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     

Subah-O-Sham - 1

The news of our Prime Minister’s recent visit to Iran reminded me of Subah-O-Sham, the first Hindi film shot in Iran, released way back in 1972 as an Indo-Iranian project featuring Mohammad Ali Fardeen (or Fardin), the matinee idol of Iran as one of its lead actors (as mentioned in its titles) accompanied by Simin Gaffari, Loretta, Irin, Azar and more in the supporting cast.
Among the Indian actors it had Sanjeev Kumar and Waheeda Rehman playing the key roles under the direction of Chanakya (of Ram Aur Shyam fame). Story and produced by B. Radhakrishna, the film’s music was by Laxmikant Pyarelal, lyrics by Anand Bakshi and DOP by Khani, an Iranian cinematographer along with many other technicians from Iran.
Interestingly Sanjeev Kumar played the younger brother of the Iranian star in the film that actually revolved around an affair between Fardeen and Waheeda, who played an Indian-origin dancer by profession, not acceptable on any terms by Fardeen-Sanjeev’s royal family. Including a long comic sequence presenting Waheeda as a princess in front of their dominating mother, the film had all predictable twists in the script ending on a positive note wherein both Waheeda and the illegitimate child of the couple is finally accepted back into the family after a tragic incident.
Subah-O-Sham in IranIts soundtrack had Lata Mangeshkar, Kishore Kumar, Asha Bhosle and Mohd. Rafi giving voices to songs “Chhorh Mujhe Peene De”, “Saaqi Ki Zaroorat Hai, Na Jaam Ki Zaroorat Hai”, “Teri Meri, Meri Teri Nazar Lad Gayi”, “Tumko Mubarak Ho Yeh Shaadi Khaana-aabadi”, “Meri Biwi Jahan Se Niraali Hai” and “Mere Laal Aaj Tera Janamdin Hai”.
Released with the title of Homaye Saadat (Bird of Happiness) in Iran, it had many known Indian actors dubbing for the Iranian cast in the Hindi version and it was Satyen Kappu who became the voice of the lead star Fardeen. Mostly shot in indoors instead of sets or outdoors in Iran, the film is one of those lesser known and discussed films of Hindi Cinema despite being the first Indo-Iranian project to be shot in the particular country featuring its famous star.

This article was published on NEWS18.com on 24th May 2016 with the title :
“Remembering ‘Subah-O-Sham’, the first Hindi Film shot in Iran.” – By Bobby Sing
Tags : Subah-O-Sham First Hindi film shot in Iran in 1972, Articles on Cinema by Bobby Sing, Did You Know 86 at bobbytalkscinema.com, Did You Know Book Series by Bobby Sing, Published by Notion Press
31 May 2016 / bobbysing /
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Waiting Review

In the last two decades we haven’t seen many REAL Hindi films talking about the actual realities of life, DEATH in particular, with an insightful vision expressed in its thoughtfully written dialogues featuring a talented cast. Therefore WAITING can easily be called a refreshing film exploring a subject that Hindi cinema has intentionally stayed away from, since here we are actually more concerned about entertaining our viewers instead of enlightening them.
Revolving around only two characters (with a big age difference) and their mutual conversations about life, waiting for their beloveds to get well soon in a hospital, the film has a subject that makes an instant connect with the viewers as we all have faced our own tragedies sitting in that waiting area praying for our loving family members or friends. Coming straight to the point within its first five minutes itself, one finds invested in the two characters on screen and their personal trauma, and then gets pulled in by the meaningful lines they keep delivering one after another like many small precious gems to be taken along.
Personally I really loved the way Naseer explains the various stages of ‘Grief’, the definition of ‘Twitter’ given by Kalki, a senior doctor briefing his intern how to deal with their patients, Kalki wearing her husband's shirt over her own dress and the concerning interaction of both Naseer and Kalki with their doctor individually. Yes at times they do seem to be getting into too much talking, missing the beauty of SILENCE that duly understands the pain felt by the other without saying even a single word. But the way they express their feelings in extremely well written dialogues (coming constantly) doesn’t let you think that way for long and you easily get involved in the proceedings waiting for some positive news.
