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

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

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


ANAARKALI OF AARAH - You praised Amitabh teaching the meaning of a woman's NO in the court, now praise Swara doing the same in a differently authentic manner. (Review By Bobby Sing).

PHILLAURI - It's a confusingly conceived Punjabi film made in Hindi, based on an interesting but inspired idea with the only merit being its emotional climax. (Review By Bobby Sing).

TRAPPED - Post an unconvincing start, it fairly keeps you engaged as a praise-worthy off-beat attempt featuring an impressive solo act and some notable merits. (Review By Bobby Sing).

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

KONG SKULL ISLAND (English) - Though lacks an emotional pull and the original charm, it's still an incredibly made entertaining comic-book adventure to be experienced in a well-equipped theater. (Review by Bobby Sing).

BADRINATH KI DULHANIA - A unique case of the makers returning with the same lead pair, a similar title, identical looks and the same old premise of a wedding, mocking at the viewers patience & choice. (Review by Bobby Sing).

LION (English/2016) - An emotionally uplifting film which once again depicts INDIA in a bad light and we know the westerners do have a fascination for such dark representation of our country since decades. (Review by Bobby Sing).

ANUPAMA (1967) - Its touching emotional climax and DDLJ - By Bobby Sing.

COMMANDO 2 - Focusing on suspense instead of action, Vidyut gets no support in this poor and so casually conceived film unfortunately. (Review By Bobby Sing).

LOGAN (English/Hindi) - You will make faces, tighten your fists and do several things going through this brutal, cold blooded must watch thriller for sure. (Review by Bobby Sing).

