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May 25, 2017 Thursday     
Shekhar Kapur’s epic movie on the burning subject of ‘scarcity of water’ has been in the news since last few years with a probable title of PAANI. But as the project still remains in the ‘announcement stages’ only even after several years, it was indeed a quite intelligent move of director Nila Madhab Panda to come up with a satirical comedy on the theme hitting on the nail first. However despite choosing a great subject with an interesting cast, the director fails to deliver a fine product and the opportunity goes wasted missing the desired impact.
With its less exciting promos revealing it all, I wasn’t expecting much from the film personally since I couldn’t appreciate Panda’s last two ventures too, including the award winning I AM KALAM (reminding me of RK banner’s AB DILLI DOOR NAHIN). Anyway in his latest offering, the director begins with a typical ‘seen before’ sequence of honour killing in a village sowing the seeds of hatred for the coming generations. And later falls back on the same old path wherein a young boy is intentionally sent to win over the rival village owner’s daughter to gain some ‘water benefits’.
The first few sequences of the film featuring Saurabh Shukla are interesting, raising the viewers expectations looking for an enjoyable satirical comedy coming ahead based on ‘shortage of water’. But the film sadly delivers nothing of that sort in the next 100 minutes and just keeps revolving around the usual melodrama with a slower pace and a less engaging script progression. After a point the writers try to incorporate too many issues together ranging from honour killing, caste division, problems of agriculture, soil re-mineralisation, a routine love drama, religious superstition, forced sexual references, a secret tunnel dug for stealing the water and more. As a result the basic focus on the subject of ‘scarcity of water’ gets blurred and the possible outcome of a thoughtful satire isn’t there.
Recalling the few positives, KKPM has an appreciable art direction and an entertaining act delivered by Saurabh Shukla along with a routine yet sincere performance by Gulshan Grover. But other than that its narration falls flat, music fails to make any kind of impact despite the traditional touch and both Kunal Kapoor and Radhika Apte clearly become a victim of poor characterisation from their ‘uninventive’ writers. Having said that, Radhika does brighten up the screen in her first appearance wearing a pure white suit playing with the Holi colours.
In all KAUN KITNE PAANI MEIN is a perfect example of a great idea not finding an equally great execution by its ‘experimental director’. So the subject still remains ‘untouched’ and we would have to wait for Shekhar Kapur to deliver something seriously eye-opening predicting the future ahead.
Rating : 1.5 / 5
Tags : Kaun Kitne Paani Mein Review By Bobby Sing, Kaun Kitne Paani Mein Film Review By Bobby Sing, KKPM review, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, New Hindi Films Reviews at bobbytalkscinema.com
30 August 2015 / bobbysing /
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As an exciting patriotic spy movie, PHANTOM had a perfect timing to hit the screen with a theme quite relevant to the current political scenario dealing with sponsored terrorism. But one honestly expected a much better and logical espionage thriller from the director of most successful Hindi film of the present times BAJRANGI BHAIJAAN who earlier also gave us the decently made KABUL EXPRESS & NEW YORK dealing with related subjects.
Here many would find EK THA TIGER missing in the names mentioned above as I personally don’t rate it as any well-made spy-film completely dependent upon its huge star-enigma. But these references interestingly force me to assume that probably it’s the repeated theme used in more than 3 films of Kabir Khan that has resulted in such a lackluster product this time, with the director losing his much needed interest or enthusiasm dealing with the same things again and again in different forms.
Moreover if you consider BAJRANGI BHAIJAAN & PHANTOM together looking at their basic plot, then keeping aside their core purpose, both the films actually talk about a larger than life hero only entering Pakistan and completing his set task successfully. However the huge difference here remains that where in BB you immensely enjoy connecting with Salman Khan doing all the impossible acts in the neighbouring country just for the adorable little girl, there in PHANTOM you find it completely absurd when Saif does it all with a visible ease, killing few of the most wanted criminals of the world single handedly. And the major reason why you feel this way while watching PHANTOM is its ‘genre’ in which you cannot just set aside the logic, reasoning and intelligence as a political-spy-thriller dealing with terrorism and Pakistan to be exact. A fact that clearly got a much better support in Kabir’s own KABUL EXPRESS & NEW YORK along with BABY & D-DAY moving far ahead than PHANTOM in all respects.
