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.

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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     
Small budget, experimental movies are more than welcome in the present scenario when the film business is largely ruled by the stars coming up with all routine projects. So from that angle KUKU MATHUR KI JHAND HO GAYI can easily be rated as a fairly decent debut attempt by the director Aman Sachdeva to recreate the look, feel & magic of films such as KHOSLA KA GHOSLA, DELHI BELLI, VICKY DONOR and FUKREY (all revolving around a similar backdrop).
So following the same Hit pattern, Aman Sachdeva also makes his light hearted movie moving around Delhi only with mostly Punjabi & Haryanvi characters interacting with each other. Talking about two fast friends, stepping into their real life after passing the 12th exams, it showcases how one of them (Kuku) takes a wrong decision on a third person’s advice and then later repents on the same, returning to his dear friend.
Made on a familiar ‘seen before’ kind of base (with a unusual catchy title), the film does have its few moments and some good performances too coming from the fresh cast. But the problem actually lies in its too thin plot which remains unconvincing throughout as such drastic, senseless and criminal step is not insanely taken by a friend against the other for just a small revenge. Moreover a lot of time gets wasted in the beginning (almost 35-40 minutes), wherein the film has nothing to convey as per its storyline and it keeps showcasing their friendship only through various sequences. Further the criminal activities are performed with such an ease or confidence, without any moral fear or hesitation that it all seems to be too filmy to believe in.
With a mediocre soundtrack, non-contributing background music and an average cinematography, KMKJHG actually just falls short of being as realistic as any of the Delhi based films mentioned above. Selecting an unusual title inspired from the local lingo, the accent sounds to be artificial most of the times and the next to door family kind of feeling is largely missing. Also the film keeps following its inspirational sources devotedly, which is clearly visible in sequences such as the Jagaran one, straight away reminding you of FUKREY.
In the performance section, both Siddharth Gupta (Kuku) & Ashish Juneja (Rony) show their confident sparks in few good scenes and Simran Kaur Mundi is just ok with nothing much to do along. Pallavi Batra (as the actress) impresses, but also tries to be a loud clone of Parineeti Chopra. Siddharth Malhotra (Rony’s elder brother), Brijendra Kala (as Baba Ji), Somesh Agarwal (Kuku’s father), Anoop Puri (Rony’s Grandfather) and Rajesh Sharma (Jagran Singer) add their own individual bit to this simple, social comedy. But its the enjoyable acts of Amit Sial (as Mama Ji), Alok Chaturvedi (as the Watchman), and the actress playing the watchman’s villager wife, which actually make the film interesting enough despite having a quite non-existing plotline.
In short, KUKU MATHUR KI JHAND HO GAYI is a light hearted comic film trying to impress that particular section of viewers who loved watching similar, recent entertainers like FUKREY. But scoring a lot less in comparison, it also strictly remains the one which you might enjoy more watching on a TV channel without making an effort or spending a good amount of money on its costly multiplex tickets.
Rating : 2 / 5
Tags : Kuku Mathur Ki Jhand Ho Gayi Review By Bobby Sing, KMKJHG 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, Small Budget Hindi Movies, Limited Budget Experimental Movies
31 May 2014 / bobbysing /
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After MURDER 3, here is another official remake from Vishesh Films, of a widely acclaimed gem titled METRO MANILA directed by Sean Ellis (made in Tagalog language) in the year 2013. And the end result is almost the same as I felt while watching MURDER 3, wherein also the original film remained far better and a must watch classic indeed, as compared to its weak Indian adaptation focusing more on the commercial elements. Still looking at the positive side, its good that the Bhatts are now into buying the rights (following the right procedure), instead of just borrowing the content in the name of inspiration.
So as the film is an adapted version, therefore we need to analyze it from two distinctive viewpoints as below:

