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     

Rated as one of the finest horror films made till date, ROSEMARY’S BABY is a Roman Polanski’s masterpiece which holds a special status in this particular genre for a reason. As far as the subject is concerned, yes it is horror film revolving around a loving couple recently shifted to their new department having few suspicious neighbors (Based on Ira Levin’s novel with the same title). But taking into account its unconventional & brilliantly visualized execution, the film makes its own distinct position in the all time list of Top 10 films made in the horror genre without any doubt.

Here the most interesting and outstanding merit of ROSEMARY’S BABY is that it never bows down to the routine structure of such films and doesn’t use any usual tricks of the trade to scare the hell out of you with some forcibly created scenes. There is no ghostly figure hunting down its targets displaying its extreme powers and neither is there any scary face to frighten you all of a sudden coming out of a dark corner. There are no screechy, horrible sounds especially designed to tease the viewers and there are no haunting mansions with some horrible past to be told.

But even then the film gradually creates a subtle suspenseful ambience which keeps you guessing throughout and you have more than 10 ideas in your mind till it reaches the climax. So without giving any kind of hints for its terrifying finale, I would like to say that if you have already heard or read about this before then I can’t help it. But if you haven’t heard or don’t have any clue about this film yet, then instead of reading some other reviews or write-ups on ROSEMARY BABY, just go for it at the earliest and experience it in its purest form as only then you will be able to enjoy it completely.

In some cases, for many die-hard fans of the horror genre ROSEMARY’S BABY might not be too good or a very highly satisfying scary film due to the reasons mentioned above. But it unarguably is one of the exceptional achievements made in the world of cinema due to its out of the routine treatment and a splendid ambience created just through it well written & directed sequences along with some spellbinding performances. It’s a Mia Farrow film from all angles since she is simply amazing in the role of the suffering girl passing through different phases of her pregnancy. And on that note I would also like to warn that its not a film which should be watched by all the women going through similar conditions and they should strictly avoid seeing it in those important days.

Hence taking care of that serious suggestion, do watch this classic if you wish to see something out of the box tried in the horror genre more than four decades ago. And after going through this different experience you would surely agree that its really tough to conceive such a project with this kind of conviction without relying on any of the usual features of a scary movie.

Director: Roman Polanski
Stars: Mia Farrow, John Cassavetes, Ruth Gordon and more.
Tags : ROSEMARY'S BABY (1968), Movies To See Before You Die Horror, Must See Movies List by Bobby Sing at bobbytalkscinema.com, Best Horror Films as a must watch, Not to be missed movies list by Bobby Sing
30 September 2012 / bobbysing /
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Priyadarshan returning with another Hindi version of a South hit "Marykundoro Kunjaado" (Malayalam) (2010) wasn’t exciting enough for many. But the news of Nana Patekar featuring in it did add some spark into the project as that was in fact an unusual cast for a Priyadarshan comedy.

