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     
Beginning with a not so happening first half, the year witnessed some major disasters towards the end along with content driven films making their presence felt. However the inspiration list grew longer with more ‘real life’ inspired films in comparison to the official remakes in 2015 going with the new trend. The following is the complete inspired/borrowed or similar theme movies list as BTC’s annual feature.
Here we go…..!
1. I – Beautifully incorporates the concept/fairly-tale of “The Beauty and The Beast” in its revenge theme.
2. Baby – Loosely takes the structure of its final hour from the award winning English flick “Argo” (2012).
3. Dolly Ki Doli – Has its concept and initial execution similar to Punjabi film “Ronde Saare Vyah Pichhon (RSVP)” (2013), also said to be inspired from real life news stories.
4. Khamoshiyan – The basic plot of a corpse in the bedroom reminds you of the one in Hitchcock’s cult classic “Psycho” (1960).
5. NH 10 – Follows the same pattern earlier seen in English film titled “Eden Lake” (2008) with the addition of current in-news theme of “Honour Killings”.
6. Hey Bro – Loosely inspired by the theme of English flick “Twins” (1988) which also there in “Humse Badhkar Kaun” released in 1998.
7. Dilliwali Zaalim Girlfriend – Follows a similar pattern of “Khosla Ka Ghosla” (2006) wherein the ‘plot of land’ is replaced by ‘a car’ and the key character of “Khurana i.e. Boman Irani” is replaced by Jackie Shroff playing a Punjabi businessman.
8. Ek Paheli Leela – A similar concept talking about a renowned sculptor killing a beautiful girl (his subject) and her lover in the past, finding them again in the rebirth was earlier seen in B. Subhash’s hit English (adult) movie titled “Divine Lovers” released in 1997 featuring Marc Zuber, Himent Birje and a few foreign artists.
9. Broken Horses (English) – After 25 years director Vidhu Vinod Chopra remakes his own cult Hindi film “Parinda” (1989) while moving on to Hollywood.
10. Mr. X – Taking references from many entertaining films made on ‘The Invisible Man’ in the past (both in English and Hindi), the film (made by Bhatts) completes an interesting circle as it has the same title & subject used by Nanabhai Bhatt (in his 1957) directed film “Mr. X” featuring Ashok Kumar in the lead role.
11. Oh Yaara Ainvayi Ainvayi Lut Gaya (Punjabi) – The storyline & its style of narration straight away reminds you of films on post love marriage disputes mainly Shah Rukh’s “Chalte Chalte” (2003) with an added angle of divorce and court room drama.
12. Welcome 2 Karachi – A similar interesting theme of someone unknowingly getting into Pakistan territory facing the terrorists groups was recently seen in the award winning movie “Filmistaan” (2014).
13. P Se PM Tak – Director Kundan Shah gets stuck in the fascination of using a corpse as an entertaining prop in the storyline as seen in his cult film “Jaane Bhi Do Yaaron” released three decades back. But this time he even makes the corpse speak, walk and dance through a remote control and some electronic gadgets fitted in the body by an eccentric scientist. Plus the ugly get-up of the minister in the film also reminds you of the one tried by Kamal Hassan in his film “Mayor Saab” (1991).
14. Hamari Adhuri Kahani - The husband returning back into the life of his wife partially reminds you of the basic plot of “Sleeping With The Enemy” followed by 3 Hindi films in the past. Plus a sequence, where the wealthy hotelier brings the girl to meet his mother living in Shimla (playing piano) made me recall a similar scene in the 1957 English classic “An Affair To Remember” (that might not be taken as inspired).
15. Dil Dhadakne Do – Though not directly but the basic idea of the changing relationships in a party does remind you of the much enjoyable and enlightening Govind Nihalani’s “Party” released in 1984, as if this time the new updated party was organized on a cruise.
16. ABCD 2 – Along with having its share of real life inspiration from an actual Mumbai dance group, the film can still be easily called a clever mix of “Step Up” (2006) series of the west, the last half an hour of Farah’s “Happy New Year” (2014) and the basic plot of replacing an injured co-dancer also seen in Yash Chopra’s “Dil Toh Pagal Hai” (1997) hinting towards a love triangle (that had its own traces in English film “42nd Street” released in 1933).