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March 30, 2017 Thursday     
If one considers the promising features of GHANCHAKKAR as a film, than they are so many that its really hard to believe that the project can go wrong in such a way. To name the key ones, it is the third film of director Rajkumar Gupta after two highly appreciated ones (AAMIR and NO ONE KILLED JESSICA). It has Vidya Balan, the trendsetter playing yet another unconventional role of a kinky & bold, Punjabi lady. It has Emraan Hashmi who regularly comes up with some not-so-routine experimental projects and has his own big fan following. It has two immensely talented actors Rajesh Sharma and Namit Das who can add a great value to the proceedings, unarguably. The exciting plot of the film deals with ‘a crime’ and ‘memory loss’ which gives enough space to the writers to add in some great comic punches and keep you entertained. The film has some interesting songs lead by “Lazy Lad” & its title song perfectly representing the grey characters in its script quite interestingly. And lastly it had some superb promos which were completely different from the usual stuff and showed some big sparks of a ‘Hit’ to almost everyone.
However the bad news is that almost all the above promising features fail to deliver and the film disappoints hugely hanging in between the genres of a crime thriller and a comedy quite amateurishly. It begins well establishing all its main characters confidently and then goes on and on without adding anything significant in the narration following a shocking route. The first half does have some enjoyable moments to offer as promised but post that it all becomes quite slow as well as monotonous and the film has nothing more to say till the unexciting climax where the suspense is revealed.
Actually GHANCHAKKAR falls flat due to the main reason that its not at all an engaging comedy as projected in its strong promos. Neither the characterization satisfies the viewer nor do the characters have something substantial to say other than what we have already seen in the trailers. Unfortunately the biggest disappointment comes from Vidya Balan only who keeps trying to justify a very confused and badly written character throughout, in an over the top manner. Emraan Hashmi too keeps struggling with his weak character uninterestingly and so do the other actors on the screen in their few scenes. In fact the only two focused actors are Rajesh Sharma & Namit Das in the entire film, who successfully give you the occasional entertaining moments here and there in gaps.
As a novel story-plot, GHANCHAKKAR surely had got something great with a huge potential, waiting to be exploited in the best possible way on the screen. But the writing team surprisingly ruins it all and goes below the expected level just after the initial 30 minutes of the film, leading it to nowhere. As a result the viewer is simply eager to know the secret in the end and then walk away hurriedly. The film neither shapes up as a comic entertainer, nor turns into an interesting investigative crime thriller as it progresses which actually remains its main drawback right from the beginning. Though Amit Trivedi tries real hard to raise the tempo with his innovative background score and few pulsating tracks but without a specific direction it all goes in vain and fails to make an impact.
To say it all, GHANCHAKKAR had all the required ingredients to make an excitingly delicious dish for the starving audience. But sometimes even that is not sufficient to make a worth trying recipe and the film is a fine example of the same quite clearly.
Plus it is also one of those projects which repeatedly questions the funny functioning of our Film Censor Board, probably having different set of rules for different film-makers. And that’s because in some films they readily agree to the abuses being spoken so clearly, but in the others the same objectionable words are taken out, muted or avoided with a beep sound. Moreover, I am really unable to understand that why this is not taken as an offence when a particular dialogue which has been muted in the original print of the film as per the Censor Board’s instructions, the same dialogue is repeatedly shown in all the TV Channels in the homes so openly. Now isn’t this making fun of our own official governing body or not?
Anyway on that debatable note, its advised to watch another engaging crime thriller on DVD instead of GHANCHAKKAR this weekend and save yourself from a big disappointment in the theater.