But unfortunately all those sparks fail to ignite anything on the screen and the film just proves to be another dud from the veteran film-maker who has not been able to deliver from a long time. However the other sad part of the story is that with KAMAAL DHAMAAL MALAMAAL, the director also gives you the most absurd or boring movie of the year 2012 which neither has any good humor nor any entertaining performances to enjoy in those 2 hours. It’s one of those badly made or uninteresting films, in which you are sure going to find many people already gone back to their homes post intermission and the others calmly sleeping on their seats when the lights are back.
KDM starts off with the same old village surroundings introducing its various characters as earlier seen in Priyadarshan’s “Maalamaal Weekly” and it also has the mention of a Lottery in it. But it isn’t a sequel and basically revolves around a lazy or weak character who suddenly finds a strong person in his village to help him find his lady love. The story also involves a mistaken identity plot which later on tries to add the crime thriller kind of element into the film which fails to work completely.
Songs in this so called comedy, provide you enough time to take your important calls, visit the washroom or go out for a bite several times before and after the interval. Plus the direction gives you a feeling as if it’s a work mainly completely by a team of assistant directors in absence of their mentor, since it all looks like fake throughout the movie. In the performance department, only Shreyas is able to offer you something to keep staring at and the rest are just there in return of their paid professional fees. In fact KDM is also one of those rare films in which you will find precious actors like Nana Patekar, Om Puri and Paresh Rawal being wasted so unintelligently. And I was really surprised to see Paresh Rawal in such a minuscule role in the entire film with scenes even less than the ones given to Neeraj Vohra.
Hence Priyadarshan’s latest venture once again fails in almost all its department ranging from the story-plot, script & music to its direction, performances and the most important entertainment quotient required in a comedy. Yet there is one thing which goes in favour of the movie and that’s its worth watching locations caught in the camera beautifully. Otherwise it can easily be called a clean family drama (or comedy) with no impressive content at all.
Moreover while walking out of the theater one might also like to raise a question to both its producers and director that “For whom it was actually made in the first place?”
Ratings : 0.5 / 5
Tags : KAMAAL DHAMAAL MALAMAAL Review by Bobby Sing, Kamaal Dhamaal Malamaal Movie Review by Bobby Sing, KDK Review, KDM Movie Review, Review by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews By Bobby Sing, 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
29 September 2012 / bobbysing /
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First clearing the air about its inspired status, the team clearly accepts its sources in a detailed caption in the titles, making it all official this time which needs to be appreciated. The caption said that the film is based on a Gujarati play, 'Kanji Virrudh Kanji' or ‘Krishan Vs Kanhaiya’, which was adapted from the original film “The Man Who Sued God” (2001) and then there were two more lines written below it which I couldn’t read as it stayed for only less than 2 seconds on the screen, as if they didn’t want us to read it. So though I wished to know what was written in those next two lines, still it was good to see that the right kind of credits were given to the original creator of the idea as it should be.

