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     
Being a fan of con-movies I enjoyed the first few minutes of the film where both Emraan and Deepak Tijori fool the innocent people watching them playing the game of ‘guessing the right card’ with a clever trick. Perhaps I loved the sequence more because that was my personal experience too when I first visited Mumbai a few decades back (then Bombay) and lost a good amount of money guessing the ‘Begum’ with the marked card very smartly placed in the deck targeting me alone as the only stranger standing in that group of all con-friends posing to be some passing spectators.
Secondly, I started expecting a real good movie coming next hearing the catchy title song ‘Dukki Tikki’ which again took me back in time remembering a similar enjoyable song written on the playing cards in Dharmender-Jeetender starrer SAMRAT released in 1982. The next 30-40 minutes were all fine with a good con played by Emraan-Deepak on some other goons and the film actually began in the right sense with Paresh Rawal making a fine entry as the Guru giving few enjoyable moments along with Emraan. So till interval, I found RAJA NATWARLAL to be above average with some good peaks along with the lows, progressing at a less energetic pace.
But post intermission, I got hugely disappointed with the director Kunal simply playing all weird, unbelievable and silly tricks in the name of con, involving the cricket board and its big game of professional cricket (on the lines of T-20), making me lose all the interest generated by its first hour.
In fact such is the way in which both Emraan and Paresh go on playing their schemes fooling the shrewd Kay Kay in the second half that one begins thinking that have they really made this film for all grown up viewers sitting in the theaters or just kids below the age group of 12 without any reasoning or questioning ability as such.
For example, the laughable con played in the initial auction involving the real ball used in the World Cup final, the official premises of the board being rigged so easily, a big five star hotel being booked for Cricket team auctions fearlessly without any verification or media hassles faced, a whole new bank opened overnight in a posh road of Mumbai as if it’s a piece of cake for them all being the typical Bollywood heroes and on top of all more than 1500 crores transferred into (ordinary) bank accounts in just minutes as if they have been doing such kind of transactions from years.
Along with the absurdity mentioned above, mediocre songs keep interrupting the narration as always turning the lead couple into two funny characters romancing on the screen in such a tense situation. The pace keeps dropping constantly due to the lazy writing and then the finale con sequence which looks completely unconvincing right from the word go, ruins the whole favorable build up witnessed before the intermission.
In short, a con-movie has to be fast, thrilling and exciting all together with some enjoyable twists & turns in its narration, which successfully is able to con the viewers too sitting in their seats all of a sudden. But since RAJA NATWARLAL fails to do so with some bad editing and everything happening on a childishly unbelievable scale towards the end, it falls flat and is not able to deliver the expected quite sadly. Further its average cinematography and background score too do not add any extra edge to the movie displaying a fine start.
However, despite having a weak screenplay & story progression the film still has few enjoyable performances to offer coming from the always reliable Paresh Rawal and Kay Kay Menon. Their sequences are a treat to watch along with the noteworthy supporting cast. Plus some good support is also provided by Deepak Tijori and Humaima Malik, who apart from showing the confidence in kisses, also displays her talent in the emotions scenes too quite boldly. Yet, I expected a lot more from her, post her simply brilliant and unforgettable performance in the shocking gem BOL. Talking about the lead hero Emraan Hashmi, I frankly found him the same as seen in his previous films without putting in some extra effort to match up the performances of both Paresh and Kay Kay.
Summing up, RAJA NATWARLAL had all the ingredients of making a fine, entertaining con movie for the interested audience. But its writing, editing and direction doesn’t let the film move ahead than the level of below average. Moreover if any con film tends to treat its viewers as all early teenage kids without any logical thinking ability (and that too in the country worshiping cricket) then its bound to fail miserably in all probabilities. Still you can watch it for Paresh and Kay Kay alone and not for anything else.
Rating : 2 / 5
Tags : Raja Natwarlal Movie Review by Bobby Sing, Raja Natwarlal 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
30 August 2014 / bobbysing /
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Many of the friends here would neither have heard about this small film nor the place called Bhangarh, so they might be wondering what its all about, in the first place. Therefore to have an exact idea, I would like to suggest that you should first Google about Bhangarh once to amaze yourself and then feel the excitement by just reading about it through many reputed sources including the Archeological Department itself authenticating the stories spread with their clear instructions.