17. Guddu Rangeela – Its key plot of two boys kidnapping a girl falling into another trap reminds you of several similar movies from “Ruthless People” (1986) to “Fargo” (1996) and our own “Love Ke Liye Kucch Bhi Karega” (2001). Plus a few dialogues straight away make you recall the epic “Sholay” (1975).
18. Bahubali – With its graphical sequences reminding you of films such as “Troy”, “Thor” “300” and Rajamouli’s own “Magadheera”, its storyline has traces of “Mahabharata” and one of the film’s poster and an early sequence is highly inspired from English film “Simon Birch” released in 1998.
19. Bajrangi Bhaijaan – Revolving around a similar plot as seen in Mehreen Jabbar’s Pakistani film “Ramchand Pakistani” (2008) wherein too an 8 year old kid and his father unintentionally cross the border into Indian Territory, the film also has traces of “Gadar” (2001) and “Shaheed-e-Mohabbat Boota Singh” (1999). Plus the opening sequence of Nawazuddin is simply lifted from a real life viral-video of a Pakistani reporter (having a similar name) circulated a few years back on the social networks (here is the link).
20. Welcome Back - A sequel made on almost the same storyline of its original “Welcome” with a few added sub-plots making a minor difference.
21. Katti Batti - A film on the same ages old theme of a terminally ill person sacrificing his or her love for all, as earlier seen in director’s own “Kal Ho Na Ho” (2003).
22. Singh is Bling – A complete scene to scene lift from the Korean film “My Wife is a Gangster” (2006) as if made by a loyal follower of Korean cinema. 
23. Meeruthiya Gangsters – Clearly accepting a heavy Tarantino influence, the film begins focusing on a group of goons discussing their latest crime with the camera constantly revolving around in circles and has an ‘ear cutting scene” too strongly indicating towards QT’s “Reservoir Dogs” (1992).
24. Kis Kisko Pyar Karoon – Follows the same pattern as seen in David Dhawan-Govinda’s 1996 hit “Saajan Chale Sasuraal” and “Sandwich” released in 2006.
25. Bhaag Johny – The basic concept has its clear inspiration taken from Germany’s “Run Lola Run” (1998) visible in its title too as “Bhaag Johny”. Also reminds you of other cult films having a similar base such as “Groundhog Day” (1993) and “Melinda And Melinda” (2004).
26. Calendar Girls – It’s the director’s 4th film on the same subject and happenings portraying them from a different angle since his “Page 3” released in 2005.
27. Pyar Ka Punchnama 2 – Exactly follows the same pattern/progression and conclusion as seen in the original, so its more of a remake instead of a sequel of the original hit.
28. Shandaar - Has several sequences reminding you of typical Karan Johar film revolving around A Big Fat Indian Wedding, an overweight character is close to the one seen in “Dum Laga Ke Haisha” (2015) and there is an old dead lady too who is made to pose as alive taking you back to the classic “Jaane Bhi Do Yaaron” (1983).
29. Shareek (Punjabi) – Traces of Tiger (Amitabh Bachchan) from “Hum” (1990) can be seen in the character of Jimmy Shergill.
30. Prem Ratan Dhan Payo – Its basic plot is a take-off from famous novels such as “The Prisoner of Zenda” and “The Prince and the Pauper” [with the shades of “Bawarchi” (1972)], already adapted several times in the West as well as in numerous Hindi films changing the theme from Kings to Dons since the mid of last century.
    Ironically Rajshri earlier made a film with a similar subject as “Rakta Bandhan” released in 1984 featuring Mithun Chakravorthy playing the twin role of a simple villager and a dacoit. Moreover the highly outdated mirror sequence towards the end also reminds you of the famous climax of Bruce Lee's “Enter The Dragon” (1973).
31. Hate Story 3 – It clearly takes its references from various sources including “Indecent Proposal’ (1993), the faulty cold drinks and blame game taken from our own “Corporate” (2006) and the terrace scene where the two heroes meet, faintly make you recall a similar one in “The Devil’s Advocate” (1997).
32. Judge Singh L.L.B. (Punjabi) – Follows the same structure of the much appreciated and award winning Hindi film “Jolly LLB” released in 2013 with some intelligent additions in the script.