Addressing the counter criticism here in relation to the foreign films, Yes, we have seen a ‘one-man-army’ completing the given spy-tasks in many hit western movies too performing the impossible. But the way PHANTOM presents its key sequences challenging the intelligent quotient of the viewers through an extremely childish writing and execution, it doesn’t allow you to draw any kind of comparisons at all putting it honestly.
Beginning with a very weird chase sequence in the first minute itself, its focus straight away shifts to the India’s Intelligence agency officers discussing a secret mission in a room like few friends casually talking about their next weekend program together. Moreover the way they all start looking for ‘a new capable, trustworthy spy’ in the old, dusty office files and vague references really make you laugh at the commendable imagination of the writers taking the maximum advantage of the so called ‘creative liberty’ granted to them with the job assigned.
The film goes on and on in the first half without offering any electrifying entertainment usually expected from such thrilling subject. And the same continues post intermission despite the spy-couple entering Pakistan with their fake identities. Besides the ease with which they keep on meeting the right people, at right places, acquiring heavy explosives and more within Pakistan itself, takes away all the remaining excitement left in the film leading towards an entirely predictable climax following the set routine.
In fact the writers continue walking on an unconvincing path till the very last, (portraying the Pakistan’s intelligence officers too in a similar comic tone), converting PHANTOM into a completely filmy take on a concerning theme that also becomes laughable at times due to the irresponsible and illogical execution as well as dialogues.
For instance just sample these lines written with an unintentional humour, said in all those tense situations in the film.
A. While passing on the remote for a mike-bomb, the so called bomb-engineer says,
“Mike aur remote ke beech mein kuchh nahin aana chahiye, nahin to remote kaam nahin karega”  (and this is supposed to be a technology used by highly trained, well equipped terrorists in 2015)
B. In the final sequences when a question is put to ‘the unofficial” Indian spy Saif (still there in Pakistan), about how will be get back to India? He says,
“Jaise Woh 10 Mumbai Chaley Gaye Thhey, Main Bhi Chala Jaunga"
(Now if this is not mocking at the country’s own security forces so irresponsibly then I don’t know what would be?)
C. Moreover when in the climax we get to see an Indian submarine entering into the Pakistani waters to get the spy back, then all barriers of ‘creative freedom’ get smashed like never before so brutally.
In short, only few things make some kind of impact amongst the less engaging progression of Kabir Khan’s PHANTOM. One is the camerawork, art direction and background score presenting the actions sequences well (especially the war-like ones in Syria). And second is the quite easy yet interesting murder sequence of David Headley in the first half providing the few thrills (appreciably using the real names of some known terrorists boldly). Other than that PHANTOM mostly remains an evenly paced unexciting spy thriller that ought to be a high paced, unpredictable, nail biting sensational killer-drama to be precise.
The performances remain mediocre exactly like the film despite the earnest effort of Saif Ali Khan playing the lead. And the actor must be feeling betrayed both by his writers and directors together since he is not able to make any kind of connect with the viewers whatsoever in his last few films. Katrina Kaif is just there as the ‘must-have’ heroine like a typical ‘bond-girl’, whereas its quite sad to see an actor like Mohammed Zeeshan Ayyub wasted in such a silly way along with Sabyasachi Chakraberty.
Coming back to its basic subject of vengeance for the 26/11 attacks on Mumbai (unofficially planned by the Indian Intelligence), it gives me a feeling that the book on which the film is based upon must be many times better than its onscreen depiction as it seems. However if Hussain Zaidi’s MUMBAI AVENGERS (the actual novel) is also having the same improbable sequences projecting it all in such easy-going terms too, then that certainly makes it a questionable choice for adaptation by all means. Particularly for the avid readers of Hindi pulp fiction detective-spy novels written by renowned authors (like Surender Mohan Pathak and more), who are well familiar with much better, engaging and pulsating content in comparison since decades.
