting the enthusiastic youngsters. So admitting the mistake, KAPOOR & SONS is not a film many of us were expecting it to be. Instead its quite unusual or different product coming from ‘Dharma Productions’ breaking their own set patterns of the past, that ideally needs to be considered as a big positive news not only for the viewers but for the industry itself heading towards a brighter future.
To give you a clear picture (which might surprise many), though KAPOOR & SONS has been widely publicized as a romantic comedy featuring current three heartthrobs of the nation (& the neighbours too), the film is neither a love triangle nor its entirely about these three characters alone to be exact. In fact its quite heartening to reveal that here we have got a film that doesn’t care about the fans or status of its three leading stars and thankfully keeps focusing on its well written script that actually talks about the family as a whole justifying its given title.
So without disclosing anything about its exact storyline in this first part of the review (without any spoilers), I would like to call KAPOOR & SONS a film with Rishi Kapoor, Ratna Pathak Shah and Rajat Kapoor as its three leadings stars instead of Fawad Khan, Alia Bhatt and Sidharth Malhotra. And to be honest, that’s really something exceptional coming from Dharma Productions & Karan Johar as mentioned before.
The film right away begins on a mature note without taking any help of the usual gimmickry and within the next 15 minutes one feels as if it’s his own family being depicted on the screen in some way or the other. The first gem of a scene is the one revolving around a local plumber working in the quarrelsome house and the second introduces Rishi Kapoor as a fun loving, flirty old man in his 90th year of life, who keeps practicing his moment of death with a lot of creative variation. In short, first the plumber and then the dirty old man simply wins your heart in these few opening scenes and you are all set to witness an entertaining family drama along with Ratna & Rajat playing the authentic elderly couple so effortlessly.
Next, the three young charmers Alia, Fawad and Sidharth bring in the much publicized song and romance on the screen. But its from here onwards, that the film falls down to the same old routine level, largely saved by the catchy & superbly choreographed song ‘Chull’ and the immensely likable, bubbly act by Alia Bhatt, once again playing a young lonely girl with a sad past. So in the first half, despite having a predictable romantic theme, KAPOOR & SONS successfully manages to keep you engaged through many entertaining sequences and all enjoyable performances led by the veteran Rishi Kapoor.
However it’s the film’s second half that actually turns it into an even better watch introducing many unexpected emotional twists moving far ahead than any usual love triangle or a repetitive fair. Plus, it’s this final hour of the film where both Ratna and Rajat emerge as the actual lead couple defeating everyone else in the team hands down. Personally I loved the concluding half of KAPOOR & SONS even more, as after a long time it was good to see a mainstream Hindi film talking about sadness and sorrow too as an essential part of our life making it highly realistic and relatable. In other words, this is not a film stressing only on the brighter side of the coin hiding the darker one. This is a film that ends on a much mature, convincing note than its impressive beginning and makes you face the harsh realities of life wherein things do go horribly wrong at times leading to more serious complexities.
But before moving on to the exclusive part of the write up talking about life itself, let’s talk about other aspects of the film beginning with its performances.
As mentioned before KAPOOR & SONS entirely belongs to Rishi, Ratna and Rajat followed by Fawad, Alia and Sidharth in this specific order. Rishi Kapoor in an almost unrecognizable getup brings the house down in his each and every scene right till the end and serves as the lifeline of the film unarguably. However I did feel he was not able to deliver those probable facial expressions due to the heavy prosthetics reminding you of a few Kamal Hassan films like HUNDUSTANI & DASHAVATAR. But then, it was indeed a real treat watching him playing with the ‘I-Papad’ and the card-board image of Mandakini connecting with his father’s last hit as well as controversial film released in the 80s, RAM TERI GANGA MAILI.
Other than Rishi, the two people who keep asking for your constant attention & praise due to their truly outstanding acts are Ratna Pathak Shah and Rajat Kapoor. If truth be told KAPOOR & SONS actually belongs to these two alone and I hope we soon get to see an intense emotional drama featuring the couple again.
Among the youngsters, though Fawad doesn’t come up with anything exceptionally new but he still takes a lead from the other two and is quite believable in his emotional outburst scenes with Ratna. Alia in a ‘long cameo’ kind of performance provides the much required relief and positivity into the narration playing yet again a girl with a tragic past. But you simply love her emoting on the screen owing every scene of hers with an amazing ease. Completing the (wrongly promoted) triangle, Sidharth is fine but he certainly doesn’t suit the part of a novelist. He tries hard playing the angry, ignored child of the family and his act can honestly be rated as just decent, unable to rise above his earlier films getting some good support from an impressive natural actor Sukant playing his friend Wasim.
In the technical department KAPOOR & SONS has an enjoyable cinematography and apt background score enhancing the emotional drama. But I did feel the editing bringing in everything so quickly without allowing any breathing space as such. May be that has become the pattern of today’s mainstream Hindi films, not allowing any kind of good stay on the heartfelt emotional scenes talking about sorrow or sadness.