33. Mukhtiar Chadda (Punjabi) – Vaguely based on a plot close to “Khosla Ka Ghosla” the film revolves around Delhi and the racket of properly dealers. A particular Ramlila sequence with a 10-faced Ravan riding a scooter is also quite similar to Akshay Kumar’s scene in “Tashan” (2008).
34. Dilwale – Has a strong influence of Mukul/Amitabh’s “Hum” (1991) along with a ‘5 minute date’ sequence taken from one of the episodes of a famous western TV Series “How I Met You Mother”. Plus there’s a dialogue quite close to the one highly appreciated in “Tanu Weds Manu Returns” (2015).

Official Remakes of the West as well as Hindi and Regional Indian Films.
1. Tevar – Official remake of “Okkadu” (Telugu – 2003)
2. Alone – Adaptation of a Thai film with the same title “Alone” (2007) which was earlier remade in south too as “Chaarulatha” (2012 – Kannada/Tamil).
3. Dharam Sankat Mein – Its an official remake of British comedy “The Infidel” (2010). But it interestingly begins from where films like “Dharamputra” (1961) and “Amar Akbar Anthony” (1977) end, when the hero comes to know his actual identity and religion.
4. Gabbar Is Back – Another remake of a 2002 South (Tamil) Hit film “Ramanaa” (2002). The version uses the name of most famous villain of Hindi cinema in its title and main dialogues, whereas the project has nothing to do whatsoever with the evil dacoit of “Sholay” (1975) and his coming back.
5. Brothers – Official remake of English action film “Warrior” (2011) and the ring fight sequences remind you of Manmohan Desai-Amitabh’s “Naseeb” (1981). But adding a bit of nostalgia, the two brothers standing in front of each other in the boxing stance also reminded me of “Johny Mera Naam” (1970) climax with Dev Anand and Pran playing the brothers.
6. Hero – Official remake of Subhash Ghai’s “Hero” released in 1983 establishing Jackie Shroff as Jackie Dada.
7. Jazba – Sanjay Gupta's official remake of another Korean crime thriller titled “Seven Days”. Plus a specific sequence of the film dealing with the allergic child & her medicine is the same as seen in Irrfan Khan’s “Deadline – Sirf 24 Ghate” (2006) which was itself an inspired version of an English flick titled “Trapped” (2000).
8. Drishyam – The fourth Indian remake of the original Malayalam flick with the same title “Drishyam” (2013) featuring Mohan lal in the lead.

Inspired Movies from Real Life Incidents and Life Stories
1. Rahasya – Loosely inspired from the famous murder mystery of “Talwar family” in Noida.
2. Hawaizaada – Based on the life of scientist “Shivkar Bapuji Talpade” (of Maharashtra) who is credited for inventing the first air plane years before the Wright Brothers.
3. Eh Janam Tumhare Lekhe (Punjabi) – Made On the life of a lesser known blessed soul of Punjab “Bhagat Puran Singh” also known as Punjab’s Mother Teresa.
4. Roy - Supposedly inspired from the romantic link between western directors Quentin Tarantino and Sofia Coppola (and has reference of one of their real life instance too.) 
5. Dirty Politics – The film is said to be based on the real life story and murder of “Bhanwari Devi” revolving around her political associations.
6. Barkha – Talking about the life of a ‘bar dancer’ its supposedly inspired from true life events.
7. Miss Tanakpur Haazir Ho – Said to be based on an actual weird case filed on an innocent man.
8. Gour Hari Dastaan - A simple, honest and shocking cinematic presentation of a real life story of an Odiya freedom fighter “Gour Hari Das” written by the renowned journalist C. P. Surendran.
9. Manjhi – Enlightens us about the unbelievable achievement of an extremely courageous, focused and adamant villager “Dashrath Manjhi”, probably with no other parallel as such credited to an individual. Incidentally the onscreen execution also reminds you of few foreign movies at times such as ”Cast Away” (2000), “Forrest Gump” (1994) and even “127 hours” (2010).
10. Talvar – Based on the famous “Aarushi-Hemraj” double murder case of 2008 in which the parents were convicted as the murderers after five years.
11. Prithipal Singh – A film based on true events in the life of “Prithipal Singh” (1932 – 1983), who was an Indian hockey player nicknamed “The King of Short (Penalty) Corner” by the then hockey commentators, as he was known to surely convert the corners into a goal with his exceptional skills.