Incidentally the reference of spy-thrillers and similar books makes me recall a reputed name and a brief interview that importantly needs to be mentioned here related with the subject. And it’s about one of the most successful authors of the present times, Mukul Deva, who happens to be an ex-army man turned author with loads of practical experience of the actual war-field.
To give you a fair idea (also mentioned in his official website),
Mukul Deva’s novel LASHKAR (2008) had predicted Osama Bin Laden's presence in a safe house in Pakistan and then SALIM MUST DIE (2009) predicted his capture by US Special Forces with many more interesting revelations in his other books.
Luckily I was witness to an on-stage conversation with Mukul Deva (in the Crime-Literature festival this year) in which the author simply said that I try to present a mission which is actually POSSIBLE in real life or has parallels executed in the past in some way or the other. So these missions depicted in my books are presented as per my personal experience in the field with logical reasoning and information that is not entirely fantasy or based on some insane imagination. But at the same time I don’t reveal any secret that needs to be maintained as a secret following the official protocol.
Exactly the point missing in PHANTOM that entirely remains an unreal movie, solely dependent upon ‘fictional feel good proceedings’ wherein surprisingly ‘a newly appointed spy’ of Indian Intelligence (found just a few days before the mission) enters the foreign jail as well as Pakistan and finishes off all the major conspirators of 26/11 ……. just like that.
Personally speaking (taking a clue from its title), I would love reading an old Indrajal Comics on the actual ghostly character of Phantom once again that unarguably used to have a much more logical, thrilling and entertaining narration if compared to this new-age PHANTOM.
Still many might enjoy watching it, who can keep the logic home even while going for a political-spy thriller dealing with the dead-serious issue of global terrorism.
Rating : 2 / 5
(Note: One of the film’s official poster was highly inspired from the artwork of a shooter video game called “Homefront”.)
Tags : Phantom Movie Review by Bobby Sing, Phantom Film Review By Bobby Sing, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, New Hindi Films Reviews at bobbytalkscinema.com, Phantom Comics, Hindi films on global terrorism.
28 August 2015 / bobbysing /
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ManjhiContinuing with the trend of making bio-pics, Hindi cinema is here with another untold real life story from the rural India that even surpasses the yardstick of being extra-ordinary in an astonishing manner. It’s about an unbelievable victory of the human spirit achieved by a simple but extremely courageous, focused and adamant villager Dashrath Manjhi, taking him into the history books, probably with no other parallel as such credited to an individual.
But here frankly the unsatisfactory cinematic representation of the amazing triumph doesn’t allow me to write about it as a routine review. So would like to go ahead with the write-up dividing it into three broader sections as below.
1. About the Unofficial/Mischievous Pre-release leak on the internet.
Unfortunately, a complete file of the movie somehow got leaked on the internet about two weeks before the official release, shocking both the makers and the viewers together as a disastrous unexpected development close to the D-day.
The news was truly scary but looking at it from the other angle, it’s such sudden and tempting events only that actually reveal the real person hiding in every individual, willing to take the undue advantage whenever easily available saving his few bucks.
So at this crucial moment, where few educated friends quickly got exposed through their immediate posts/tweets discussing the movie in details before the official release, most of our BTC friends didn’t download it despite being available through a single click on their high end phones or computer systems.
And for this thoughtful gesture, I would personally like to congratulate all who could resist the inviting temptation, proving themselves as true lovers of cinema when it actually counted the most. My hats off to you all and do continue supporting the makers with the same spirit always (educating your close friends too).
2. A humble and emotional salute to Dashrath Manjhi – Our new age FARHAD divinely loving his adorable SHIRIN.
Thinking about the subject or basic theme of the film introducing us to a loving and inspiring personality like Dashrath Manjhi, I honestly feel that we as simple writers/reviewers/bloggers are too small to write anything about the amazing unbelievable achievement made by the man single handedly, teaching us new enlightening lessons on true love, courage, dedication and vision of converting the unimaginable into a reality.
