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     
Many writers, critics, film-buffs, bloggers and veterans of the film industry too, have often mentioned that India has such a diverse range of literature in its different languages, which hasn’t been presented before our younger generation at all. This includes several enlightening & life transforming short stories, novels, plays, poems and a lot more hidden in those forgotten archives which are worthy and deserving enough to be adapted in the new expressive formats such as serials, movies and short films for the new generation, innocently unaware of their rich heritage.
Articles on CinemaBut recently I was informed about a very sad and disappointing kind of problem, being faced by some genuine film-makers who are willing enough to adapt these precious traditional gems for the silver screen with their own minimum resources and wider visions. The problem is related to a very reputed and responsible organization known as ANIMAL WELFARE BOARD OF INDIA but before going into the issue, I would like to share one relevant piece of information with all the young readers here about a common link found in our rich & insightful traditional culture of India, followed in all the rural areas of the country in its distinctive regions like Punjab, Haryana, Rajasthan, Garhwal, Jammu and many more.
And that important link is the lovable relationship of our farmers or villagers with their beloved animals. Now these animals may be cows, bulls, camels, donkeys, mules, buffaloes, goats, dogs and even more. But if you have ever been to a village then you must be aware that despite being animals they are just treated like family with an equal amount of love & affection showered upon them, as felt for all the other family members of the house impartially. In fact, in most of the cases they are just like the kids, who get huge amount of love from all the family members together and become an invisible binding force of the house quite lovingly.
To be precise, our Indian traditional stories and folk tales are simply incomplete without the contribution made by these friendly living beings and life in villages cannot be even thought for a second without them being there with us in our fields, farms and narrow village lanes. So the moment one thinks of making a short film, serial or a movie based on any of those enlightening stories of one of our renowned writers of the past (talking about the village life), then one has to bring in those animals too, very thoughtfully used as some special characters in a story by its writer. And this is exactly where the problem actually begins.
From the last decade, ANIMAL WELFARE BOARD OF INDIA has become quite strict upon use of animals in cinematic expressions and they have some elaborate specifications to be fulfilled before casting an animal in your feature. For instance, even if you are ready to take all the necessary precautions while shooting with a real farmer with his own animals (brought up like his kids), owned from years without any registrations made anywhere with the authorities. You are still required to satisfy a lot of conditions specified by the Board and then only can commence the shoot after taking the right approval or NOC as required.
Now, no doubt it is quite right and understandable too that there does exists a noble motive behind these restrictions imposed by the Board, aiming at stopping animal cruelty and their exploitation while using them for any film shooting. Yet the need of the hour is to make these rules a little flexible and easily doable at least for the projects which are being made with a vision of taking our rich literature forward to the present generation. These certain liberties granted especially to such rare projects would surely encourage many small or debutant film-makers, who are just willing to share these stories with the new-age youth by shooting them within their limited budgets without the help of any professional producers as such.
In other words, if we really wish to introduce the younger generation with our rich literature of the past then we do need to ease out things in this particular direction for the sake of both art and heritage together along with the mandatory restrictions on animal cruelty and safety being intact. Our cultural roots have a deep & inseparable relation with these animals living along with us from ages and these stories need to be presented before the young minds well in time, before its too late.  
To give you an example, if a fresh, debutant film-maker wishes to make a short film on Premchand’s “Do Baillon Ki Katha”, in which there are Heera & Moti as the two key characters or another is willing to make a series on “Mulla Naseeruddin” who always travelled riding his donkey. Then the director would first have to go through the long process of taking NOCs putting all his energy & effort into it, which will possibly take away his newly found enthusiasm of bringing alive the rich literature of our country on the celluloid in the first step itself.
So with this write-up I sincerely wish that the authorities of our ANIMAL WELFARE BOARD OF INDIA see to their set rules and restrictions with this particular angle related to our Indian Literature and then make some specific provisions for the same as desired.
With a hope that we would realize the importance of this issue soon!
bobby sing
Sutta Naag(This article was written after one of my dear friend, Amardeep Singh Gill’s self funded & directed short Punjabi movie “SUTTA NAAG” (Sleeping Snake) was caught in this complicated web of restrictions for only one scene wherein a husband is taking his wife to another village, who is riding a camel. The film is based on the short story of Punjab’s reputed writer Late Ram Sarup Ankhi and in those days camel was actually used as means of transportation in real life.)