12. Once Upon A Time In Bihar – Has references of real life agitations and inspired by real life events of ‘kidnappings’ considered as source of income in the region.
13. Main Aur Charles – Made on the real life stories of “Charles Sobhraj”, a conman/serial killer active towards the end of the last century.
14. Bajirao Mastani – Talking about the life of “Bajirao Peshwa”, the film is based upon a fictional account of history by “N. S. Inamdar” in his book titled “Rau”.

Inspired Movies from Literature and Books
1. Badlapur – The film is based on the novel "Death's Dark Abyss" by “Massimo Carlotto” revolving around real life events (reportedly).
2. Detective Byomkesh Bakhsy – Based on the first case solved by the immensely popular fictional Bengali sleuth “Byomkesh Bakshi” created by the renowned writer “Saradindu Bandopadhyay”.
3. Jai Ho Democracy – Its opening sequence straight away reminds you of the Bosnian language Oscar winner “No Man’s Land” (2001). And then the focus on ‘a hen’ wandering between the two borders with both the sides trying to catch her as a matter of ‘national pride’ is partially inspired from another similar classic short story of “Manto” titled “Tetwal Ka Kutta” (revolving around a stray dog moving between the borders of two neighbouring countries).
4. Phantom – Based upon “Hussain Zaidi’s” book “Mumbai Avengers” the film’s poster was highly inspired from the artwork of a shooter video game called “Homefront”.
(Note: Please do let me know if you are aware of any other inspired movie which came in 2015 but is not listed here by chance.)
Tags : Inspired Movies List of 2015, Borrowed or Similar Theme Movies of 2015, Officia Hindi Remakes of Foreign and Indian Films, Hindi films based on real life incidents, biographical movies, Hindi films based on books and literature, Historical movies, Related movies list of Hindi films in 2015 at bobbytalkscinema.com, Articles on Cinema by Bobby Sing
29 June 2016 / bobbysing /
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If a director having JATT JAMES BOND and SARDAAR JI in his repertoire comes up with a film such as SARDAAR JI 2 then its not only disheartening but really unfortunate for Punjabi Cinema, as there are not many from whom you can expect some quality content here making it pretty straight.
Sadly following the easier path of making a sequel that is sure to fetch a good initial riding high on the success of its original, this is yet another pathetic attempt to fool the viewers which despite having some good elements in the writing, never turns out to be any focused or well-directed project taking you for a silly ride. In fact one can easily compare SARDAARJI 2 to all those big films of a Bollywood Superstar that have nothing else to offer other than the Star himself rendering some funny or cheeky lines on a regular basis.
However mentioning the positive features first, it comes up with a very fine phrase of ‘A Safal Kisaan’ (with the extra-large produce) and the thought of progressive farming that could have become the base of the entire film talking about some relevant issues related to the state as well as its people along with the expected humour. Secondly the idea of the hero’s good and evil shadow resulting in a kind of triple role was also an interesting one, which again couldn’t work due to an unimpressive or rather confusing execution by the director Rohit Jugraj. Interestingly the insertion reminded me of actor-director Sajid Khan’s old TV serial on Hindi film reviews where he also came up with this trick of showcasing two sides of his conscience wearing long robes wherein black represented the devil and white symbolized the angel giving two different views. Casting Jaswinder Bhalla in a different role of a Pakistani Don instead of a regular witty Sikh was another major highlight of the film, which again couldn’t be exploited in any exceptional manner.
With only a few merits stated above, SARDAARJI 2 actually falls flat as the writer-director try to incorporate too many unconvincing characters and highly silly sequences one after another in order to make it a fast paced comic entertainer focusing on their star alone. As a result you get to see so many childish insertions in the film such as Diljit messing with the foreigners, the sequence with the psychiatrist, a weird scene in the court, the judge ordering him to do community service of selling ice creams, the ice creams being sold to the young girls instead of kids on a yatch/ship singing songs, Muslim characters openly roaming in cars (in Australia) holding big guns, an orphanage coming into the proceedings out of nowhere, the beautiful girls (Monica Gill and Sonam Bajwa) presented as purely dumb characters, an otherwise useful actor Yashpal Sharma utterly wasted, veteran Jatinder Kaur used in a forced cameo and Dev Singh Gill yet again made to scream in a badly written role having nothing to do.