Remembering the traditional love-saga of Shirin-Farhaad, that had Farhaad cutting a canal through the mountains, fulfilling the condition kept by the King to get his beloved Shirin, I could see ‘a new age Farhad’ in Dashrath Manjhi performing a similar herculean task for his beloved Phaguniya. In fact, Dashrath even rises much above the status of the traditional Farhad since he was not doing it all for his dead wife, but for the still living people of his village and surroundings, seeing a young Phaguniya living in each and every home risking her life on daily basis walking through the cruel mountains.
The man spent more than 40 years of his life (22 spent in the mountains alone) for a single cause and never looked back even when his own family and friends started calling him a ‘mad person’. He proved them all wrong in the subsequent years with his continuous efforts and turned out to be a visionary who could easily see the ‘I-m-possible’ in the so called ‘Impossible’ much before we all realized it through the shared quotations in books and social networks a few decades later.
So taking the much valuable inspiration from the life of this blessed soul, I find myself capable of only paying a heartfelt tribute and a humble, emotional salute to Sh. Dashrath Manjhi, who possibly remains the only person in the world-history completing such phenomenal task without any external help of either man-power or some advanced tools.
3. The review as a film presenting MANJHI on screen.
Coming to the cinematic representation of MANJHI, here are my honest views keeping the real personality of the icon apart, paying my utmost respect and love as mentioned above.
To begin with, a bio-pic of an achiever like Dashrath Manjhi essentially needs to shake down the viewer strongly along with inspiring him about the ‘unachievable achieved’ despite many conflicting circumstances of poverty and lack of resources. Yes, the film manages to deliver the same to a large extent post intermission, but it’s the several deliberate (commercial) insertions made in its first half that actually dilute its overall impact a lot, resulting in a film that was least expected from a thinking director like Ketan Mehta.
If truth be told, we have a different Mehta here as the captain of the ship, surprisingly bowing down to the commercial needs of a project like never before, far away from the director of films like Bhavani Bavai, Holi, Mirch Masala, Maya Memsaab and Sardar. May be it was due to the failure of his much bigger projects in the last two decades that forced him to do so. But adding ‘Comedy’ into such a film revolving around an extremely serious theme was too desperate and unnecessary as per my personal opinion.
Dashrath ManjhiIn other words, MANJHI successfully manages to become a decent watch basically due to its astonishing real life story, immensely enjoyable Nawazuddin and the well written impressive dialogues that stay in your mind for long as its major highlight. But at the same time, the film doesn’t force you to stop for a while and think about the unusual life lived by the incredible man due to its less convincing first half that questionably keeps focusing on comedy and entertainment, instead of seriousness of the issue, enlightening the audience like a good old Ketan Mehta film.
To name a few, we have a number of comic sequences in its initial hour, portraying Nawazuddin as a funny man speaking broken English and wearing a striking yellow shirt (reminding you of Aamir Khan in RANGEELA). The laughs keep coming in through the repeated flashbacks at regular intervals moving away from its basic theme. And till we reach the turning point of the major accident, all we have is a well enacted commercially viable entertaining project presenting a pure filmy take of the sad realistic story, with many deliberate comic and romantic insertions just to woo the audience.
Thankfully the director somehow finds his forgotten form in the second hour focusing on the core subject. But then has to present it all very quickly dealing in too many things together ranging from the conquest over the mountain, his two kids, the old father, naxalite movement, a drought, government allotment of funds, cunning zamindars, corrupt politicians, interfering officials, Manjhi’s journey to Delhi on foot and then the final years displayed through written text on screen conveying a lot of important things that many might miss reading. Incidentally the onscreen execution also reminds you of few foreign movies at times such as CAST AWAY, FORREST GUMP and even 127 HOURS. But most importantly it’s the second half and the cast that actually saves the film from becoming a complete misfire.
Solely depending upon its lead performer alone, we once again have Nawazuddin Siddiqui delivering a visibly hard worked, flawless performance as Dashrath Manjhi coming up as a clear winner. And the audiences are bound to enjoy him a lot mainly due to the comic touches given to his character by the ‘insightful’ director. However, the truth remains that had they treated the film’s first half with a different approach, Siddiqui could have portrayed the message even more intensely, making you feel the pain instead of some silly laughs.
