A warm welcome to all friends visiting the site with a loving invitation to read my personal expressions on movies, music, poetry and life.

Music and Movies are like Ears and Eyes to me and if you also feel the same, then you are going to enjoy every moment spent on my works here, for sure.

Do send in your valuable comments and suggestions as they would be my guide for all the future works.

ENJOY!

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

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

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

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

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

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

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

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

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

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

 
 
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April 28, 2017 Friday     
Director Vikas Bahl & Kangna Ranuat won every heart with their QUEEN released in March 2014. The film received a rare unanimous acceptance and was widely appreciated by the critics as well the masses becoming one of the major hits of the year like a pleasant surprise.
However a sheer disappointment was felt by every sincere Hindi film lover when writer Abhigyan Jha accused the makers of copying the idea from his unreleased film called PHIR ZINDAGI which as per Jha, was shown to Vikas Bahl when he was heading the UTV Spotboy unit a couple of years back.
According to writer Abhigyan, PHIR ZINDAGI written by him and directed by Parvati Balagopalan, starring Milind Soman and Gul Panag in the lead roles, also revolves around a woman who decides to go on her honeymoon alone and starts re-discovering herself in the new journey. Further he also claims certain sequences in QUEEN as exactly similar to his film, wherein the couple meets again after the initial split.
(Click here for the News Source)
Now though the acquisitions have been made quite strongly but nothing can be said with certainty since PHIR ZINDAGI remains an unreleased project till date and no one has seen it to judge the similarities as claimed.
But interestingly what can be said is that QUEEN does have some acute resemblances with another American film THE ART OF TRAVEL (2008), directed by Thomas Whelan with only the genders reversed. And having seen this English flick, the following brief description will give you an exact idea of the plagiarism case brought forward recently.
THE ART OF TRAVEL begins when a family is looking forward to the wedding of their young son Conner. There are few scenes showing the family preparations introducing the parents and then we have a sequence where the couple decides the place they would be going for their honeymoon. Next we are straight away taken into the church where the couple is standing in front of the father, who is about to declare them husband and wife. But just before the decisive moment, Conner stops him and turns towards the guests requesting to please open a surprise envelope lying below everybody’s seat. Opening the envelope everyone is shocked to see a picture in it having Conner’s fiancé and another boy lying naked in the bed.

Saying sorry to all guests & insulting the girl right there, Conner announces the wedding cancelled and says that I am now off to my Honeymoon all alone. So from here on his journey of self discovery begins reaching Nicaragua (not the place they had decided for the Honeymoon, chosen randomly) wherein he finds hard to understand the local language i.e. Spanish. Checking into a strange local hotel, at night he hears the sound of a couple next door fighting loudly in Spanish. And then next day during the city tour he also gets robbed in a lonely street by a local crook.
Interestingly the similarities actually end here as next Conner meets an adventurous couple and he joins their group for a jungle expedition where they all go on to break a world record successfully.
So THE ART OF TRAVEL walks on to a completely different path altogether after the initial 30 minutes. Yet the fact remains that it does have a pretty similar story progression like QUEEN in its initial reels evidently. Therefore the plagiarism charge earns some weightage only partially and QUEEN still gets all the deserving marks for its entertaining execution of an inspired plot unarguably.

But then, the new question arises that whether Abhigyan Jha also got his inspiration from the same American film or its just another strange coincidence of two different minds coming up with a similar plotliine?

