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     

Kalyana Samayal Saadham

Reading the one line heading of the write-up, you might be thinking of another bold and sensual film, probably exploiting the woman in a more controversial manner than before on the silver screen. However the pleasant surprise is that the film has nothing to do with the woman in particular and it actually deals with a man’s sexual issue for a change, defying all set norms of our Indian Cinema, quite bravely.
In straight words, many would find it shocking and many would not even believe that this 2013 release Tamil film has been actually made on the issue of ‘Erectile Dysfunction’ in men. And that too in a very enjoyable comic manner, without showing any kind of hesitancy, shyness or holding back in the film’s light hearted, cute as well as intelligent execution, unbelievably.
Plus the other major merit of this courageous attempt remains that despite having this bold issue as its basic twist and also featuring many well written double meaning dialogues explaining the problem clearly, the film never goes over the board stepping into the zone of cheap, crass or embarrassing in any of its key sequences at all. And considering the difficult subject chosen, the writer-director R. S. Prasanna certainly deserves many extra marks for this rare triumph achieved undoubtedly.
In fact, Hindi Cinema which is supposedly (and wrongly) known for setting path breaking examples for others in the country in cinematic terms, should now look for corners after watching this superbly conceived, gutsy film made on such a conservative topic never tackled before in Indian mainstream cinema ever in the gone decades.
Talking about the light hearted feel of the movie, which actually can be called its major pull too, KALYANA SAMAYAL SAADHAM (meaning Wedding Feast) begins as a typical big fat wedding film with the usual love-song-dance in the air kind of treatment lacking novelty. Lekha Washington and Prasanna as the lead couple successfully charm the viewers with their natural acts but one keeps waiting for any twist to happen soon in the first 20-25 minutes quite eagerly. On the other hand, as soon as the much awaited revelation is there like a sudden, unexpected explosion about the ‘not getting up’ problem, one not only gets seriously stunned but also feels pleasantly amused, looking at the young couple discussing it in a very sporting & enlightening manner with the help of ‘Google Search’.
Moreover, the one actor who simply spells magic on the viewers from here on is Lekha Washington (with her lovable smile) and the girl is sure going to become the adorable crush for many through her lively act. Prasanna performs his more important role making a fine impact but Lekha clearly takes away the major attention till the end due to her bubbly, innocent beauty and an immensely likable presence on the screen. The supporting cast perfectly plays their given roles as required and the script never lets you down even for few minutes due to a fine pace maintained once the secret is out.
Mentioning the negatives, though KSS revolves around a traditional arranged marriage with all the family celebrations on, still it cannot be called a family oriented film obviously due to the daring sexual theme and many double meaning dialogues targeting only the youngsters sitting in the theater in particular. Yes, the sensitive issue of impotence takes a back seat for a while in the second half and the expected crescendo also remains missing in its final moments which could have been dealt in a better style.
Yet due to a completely focused entertaining screenplay having no forcibly added comic sub-plots, no irritating songs more than the required, a pleasant musical score and two fabulous lead performances, KSS never lets you feel any of its shortcoming in those 2 compelling hours and comes up as a clear winner in the end quite smartly. The team does manage to serve the tough, untouched sexual subject maintaining a class of its own, away from vulgarity and has many innovative insertions in the script too (like the Facebook one), keeping the young & trendy feel alive catering its target audience perfectly.
Summing up, it’s not easy or something of the routine to make a youthful Indian (wedding) film talking about ‘Erectile Dysfunction’ so openly. In a society which is known for only blaming the female for any kind of difficulty arising in a married couple, the film could have easily gone into the avoidable zone of a sex-based film becoming a disaster or could also have faced many other obstacles in its making or release just because of the ‘rarely touched’ issue & the taboos around it.
Hence the fact that R. S. Prasanna successfully made his film and that too in a very classy entertaining form without offending any particular gender, with an appreciable maturity & finesse is nothing short of an unbelievable victory as I strongly feel. And thus he not only deserves a big applause but also needs to be acknowledged for thankfully pushing the boundaries of Indian Cinema a little further after a long time, especially in this specific genre of our films based on sexual issues. 
So hats off to R.S. Prasanna, his producers and his entire team of actors for supporting this path breaking project with a vision and the film is sure going to be one of key factors responsible of redefining Indian Cinema in the coming years indisputably.