However, the excitement felt while reading about the place doesn’t get served well after watching the film, since it doesn’t take you into any horror genre to be specific but remains a mere suspense-thriller drama made with a confused mindset targeting the young audience in particular. So in short it’s a great opportunity missed as I see it because this was the first feature film made on the subject mentioning it in its title too, which could have been the premises of a great spooky movie offering some exceptional content.
Sadly what the director keeps focusing on in the film is not Bhangrah but the five college friends and their individual conversations or relationships, which takes away all the magic from the highly potential plot, quite weirdly. Moreover what can one say about the vision of its makers which allowed them to include not 1 or 2 but 5 love/youthful songs in a project which was supposed to be a horror film. In fact when the fifth song was there (and the most pathetic one with the lyrics suggesting “I am there for you Free of Cost”), one could easily hear voices saying, “Oh God!”, “Oh No”, “Not Again” from the viewers expressing their disappointment loudly.
In clear words, though the title of the film says TRIP TO BHANGARH, its story progression is more interested in talking about the trip, instead of the experience itself, becoming its biggest drawback. The actual visit to Bhangarh is there for just a few minutes in the mid and the rest of the film is all about the ‘controversial trip’ having its own consequences, without any horror element incorporated in the (almost) 2 hours of duration. The first 40 minutes introduce you to the group of five friends along with 3 mediocre songs and the last 40 focus on the strange incidents happening after they return from the trip with another 2 love songs squeezed in forcibly. So its only the middle 15-20 minutes which actually show you the trip one feels excited for.
Still what really hurts the most is its silly culmination turning the film into another mediocre crime drama on the lines of earlier ventures like TABLE NO. 21 (2013) and CHITKABREY (2011). The young boys and girls playing the lead try hard to emote well but succeed only to a limited extent, mainly due to the messy direction and irritating songs coming repeatedly. Plus the girl confidently saying all those cuss words becomes another reason for putting you off, quite often. The cinematography and background score remain average and so does the writing department except the dialogue writers who do seem to have a good knack of double meaning stuff which might appeal to a specific section of viewers in a bigger film with some known cast.
In all, this is certainly a major opportunity missed by the makers having cracked a perfect potential plot for a worth watching horror film awaited by the starving audience. So even when the viewers here are ready to convert a good horror film into a big hit, our film-makers are somehow not willing or capable of giving them the same since many years now.
Rating : 1 / 5 (Including 0.5 just for the courage shown on making a film on Bhangarh.)
Tags : TRIP TO BHANGARH Review, Trip To Bhanarh Film Review, 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
29 August 2014 / bobbysing /
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Teen Devian

Two exclusive articles on the evergreen Dev Anand’s English films have already been posted at the site with some ‘not widely known’ details about the 20th Century Fox production THE EVIL WITHIN (1970) and the initially released English version of the classic gem GUIDE (1965).
Unfortunately both these films couldn’t reach the Indian viewers due to their own individual reasons and the same was the case with this third English film of Dev Anand too which was produced by his close friend Amarjeet, who was also the known publicist of Dev’s production company Navketan.
The film was titled OH BOY, THREE GIRLS which was actually the English version of TEEN DEVIAN released in 1965. Though the Hindi version couldn’t perform as per the expectations raised, still it is fondly remembered till date for its fabulous soundtrack with all hit songs such as Aise To Na Dekho, Arey Yaar Meri Tum Bhi Ho Ghazab, Khwaab Ho Tum Ya Koi Haqeeqat, Likha Hai Teri Aankhon Mein and more.
However along with these melodious songs penned by Majrooh Sultanpuri and composed by S. D. Burman, TEEN DEVIAN was actually an ahead of its times bold film with a more western kind of a theme revolving around a carefree boy having affairs with three beautiful girls one after the another. The film’s script couldn’t explain his dilemma felt in this so called journey of love quite clearly, hence failed to impress the Indian audiences in majority. Moreover probably it was the much advanced subject of the film, which actually inspired the makers to go for its English version in all possibilities.