Ratings : 2 / 5
Tags : Ghanchakkar Movie Review by Bobby Sing, Ghanchakkar Film Review by Bobby Sing, Reviews by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews By Bobby Sing, 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
28 June 2013 / bobbysing /
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‘The Fountainhead’ is one of the most famous novels from the renowned writer Ayn Rand and it holds a unique place of its own due to an exceptionally different theory on individual creative expression and its rights. The film with the same title is based on the script written by Ayn Rand herself and she reportedly agreed for a screen adaptation only when everything she wrote would be in turn shot in exact terms by the director in his final product.
Now though many friends would not rate the film as good as the novel. But despite this arguable fact THE FOUNTAINHED needs to be seen for all its other merits, especially by those who haven’t read the original novel in details along with the ones who really loved reading this distinctive expression of art a lot.
In few words, you might find the film too talkative, highly idealistic and a bit over the top too since it has nothing usual or routine in its core message about an individual’s ability and his imaginative creations. On the other hand its quite possible that it opens new doors of fresh ideas and unexplored thinking arenas of your mind through its thoughtful depiction of the brilliant idea put forward by Ayn Rand. So from that angle, it is undoubtedly a truly creative, innovative and path breaking film made way back in 1949, which probably was much ahead of its time as it seems.
To tell the truth, THE FOUNTAINHEAD flopped in the year of its release and it was also highly criticized due to the questionable choice of Gary Cooper who unconvincingly played the lead role of a young man when he was actually around 47 years of age in reality. He looked too mature and actually missed the real essence, fire & intensity of his character revolting against the spiritless society. But frankly he is not that bad as I felt and still able to deliver the goods as required to a certain extent. Moreover there are many other important positive features in the film which convert it into a must watch, particularly for all those young souls involved in creative professions, who still haven't read its original epic novel as conceived by Ayn Rand.
Revolving around the life of an uncompromising but visionary architect who is willing to build anything, only if its built perfectly according to his vision without any interference, the film is not about any particular storyline alone. THE FOUNTAINHEAD is actually about an ideology, a pattern of thinking and some set principles of life which represent the inner conflict of a highly creative person gifted with some amazing skills. Yes, the film doesn’t have everything perfectly portrayed as written in its original novel, but still it holds a significant value since the concept or the idea is worth enough to reach the young minds all over the world for their individual as well as social development. Having said that, it might turn out to be pretty bore for a few, who are only looking for some good entertaining sequences in their time spent. But if you are not one of those, then the film should ideally turn out to be truly thought provoking and highly interesting with some new well cooked food for your thinking minds for sure.
Despite of its shortcomings, it has an imaginative visualization from King Vidor, a fine art direction (remember it’s a 1949 film), noticeable background score and a wonderful cinematography (Black & White) trying to do full justice to its complex subject skillfully. Therefore, if you wish to think out of the box, with some highly stimulating, novel and unexplored kind of Ayn Rand’s philosophy depicting a creative human mind then do essentially watch this 1949 film based on the famous novel, which still can shake you well even in the present 21st century indisputably.
More importantly, since it is considered a weak adaptation, the film might also inspire you to read its original text in the book form, widely appreciated all over the world since the last century. And probably that is the main reason why this has been included here in the list of movies to be seen as a must in a given lifetime.
Directed by King Vidor
Written by  Ayn Rand (screenplay) based on her own novel.
Starring : Gary Cooper, Patricia Neal, Raymond Massey and more