Cheers!
Tags : QUEEN (2014) and its possible inspirations, An overview by Bobby Sing, Inspired Copied Hindi Movies from World Cinema, List of Inspired Movies, Queen and The Art Of Travel, Bollywood Inspired Movies List by Bobby Sing
 
 
29 April 2014 / bobbysing /
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There was a time when just an announcement of a Subhash Ghai film used to be the hottest news in the distribution circle and the brand name of Mukta Arts was considered to be the guarantee of at least a decent earner at the box office in all possibilities. Actors sincerely wished to be a part of the banner in any way and people waited for the project not because of any known star-cast but for the director alone and his melodious chartbuster music incorporated intelligently. The euphoria was at its peak in the decade of 80s and the early 90s. And even the title saying ‘Written, Edited and Directed by Subhash Ghai’ used to receive a huge applause in the theater along with the famous 5 second cameo of the director as his trademark feature. Due to the long string of successes, Ghai was popularly called “The Showman” and he did come up with many worth watching entertaining gems based on distinctive subjects one after another.
So having lived that era personally, its not easy to watch films like KAANCHI coming from the same man who gave us VIDHAATA, KARMA, RAM LAKHAN, SAUDAGAR and more. In fact it’s extremely painful to see such mediocre work from the maestro not offering anything novel in its concept, storyline, performances, execution and (surprisingly) music too. In other words, its nothing less than a shock for a die-hard fan like myself, who grew up watching Subhash Ghai’s films so joyfully and therefore really struggling hard here and not able to find words to write a critical description of this film, but would still try.
KAANCHI begins as a plain, ordinary project and keep progressing at the same level like just another love story of a carefree, strong girl (with some avoidable songs) until a powerful twist is there before intermission. The sudden sequence raises your expectations right away and one awaits some great explosive confrontation scenes coming up next. But what is presented before the audience post intermission says nothing, addresses nothing (as a message) and makes no impact of any kind on the viewer sitting in a confused state helplessly. Further, its final hour goes from the level of below average to absurd and then the film ends without making any connect with the audience despite having performers such as Mithun Chakraborty and Rishi Kapoor (playing a ridiculous role).
Presented with a new audio technology, which did sound a little better than the rest of the movies I saw on the same day, KAANCHI has a kind of soundtrack which seems to be trying too hard but reaches nowhere, except the title song to some extent. And that isn’t what we have been associating with a Subhash Ghai movie frankly, certainly not the songs like “Kambal Ke Neeche” & “Tu Mustanda Tu Sexy, Tu Chalti Phirti Taxi”. Cinematography captures some beautiful locations well but background score doesn’t make any major contribution to the film missing all the energy of a Ghai film.
In the performances, Mishti looks beautiful with the mixed features of Aishwarya, Rani Mukherjee or Mahima and tries her best to give a noticeable performance. But the bizarre sequences post intermission, don’t let her do so and same goes for the supporting cast including Kartik Aaryan, Chandan Roy Sanyal, Adil Hussain and Rishabh Sinha. Mita Vashisht is weirdly wasted in only a few scenes and Mahima Chaudhary looks like a vamp making a dancing cameo.
Coming to the two veterans in KAANCHI namely Mithun Chakraborty and Rishi Kapoor, they both made me think that its fine for all the other fresh actors working in a Subhash Ghai film, as they have never lived that majestic era of the showman themselves and have just heard about it from the media. But what would have been there in the mind of Mithun Da and Rishi Kapoor enacting all those highly weird or rather foolish scenes in the direction of the same Subhash Ghai, who was once one of the most successful directors of the industry in those past decades. Particularly Rishi Kapoor, who had earlier acted in KARZ, having such a fantastic music and an engrossing story progression.