Adding to the unique points of the project, the censor certificate of TEEN DEVIAN says “Partly In Colour” as a very small portion of the film was shot in colour (towards the end of the movie). But sadly the presently available video versions of the film, do not have those scenes in colour. May be because the editors at the mastering studios of its home video company probably transferred the film completely in Black & White only, ignoring the rare feature of it being party in colour.  
Anyway coming back to its English version, it was reportedly shot in English with Harindranath Chattopadhyay’s poetry (composed by R. D Burman) used in its narration instead of all the memorable songs. But the print could never release, reaching the theaters due to some unknown reasons. Further, though the Hindi film’s credits say, Produced and Directed by Amarjeet, TEEN DEVIAN was in reality a ghost-written and ghost-directed film by Dev Anand himself, as his first ever attempt in direction. And the veteran has openly admitted the same in his autobiography “Romancing With Life”.
Tags : DEV ANAND and his English flick OH BOY, THREE GIRLS also known as TEEN DEVIAN (1965), Did You Know Facts about Hindi Cinema at bobbytalkscinema.com, Dev Anand in English films, Unknown Rare Facts about Hindi Cinema by Bobby Sing, Teen Devian made in English.
28 August 2014 / bobbysing /
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Us Paar - Bobby Talks Cinema.com

The phrase “To err is human” is often used when we commit a mistake unknowingly and it doesn’t get caught or gets caught after a while when our work is judged from a different perspective post (may be) many years.
Yet the other fact remains that we don’t often get to use such phrases while studying the work of maestros of the stature like Yogesh, S. D. Burman and Lata Mangeshkar working together for a project. And that’s the reason why this particular instance certainly comes into the category of the ‘Rarest of Rare Case’ when neither the creators could catch the mistake somehow nor the viewers mentioned it in the initial years of its release quite amusingly.
But at the same time, this write-up on such unbelievable error is not being discussed here with a negative vibe at all and our respect for the blessed geniuses remains intact forever.
The creation in focus here is from film US PAAR released in 1974 having a truly melodious & difficult rendition undoubtedly. Beautifully written by Yogesh, superbly composed by S. D. Burman and magnificently sung by Lata Mangeshkar, the song is “Yeh Jab Se Hui, Jiya Ki Chori” with just a small innocent mistake made in the end.
The first line of the song means “From the time my heart has been stolen” with the theft being represented by the word “Chori”. But perhaps accidently, while singing the track, Lata Mangeshkar sings “Chhori” instead of “Chori” in the end of the song which actually means “A girl” in Hindi. The error comes just in the last line sung and therefore possibly didn’t strike to anyone while recording it in the studio. But more interestingly it wasn’t later pointed out by the uncountable number of listeners too in all these years until the recent research being made for a TV program based on Hindi film music.
However two more unusual insertions in the tracks's second antra (verse) are also worth mentioning here.
Firstly it’s the word “Tainey” used in place of “Tuney” in the line,
“Kya Jadoo Kiya Tainey, Baandha Jo Tujhe Mainey……….Yeh Aanchal Se”
and then the use of “Tuyi” instead of “Tu Hi” in the line,
“Jidhar Ab Main Dekhun, Bas Dikhey Re Tuyi
Admittedly, where many reputed lyricists might not like/approve this deliberate molding of words in the song, I personally loved this sweet twisting as ‘the artistic liberty’ taken by the renowned writer. And the word “Tainey” is also used in few regions of north India in their local slang.
Still the addition of these peculiar words and a rare error in the last line surely makes this song as one of the most precious ones in the history of Hindi film music. So if you are eager to hear the melodious track once again with all the new findings, then its just a click away at the following link at youtube.
(Courtesy : Many thanks to Shishir Krishna Sharma for enlightening us with such a rare instance.)
Tags : Mistake in a Hindi film Song, Did You Know Facts at bobbytalkscinema.com, Amazing Facts on Hindi Cinema, Rarest of Rare Case in Hindi Film Music, Amazing Unknown Facts about Hindi Cinema.
26 August 2014 / bobbysing /
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