As an individual film
Watching it as a new Hindi film with some fine tracks already popular before the release, this has a mixed bag to offer, impressing the viewer only in parts. Surprisingly beginning with a sensual scene itself, it clearly gives you the message that this is not an ‘Art House’ kind of drama, but has got every essential ingredient of a Hindi film following the routine. So we have good well written songs, long emotional sequences, tense revolting scenes featuring the underdog and bedroom insertions too as usual. In other words, so what if the theme is supposed to be a sensitive one talking about poverty and the cruel life of a metro city? We can still put in some sex, song and drama to make it a commercial venture since it’s a Bhatt’s production and they are known for all these features only since long.
CITYLIGHTS begins calmly focusing on the couple’s poor state of living in the village and their decision to move to the city for a better future. The energy first comes in with the sequence of them being robbed on the very first day and then it all goes back to the same slow mood (of the beginning) as per the theme. The pace returns with the dance-bar scene and when the male protagonist manages to find a job in a security firm along with a great song. So till intermission it manages to impress the viewer only partially and one expects for something explosive to come in the next half.
However sadly the post intermission film disappoints mostly due to its various downers such as a few deliberately added songs, a long avoidable (but well-acted) dramatic scene, a heist scheme mystery revealed too early, the missing logic in the proceedings, a lifeless background score, all seen before feel and a muddled unexciting climax with many sudden twists ruining the overall impact of its exceptional performances. As a result even a 126 minutes duration seems to be too long and makes you feel as if you are watching an over stretched slow film with many routine elements.
To put it straight, CITYLIGHTS have few outstanding performances, two great songs and a fine story base to play with. But what annoys you is the over-polished presentation of the subject wherein neither the poverty makes you feel for the couple nor the city comes out as a cruel part of the film like a major character. Plus the whole ‘secret plan’ game played in the final hour falls flat, without making any major impact on the viewer, which was supposed to be main highlight of the film in the climax.
Director Hansal Mehta made a masterpiece SHAHID (2013) when he didn’t care about anything else and just followed his script, vision and dream. But when he tries to make a theme based commercial movie having a wide release, he again stumbles like DIL PE MAT LE YAAR (2000), with many uneven highs & lows in a project which could have been another potential trendsetter for sure.
Musically it would have been better if the director had used only one brilliant song “Soney Do” repeatedly in the film to make a larger impact. Though “Muskaranke Ki Vajah” is equally good but the song doesn’t give you the expected emotional high when it gets played on the screen. The background music also could have added a lot with something innovative and DOP is not able to give the much desired dark feel to the subject as required.
Performances being the major merit of CITYLIGHTS, its really sad that the narration couldn’t provide them the much needed support to shine brighter. After winning the National Award for his SHAHID, Rajkumar Rao once again delivers a stunning act getting deep into the skin of his character as always and he is just 4 years old in the trade, unbelievably. Patralekhaa doesn’t get much scope in the later part of the film, but she does leave a solid impression in her very first film boldly. The child artist remains the neglected one throughout but plays it well in her limited scenes and Manav Kaul makes a terrific entry as the supervisor (though he does tend to go over the top at times). The supporting cast adds a decent value to the key scenes, like the owner of the firm loving silly jokes and Sadia Siddique does it well as Manav’s wife.
In all, CITYLIGHTS manages to impress only partially and could have achieved a much higher status en-cashing the strong build up given by its good songs and the performers. But you can still watch it for the fabulous acts and a decent theme talking about the harsh poverty resulting in a crime in 8 out of the 10 cases in our society.
As an official remake
Watching the film as the official remake of METRO MANILA directed by Sean Ellis, CITYLIGHTS is not able to give you the same feeling of empathy, suffering, love, drama and thrill, since it strangely makes many major changes in the treatment, which in fact was the real soul of the foreign film till its final scene. To give you the details, the major elements they have messed with, are its depiction of the metro city Mumbai - which doesn’t become an essential character of the film as Manila becomes in the original, Background music - which has been beautifully done in the foreign gem with a minimum arrangement and exceptional use of sounds. And lastly the actual revelation of the truth, which all happens in the final 10 minutes of the film only, unlike the Indian version where everything is revealed much earlier, ruining the magical end.
Plus on a personal note, I couldn’t understand why they deleted the most touching and emotional aspect of METRO MANILA, wherein the 8-9 years old daughter constantly complains about her toothache, but the couple doesn’t have any money to take her to the dentist.
In my opinion that was the most valuable insertion in the original, cause there is nothing more painful in this world when you are not able to take your suffering kid to the doctor due to no money in the pockets…………. and your daughter is sitting in front of you with her hand on the cheek and moist eyes………… saying nothing!!!
The makers of CITYLIGHTS weirdly missed or willfully deleted this most touching sub-plot of the film and that was nothing short of a creative crime as I strongly felt.
Yet the other truth remains that with the limited budget the film has been made in and due to the music already making into the top charts, the Bhatts once again have proved that their golden formula of a remake-music-sex and performances put together in one package always gets them some returns, despite the average show of their films at the box office.
So in case you like its basic theme then essentially watch the original at the earliest and do yourself a favour.
Rating : 2.5 / 5 (with a special praise for song “Soney Do Khwaab Boney Do”)

(For friends interested in reading my piece on METRO MANILA, its available at the link below: )

METRO MANILA (2013 - Philippines) and the mystic master OSHO's quote on the rich. (Articles on Cinema By Bobby Sing)