The trailer of short film “Sutta Naag” can be seen at the following link :
And the set of instructions given by the Animal Welfare Board of India can be accessed at the following link :
Tags : Our Rich Traditional Culture and Literature VS Animal Welfare Board of India, Articles on Cinema by Bobby Sing at bobbytalkscinema.com, Use of Animals in films, Restrictions on Use of Animals in Films, Thoughtful articles on Cinema by Bobby Sing, Sutta Naag, Short Traditional Stories, Premchand.
31 August 2013 / bobbysing /
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If reputed directors like Prakash Jha are only interested in coming up with clever but weak products such as SATYAGRAHA repeatedly, then its really hard to find all that energy and enthusiasm to write about it in details commenting upon each and every finer aspects of the movie individually. So taking a clue from these veterans only, I am also not willing to write any descriptive note on this film and would like to go for a very lighter and different kind of review this time, more like a spoof. So here is a brief description about the film, in the form of a fictional conversation between a producer and a director.
(Note : Spoilers Ahead on the film’s basic storyline)
Producer : Hi Director Saab, These days this ‘Anna movement’ is in news majorly and influencing a lot of people all over the country as well as abroad. So lets make a film on this subject. Social Issues has always been your forte and you can easily come up with a quick film on this to en-cash the revolutionary spirit of the country.
Director : Sure, Why not…… Lets make a film fast and I have even started conceiving in my mind right away!
Pr :  Ok, Good then who would you cast as Anna?
Dr : Who else, it will be the most respected name of the Industry itself, Shri Amitabh Bachhan….and believe me he will look damn good in all those emotionally confronting scenes and then in the make-up of an old man on fast with extremely tired expressions.
Pr : Great, but what about the script?
Dr : Oh, that’s just a piece of cake. We will plan first half, following the hit pattern of RAAJNEETI, introducing every character with a powerful entertaining sequence and then would bring them all together at one platform announcing the intermission. Later in the second half we will strictly follow what happened in the Anna Movement in Delhi, involving both the ruling as well as the opposition parties and then end the film with a roaring climax with people all around conflicting with police and total chaos.
Pr : Good and what can you do about the other cast since we need to go really big with Amitabh on board?
Dr : Don’t worry about that as I will bring in my Hit ensemble of RAJNEETI again i.e. Ajay Devgan, Arjun Rampal, Manoj Bajpai and together they will make a great poster with Amitabh in center. Also would try to write another winning role for Manoj on the lines of RAJNEETI.
Pr : Fine, now what about the female cast, I don’t want to make a hard hitting realistic film and it should at least have a glamorous face, a love song, an item song and one Deshbhakti song to go with the mood of the film.
Dr : No problems, we can easily rope in Kareena Kapoor in the role of a beautiful reporter who will be always there on the screen with her make-up on and along with that we can take Amrita Rao to play it low as the victim (since her dates will be easily available). Plus as desired the three songs will surely be there, which can be placed anywhere before or after the interval looking at the story-flow.
Pr : Haan, In songs do take a soothing classical number from Aadesh as was in RAJNEETI and also put in these currently famous social networks too in some sequence like Facebook, Twitter and more. If possible make a new version of “Raghupati Raghav Raja Ram” as it gels well with our national theme of the film.
Dr : Yeah, that is really a good idea and can easily be done.
Pr : Ok, Achha lets add some more fiery incidents and some fine actors too in order to make it more dramatic.
Dr : Fine, then we can add a young boy setting himself on fire in front of Anna only (Daadu in film). Many current issues like the costly Power tariffs complaints & more corruptions related ones can be shown too. Regarding adding some fine actors, we can bring in names such as Vipin Sharma and Indraneel Sengupta to play two key characters. Also Mugdha Godse can be roped in for one or two scenes to add to the glamour factor. But for the item song we do require some sizzling girl dancing in a revealing outfit.
Pr : That I can arrange when we finalise the shooting schedule but do use the song very intelligently as people are nowadays very much interested in criticizing these item songs.
Dr : Ok, then we will use it while the titles are running on the screen as then it will not be noticed by everyone so firmly.