Having a focused and delightful direction by Anu Menon, WAITING wouldn’t have been possible without Naseeruddin Shah as the old loving husband and Kalki Koechlin as the newly married girl meeting at the hospital lobby. Naseer is truly a delight to watch in his every single scene coming up as a complete natural, with an adorable dignity added to his character of a constant sufferer, not finding the courage to give his permission to take off the ventilator from his wife lying in comma from long. Kalki as the young girl married just a few weeks back, fits perfectly to her given role and successfully delivers an appreciable matured performance in front of an institution called Naseeruddin Shah, which certainly is nothing short of an achievement in itself.
Providing his solid support in short but important role, we have Rajat Kapoor playing the doctor who is (thankfully) more concerned about his patients than the management and additional medical bills. In fact the film gets elevated with every new scene of Rajat Kapoor talking to Naseer or Kakli with an amazing patience and charm infusing a new life into the narration, otherwise walking on a straight, monotonous path. Ratnabali Bhattacharjee brings in some good sarcastic humour as Kalki’s friend believing in ‘positive living’ and Rajeev Ravindranathan excels in her short comical role as the office colleague. Plus both Suhasini Maniratnam and Arjun Mathur are just fine playing the patients, emoting well in their few scenes included as the flashbacks.
A visually soothing film, WAITING is far ahead than director Anu Menon’s previous ventures including a fine song high on emotions with apt lyrics as "Tu Hai To Main Hun" expressing the situation well. However the film could have been a rare classic made on a novel subject, if the writer-director had taken care of some crucial points in the script making it more Indian and relatable.
Mentioning the decisive drawbacks, as a Hindi film talking about all Indian characters, its hard to believe the parents of the young boy (struggling for life) not being informed and called in at such a crucial time. Besides it was strange to see English being used as a key language even in the most important scenes of the film, restricting its reach to just a selective set of audience even in the multiplexes. Further avoiding any shocking twists in the second half, Menon actually takes the easier path in the climax ending it on a positive note, whereas the film could have easily been a brutal eye opener focusing on Kalki’s decision representing the changing value system of our crumbling social structure.
Anyway, in spite of these avoidable problems, WAITING still deserves to be seen at the earliest for its novel theme, its key performers and the questions it raises about the right time to let it go leaving the rest on that Supreme Power. So do try to give it a chance, even if it is being shown at a theater far away from your place at some odd timings.
Rating : 3.5 / 5
For friends who are willing to read something beyond a review, this is what I personally feel about the rich backdrop of the film that might force you to think about the changing scenario of our films since the last two decades.
Before the new millennium, Hindi cinema used to make films for just the Indian audiences, for the common man who cannot even think of going anywhere else than the government hospitals. But now since these films are being made keeping an eye on the international market as well as the upper income group of the society able to pay more than 300 Rupees for a ticket, so the common Indian man has simply vanished. And at present, even such realistic issues need to be conveyed focusing on two rich, well off protagonists waiting in the lobby of a state of art five star hospital ignoring the big majority of our Indian population struggling in the government centres.
So now we are making films showing only one side of the coin targeting the multiplex audience, forgetting all about the other darker side representing the lower class of our society, who face no such issue of whether to take off the ventilator or not as they cannot even afford to get a one in their local hospital.
In other words, the tables have actually turned just the opposite, as earlier such thought provoking subjects were written and made focusing on the extreme poor living in the rural areas or slums and now they are purposefully being designed focusing on the higher income group to be seen along with munching the costly popcorns or nachos sitting in the comfortable multiplexes.
Obviously, who will be interested in watching the poor labourers waiting outside the hospital on roads, in a multiplex buying the costly ticket? So the directors have to place their characters as the RICH waiting in a stylized café, staying in posh hotels reaching out to the target audience who again doesn't include anyone called the common man.
So the balance is still missing ............. having its own reasons!
(Just a thought from a concerned viewer (and not a reviewer/critic) who is witnessing this drastic change of values in our cinema since last many years)
Do Give It A Thought if possible!