Tags : Citylights Review by Bobby Sing, Citylights Film Review by Bobby Sing, Citylights and Metro Manila, 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, Inspired Films, Official Hindi Remakes of English Films, Offical Remakes of World Cinema Films.
30 May 2014 / bobbysing /
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Bertrand Russell in a Hindi film Aman - Bobby Talks Cinema.comBertrand Russell, the eminent mathematician, philosopher, social critic and political activist has probably made only one cameo in a film and that’s in a courageously message oriented, anti-war Hindi film made in 1967 titled AMAN.
The film is about a young Indian doctor who after receiving his medical degree from London, wishes to go to Japan to help the nuclear attack victims of Hiroshima and Nagasaki. He goes there against his father’s wish and devotes his short life towards treating the patients suffering in a very terrible state. After a while he himself becomes the victim of nuclear reactions and his untimely death turns him into a martyr both in Japan and among his own countrymen back in India.
A rather lesser known film made on world peace directed by Mohan Kumar, AMAN is a unique and worth appreciating kind of attempt made without caring about the box office returns, which has honestly become a very rare feature in our Indian films in the present times. And since the project was being made with such a noble intentions having a strong message against all the nuclear arms developed by the major nations of the world, Bertrand Russell agreed to feature in it for a scene as he himself was actively working against the serious issue since long.
In this particular scene, the young doctor played by Rajendra Kumar meets the Nobel Prize winner one to one and listens to his few words of wisdom on world peace. Bertrand Russell begins talking about the same in English but then sadly a Hindi explanation takes over his voice to make the message clear to the Indian audience.
Produced & Directed by Mohan Kumar, AMAN featured Rajendra Kumar, Chetan Anand, Balraj Sahni, Saira Banu, Om Prakash, Sajjan and many foreign artists too in the supporting cast. Shot mostly in the foreign locations it had cinematography by Radhu Karmakar, music by Shankar Jaikishen and lyrics by Hasrat Jaipuri, Shailendra & Prem Dhawan (writing a special poem for Hiroshima Museum sequence in the film).
Since the main protagonist unfortunately dies in the climax, the film ends on the shot of his body being cremated and Mohd. Rafi singing three lines with a message to live with love and harmony. As a humble tribute I have tried to complete the verse with a fourth line addition hoping that our future is more peaceful than the past and we would not commit the same ugly mistakes ever again in the coming decades.
"Yeh Nafrat Ke Zazbon Mein Hargiz Na Behna,
Meri Baat Sun Lo Galey Mil Ke Rehna,
Jalti Chita Se Yeh Aawaz Aayi,
Meri Maut Pe Sabko Itna Hi Kehna"

(Note : At the time of writing this article the individual film clip could be seen at the following link…)
(And the complete film could be seen here…)
Tags : Nobel Prize winner BERTRAND RUSSELL in a hindi film, Bertrand Russell and Aman (1967), Bertrand Russell & Rajendra Kumar, Rare Bollywood Facts by Bobby Sing, Exclusive Bollywood Trivia by Bobby Sing, Unknown Bollywood Facts at bobbytalkscinema.com, Articles on rare unknown facts of Hindi Films by Bobby Sing
28 May 2014 / bobbysing /
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Dilip Kumar Sings a Classical Song in 1957

Words fell short when one begins writing about one of the greatest actors in the history of Hindi Cinema, the legendary Dilip Kumar. And the veteran thespian actually needs no introductory lines mentioning the commendable achievements in his splendid career span of almost half a century.
However, despite having seen his famous epic movies more than once, many die-hard fans of the maestro still might not have the information about the one instance wherein he actually rendered a classical song in an unbelievable manner in the late 50s. So Subhash Ghai’s KARMA is not the only film where Dilip Kumar gave his voice for a song (in its opening lines only) in 1986. But he did sing a rather difficult traditional, raag based composition in his film titled MUSAFIR too in the year 1957.
Interestingly the movie MUSAFIR, which was a light hearted, simple film talking about three different families coming to live in the same rented house one by one, had its own important value for few other reasons too.
It was Hrishikesh Mukherjee’s first film as a director after working with Bimal Roy as an editor and also the first Hindi film for the comedian Keshto Mukherjee. Besides it had a fabulous talented team working together, with Salil Choudhary as the music director, Ritwik Ghatak as script writer (along with Hrishi Da), dialogues by Rajendra Singh Bedi and lyrics by Shailendra. Written (story), produced and directed by Hrishi Da the film had Suchitra Sen, Durga Khote, Nirupa Roy, Kishore Kumar, Nazir Hussain, David and more playing the key roles.
Returning to our main focus here, it is said that after listening to Dilip Kumar humming something in his own mood, composer Salid Choudhary aksed him to sing along with Lata Mangeshkar for a sequence in the film. Agreeing to the thought (probably because of the respect felt for the maestros), Dilip Kumar performed the song confidently and the rendition really came out to be a truly touching one with great depth and feel, as if it had been sung by a trained classical exponent with perfection.
The song had the words, “Laagi Naahin Chhootey, Chahey Jiya Jaaye” and you can thankfully hear the song easily available in various uploads on the web. Listening to it for the first time, you probably would not believe that this is Dilip Kumar singing himself. But the fact is indeed a pleasant surprising truth and needs to be told, revealing another hidden gifted talent of the living legend, Dilip Kumar.
Thankfully at the time of writing this article, the complete movie “MUSAFIR” could also be seen at the following link:
and the exclusively rare song at :
Tags : Dilip Kumar Sing a Classical Song, Dilip Kumar Sing in Musafir, Hrishikesh Mukherjee first film, Keshto Mukherjee first Hindi film, Rare Bollywood Facts by Bobby Sing, Exclusive Bollywood Trivia by Bobby Sing, Unknown Bollywood Facts at bobbytalkscinema.com
27 May 2014 / bobbysing /
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