Tags : The Fountainhead (1949), Movies To See Before You Die Drama, Not to Be Missed Films List by Bobby Sing, Worth Watching Films List at bobbytalkscinema.com, Must Wach Films List by Bobby Sing, World Cinema Classics List, Ayn Rand Novels Screen Adaptations, Films based on Ayn Rand Novels, The Fountainhead Novel as Film.
27 June 2013 / bobbysing /
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Weird films like this raise many big questions in your mind regarding their making and all the people involved in the creative team, behind the screen. To begin with, its really shocking to know that this is a re-make of director Susi Ganesh’s own successful Tamil film THIRUTTU PAYALE (2006) since the present Hindi version has simply nothing worth praising or even talking about. Moreover, it has such childish sequences in its questionable storyline that it truly makes you wonder that what forced the makers to choose such a film to remake for the Hindi viewers and what was in it that turned its original a hit quite strangely.
Interestingly though a remake, the film’s basic plot does reminds you of a 1982 Reena Roy starrer called BEZUBAAN which also revolved around betrayal and blackmailing. But the execution here is so bizarre and shaky that it totally ruins its otherwise satisfactory plot and gives you nothing in return as a crime thriller. To give you an idea, for a good 10-15 minutes, the film uses some extremely poor graphics (with chroma) showing the four friends touring abroad and then there are few wild life shots too simply reminding you of the Discovery Channel. Moreover, the Kenya locals are used quite hilariously who instead of making you laugh, force you to look at your watch or phone repeatedly.
Further its quite hard to believe, the way this film has been conceived and directed, with a young boy climbing big mansions (of the rich & famous) so easily surpassing all kinds of security, multi billionaires making their e-mails ids at Gmail and Yahoo known to all, people barging into Police Commissioner’s home just like that and a mother willing to make the most out of her beautiful daughter with some loud and sick intentions. Its over length becomes another nail into the coffin and then the last scene at the race course turns out to be pretty funny instead of exciting, forcing you to leave the theater at once without caring about what happens to the characters in the climax.
So then does the film has simply nothing to offer literally? No, fortunately there are two appreciable insertions in it as a silver lining in the dark clouds. Firstly it has a thoughtful sequence wherein a 10 years old young boy gets on the wrong path after witnessing his father taking bribe from different persons on a regular basis. And secondly the film has an interesting soundtrack which has few good songs including “Khaali Salaam” & “Jhoom Barabar” well composed & arranged by Himesh Reshamiya.
As the title suggests, SHORTCUT ROMEO is the rough character played by Neil Nitin Mukesh in the film and I really wonder why Neil is only there in such mediocre projects repeatedly doing all the hard work. Honestly I would love to know what Neil might have been thinking while shooting all those absurd sequences in the film, particularly the scene where he is made to run like a horse in the race course (in the climax). On the other hand both Ameesha Patel & Puja Gupta perform well in their respective roles but the rest keep on over reacting more than required.  
In all, it’s a film which needs to be avoided even when it will be coming on the channels soon, just for free. Or probably you can watch it only to be in the AC for a good two hours along with enjoying a few melodious songs and pretty faces on the screen, in this terrible heat.
Rating : 1 / 5 (and that too only for its two merits as mentioned in the review.)
Tags : Shortcut Romeo Review By Bobby Sing, Shortcut Romeo Film Review By Bobby Sing, Shortcut Romeo Review at bobbytalkscinema.com, Reviews by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews By Bobby Sing, 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
23 June 2013 / bobbysing /
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After so many memorable films made in this particular genre, coming up with a new impressive angle in a love story is quite impossible as it seems in Hindi Cinema. But surprisingly RAANJHANAA makes that difficult breakthrough in its offered content and the film surely scores its main brownie points for this very reason alone, unarguably. Having said that, there are also certain stories which make a fantastic read as a Classic novel with some exceptional kind of characters and their changing relationships. But unfortunately the impact one feels while reading them, somehow gets lost in their onscreen execution due to various reasons and that’s where RAANJHANAA falters too, as I felt while watching it.
Its basic storyline has many important twists and turns coming every half an hour which also might (partially) remind you of films such as MAGNIFICENT OBSESSION (1954), KINARA (1977) & TUM BIN (2001). Therefore, instead of mentioning any clear spoilers here, I would like to talk about the overall experience of watching RAANJHANAA in the theater (along with its absurdities), as its review in the next paragraphs.
The film starts impressively from the childhood and then enters the adolescence age quickly where the boy gets slapped repeatedly by the girl in a very weird manner. After a brief meeting revealing their identities, the religion factor of Hindu-Muslim comes in and then both get separated as the girl goes to another town for higher studies. Meanwhile an incident of the boy cutting his wrist is also there which the girl easily forgets as she returns back to the town after a few years. Now this whole premise of the boy’s one sided love is both cute and interesting too along with the colourful locations of Banaras. Dhanush’s innocent portrayal of his true to life character is another reason that this initial hour keeps you hooked on to the screen with all its love, drama and songs.