Rating : 4 / 5 (including the much deserving extra 1 just for the courage, maturity and finesse displayed in making an appealing commercial film on such a risky & bold subject.)
Tags : KALYANA SAMAYAL SAADHAM Review By Bobby Sing, Tamil Movies Reviews By Bobby Sing, Malayalam Movies Reviews at bobbytalkscinema.com, Worth Watching Crime Thrillers from India, Regional Fine Thrillers, Thought Provoking Regional Films from India, Worth Watching Regional Cinema of India List by Bobby Sing, Well Made Regional Indian Movies Reviews at bobbytalkscinema.com,
29 June 2014 / bobbysing /
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Talking about any dark & ugly chapter of our recent history is certainly not an easy task for any creative mind, especially when it comes to a movie project more designed as a commercial venture and not just a realistic artistic expression revealing the exact truth. But before moving on to the movie, I would like to mention the big responsibility such esteemed projects have towards the society & its present or future generations to be precise.
Sadly the bitter truth remains that almost all the regretful chapters of Indian as well as World History are about the clashes between two religions and their blind, insane followers indisputably. Hence whenever a creative artist decides to recreate the same event or era in a book, a poem, a painting or a movie, then he essentially has to take care that any part of his depiction should not trigger some fresh hatred among the two sects irresponsibly.
Plus his creation should actually aim at establishing a new set of understanding between the followers of two different ideologies with a positive attitude, so that such shameful incidents are never repeated again by the future generations ever. And the people learn to become a better human being living a spiritual life instead of a religious one.
Now coming to PUNJAB 1984, thankfully its director Anurag Singh at least partially delivers a film which I expected from him honestly in its first hour. But then he too questionably bows down to many other commercial and moral obligations to be fulfilled in his second half, hampering the overall impact in the end quite drastically. So as I see it, there are two distinctive films here in PUNJAB 1984, one before the intermission for which I have all praises to shower upon and the other post the interval which just remains a more filmy and clumsy interpretation of the issue, willing to satisfy one and all.
Part One - (The story of a lonely mother waiting for her missing young son.)
Presenting a beautiful, emotional portrayal of a helpless mother first losing her husband and then a young loving son to the changing times, this first half of the movie is a must watch indeed directed with a focused vision and class, as expected by the experienced director of Punjabi cinema. Many brilliant sequences in this part truly win over the viewers, like Diljit’s opening scene with a comic flair, his painful cry at the fields, Kiron’s lovable interaction with Diljit’s childhood friend, their scene together at the NGO’s office, the confrontation sequence between Diljit & Pawan and the most powerful one wherein Pawan physically assaults Kiron Kher in a fit of anger.
Never giving away to any vague depiction of that era (influenced by any biased agenda), this one hour of the film remains highly authentic offering a pure emotional journey into the mind of a lonesome mother, brilliantly played by Kiron Kher reminding you of her another splendid act in KHAMOSH PANI (2003). Well supported by two other intense acts by Diljit Dosanjh and Pawan Malhotra, the trio makes you feel the painful trauma with moist eyes repeatedly and one cherishes watching a meaningful film till interval made with an honest approach.
(Note : Though she delivers an applaudable act of a mother unarguably, but mentioning one major downer, Kiron Kher’s sharply made black mismatching eyebrows remained a great distraction for me right till the end.)
Part Two(The completely filmy or messy portrayal of the era with no specific vision.)
After narrating a highly impressive and touchy story of a suffering mother, PUNJAB 1984 sadly starts walking on a completely different clichéd path deviating from the focused vision displayed in its first half. Offering all seen before, unclear references of cross border terrorism, internal disputes between the so called movement’s leaders, clever tricks played by the politicians and a lot more, the project loses the master touch somewhere in the second hour, turning it into a typical filmy take on the thoughtful issue regretfully.
Moreover the scale at which the film is supposedly made also goes for a toss post intermission, since there are no other major police officers involved in the big issue other than just Pawan alone and further we are also not shown any other big shot politicians dealing with the burning Punjab’s problem apart from a single local leader playing the tricks individually.