Anyway the biggest letdown in the film is its soundtrack offering only one enjoyable song and that too a borrowed one, a Fazilpuria-Badshah track released a couple of years back in 2014 with its own lavish video that can be seen here (link). Actually as an intense emotional drama, here we desperately needed a couple of tracks that could easily bring tears in your eyes watching the touching visuals. But sadly, there is nothing of that sort offered in its below average soundtrack resulting in a much less impact of the film’s final 30 minutes in particular.
Having said that, KAPOOR & SONS still remains an absorbing, well-crafted and multi-layered film from director Shakun Batra, made on a highly realistic script penned by Ayesha Dhillon, that strongly reminds you of films by Juhi Chaturvedi and Shoojit Sircar together, painting a similar real life scenario on screen (including the ‘potty’ sequences).
Supporting the above statement, here are few interesting observations made while watching the film, relating to its proceedings on a more personal level. (Spoilers Ahead)
1. It was indeed quite a relief to see a Bollywood film revolving around a big Punjabi family, but not interested in presenting the same in a typically comic or familiar manner as usual. (Hope it conveys the message precisely)
2. Post Chetan Bhagat, novel writers/authors are now being portrayed as achievers in our Hindi films. Earlier they used to be poor creative artists or strugglers.
3. How can a Karan Johar production be made without a Gay character? So fulfilling the requirement you have one in KAPOOR & SONS too and he is none other than Fawad Khan (that is sure to disturb the girls). However I strongly felt this was not required, because even if Fawad was shown already married and on the verge of divorce (without any information given to the family), then that would have also served the purpose equally well. Thankfully, this time they do not exploit them as those typical comic characters seen in KJo's earlier films.
4. Focusing on the flirty character of a 90 years old grandfather, who keeps practicing death in the entire film, I loved the fact that he actually never dies in the film right till the end.
5. With enjoyable mentions of ‘Sugar-Coated Cigarettes’ and more, I am sure if one meets a girl like Alia in real life, who lives alone with such a carefree nature and open-hearted life-style, then he is bound to think on a different line altogether. In reality that’s the kind of conservative mindsets we live in, where the boys are considered to be some spirited, fun loving creatures if they have a similar persona, but not girls who are always taken otherwise denying any kind of equal liberty or playful nature.
Coming to the exclusive and most emotional part of the write-up, I would like to share what stayed in my mind for long after watching the film, thinking about the term called ‘The Family’.
Accepting an evident truth of today’s monetary world, almost every family can easily be termed as ‘a dysfunctional family’ wherein those perfectly smiling faces standing close to each other can only be found in the ‘family group photographs’ stored in various albums or countless hard disc folders. We all have our own share of mutual differences or disagreements, but we gradually learn to live with them without causing any further cracks in the relationships as required.
At times certain unexpected events do happen in a family for which we cannot afford to hold personal grudges for years. So it’s better to forget about them instead of nourishing the hatred forever. Accepting the other as it is forgiving and forgetting the past is the best way to define the term FAMILY. But that essentially needs to be done well in time, before the other person takes his or her final leave as shown in the film in both the cases of Alia and Ratna suffering as the lonely survivors.
Secondly, one brilliant scene in the film, forced me to think about the emotionally shattering state of that one lady of the house who has only two relations left to live with in her present life. The lady is the wife of an aging husband having no work of his own and the mother of a young successful writer living far away from her in a foreign land. Now considering these are the only two males her whole life revolves around, just imagine a situation, when the lady finds out that both of them were lying to her from the last couple of years hiding their individual relationships or love affairs.
For a moment just try to visualise the crumbling world of that old soul, who one fine day finds out that her (50+) husband was having an extra-marital affair and her (25+) son never found it important enough to share his gay identity and a male-relationship abroad, leaving her all alone in this world shattering the years old trust with no shoulder left to cry upon. The only two pillars of her life collapse with these unexpected cruel betrayals in just a few hours and there is no one around with whom she can share her inner self or the dangerous suicidal tendencies coming naturally.
No doubt it would require a woman’s heart to understand the immense, intolerable pain behind this shocking disclosure but honestly I could somehow feel the trauma when Ratna half-heatedly says “Dono Jhoothey……..!” in a scene and walks away.
I don’t know whether you will be able to relate to this scary situation or not but for me this was the best moment of the film that somehow got stuck in my memory thinking about its resulting scars on the poor woman’s remaining years of life to be lived with a deafening silence.
In all, KAPOOR & SONS is a more than decent film that could have easily become a perfect one with a ‘much required’ soulful soundtrack bringing tears to our eyes. It might partially disappoint the die-hard fans of Alia Bhatt & Fawad Khan for the less attention given to their favourite stars and may not appeal to the ones who are not willing to watch sadness on the screen following a different kind of ‘false’ cinema to be enjoyed in the multiplexes.
But for the rest, it’s certainly going to be an emotionally entertaining watch giving the return of their money spent. So do go for it and have a good time with the KAPOOR family headed by a dirty old man with his ‘I-Papad’.
Ratings : 3.5 / 5 (with an additional brownie points just for Ratna and Rajat together)
Tags : Kapoor & Sons Review by Bobby Sing, Kapoor & Sons Film Review by Bobby Sing, Rishi Kapoor as the Dirty Old Man, 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
18 March 2016 / bobbysing /
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