Pr : Aur yeh aajkal Brand Promotion kaafi chal rahi hai. So I will get some Chaawal or other brands too for using in one or two scenes.
Dr : No problem that can be incorporated easily in the beginning only.                                                      
Pr : One more thing Director Saab. Please write one or two scenes wherein Amitabh is very emotional and crying silently. I am big fan of his and there is no one in the whole industry who can beat Amitabh in such emotional scenes with tears in his eyes.
Dr : That is perfectly true Sir, without any doubts. But towards the end we will also put some murder mystery kind of thing as that will add to the pace.
Pr : Ya sure, you should do that. Now lets come to the climax. With Anna movement in the second half, how are you planning to end it?
Dr : Oh! That is very simple Sirji. As we know that this system is not going to change so easily and there is no immediate solution lying with anyone of us……….! Hence obviously the system will stand still as it is........... and it has to be the character of “Dadu” only who will die in the end, shot by the police through a conspiracy. That’s it.
Pr :
Haan yeh theek hai and you can show the conspiracy being done by any individual leader on his own. So in this way we will also not disturb any political party too and have a safe path.
Dr : Right. But what are your releasing plans for this!
Pr : Ammm……We would try to release it at Independence Day in 2013, but if any big movie is around then can shift to late August. But definitely before the elections as that will give us more interested viewers in a subject like this.
Dr : Ok, but honestly Sir, I wish to give a strong message through this film to the whole country about our election system and wrong choice of candidates all over! How you feel about this message?
Pr :
Message…….What message?? Listen Director Saab, we are film-makers not social reformers. So just use this burning issue for your script and make an entertaining film with lots of conflict between Anna, Police, People and Politicians, that’s all. We are here to make money out of this project and not interested in getting only good reviews without the backing of any solid returns. However if you really wish to give any message then just throw in 7-8 minutes of that in the closing sequences and fulfill your inner desire peacefully. Ok…let’s now get moving as we have to release it before the next elections.
Dr : Got it Sir and I will surely try my best to make a commercially viable film selling this relevant social issue of our country in the name of cinema and who knows we might have another jackpot in our hands like earlier.
(With this, the conversations ends and so does the review of SATYAGRAHA, giving you all the possible hints about the movie itself.)

Ratings : 2 / 5
Tags : SATYAGRAHA A vague attempt, Satyagraha Review by Bobby Sing, Satyagrah Review by Bobby Sing, Satyagreh Review, Prakash Jha Satyagraha, Film on Anna Movement, 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
30 August 2013 / bobbysing /
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(Continued from Part One)
Article on Hindi Horror Films by Bobby SingIn the new millennium, director Rakeysh Omprakash Mehra came up with his first film based on an experimental script dealing with the horror genre differently, titled Aks (2001) featuring Amitabh Bachchan and Manoj Bajpai together. But the result was not encouraging enough and same was the case with veteran Raj Kumar Kohli trying to revive his hit formula in Jaani Dushman (2002).
Nevertheless, since the viewers were already ready with a new mindset after watching the world class quality cinema on several international movie channels streaming right into their homes, the change was inevitable and it did come with the success of two path-breaking films namely Raaz in 2002 and Bhoot in 2003. The unexpected hits brought forward two new mentors of horror movies, Ram Gopal Varma and Vikram Bhatt to rule the horror genre for a while. And thus our Hindi Cinema moved forward from the Ramsay era to the new age Ram-VikRam era with the beginning of a new millennium. Here a worth mentioning interesting point is that where Vikram’s Raaz was all inspired from a English hit, RGV’s Bhoot was in fact a remake of his own Raat released a decade before. In other words, RGV was rightly so confident and ahead of the times in his futuristic vision way back in the early 90s and he strongly proved his point well after a decade (in 2003) with the instant success of Bhoot, which was just Raat revisited again with a new backdrop.
So after the initial hiccup, the new millennium began favourably with these two films, followed by many better quality and fresh concept based horror movies directed by some reputed names (including many sequels too), much ahead than those typical, poor, B-C-grade ventures made earlier.