Radhika Apte does well trying hard to look like a village girl. But her uneven costumes and un-required skin show (just for the sake of it) don’t let her shine as brightly as she easily could. In the supporting cast, the routine ‘seen before’ acts come from the talented Tigmanshu Dhulia, Pankaj Tripathi and Prashant Narayanan, whereas Gaurav Dwiwedi (as journalist), Late Ashraful Haq (as Manjhi’s father) and Deepa Sahi (in a cameo as Indira Gandhi) are able to make a much better impact in their short roles. The film has an average musical score, decent background music and a fine art direction portraying the rural life. Plus Cinematography simply excels capturing the actual locations of Bihar and its scenic beauty.
Dashrath ManjhiBut despite these visible merits, it’s the director’s unclear vision that brings down the film severely, missing many important features of Dashrath Manjhi’s life that deserved to be included in the film made by the bio-pic specialist Ketan Mehta.  
And reading the following points derived from a short research, I am sure you would readily agree to the statement made above along with a bit of surprise. (Note: Please do let me know if you find something misquoted or missing in these points in your valuable comments)
What MANJHI questionably missed out as an important biographical film!
1. First of all, the film doesn’t give you the exact explanation of the problem created by that big mountain for the villagers in either technical or visual terms, that why an ‘inconceivable’ path was so important for them, capable of bringing a big change in their daily lives and earnings too.
(Like, how they were finding difficulties in reaching the local town, the market, the big hospital, the major school and more.)
2. It was not stressed upon how Dashrath managed to live in those tough decades without having a regular income source for upbringing his two kids providing them the minimum education and basic needs. Moreover where in one scene his father strongly gives up on the two kids walking out annoyingly, in another he readily takes up the responsibility again and that too in an old age capable of contributing a lot less.
(As per the actual reports, Manjhi sold the goats owned by his family to buy the first set of tools and used to visit the mountains with his hammer in the early hours of the day as a daily ritual. He managed to earn a small living by working in the few remaining hours joining the routine work. But later when the villagers stopped calling him a lunatic looking at his constant devotion, they themselves started providing him the food and tools regularly, which is not there in the film in the required details.)
3. The courageous man completed the task in 22 long years from 1960 to 1982 (Incidentally Ketan Mehta released his first much appreciated film in 1980 when ‘the mountain man’ was already done with his unbelievable task in Bihar). But even after carving the path within the huge mountain in 1982, ‘a pucca road’ was shockingly not built on the same for the next two decades till Dashrath’s death in 2007.
Why?..... The film neither raises any questions nor gives any answers for this long gap.
4. Politicians kept meeting Dashrath in all these years since 1982 and he was also featured on Patna Doordarshan (probably) in the 90s. A film was made on him by a director offering some fixed amount of money which Manjhi never received. But then Bihar government recognized his works in 2006 (strangely post 24 years of the task completed) and nominated him for ‘Padma Shri’ too along with a plot of land rewarded for his huge effort made.
Also as widely reported in those years, even the Chief Minister stood up from his seat offering the chair, the moment he saw ‘Baba’ (as he was fondly called) visiting him in the officially held ‘Junta Darbar’.
However, post accepting the gifted land, Manjhi at once donated it to a hospital right away and his nomination for ‘Padma Shri’ was withdrawn since the forest ministry called his ‘breaking the mountain’ illegal as per the government norms.
The film has no visual depiction of this in its presentation.
5. In August 2007, Manjhi died losing his battle with cancer in Delhi’s AIIMS (the medical treatment was duly arranged by the state only). The Chief Minister gave him a State Funeral and then Films Division made a documentary on him too in 2012 titled “The man who moved the mountain’.
Before that a few thoughtful directors/reporters also shot the actual footage of Dashrath Manjhi sharing his views at the carved path only that can easily be seen on Youtube.
But the film doesn’t make any great use of this real life footage of the man very strangely.