In the music section, the soundtrack does have some exceptionally relevant lyrics written insightfully, but also lacks an equally appreciable melody in most of the tracks, except a few. The songs do hinder the pace towards the end as usual and one really misses any particular track bringing tears to the eyes in this weaker part of the film sung by the likes of Sukhwinder with his heart piercing alaaps and opening couplets.
Technically a well-crafted film with a noteworthy camerawork and an immensely contributing background score PUNJAB 1984 has some extremely good as well as ridiculous dialogues in its many important scenes quite weirdly. Now I have intentionally used this contradictory statement because where I was deeply impressed with the writing & dialogues till the intermission, I frankly felt simply shocked listening to a few, including the one having a very disgusting phrase used for the respected MOTHER in the climax (said by Pawan to Diljit).
So witnessing such a strange & uneven path followed by this much awaited project, I truly felt as if I had seen two different movies together in one show and therefore would like to rate it in two separate parts only considering it as a rare exception made by a talented team. But before I conclude it all disclosing the twin ratings, here is what I personally feel about “How and Why” the project started sliding towards the avoidable path in its later part, unfortunately.
As per my own understanding, director Anurag Singh had a crystal clear picture of what he wished to make as a movie, moving away from all the usual run of the mill stuff earlier presented before the Punjabi audiences in the name of ‘Delhi’s 84 riots’ and terrorism. He had a perfect vision of a film based on the trauma faced by a mother searching for her missing son and this ideally represented all those unknown mothers who were actually made to live this kind of deserted life in Punjab after those dark years.
However the moment he and his writers had to deal with the second half, showcasing Diljit’s undisclosed life as a wanted extremist, they all got confused in its so many related issues and then made a complete mess trying to satisfy every single identity holding different ends of this jumbled rope desperately. In other words, despite being one of the three top most reputed directors of Punjabi Cinema, Anurag refused to take the risk of making a trendsetting or an artistically satisfying film and decided to play it pretty safe making way for a completely inferior or filmy take on the issue in his second half. The logic was kept aside for the wanted hero, as he could roam freely without any cover in the local cloth market, songs were incorporated one after another as usual, the love angle was roped in forcefully (with a well-chosen girl) since no business oriented project can be made without an adorable loving couple and thus an entirely different film was prepared to woo the ignorant audience, in huge contrast with the brilliance displayed by the director in his early hour.
In short, PUNJAB 1984 is a perfect example of missing a gifted opportunity to make a milestone film in the history of Punjabi cinema to be remembered forever. Ironically, Yes it does have a worth watching first half featuring three brilliant acts for sure. But if one studies the film in its entirety then the excellence achieved before intermission is brutally sacrificed post interval, just in order to make it another money churning project based on the dark era.
To say the truth, Gulzar’s MAACHIS (1996) and Shonali Bose’s AMU (2005) still remain the only two path breaking, truthful films made on the issue…....straight from a crying heart.
Yet you need to watch PUNJAB 1984 just for the outstanding act of Kiron Kher alone!
Ratings :
(Before Intermission : 4/5  and Post Intermission : 2/5)
Overall Average Rating : 3 / 5
Tags : Punjab 1984 Review By Bobby Sing, Punjabi Film Reviews 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 June 2014 / bobbysing /
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In the present scenario of Hindi films, the first ace you specifically need to play with is ‘Good Music’, which EK VILLAIN successfully displayed a month before the release and won the first round. Next it has to be an appealing young star cast which already has made its ground with some hit films in the recent past and EK VILLAIN did have that second ace in its sleeve too with a fine cast ensemble. Third comes an interesting novel kind of storyline essentially having the element of romance in it, which can be marketed well with some interesting promos and EK VILLAIN smartly acquired this third ace too, though taking it all from a foreign flick unofficially following the ages old trend.
So if one wishes to know about the business aspect then EK VILLAIN is a perfect product to sell with its three aces and should easily make some quick bucks at the box office before any other product gets released on the coming Friday. But looking at the product beneath its attractive packaging, it just remains a well-planned and intelligently marketed soul-less venture without any great quality of its own to make any long lasting impact. And today since our cinema as well as its viewers are fast becoming habitual of these kinds of deliberately made ‘Sale products’ only and not ‘Cinematic Expressions’, therefore I would not be surprised if this also does well at the box office, proving the above fact once again unfortunately.