However, there were two other noteworthy points which actually caused this timely revolution in the set pattern followed by Horror movies in India as given below:
Article on Hindi Horror Films by Bobby SingFirstly now we were having our own corporate productions houses associating with all the big & famous Hollywood studios for making their next projects, who very well knew how these horror movies need to be made and conceptualized without going into the mode of that cheap B-C grade followed earlier. And secondly, now the ‘essential sex element’ was not there added into the script forcibly, like they used to do before the 90s. As a result, horror movies were now being seen by a wider section of viewers (particularly the young ones) who were coming to the theater both in the smaller cities as well as the metros in big groups of friends and families together.
Hence post 2003, suddenly the genre became hugely viable and a result oriented one for the costly multiplexes too and there were number of horror movies released in the next 10 years as Ho Sakta Hai, Hum Kaun Hai, Eight Shani, Hawa, Vaastu Shastra, Naina, Anjaane, Raaz (Series), 13b, Kaal, Darling, Flat, Kaalo, Darna Zaroori Hai (Series), Phoonk (Series), Shaapit, Agyaat, 1920 (Series), Ghost, Bhoot Returns, Help, Click, Haunted, Ragini Mms, ? Question Mark, Hisss, 3G, Ek Thi Daayan, Aatma & more. But along with this new revolution, the good old Ramsay kind of movies were constantly being made for their particular section of viewers like Aatma, Ghutan, Bachao, Dafan & Khooni Tantrik, which were mostly distributed in the smaller centers and later in the home video market at a very cheap price.
Plus many worth praising thoughtful attempts were also seen, mixing the horror element with a social message or comedy in movies such as Gauri The Unborn (dealing with the female foeticide issue), Bhootnath (talking about family togetherness), Bhool Bhulaiya (featuring traditional heritage in a comic way) and Go Goa Gone (dealing with zombies in a funny manner).
Article on Hindi Horror Films by Bobby SingLooking at the dark side of this scenario, a very obvious and relevant question can be asked that ‘How this genre manages to survive, when almost 70-80% of the above mentioned movies are actually flop?”. And answering this valid query I would like to say, that the secret of their survival formula firstly lies in their comparatively low budget of production, which can be recovered reasonably with a proper release (as provided by the reputed production houses). Secondly, their limited publicity campaign more relies on the shock value shown in the promos which can go viral at several points and doesn’t require big number of spots on all the major TV channels like other big films. And lastly but most importantly, the horror genre enjoys a very wide and an ‘always in demand’ kind of market in the home video circle wherein people are constantly looking for the new VCDs and DVDs coming from all age groups ranging from the very young to the very old. And this basically becomes the major (long run) source of returns for the horror genre in particular.
In support of the above statement, there are several examples of films which may not have worked well at the box office or were declared flop, but had a fairly good run (later) in the home video market and are still in demand as the best sellers. Putting it differently the viewers are very much ready and interested in enjoying all those spooky thrills & shocks while sitting in their homes only and that is the reason there are hundreds of 3-in-1 or 5-in-1 DVDs being circulated in the market (with 1 known and other lesser known horror films made in 80s & 90s) released by almost all big and small video companies. Moreover there is a huge market of dubbed Horror films too, featuring both foreign as well as regional scary movies dubbed in Hindi.
Amusingly the astonishing euphoria around these horror movies made before 2000 also influenced director Ashim Ahluwalia to make a dramatic film on this B-C-grade horror & porn film industry called Miss Lovely in 2012, which was also screened in the reputed Cannes Film Festival held in the same year (but hasn’t released yet for some unknown reasons).
On a concluding note, at present ‘The Horror genre” is the only one which can still bring in a decent number of crowds in the theaters with just marginal (quality) publicity and no big star or face value. And this is exactly what I felt while watching few of the recent Hindi horror movies wherein there were more people sitting in its first show itself, than the ones watching a big film released on the same day featuring a well known star. But since we are not really making some good horror movies nowadays, the encouraging initial response gets lost in the subsequent days, resulting in flops which are then immediately released in the home video circuit (to cover their basic cost).