Yes as always the music of the film is catchy, full of dance numbers. But the songs are all like the 8 regular tracks of a Punjabi pop album purposefully included in the film as its lead star is a well-known singer of Punjab too. Besides here we also have a shameful adaptation of a big hit of the 90s originally composed by the respected Charanjit Ahuja and sung by Sardool Sikander without acknowledging the creators in the film’s opening or end credits (that was not really expected). To see the similarities just listen to the track ‘Poplene/Jatt Da Pajama’ sung by Diljit and then ‘Husna De Malko’ at the link below and see the blatant lift.
In all, this is such an unexpectedly lackluster sequel from the talented team that it strongly makes you feel that they just made it following the ‘sequel trend’ without caring much about the storyline, screenplay or execution unlike any seriously made film. As an enthusiastic and supportive viewers, we readily don’t mind watching well-made entertaining comedy films keeping our brains at home, but that doesn’t mean we are supposed to appreciate and approve anything and everything served in the name of comedy without any backing of a solid writing or direction.
The film is all about the multi-talented Diljit Dosanjh and his usual funny one liners providing the timely relief. But considering the highly casual or overconfident way of presentation taking the viewers as granted, this should ideally be called MUKHTIAR CHADDHA 2 instead of SARDAAR JI 2 giving you the right picture.
Rating : 1.5 / 5
Tags : Sardaar Ji 2 Review by Bobby Sing, Sardaar Ji 2 (Punjabi) Film Review by Bobby Sing, New Punjabi Films Reviews by Bobby Sing, New Punjabi Films Released, New Punjabi Films Reviews at bobbytalkscinema.com, Punjabi Cinema Reviews at BTC, Punjabi Movies Reviews by Bobby Singh at bobbytalkscinema
26 June 2016 / bobbysing /
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Directed by Vivek Agnihotri, who last came up with BUDDHA IN A TRAFFIC JAM, a ‘stuck’ political drama released after 4-5 years, JUNOONIYAT can easily be rated as one of the most casually made films with not even a single novel feature in terms of storyline, script progression, execution or performances of its lead couple. A project made in a ‘sleep mode’ will be the best phrase to describe it using an honest expression, as the film doesn’t even try to make an impression following an all dull and lazy vision right from its first tacky sequence to the very last.
In short, JUNOONIYAT has a first half typically made on the set Yash Chopra format taking a good 50 minutes to establish the romance using Kashmir, Punjab, a poem and a Holi festival song as usual. And then DILWALE DULHANIYA LE JAAYEGE takes over the second with the climax also shot at a railway station bringing the entire family there looking at the kissing couple. But what actually makes you feel completely disconnected with the movie is the utterly fake portrayal of just everything ranging from army offices, army men, Punjab, Punjabi families, the college picnic, the runaway, the confusion, glossy marriages, the functions, the would-be husband and the finale making no impact of any kind in terms of love, romance or emotions presenting a routine drama.
Where the director conceives the film targeting the 20+ youngsters who were born after the era of DDLJ, the entire cast acts in the scenes as if they don’t really know that this all has been already done to death in the last two decades. So after a while you are not even interested in watching the beautiful Yami Gautam or the charming Pulkit Samrat doing nothing on the screen playing ‘the eternal couple’. In the supporting cast, Hrishita Bhatt is just there completing her next assignment but Gulshan Devaiah tries his best in all the repetitive scenes playing ‘Parmeet Sethi’ of DDLJ.
Made strictly as a 90s romantic saga without incorporating anything new or fresh due to some strange unknown reasons, the film also doesn’t have any great songs providing the much needed support including the remake of an old hit Punjabi track "Nachange Saari Raat" by Stereo Nation. So it’s just the cinematography that can be mentioned as the only merit of this lifeless romantic film made without any interest or vision as such.
Summing up, as love is the most beautiful emotion gifted to the human race, love stories will always remain the most favourite genre of film-makers targeting the young viewers.
However since every team is not capable of delivering a ‘new generation love story’, there will always be only one SAIRAT among hundreds of weak, wannabe trendsetters like JUNOONIYAT in every decade to come.