However for friends who are willing to know about the film in real terms then this is a plain, toned down, inspired Indianised version of the Korean film I SAW THE DEVIL (2010) which purely followed a particular dark genre more interested in showing blood, gore and torture with an element of suspense. But since that kind of brutal treatment was anyway not suitable for our Indian market, so the makers mixed the basic theme of the original film with some romance, suspense, middle class trauma, emotional drama and a bit of controlled violence too, giving it an interesting, unusual title EK VILLAIN.
Now the move was no doubt fine to tone down the gruesome Korean film as per the Indian mindset. But making it with a questionable hasty vision, without caring about any emotional depth or exact characterisations in the script was a pretty bad & cruel decision by the team, ruining the interesting plot.
Beginning with a decent sequence giving the viewer an early shock, the film soon goes into the routine settings of a bubbly, talkative girl trying to woo the tough hero. And then as the songs start coming in, you are quickly forced to assume that an eternal love is already there between the lead pair just out of nothing. Further the narration introduces more phony characters like the irritating gangster, the frustrated middle class man, his more frustrated strange friend, a helpless or rather funny kind of police officer (who is never willing to take any solid action) and then weaves a quite emotionless deliberate film around these all.
The otherwise soothing songs keep coming at regular intervals which start disturbing the pace post intermission and this even includes a well-publicized item number thrown in carelessly (without any need) featuring the sizzling Prachi Desai. To praise the right departments, yes the frames are pretty colourful, the cinematography is impressive, the background score does well and the soundtrack has already proved itself before the release very deservingly.
But what doesn’t work in the film throughout is its shaky writing with cardboard characters, many strange poetic dialogues (not suiting the individuals) and no serious intensity at all similar to mere beautiful plastic flowers having no fragrance of their own, to say the truth. Moreover the silly explanations in many important sequences turn it into a simply below average film like the way its hero reaches the actual killer through a child, how the killer manages to find anyone to murder and that too so easily reaching their actual residence, the strange behavior of the don, the climax having a deliberate social angle and above all the questionable projection of police in the film doing just nothing. Also the whole hospital sequence post interval really made me laugh with such a childish execution wherein doctors are talking to the people so rudely, the nurses are saying to the patient “Janey Kahan Kahan Se Aa Jatey Hain” and a mother telling her child to roam freely in the hospital but don’t go out of it as if it was a shopping mall.
Still among these laughable insertions EK VILLAIN does manage to keep you engrossed for some good 10 minutes when the whole proceedings are showcased in a reverse form connecting it with all the previous scenes of its first half. But then it soon returns back to the same over melodramatic and depthless execution heading towards a lifeless climax, due to which one neither feels anything for the suffering characters nor gets connected to the melodious music as desired.
In short, apart from its hit soundtrack, there is only one department where director Mohit Suri has proved his caliber as an experienced director admittedly and it is the performance section having three sincere acts extracted from its key characters. Leading the trio, Siddharth breaks through his set image and impresses playing the tough gangster. Riteish slips into the double layered character like a pro and Shraddha though irritates in the beginning but then manages to make a decent impact in her short role gaining the viewer’s sympathy.
In the supporting cast Aamna Shariff acts fine as the nagging wife, Shaad Randhawa gets no support from his given role and Kamaal R. Khan has just been signed in to spice up the film after his newly found fame on Twitter & Youtube. Talking about the projected Don, I love my ‘O Meri Munni & Jalwa’ man a lot but Remo in the film was a big miscast frankly.
To conclude, actually the concept behind the original film I SAW THE DEVIL and the title EK VILLAIN is that we all have a hidden villain inside us, who suddenly comes into existence in an extreme situation when someone hurts our beloveds unexpectedly and then we all split into a twin personality unknowingly. The meaningful theme is beautifully portrayed in the well-conceived Korean film, but gets completely lost in the muddled script of EK VILLAIN which is nothing more than a mixed sweet & sour dish well-presented in a superbly decorated plate without any appreciable taste.
So you can watch it if you must but only for its three sincere performances alone.
Rating : 2 / 5
Tags : Ek Villain Review By Bobby Sing, Villain 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, Copied Scenes, Inspired Scenes from Classics, Inspired Movies, Copied Movies from World Cinema, Copied from Korean Movies.