However, thinking about KAANCHI, I would not like to blame Subhash Ghai alone for these repeated debacles. Because film-making is not a one man’s job and its actually a team work which collectively results in some fabulous projects after a lot of hard work and brainstorming. Now if Subhash Ghai is not able to create the same magic repeatedly in the recent years, then the first major reason for this failure remains the absence of the same team members, who used to contribute immensely in his projects without any slightest of doubt. Second, it is probably due to the presence of all ‘Yes-man’ functioning around the maestro at the present, coming up with no objections at all to his unacceptable scripts and its strange sequences. And as they say, if there are no confrontations there in a creative team then the end product is bound to become quite weak, out of date and even pathetic, unarguably.
Therefore just skip meeting this KAANCHI in the theaters and pray that the master filmmaker soon gets back in form, finding a new talented creative team in the coming years. Speaking from the heart, we have already lost a RGV and don’t wish to lose a Ghai too…..in the waves of the changing times.
Rating : 1.5 / 5
Tags : Kaanchi Review By Bobby Sing, Kaanchi Moview Review By Bobby Sing, Film Review By Bobby Sing, 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 April 2014 / bobbysing /
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Beginning on a positive note, thankfully this time it is just not a silly forceful comedy, woven around a thin plot as per the usual pattern followed by the current Punjabi film-makers. So JATT JAMES BOND first of all deserves to be given some extra marks because of this important display of courage and taking the risk in a project made on a big scale. Admittedly, though the film is not a great thriller or a thorough entertainer right till the end, due to many visible loopholes in the execution and many avoidable routine features. Yet the effort cannot be ignored having some bright merits too and therefore can easily be rated as one of the better Punjabi films of the recent times for sure.
Taking on the praise-worthy features first, the film has three well defined lead characters having an emotional angle associated with their individual story too and not just some known names playing it pretty loud as usual. The script revolves around a decent plot (though inspired) which has got the elements of thrill, suspense and action all together giving it the much required weight as desired. Few of the songs in its soundtrack are worthy enough to be enjoyed as individual tracks. And it has one of best background scores I have ever noticed in a Punjabi film in the recent years. But above all here we have few seasoned actors performing their given roles effectively (including Gippy Grewal & Gurpreet Ghuggi) with the surprise act coming from the well-known Yashpal Sharma playing the poor labourer, brilliantly.
JJB begins well with a shoot-out sequence (reminding you of the simple serial killer in the hit Hindi film KAHAANI) and then continues delivering all the seen before stuff in a routine manner for quite a long time for more than half an hour. There are just introductions, gags and songs in these initial reels and the film actually begins once the trio decides to do the one time robbery after almost 40 minutes. But due to this interesting twist the next 30 minutes become pretty engrossing and the viewer enjoys feeling that excitement along with the three friends committing the crime, before the screen says interval.
Post intermission it all seems well for about 10-15 minutes, but then the script starts running out of ideas and moves back to the repetitive pattern of showcasing love drama, revengeful action and sad songs as the fixed norm of a Punjabi film. Due to which the second half starts stretching to an alarming extent leading to restlessness among the viewers and one wishes to jump on to its last reels as soon as possible. Luckily the lost excitement is regained in the final 15 minutes and the director successfully manages to end it all on a satisfactory note. As a result, no one walks out of the hall, with any big complaints and that certainly deserves to be treated as an achievement looking at the current scenario of Punjabi Cinema.
In short, one might not be able to call JATT JAMES BOND a great movie whole heartedly due to many visible limitations, but you cannot rate it as something mediocre or below average either because of its many noticeable merits.
Now coming on to its weak points I would also like to mention few humble suggestions as the next step required in Punjabi Cinema, post this appreciable move made in JATT JAMES BOND (and these points include spoilers).