But actually, there are too many absurdities and unconvincing liberties taken by both the writer and the director in their script, which don’t let you fall in love with their characters completely. To be precise, in a traditional city like Banaras, a young School Girl (in her school dress) slapping a Romeo boy several times (right in the middle of the road), not causing any panic in the people around was quite unbelievable, keeping in mind the social structure we have been living in. Secondly as the boy and girl meet for the first time in a lonely place, in that first meeting only a young girl of 9th standard (coming from a conservative Muslim family) straight away puts her hand in the boy’s open shirt to find his “Jenau” was again highly absurd for me and strongly disgraceful too. Thirdly, it was really funny to see that the girl, returning to the town just after 3-4 years is simply not able to recognize the same boy who had slit his wrist only for her when she was in the 9th standard. Certainly we don’t have such a weak memory power in our minds, forgetting our own golden adolescent years full of love and energy so fast.
Thankfully, just when the boy-girl love angle starts becoming too long and monotonous, comes Abhay Deol to save the film, but then he also falls in the same trap of absurdity in the next few scenes and disappoints. Now the highly weird scenes featuring Abhay Deol includes the one wherein a sudden kiss on the cheek is given by the girl right in the middle of the campus (a girl who comes from a traditional Muslim family of Banaras). And why she kisses Abhay on the cheek, all of a sudden? That’s because she strongly wishes to prove her point that all people are not equal on this earth and some are special. No doubt quite an innovative idea to make a point and bring in the romantic feel by the writers indeed! Next the same Muslim family members of Banaras who are very particular about the religion, make no investigation about the boy, ask nothing about his family background and have no questions to ask before announcing the marriage of their beautiful daughter to him in a hurry, as if the writers have kept a gun at their back. Interestingly the boy, i.e. Abhay Deol is a Punjabi in reality and not a Muslim, so here we have the much needed PUNJAB angle also brought in as per the latest trend.
However, this is where we have the major twist in the plot, which happens to be the only worth mentioning feature of the film as stated in the beginning of this write-up. The twist has a novelty of its own, which sadly gets lost as the story moves further and the director misses to use the factor of guilt, love and emotion in it in the later part of his film. But wait the ‘Memory Loss’ absurdity re-surfaces once again here when the main hero, Dhanush forgets to attend his own marriage after getting dressed for it in the tailor shop and so does his dear friend who was most interested in getting him married in order to get out of this silly love-mess. Surely the lead characters here need to be treated for their repeated memory loss fits by their creators (writers) urgently.
Post intermission, we have another shocking twist and then suddenly the love story takes a major, social political turn bringing in the ‘Safdar Hashmi’ element into its execution. Now we have our lead characters fighting for the rights of the common man, cleaning the roads and even contesting for the elections against some big established leaders. Seriously, I don’t know in which part of the country it is so easy (in just a few weeks) to be in politics, but that’s how it is shown in this so called thoughtful project titled RAANJHANNA. Towards the climax, the absurdity syndrome enters again when the now grown up girl decides to double cross the ruling leader of the party like a piece of cake, but in the process forgets to take her own lover boy in confidence (before the planned social meeting where he is going to be attacked). As a result, the girl wins the game but the boys loses it all since he is supposed to end the film like that as thought of by the writers.
In short, keeping the absurdities aside, it’s the first half of the film which makes an impression but the second half pulls it down completely giving it a political angle unnecessarily. Too many unrelated subplots inserted post interval, dilute the overall impact of its fine love story and the viewer loses the interest once the film crosses its desired length. Further, due to the above mentioned reasons, the pure and innocent love of Dhanush doesn’t touch the viewer that strongly and he more or less remains just a character on the screen facing a constant pain till the end. Also I found the director’s vision quite confusing here since at one end he gives great emphasis on the ‘Street Plays’ and the Communist thinking of the student group and on the other makes fun of their collective intellect in a scene wherein Dhanush is taken as a thief.
Looking from a brighter angle, cinematography plays a major role in making an impression capturing the local ambience of the city beautifully and the dialogues make their presence felt in few enjoyable scenes. But the music (including the background score) turns out to be a quite less than expected from the maestro A. R. Rahman as I felt personally. A subject like RAANJHANAA would have been a lot different with some memorable songs by Rahman, but sadly they are not there to support the film as desired except “Aisey To Na Dekho”. Frankly this also forces me to think that if a big production house hires a composer like Rahman for their major film to be directed by a young director. Then what happens when that young director (following a different vision), doesn’t like any of the tunes made by the master for various songs. How he conveys his disapproval of the tunes to the master and how the master reacts to this rejection by a young director for his work done to the best of the ability. Surely, that’s an interesting point to be asked to the concerned parties.
In the performance section, the film totally belongs to Dhanush, who makes a strong impact as an actor particularly in the second half. He wins over the viewer first with his innocence and later with his acting skill in the final hour of the film quite strongly. In fact such is the impact of his ‘boy next door’ act that the film possibly would have been nothing with any known Bollywood face playing the role, in place of Dhanush.  Sonam on the other hand, seems to be in a continuing mode from her previous films like DELHI-6. Though she emotes well both as a school girl and the wing leader in the college, yet I couldn’t find anything new in her act honestly. Abhay Deol once again delivers what is required from him in a small special appearance. But why he accepted such kind of miniscule role remains a mystery. In reality, it’s the supporting cast here which makes a more important contribution, wherein both Mohammed Zeeshan Ayyub and Swara Bhaskar are truly brilliant as Dhanush’s childhood friends. Plus Kumud Mishra, Vipin Sharma and Sujata Kumar simply excel in their few but important scenes in the first half.
In all, focusing only on its core issue of a one sided love, its mistakes and the guilt factor, RAANJHANAA could have reached a different level altogether in this particular genre. But in its present avatar it just remains an above average love saga with a difference. And you can watch it once just for Dhanush’s sincere act to say the actual truth.
Rating : 2+1 / 5 (Including an additional 1 only for Dhanush’s honest act and the novel twist in its story line before the interval)
Tags : Raanjhanaa Review By Bobby Sing, Raanjhanaa Film Review by Bobby Sing, Ranjhana Review, Movie Review Ranjhanaa, Reviews by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews By Bobby Sing, 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
21 June 2013 / bobbysing /
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