Tags : Waiting Film Review by Bobby Sing, WAITING Movie Review by Bobby Sing, 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
30 May 2016 / bobbysing /
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Hindi cinema hasn’t got many worth watching psychological thrillers since the genre never got any big encouragement either from the viewers or the makers ever since the origin. And I still recall the pleasant surprise I had watching Nargis’s National Award winning performance in RAAT AUR DIN, based on the split personality disorder performed brilliantly as her final appearance on screen in 1967. In the last few decades, Urmila shined brightly in Ram Gopal Varma’s KAUN playing the obsessed psychopath in 1999, and now we have Radhika Apte entering into that elite list giving a worth applauding performance in PHOBIA as an artist suffering from severe agoraphobia post a tragic incident, developing fear of people, market places and public interactions leading to some serious consequences.
Interestingly, the initial moments of the film dealing with a ‘sexual assault’ and its traumatized victim straight away reminded me of Konkona in 15th PARK AVENUE (2005) and Rekha in GHAR (1978) too for a moment. But the similarities ended right there as the film moved into a completely different direction with elements of horror and black comedy smartly incorporated in its otherwise ‘mind-related’ theme giving it a distinctive edge.
As a psychological thriller directed by Pawan Kriplani (of Ragini MMS fame), PHOBIA works superbly in its first half mainly due to Radhika’s fabulous act and the unpredictable story progression that keeps you guessing throughout creating an enjoyable tension. However when many big loopholes get visible in the second half and some major questions remain unanswered in the climax (ending on a confusing note), the film loses the chances of becoming ‘a masterpiece thriller’ and remains a more than decent one time watch, especially for Radhika alone.
Delivering a knockout performance in her first full length lead role in a Hindi film, Radhika Apte carries the complete movie on her strong shoulders and makes it worth watching for the viewers interested in this specific genre, without any slightest of doubt. The girl is simply sensational and highly impactful playing the suffering character and that too without any sensual sequences usually found in such ventures defying the set format.
Providing her a perfect support we have Satyadeep Mishra effectively playing the close friend, Yashaswini as the energetic college going girl and Ankur Vikal as the suspicious weirdo neighbour doing complete justice to their given roles. Cinematography, background score and editing successfully add a lot into the film’s overall impact and so does the catchy song ‘Roke Na Ruke’ used well, without disturbing the pace.
However it was really unfortunate to see the film slipping in its writing post a taut and engaging first hour contradicting its own conviction. And these visible flaws honestly didn’t match the master vision found in the script’s initial impressive moments. For instance, how can such a serious as well as dangerous (self-destructive) patient of agoraphobia be left alone in a new and big house by her own beloved so carelessly and how can the boy even leave a knife and all similar appliances openly lying in the house despite knowing his girl’s severe condition and intentions? Moreover when it suddenly ends without giving clear explanations of all the illusions, premonitions and hurting events happening in its final hour, one doesn’t feel like highly satisfied while leaving the theatre as if gone through an incomplete experience largely saved by the lead performer.
Having said that, despite these unanswered questions and a good dose of unpleasant blood and gore served with the pinch of horror, PHOBIA still deserves to be seen for Radhika Apte alone, who now officially announces her arrival as the mainstream Hindi film heroine, far ahead of many known names of the industry relying on their family bloodlines.
Rating : 3 / 5
(For friends interested in knowing more about Nargis’s RAAT AUR DIN, here is the link for the article including the references of its foreign inspirations too in details.)
Tags : Phobia Review by Bobby Sing, Phobia Film Review by Bobby Sing, 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 May 2016 / bobbysing /
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A deadly sandalwood-ivory smuggler and the most wanted criminal in India in the last four decades; a criminal for whom the costliest and the longest capturing operations were undertaken by the authorities of Tamil Nadu and Karnataka; an extremist who had LTTE chief Prabhakaran as his inspirational idol and the killing machine who didn’t even think for a second before shooting a group of people together, certainly deserved an intense, informative as well spine chilling biographical movie unarguably.