27 June 2014 / bobbysing /
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Accident - Kannada

A widely appreciated path-breaking film of Indian Cinema, ACCIDENT revolves around a cruel ‘Hit and Run’ case resulting in more than 12 deaths, caused by an irresponsible son of a leading politician, driving the car in the influence of drugs and booze.
Now reading the above short synopsis of the film, one might feel like nothing new and an all seen before theme used repeatedly in many Hindi films like JOLLY LLB and few others too. But before having this particular thought in mind, just take a look at the year of its release i.e. 1985, which is 15 years before the famous Nanda-BMW case of 1999, two decades before the still in court Salman Khan’s case and almost three decades before the recent similar instances reported in Mumbai or Ahmedabad in the year 2013. And this wide gap between the film and exactly similar real life cases happening decades later clearly reveal the actual importance of this shocking realistic venture made well before its time with a futuristic vision.
Having a reputation of an all time classic in Kannada Cinema, the man behind this visionary project was the well-known actor-writer-director SHANKAR NAG, who the Hindi belt viewers would recall seeing in the hugely popular T.V. series MALGUDI DAYS. It was one of the finest television series of India which also featured Shankar’s elder brother ANANT NAG, who was often seen in Hindi films like KALYUG, ANKUR, GEHRAYEE & many more. The two hour classic ACCIDENT was even produced by Shankar himself and he played the important role of a responsible journalist in it too quite impressively. Anant Nag was assigned the central character of the culprit’s influential father heading towards his next election and it’s indeed a treat to watch the veteran in all his conflicting scenes with the dilemma post the initial hour.
A landmark project of the region, ACCIDENT was probably the first film presenting the corrupt nexus between Police, Politicians and Media in Kannada cinema. It came just after ARDH SATYA which is also considered as one of the first Hindi films to showcase this brutal truth of corruption in Police department. In fact that was the period in which Indian Cinema was going through an evolving phase and had just started revealing many hidden social evils like never before in a very bold and shocking manner.
Another major merit of this well-made gem is that it doesn’t narrate the story with a dragging art-house kind of approach and keeps the viewers involved offering a fine blend of commercial and meaningful cinema quite thoughtfully. The film’s gripping screenplay, fine performances, great camerawork and very minimal background score by the maestro Illayaraja remain its greatest strengths right till the final unexpected sequence brilliantly. Plus while watching its first few scenes, I also strongly felt that probably Ram Gopal Varma got his early inspiration for all the innovative camera angles from this one particular film alone.
Director Shankar Nag conceives his every scene with a highly believable realistic vision and the main accident sequence in it is capable of causing shivers down your spine even today after almost three decades. Well received by critics as well as by the audience ACCIDENT reportedly had a different ending at first which was later changed by Shankar due to the sudden, tragic killing of then Prime Minister of India, Mrs. Indira Gandhi, because the shocking event coincidently had few similarities with the film’s original climax.
The movie won the Karnataka State Film Award for Best Film and was also awarded the first National Film Award for Best Film on Other Social Issues which got started only in 1985. It is still remembered for its exceptional treatment of the bold subject under the insightful direction of Shankar Nag and its really ironical that later the talented artist died in a road ACCIDENT only, unfortunately.
Honestly, watching it today in 2014 many might find it outdated with nothing novel to say as per its basic theme since we all have now become habitual of seeing the same corruption repeatedly in our routine films. However the truth remains that ACCIDENT was probably the first film to talk about this kind of incident much before it actually got reported in the real life and also one of those fearless, bold films going against the system post the Emergency period in the country during the late 70s.
So if you do wish to witness the few important films which were actually responsible of giving Indian Cinema its much needed timely turn in the early 80s then essentially watch ACCIDENT as a must considering it as another basic chapter of studying film-making trends in India.
Directed by Shankar Nag
Written & Screenplay By Vasant Mukashi
Starring : Anant Nag, Shankar Nag, Arundhati Nag, Ramesh Bhatt and more.
Music by Illayaraja
(Thanks to Aditya Savnal for sharing the valuable info about this regional trendsetting gem at FB.)
Tags : ACCIDENT (1985 - Kannada), Movies To See Before You Die Thriller, Must Watch Indian Regional Movies List by Bobby Sing at bobbytalkscinema, Shankar Nag directed movies,
26 June 2014 / bobbysing /
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