Article on Hindi Horror Films by Bobby SingHonestly the thought of writing on this evergreen and one of most favourite genres of film buffs came to my mind while watching the recent Hit English horror flick “THE CONJURING”. Now though it was being shown in only 1 (morning) show in a central Delhi’s famous multiplex, but at the same time it was also the 3rd week of its release quite surprisingly. The theater was almost full of students and viewers in the age group of 18-30 only. They were buying tickets in big groups and the security people were having a tough time searching their heavy carry bags full of books and more. During the screening, every sudden shock at the screen was greeted with loud shouts and each silent moment of the film was filled up with funny comments from any one corner, cheered by all. The young brigade of both girls and boys together were enjoying the scary experience a lot and the movie too had enough to serve their horror hungers well. And this was all happening in the 3rd week of its release, without any major publicity campaign running either on any TV channels, print media or the internet.
The pleasant experience forced me to think that if only our Hindi Film Industry can come up with an exceptionally good horror film on the lines of Bhoot or The Conjuring, then there will be simply no need of spending so much on the publicity or roping in a big star to pull the viewers in. The Indian audience has always been ready to watch a good spooky film without any of the above mentioned support, but we really haven’t served them well with some worth watching Horror films on a regular basis from long. So with a hope that the gap would be filled soon by one of the upcoming directors of our Industry grabbing the opportunity first, I would love to watch one of my favourite horror flicks ‘Purana Mandir’ once again and take your leave.
Bobby Sing

( Written Expressions - All Rights Reserved - 2013)

Tags : Article on Hindi Horror Films by Bobby Sing, Hindi Horror Films History, Bollywood Horror Films, Ramsay Brothers Horror Movies, Mohan Bhakri Horror Movies, Raj Kumar Kohli Horror Movies, Articles on Cinema by Bobby Sing
26 August 2013 / bobbysing /
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If you are familiar with the home video market in India (beginning from the mid eighties), then you must be aware of the fact that one of the most demanded and saleable genres in the VHS (now obsolete), VCD & DVD circles till date remains the horror one, which has a big section of viewers (fans) particularly loving the B-C-grade horror movies (of the 70s & 80s) due to their own distinctive reasons. Wherein a few love to watch the horrifying scenes in them with scary faces, cheap gimmicks & screechy music, the rest watch these movies mainly due to the essential element of ‘erotica’, incorporated in a parallel track running along their basic storylines. Several websites or blogs can be found talking about them collectively, but interestingly the ‘Horror’ genre was not always that cheap and low grade one, if we look into the projects made around the mid of the last century (before the 70s).

Article on Hindi Horror Films by Bobby SingBeginning with the late 40s, it was actually without any scary figures or bloodshed and had its main focus on a suspense based horror, dealing with wandering spirits of beautiful ladies & melodious music such as in Mahal (1949), Madhumati (1958), Bees Saal Baad (1962), Kohra (1964) and more. Plus there were several other movies which were a mixture of suspense and horror subjects together like Woh Kaun Thi (1964), Bhoot Bangla (1965), Gumnaam (1965), Anita (1967), Ek Nanhi Munni Ladki Thi (1970), Ek Paheli (1971) & others which mostly didn’t have any spirits or supernatural angle at all but were still able to haunt the viewers well.
Now till these decades, the genre was exploited in a pretty decent manner which was not really frightening or gruesome in the literal sense and many reputed names used to feature in them with pride including Ashok Kumar, Dilip Kumar, Manoj Kumar and even Prithviraj Kapoor. But once Ramsay brothers got their first success with Do Gaz Zameen Ke Neeche in 1972, the game was not the same anymore and the genre further got consolidated as a potential B-C-grade parallel industry where in films were able to get some marginal returns (in the long run) even when they were declared as flops or below average performers at the box office. And these returns mostly came from the smaller centers (with a huge fan following) and morning show screenings in the cities too.
Article on Hindi Horror Films by Bobby SingIncidentally there is a very engrossing story about how The Ramsay Brothers actually found their Horror formula in reality and the fact is related to the film Ek Nanhi Munni Ladki Thi (1970) which didn’t do well but still gave them a clue about what exactly was being cheered or liked by the audience sitting in the theater. In the film (which was not about any ghost) there was a sequence where in Prithviraj Kapoor visits a museum to steal his ancestral dagger in the disguise of a huge ghost having a scary mask, a creepy costume and a bullet proof jacket. And this was the only sequence getting the most louder and energetic cheers from the viewers, which exactly gave them the idea of what to make next in their movie careers, in the shape of Do Gaz Zameen Ke Neeche.