Rating : 1 / 5
Tags : Junooniyat Review by Bobby Sing, Junooniyat Film Review by Bobby Sing, Inspired movies, DDLJ inspired love story, 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
25 June 2016 / bobbysing /
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There are two kinds of movies based on serial killers. One, where you are not shown the real identity of the killer and the film is all about the search completely depending upon the mystery element involved in the investigation process, and two, where you are straight away introduced to the psycho man and then get to see him making all his random or specific killings with the police trying to catch him as the third party.
Interestingly where the first kind of presentation makes an engaging and exciting watch due to its teasing suspense, the second largely remains a psychological film heavily depending upon its way of presentation, the performances and the director’s personal interpretation of the theme reaching out to his target audience.
The present RAMAN RAGHAV 2.0 is the second kind of film to be specific, so the viewers looking for some food to satisfy their hungry grey cell are going to be disappointed. More so because the film doesn’t have any kind of deep justifications or detailing given to its characters leaving you with many unanswered questions about the crimes committed so ruthlessly.
Having said that there still is a masterstroke played by director Anurag Kashyap through his clever title and the pre-release hype created around a man, the film is least concerned about in its entire duration of more than two hours.
Inspired from a brutal serial killer of mid 60s operating in Mumbai and a short docu-fiction kind of film made on the subject by director Sriram Raghavan (with Raghuvir Yadav) in the early 90s, Anurag named his film as RAMAN RAGHAV 2.0 and the whole world started thinking as if the film was all about that 60’s weirdo serial killer and Nawazuddin was playing the same in his own peculiar style visualized by Anurag Kashyap.
But as the film begins, a few slides inform you about the original Raman Raghav and the next one clearly says that, This is not about that Raman Raghav of 1960s, simply mocking all those web-articles, news-items, features and more written with a wrong assumption taking it a bio-pic on the lesser known criminal made by the controversial director. In fact the complete title using two names Raman and Raghav adding a 2.0, gives you an entirely different meaning in the end, which exactly is a masterstroke reminding you of the ones associated with the renowned film-makers such as Quentin Tarantino who certainly have a strong influence over Kashyap and many more new-age Indian directors of this present age.
Dividing the film into several chapters (on a similar format seen in many QT films), the second clever feature of RR 2.0 remains its well written dialogues that force you to think upon them repeatedly. And the rest is done by the fine performances with Nawazuddin Siddiqui once again delivering a gem of an act (as a psycho killer) followed by the talented Vicky Kaushal (as the drug addict inspector), Sobhita Dhulipala (as Vicky’s girlfriend), Amruta Subhash (as Nawazuddin’s sister) and Vipin Sharma (in a cameo appearance).
Opening with strobe effects in a pub playing the ‘Qatl-e-Aam’ track, the film straight away gives you the surprise of being a story of a fictional serial killer in the present era and not the one from the 60s. The progression remains engaging with a tight editing, but not for everyone sitting in the theatre due to some severely shocking and mentally violent scenes along with a particular appalling one (discussed in details later). Unnecessary abuses can be noticed in a few scenes besides the brutal killings and the parallel track of the inspector adds a different angle into the storyline making it an interesting watch. Yet it largely remains dependent upon the acting skills of Nawazuddin Siddiqui alone till interval and doesn’t have any exciting twists and turns normally associated with such intense crime thrillers focusing on a cunning character.
Post intermission, a monotonous kind of feel, deliberate song insertions and the romantic track of the investigating officer reduces the impact further. But it thankfully ends with some decent sequences conceived around its two key characters completing each other. However I personally didn’t find any kind of big or fresh, unpredictable revelations made in its final moments.
Majorly saved by his performers instead of any exceptional writing or screenplay, no doubt Anurag is back in a good form with his Raman Raghav, but this also cannot be rated as any winning innings from the director visiting his favourite genre of dark and violent crime thrillers. Yes, one doesn’t feel bored looking at the quick story developments talking about more than one psycho character on the screen. Yet it doesn’t turn out to be any powerful, mind blowing serial killer movie forcing you to think and keep guessing on a constant basis. Also, a strong ‘Déjà vu’ kind of feeling is always there watching the entire film. May be because we have already seen Nawazuddin doing several similar kind of roles in the past as in BADLAPUR, MISS LOVELY, TALAASH, GANGS OF WASSEYPUR and more. Admittedly playing such creepy characters Siddiqui looks so convincing, that probably the directors are not able to think of any other name for such roles (sadly) typecasting a terrific performer.  