6. At present, the specific region, the village and the people are still living in the same poverty as always without any regular basic facilities of electricity, drinking water, higher education and medical attention. Plus as reported in a news article, Manjhi’s son recently lost his wife too due to lack of proper medical treatment given well in time, exactly like her mother in 1960.
So shouldn’t a bio-pic made in 2015 about the same poor region and its people, enlighten the viewers and the government together on their continuously ignored pathetic conditions despite being in news since the death of ‘The Mountan Man’?
Yes it surely should…….but Ketan Mehta’s MANJHI doesn’t, proving as yet another film made to encash an unbelievable, moving real life story of the rural India ……..and nothing more than that!
7. Now coming to the most exciting point for which I was dying to watch MANJHI from several months. The moment I came to know about Dashrath Manjhi a few years back, I was awestruck by his unimaginable achievement made (of carving a 360 feet long and 30 feet wide path from within a huge mountain) and was too eager to know that,
How he actually did the task and with what technique?
How did he calculate the key spot to begin from?
What were his calculations made that this will be the best point to carve a path reaching the other side of the mountain at the earliest?
and most importantly,  
Did he begin from the top or from the bottom?
(The top seemed to be a more logical deduction to me as a layman)
In short, I was very much interested to know more about ‘THE HOW’ from Ketan Mehta’s MANJHI as a supposedly well researched film directed by a reputed name. But the director simply remains ignorant to this major fact and just conveys ‘He did it!’ instead of any sort of ‘How he did it?” coming as a big disappointment for me personally.
Further watching the scenes wherein Nawazuddin always keeps hammering the big stones lying flat on the ground and is never shown breaking them standing at the top, really made me wonder upon the faulty vision displayed quite seriously.
Still, I did manage to find a brief information about one of his many unknown techniques, wherein Dashrath Manjhi innovatively used to burn some firewood on the rocks first and then sprinkled water on the heated surface causing some possible softening that could be easily broken with his heavy hammer. The man must have applied many more similar techniques in those 22 years finding no specific mention in the key articles or documentaries made on his amazing life. But now as he is gone, we can only make some assumptions and nothing else.
Sadly the film is not even interested in talking about this specific point or any technique, indicating towards the half-baked research made by its writing team.
Summing up the long write-up, its not that MANJHI can be skipped as an average movie to be watched later. No, the film deserves to be seen as a must despite its visible shortcomings, paying your personal respect towards the spirited man, his true love and the unbelievable task completed just single handedly.
But having said that the film also cannot be rated as an exceptionally outstanding bio-pic by any means, since it majorly focuses on an ACTOR, who unintentionally HIJACKS the entire film turning it into a light hearted entertainer (through his witty one liners and enjoyable renditions) making you actually forget the real man it was all about.
In clear words, while walking out of the theatre its simply Nawazuddin you have in mind and his enjoyable dialogues spoken amusingly as ‘‘Shandaar, Zabardast, Zindabad”, but not Dashrath Manjhi who sacrificed his whole life for a cause without asking for much. And that in my opinion is a big failure both for the actor and his director making an important bio-pic on the life of a lesser known legendary man.
Giving two recent examples (of 2015) in support of my above statement,
watch EH JANAM TUMHARE LEKHE (Punjabi) based on the life history of Bhagat Puran Singh, the Mother Teresa of Punjab and GOUR HARI DASTAAN (Hindi) based on the last three decades experiences of Gour Hari Das, a respected freedom fighter living in the present times.
In the Punjabi film, Pawan Malhotra plays the role of Bhagat Puran Singh and in the Hindi film Vinay Pathak plays Gour Hari Das, both enacting their given assignment to perfection.
But here, while moving out of the theater, you neither have Pawan Malhotra nor Vinay Pathak in mind even once, but only the characters they portray on screen with their utmost conviction and vision, which is nothing less than a lifetime achievement for an actor and his director together that’s simply missing in MANJHI.

Because Mehta's film eventually makes you remember Nawazuddin Siddiqui much more as an entertaining actor………………. than the real hero, Dashrath Manjhi !!!!!