So once the path was set, the 70s witnessed a series of horror films made on this newly found formula like Darwaza (1978), Aur Kaun (1979), Bhayaanak (1979), Guest House (1980), Andhera (1980) and more, along with two interesting experiments tried within the horror genre only by Raj Kumar Kohli which became big hits & they were Nagin (1976) & Jaani Dushman (1979). Plus there were few well attempted, interesting ventures too such as Jadu Tona (1977) by Ravikant Nagaich and Gehrayee (1980) by Vikas Desai-Aruna Raje, tackling the scary subject in a thoughtful manner quite different than the other routine films by the Ramsays.
Article on Hindi Horror Films by Bobby SingIn the next ten years (of 80s),
though the experimentation continued with films like Mangalsutra (1981) & Chehre Pe Chehra (1981) (which was not exactly a horror one featuring Sanjeev Kumar in an awfully ugly get up), the decade completely belonged to this new ‘Low Budget-High Returns’ movement started by Ramsay brothers and they were openly considered as the pioneers or specialized makers of such horror movies, much awaited by a particular section of viewers quite eagerly. Loads of movies conceived with a similar mindset released in this particular decade (made by some other makers too like Mohan Bhakri) and a few of them even became big hits at the box office continuing their success story. Recalling the most famous names, they included Purana Mandir, Tehkhana, Hotel, Cheekh, Kabrastaan, Khooni Panja, Band Darwaza, Veerana, Dahshat, Sannata, Purani Haveli, Pyasa Shaitan, Haveli, Daak Bangla, Woh Phir Aayegi, Khooni Murda, Bees Saal Baad & many more.
Amazingly, Ramsay’s Purana Mandir turned out to be one of the top grosser of the year 1984, even when it had to face direct competition from many big films featuring stars like Amitabh Bachchan. In fact such was the demand and a hidden success ratio of these sub-standard films that one of the first few 3D movies made in India during the mid eighties was also a horror film called Saamri (1985) which was again presented by the Ramsay Brothers proving their solid status in the industry. Hence before the mid 90s, there was a whole segment (producers) of Hindi Film Industry specifically making these types of low budget, horror movies only, having a must track of ‘sex’ as well as ‘comedy’ thrown in as the two specifically required ingredients of a hit recipe. And unfortunately many talented actors like Jagdeep, Prem Nath, Lalita Pawar, Satish Shah, Rakesh Bedi,and more were also seen acting in them doing very silly roles of watchmen, housekeepers or servants. 
Article on Hindi Horror Films by Bobby SingAfter this avoidable yet most extensive era of horror movies, the viewer’s thought structure was influenced a lot by the Cable TV revolution in the country. And looking at this great positive change, the maverick Ram Gopal Varma (RGV), tried to begin a new trend by making a well crafted, well acted and technically advanced scary film with some great sound effects & novel camera movements titled Raat (1992). But the film proved to be a dud at the box office, since it didn’t have the routine expected masala of a horror film and probably the viewers were not ready yet. Later, many renowned film-makers also tried to bring in that much needed change with their individual efforts like in Junoon (1992) by Mahesh Bhatt, Paapi Gudia (1996) by Lawrence D’Souza and Kaun (1999), which was again brilliantly directed by RGV only.
But since none of these films could impress the audience & register themselves as hits, the earlier pattern of horror films calmly continued as an undercurrent in the revolutionary decade of 90s too with films such as Kafan, Roohani Taqat, Aakhri Cheekh, Khooni Raat, Khooni Panja, Dracula, Sar Kati Laash, Murdaghar and many more. Also due to the visible fading impact, The Ramsay Brothers shifted to the smaller screen with their long TV series called, “Zee Horror Show” which ran for more than five-six years entering into the new millennium.
(Post 2000……….To Be Continued in the 2nd part of the article.)

(Written Expressions - All Rights Reserved - 2013)

Tags : Article on Hindi Horror Films by Bobby Sing, Hindi Horror Films History, Bollywood Horror Films, Ramsay Brothers Horror Movies, Mohan Bhakri Horror Movies, Raj Kumar Kohli Horror Movies, Articles on Cinema by Bobby Sing
25 August 2013 / bobbysing /
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