1. An opening slide says that the film is based on ‘Real life events, Well almost”. Whereas actually the basic plot of robbing a small bank and finding huge amount of money lying in the locker instead of the expected small amount is all inspired from Don Siegal’s great thriller CHARLEY VARRICK made in 1973. Interestingly this English flick too was based on John Reese’s novel titled “The Looters”.
Now where the western adaptation beautifully plays with this idea of undisclosed money lying in the bank belonging to a local don, there JATT JAMES BOND doesn’t explain the exciting plot very clearly and keeps stressing on the other ingredients in the story post intermission. And as I felt, the writers could have materialized on this one point in particular in a more entertaining manner, wherein a bank is being used as a private safe by the local M.L.A. through his terrifying influence and hence they cannot even declare the actual money looted above the small official amount, hilariously.
2. Zarine Khan was brought in from Mumbai to play the usual heroine in the film. But I simply couldn’t understand, what was the need of roping her in spending the extra amount? The lady makes no contribution whatsoever in the film at all and its just seems to be the producer’s or director’s fascination with Bollywood’s glamour that might have been the reason of Zarine being there in the film, doing nothing.
3. At the execution level, the major sequence of bank robbery is shown quite childishly in the film and its only the trio’s performance which doesn’t let you think over it in a logical manner.
4. Further in order to take the Punjabi Cinema to the next level, now its time that the lead actors, who happen to be professional singing stars too, start coming out of their ‘singer image’ and begin taking the art of cinema more seriously. Because, one cannot make a good project, if he has the film as well as an audio album too at the back of his mind while performing.
In clear words, what’s actually happening is that these lead actors/singers are acting in the project as actors, but along with that also wish to record six new songs to be featured in the film, fulfilling the desire/demand of releasing their audio album too mixing the two streams.
As a result what we get to see is, many deliberate, unrelated songs coming at regular intervals of the film, hampering its overall pace and impact drastically. Now it might be the producers or the singing actor who pressurizes the director to do so. But the point is that its time that Punjabi Cinema instantly realizes the silly mistake and gets out of this ‘two purpose serving strategy’ in order to make some quality cinema for the starving audience. Especially with actors such as Gippy Grewal and Diljit who have evidently shown an exceptional growth in their last few films.
5. Moreover regarding the music, buying few readymade tracks available with some known names is another norm which the makers need to get rid of soon. Since it’s a movie requiring some specially written and recorded songs as per the script’s demand and not a video coverage where anything can be added anywhere as per the director/producer’s own will. And the point gets proved when you get to hear a Rahat Fateh Ali Khan in JJB using both Hindi lines along with Punjabi quite weirdly.
6. Pointing towards the fixed format followed in Punjabi Cinema, its time that they stop spending time on long introductions in the beginning, satisfying the ego of every single artist featuring in it leading to boredom. The narration should come to the point as soon as possible and valuable 30-40 minutes should not be wasted on such irrelevant content as seen in the initial reels of JJB.
Plus it’s quite horrible to see the same old 70s sequence in almost every film wherein few goons starts teasing the heroine all of a sudden only to get beaten by the hero making an obvious entry. So for God’s sake please find any other way to display your star’s heroism now saving us from this repeated torture!
7. Lastly, let’s get over with the ages old ‘mixed fruit juice recipe’ adding a love angle, few drunkards, a family rivalry, many comical gags and few songs into each and every film, irrespective of what its main plot is all about. Punjabi audience have proved their intelligence by rejecting all the poor films made in the last year and now they urgently should be served with something path breaking and worth watching soon.
In other words, I wish to see a Punjabi film which asks for a remake in Hindi and other languages, instead of we making mediocre remakes of all other films.
Now no doubt, JATT JAMES BOND does break some preset ground as per the chosen subject and treatment by its talented team. However since it keeps adding the same old clichéd elements too into the interesting proceedings (carelessly), the end-result sadly falls short of being outstanding in honest terms. Still the film fortunately remains an above average entertainer in totality and thus needs to be encouraged by the viewers too reciprocating the thoughtful move. Plus I am sure Rohit Jugraj would soon be coming with his next Punjabi venture as a more solid, focused product taking care of all the weaker points of JATT JAMES BOND, wisely.
Rating : 2.5 + 0.5 / 5 (With the additional 0.5 for its fine background score and the courageous effort of making a thriller moving ahead of a typical comedy.)
Tags : Jatt James Bond (Punjabi) Review By Bobby Sing, Jatt James Bond Film Review By Bobby Sing, JJB 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 at bobbytalkscinema.com
 