So when I heard that RGV is planning to go for the same with a docu-drama style of making similar to his worth watching THE ATTACKS OF 26/11, then I was both glad and excited together being an ardent fan. And further when his KILLING VEERAPPAN (majorly revolving around Operation Cocoon) became a Hit in Kannada language getting rave reviews (to the extent of saying RGV is back) then the excitement got even bigger, waiting for its Hindi adaptation to be released soon (in the same year).
However, it’s really sad that the much awaited Hindi version VEERAPPAN doesn’t turn out to be anything exceptionally great or novel allowing us to declare ‘he’s back’. So the man is not really here with any great movie, but thankfully does manages to deliver an average straight forward biographical film that’s (at least) much better than many of his recent awful attempts in comparative terms.
Interestingly this time it’s the amazing-scary resemblance of its lead actor (to the real VEERAPPAN) that works big time for the movie, much more than any famous directorial touches, out of the box narrative or supporting performances. In other words VEERAPPAN works only when Sandeep Bhardwaj captures the screen as the killing machine and not in any other moment at all to be straight. Though even Sandeep doesn’t display any wide range of expressions throughout the long duration, yet its his strong presence alone that largely saves the film from becoming another forgettable venture from the once ‘trendsetter of our cinema’.
Apart from Sandeep, there is only Usha Jadhav who shows a decent sincerity in her portrayal as Veerappan’s wife along with some new faces towards the end, whereas the rest of the cast boldly exhibits its peculiar standard of acting following a ‘trashy’ mode. For instance, Sachin Joshi confidently keeps conveying I am the hero of the film-as I am the producer too, in his every single scene with a similar expression and Lisa Ray keeps making weird faces into the camera playing her own games. Plus it was really strange to see the gang members running along the man, treated as some unimportant extras called in just to stand in the frame.
Technically generating a ‘deja-vu’ kind of feeling through all familiar sequences, camera angles, character movements and jaded chases, VEERAPPAN isn’t any breakthrough film from a director back in form, crushing all the big expectations raised by some recent ‘must watch’ interviews, like the one taken by Anupama Chopra.
Yes, we do get some glimpses of the maverick in the brutal killings, scenes of ripping off ivory tusks from the dead elephants, the hiding with the kid and the waterfall sequence. Yet the script doesn’t have any grand narration on the subject knocking you down with its every next scene like the RGV we remember from the 90s. It keeps proceeding on the same pace without building any kind of mystery around the controversial figure and then simply ends missing that much awaited exciting thrill or extreme characterization mostly seen in the director’s innovative films. As a matter of fact, Ram Gopal Varma’s JUNGLE (2000) had a much better suspenseful mystical aura built around a similar negative figure with a different name.
In addition, I personally found the presentation quite confusing as it was not clear, how the writer-director actually wished to portray Veerappan before his audience. To give you an example, at one end he is shown to be brave as hell, whereas on the other he quickly runs away without caring about his unarmed wife when the police attacks their hideout unexpectedly. Besides, watching Lisa Ray standing in a police interrogation room right behind the person being beaten to death honestly forced me to think that, was this really a scene from a Ram Gopal Varma film?
Moreover the background music that always has been a forte of RGV ventures, disappointingly turns into loud scary score after a fine start and I really wish the veteran had used “Veer veer veer veer Veerappan” repeatedly in the film just like he did in his earlier gems (instead of going for an unnecessary variety).
Summing up, this is neither any century nor a 50 hit by our not-in-form famous batsman. But it isn’t a duck either and the man does score a good 30-40 runs showing that he has still not lost the touch and is bound to get back soon in the coming years.
Rating : 2 + 0.5 / 5 (with the additional 0.5 just for the perfect lead casting that couldn’t be any better.)

[And now I would honestly like to know what actually went wrong in this Hindi version falling way short of its original Kannada hit KILLING VEERAPPAN in comparison.]
Tags : Veerappan Review By Bobby Sing, Veerappan Movie Review by Bobby Sing, Hindi Version of Killing Veerappan in Kannada, Hindi biopics, Biographical movies in Hindi cinema, 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 May 2016 / bobbysing /
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