Rating : 3 / 5
Tags : Manjhi Review by Bobby Sing, Manjhi Film Review By Bobby Sing, Bollywood Bio Pics, Hind Biographical Movies, Real Life Inspired Hindi Films, Inspiring Biographical Hindi Films, Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
23 August 2015 / bobbysing /
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Many a times, it’s just the opening 10 minutes of a film and one clearly gets the idea about how tough the next two hours are going to be sitting in the theatre. Still the hope refuses to die and the viewers seriously keep waiting for something better to be there soon in the remaining time.
Unfortunately this hope doesn’t work in case of ALL IS WELL, since the film neither delivers in the beginning, nor has something entertaining to offer in the mid as well as the end, surprisingly coming from the director of widely acclaimed, meaningful venture OH MY GOD. In fact one repeatedly remembers the title of his last film in the literal sense (with an exclamation mark) watching even an actor like Rishi Kapoor hamming on the screen due to many poorly written sequences with lots of weird dialogues.
To be specific, the very first thing that causes the big disappointment is the faulty use of Punjabi language and many characters in the script speaking with an awfully artificial Punjabi accent not suiting just anybody. Moreover this is again a comic project from few of those ‘extremely creative minds’ who still consider Punjabis as only funny people knowing nothing other than laughing, eating and dancing. Secondly the father, mother, son and even the girlfriend turn out to be ‘a bunch of people’ far away from reality making no connection whatsoever with the viewers. And thirdly its the wrong casting of Mohammad Zeeshan Ayub as the fumbling don who miserably fails in his sincere attempt to somehow keep it ‘hilarious’ right till his final scene.
In actual terms, it’s the inferior writing, flat jokes, poor one-liners, hamming acts and unentertaining execution with nothing engaging happening throughout its two hours of duration that work as the main culprits here. Plus the below average soundtrack and a feeble try to cover more than one genres further damage the film brutally right from the word ‘go’.
For instance it begins focusing on a struggler musician (with a disturbed childhood) looking for a brake, who doesn’t believe in the institution of marriage and then goes on to become a crude chase comedy, a road movie, a love-marriage saga and a family drama altogether giving an important social message in its concluding scenes. But above all it’s the badly written script that simply doesn’t let the film convey anything before or after the intermission apart from few emotional sequences in its climax that unfortunately appear when the game has already been lost.
Umesh Shukla, the director of OMG is nowhere visible in the entire film and it’s a pity to see actors such as Rishi Kapoor, Supriya Pathak and Mohammad Zeeshan Ayub coming up with all mediocre performances due to the reckless writing. Asin remains completely wasted in a silly role and Sonakshi once again proves her ‘repetitive talent’ in a forcibly inserted item number that’s good for nothing.
A routine camerawork, unnoticeable background score, shabby art direction and below average soundtrack become the other weak departments of ALL IS WELL. Plus the makers also dare to recreate the soothing love song ‘Aye Mere Humsafar’ from QSQT that actually doesn’t even deserve a mention here. But at the same time, I wonder why QSQT has suddenly become the hot-favourite, as one of its song was recently also used in the much appreciated MASAAN.
Coming to the lead star of the film Abhishek Bachchan, the actor always tries to perform in a decent manner to the best of his ability as per the given role. But honestly ALL IS WELL once again makes me think that, Why many of the awful films always manage to fall in the lap of Abhishek Bachchan only repeatedly?
May be its because of his choice of roles or the luck factor refusing to favour since long, Abhishek certainly needs to find his lost form at the earliest, living to the reputation once formed with YUVA and GURU.
In all, after some terribly unbearable 100 minutes, ALL IS WELL faintly manages to convey a valuable message in its climax reminding everyone to essentially take good care of their ageing parents providing them all the love and warmth in their final decades when they actually need it the most.
However, despite the precious message, I still cannot recommend this mess unexpectedly created by the man behind OH MY GOD.
Ratings : 1 / 5 (Just for the invaluable message given to the present and future generations)
Tags : All Is Well Review By Bobby Sing, All Is Well Film Review, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, New Bollywood Movie Reviews by Bobby Sing
21 August 2015 / bobbysing /
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