 
27 April 2014 / bobbysing /
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Hindi Cinema has given us very few brilliant investigative crime dramas and when it comes to films based on any particular detective figure only, then we have rarely gone into that specific genre with a serious vision. Interestingly Bengali Cinema has many movies made on their cult detective icons such as Byomkesh Bakshi, Feluda and more. But Hindi Cinema has recently realized this void and now coming up with a series of detective movies in the coming months beginning with SAMRAT & CO. made under the reputed banner of Rajshri Productions venturing into this rare genre of crime movies for the very first time.
However, the sad news is that a clean attempt made into this less explored genre remains the only merit of this amateurish detective film and it has been surprisingly directed quite casually without taking care of all the ‘must have’ ingredients required for such investigative thrillers. On a lighter note, probably having only a Sherlock Holmes kind of character along with a funny Watson looking into an interesting case brought in by a charming girl is only what a detective film is all about as per the writer and the director, as I personally felt while watching it.
Elaborating on the same, a detective movie made on a particular case first of all has to move out of the TV serial mode essentially to make it big enough to be presented as a complete theater experience. In fact that is the very reason why many films are not made in this risky genre, since they don’t offer any repeat value, once the secret is out revealing the real killer. Therefore you often get to see enjoyable Detective Serials being made with several episodes for the channels, but rarely a major film made on a single case.
Secondly, the case adapted for the film should be so engrossing in its own that it can keep the viewer focused and glued to the proceedings for at least two hours with new clues and development thrown in every 10 minutes.
Thirdly and most importantly the culmination of such films should be shocking as well as entertaining enough that the viewer feels annoyed (on his own misjudgment) yet immensely satisfied with the disclosure made by the detective describing the complete process of his investigations in the last reel.
But surprisingly, none of the above is there in SAMRAT & CO. and the film still follows the same old overused pattern of ‘every suspect, dying one by one’ as its uninteresting story progression incorporating many other added subplots without any clear vision. Moreover the pattern of direction makes you wonder about the kind of team behind the product, who probably have never read Indian detective novels of writers such as Ibn-e-Safi, Ved Prakash Sharma, Colonel Ranjit and the pioneer Surendra Mohan Pathak with his famous characters of Sunil, Sudhir, Vimal and more. Plus it seems they even missed out enjoying the interesting detective heroes of the Comic world too wherein we had Rajan-Iqbal, Mama Bhanja, Babloo, Inspector Manoj, Amar-Akbar, Colonel Karan and many more, much famous among the kids and also in the grown-up comic lovers, continuing with their childhood passion lovingly.
Anyway moving ahead, even if you ignore the weird hair-style and ‘speaking to self in a fast mode’ tactics of detective Samrat, still there are many more sequences in the film which force you to call it a childish attempt in a serious genre, made by an over enthusiastic team.
For instance, the narration leaves several questions answered in the end which is a clear indication of an unprepared script with lots of visible loopholes. Too many characters are stuffed into the proceedings in order to make it thrilling enough forcibly. Characters are singing songs in the middle of an ongoing investigation, just to fill in the commercial needs. In the same mansion at a hill station, one character comes out of the washroom saying its too cold in here and the other is wearing short skirts as if its summer time. Strangely so many digitalized, backdrops have been used unnecessarily to give it a different feel. The detective starts fighting with the killer in the end on a dangerous hill top, perhaps to fill in the action requirement of the distributor as it seems. And lastly just like a typical Hindi film hero, the intelligent detective also finds his true love in the young daughter of the dead as if she was just waiting for a crime investigator only all her life till now.
To say the truth, this certainly isn’t the film matching up to the Rajshri standards from any angle featuring such over the top and irritating performances by the lead characters including Rajeev Khandelwal (didn’t he read the script before signing it?). Also I found accomplished performers such as Priyanshu Chatterjee feeling quite uncomfortable acting in such mediocre movie made in the name of ‘Dilchasp Rahasya Ride’, which neither has anything ‘Dilchasp’ nor ‘Rahasyamayi’ in its 2+ hours of duration, taking the viewer on to a funny ride.
Summing up, the background score is the only decent feature of this poor film but since one cannot spend both his time and money for this one factor alone. So simply skip it and watch the American TV Series “True Detective” instead, if you really wish to see something spectacular about detectives.
Rating : 1 / 5  (And that too just for the courage to try this rare genre.)
Tags : Samrat & Co. Review By Bobby Sing, Samrat & Co. Film Review By Bobby Sing, 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
 
 
26 April 2014 / bobbysing /
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