As a Anurag Kashyap film, RR 2.0 is unable to deliver that expected depth and pull which was much better in his UGLY in comparative terms. Though Kashyap successfully makes you feel the blood and violence happening on the screen without even showing it visually through an intelligent camerawork and sound, yet one doesn’t feel any kind of empathy for either the victims or the lead characters throughout the film in any way whatsoever. In fact you don’t even feel any strong hatred too for either Nawaz or Vicky at all as they never turn out to be some compelling characters reaching out to the viewers in any impactful manner as desired. One just keeps watching them emoting on the screen and doesn’t feel like exploring their criminal mindsets, their personal reasoning behind the murders and more, unlike a film revolving around a mad, sinister serial killer. Moreover it was really strange to see such a childish depiction of Police in the film, where the officials simply forget about a person locked in a deserted building and then casually hold a dangerous wanted murderer as if he is a local pocketmaar being taken to the police station.
On the technical ground, as always Anurag delivers a polished product with a noteworthy camerawork shooting at actual locations and a captivating background score giving a rhythmic edge to the film enhancing the onscreen proceedings. However there can be no denying to the fact that such catchy riffs, beats or songs commencing at just the right moment do make you feel pumped up as if participating in the criminal activity shown on the screen that can easily be stated as glorifying or romancing the violence in a dangerously influential manner. Also at times provocative, violent lyrics served with appealing beats or arrangements do make me think about the impact they can make on the youngsters in a dark, smoke filled night club playing them too loud. For instance, imagine a song like ‘Behooda’ being played in a disco and people improvising on its lyrics making different postures.
Spoilers Ahead
Coming to the most disturbing sequence in the film, Anurag continues with the subject of incestuous relationships in his present RR 2.0 too as seen in his THAT GIRL WITH YELLOW BOOTS released in 2013. But here the insertion is quite deliberate that could have been easily avoided as the purpose of character assassination of both Nawaz and Amruta was already done in the explosive lines spoken just before the introduction of the appalling incest angle. To give you a clear idea, the moment Nawaz makes all those shocking revelations about Amruta’s young days right in front of her husband without any hiding at all, it completely crushes her entire persona in a much decisive manner in just a few seconds. But Anurag willfully doesn’t stop there and goes on adding the incest angle into the sequence too in order to make it more brutal and disturbing. In other words, when the mention of all young premature sexual relationships and incest was already made in the dialogues itself, it was clearly deliberate moving into more verbal and physical depiction of the same sensationalizing the entire scene.
For records, the topic of incest has been there in Hindi Cinema in more than 25 films since the 1940s (mentioned in details in the last chapter of my book DID YOU KNOW (Vol.1) available online), but it has never been presented with such a disgusting visual execution ever till date as in RR 2.0.
However, comparing this particular sequence with the 89 cuts given to last week’s UDTA PUNJAB, its really strange that the censor board find the abuses spoken in a scene as objectionable but not there visual depiction on the screen quite weirdly. So you cannot say it as an abuse but can practically show it in a scene justifying your character’s requirement. That’s really a great insightful thinking indeed with some amazing logic. (I hope you can easily get what I wish to express here without using the exact words).
Concluding the review with another worth mentioning scene in the film, this is where we get to see the mental level of Nawazuddin’s wacko character (that can also be stated as the best scene of the film as per my personal opinion), where he is not able to count even two thousand rupees with a few notes lying on the counter getting confused repeatedly. The scene actually conveys that though his physical age might have crossed 30-35, but his mental age is still somewhere stuck around under-10. And in reality this can also be noticed in many of the normal people in the society too…………. who are not any criminals!
In all RAMAN RAGHAV 2.0 can certainly be seen once for Nawazuddin Siddiqui and his thoughtful dialogues alone without expecting any great, path breaking serial killer film from the over-famous Anurag Kashyap.
Rating : 2.5 + 0.5 / 5 (with an additional 0.5 just for the clever trick played with the title)
Tags : Raman Raghav 2.0 Review by Bobby Sing, Raman Raghav 2.0 Film Review by Bobby Sing, RR 2.0 Review, 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
24 June 2016 / bobbysing /
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