Anyway, moving on to the review I would like to describe the film in three different parts as given below.
As an Adaptation of the original film “The Man Who Sued God” (2001)
The film is actually developed from the basic idea introduced in this lesser known Australian venture featuring Billy Connolly in the lead. And if one has seen the same then he is sure going to give a mixed response to OMG as it somehow reduces the impact generated by the original. Reason being, that in the English film the proceedings just keep moving in and out of the court and that’s it. There are no separate tracks of various God-men and there is no Real GOD coming into Billy Connolly’s home to make it filmy.
In the original we only have a case filed by Billy against the God (involving the Church) catching the phrase “Damages caused by the ACTS OF GOD” in the Insurance Company’s papers and then its all about the court and arguments given for or against the claim filed the applicant. In short, the film has everything focused on the logical points brought forward by the lawyers along with a beautiful insertion of “A Sign from the GOD himself” coming into the court-room towards the end, which serves as a pleasant surprise for the viewers.
So where the original keeps stressing on a single point in its script, OMG tries to bring in too many good points to impress the viewers which take the focus away at times which could have been avoided. Plus the original had a brilliant culmination wherein Billy takes his case back, sighting a drastic conclusion for the society whether he wins or loses, which is sadly not there in this Hindi adaptation. Yet OMG scores decently on its own merit with its Indianised version of the concept which remains highly recommended even if you have watched the original flick or play.
As an individual film making a new breakthrough in Hindi Cinema.
Looking upon OMG as an individual film for viewers who haven’t seen the original English film or the Gujarat-Hindi play, it is no doubt an appreciable attempt by the makers giving us something fresh and new which we have been loudly craving for in the last few years. Moreover it can also be called a daring attempt by the team, considering our society’s conservative state of mind which always gets active when it comes to RELIGION. So in that terms the film successfully manages to make us aware of the so called “Religious Markets” strongly functioning around us like big super-malls with different names and titles.
Director Umesh Shukla and his writing team adds many good entertaining punches which are able to make you think and laugh at the same time. Hence as it progresses, the viewer largely feels entertained as well as tickled regarding his individual religious beliefs, which I personally consider nothing short of an achievement by the entire team. But at the same time the film has its flaws too. It takes too much time to come to the point and then tries to add too many elements into the narration which were not required. For instance, its first half is not able to impress until the film comes into the court and reveals its actual interesting plot. To put it straight, where the English film takes only 20 minutes to reach the court, OMG takes almost an hour to get there following our usual film-making norms.
Further, if you think about the concept after it gets over, then its main publicized theme talking about the GOD himself coming on the earth, seems to be of no use in its basic storyline. So it thankfully remains far away from the Sanjeev Kumar classic YEHI HAI ZINDAGI (1977). In other words, Askhay posing as KRISHNA (and that too on a modified bike like BATMAN) does nothing substantial in the film and is just added to give an extra edge to the project commercially. And that’s where I can say that the English film remains more meaningful or beautiful since it makes the presence of GOD felt in the tense court without showing any REAL GOD incarnated on the earth in the human form.
OMG also loses its grip towards the climax with some overstretched references of Paresh reaching the hospital and then THE GOD giving him the healing touch, which in turn seems to be added just to satisfy the religious sentiments of the viewers emotionally. And it surely would have been more impactful with a sharper and enjoyable climax right within the court-room itself. But despite of all these flaws, the film can easily be rated as a feel good project mainly due to the novelty offered by its fresh plot to the viewers who have not heard of its original sources before.
Performance wise OMG is one of those few films which has its script as the biggest performer in its more than 2 hours of duration. However regarding the cast, Paresh Rawal is as always first rate carrying the entire film on his experienced shoulders, well supported by his entire cast namely Om Puri, Mahesh Manjrekar & Govind Namdeo. Akshay Kumar making his entry just before the intermission looks cute but the scene stealer in the second half remains Mithun Chakraborty as a Spiritual Leader (like never seen before). In reality the few Spiritual Icons shown in the film are based on some highly famous Guru’s presently active in the country which you can easily judge without taking any names. Musically OMG doesn’t have much scope but even then the producers have added an item song “Go Govinda Go” to en-cash the festival season featuring Prabhu Deva and Sonakshi Sinha dancing to the beat energetically. Cinematography and Background Score just serve the purpose well making a decent impact along with the minimal special effects used to showcase The GOD.
However rising above all these usual features of a Hindi film, the producers of OMG rightly deserve a special mention here for going ahead with such a risky venture (having some bold dialogues) which could easily hurt the religious sentiments of our sensitive society. The makers have visibly added many safe justifications in the film (like Paresh’s hospitalization in the end) to guard their commercial interests, but still its undoubtedly a courageous decision to make such a delicate project in India taking all the necessary precautions.
The Social Message in OH MY GOD.
If one considers the great importance or relevance of the Social Message in the film targeting the common man, then OMG rises much above the status of a movie alone which needs to be watched both by the believers and non-believers in the concept of GOD. It tells you the naked truth at your face about all those “Religious Shops” operating right in front of your eyes which have been exploiting the common man from ages. But here instead of getting preachy (which also remains one of the avoidable features of OMG), I would like to share a personal real life instance with all friends here which will clearly give you the message I wish to convey in a more thoughtful manner.
Once a foreign delegation came to New Delhi for a seminar and on their humble request they were all taken to a famous Religious place of Delhi related to a specific religion (I would not like to disclose). Now they all liked the spiritual ambience there filled with peace and love but one of them had a question in mind which he asked when they were back in the office and having their lunch. The wise man asked,
“I understand that there was a big Donation Box placed right in front of every single place or door where we were supposed to bow down with respect. I understand that a person is supposed to put in whatever amount of money in it as per his own capability and devotion.
Now till here its all perfectly right for me…..But what I don’t understand is that why all those Donations boxes were having Big LOCKS hanging on them quite shamefully………Are you all thieves who can even steal money from there too?”
Apparently, this honest question of that thoughtful foreign delegate sums up the entire “Religious or Spiritual Mafia” operating in our country and can easily be considered a tight slap on our own faces painted with different religious colours. And the ‘Ultimate Truth’ is that if we simply throw away all those Money Boxes planted in every religious place of the country, then that will clearly show us the ‘Original Colours” of their so called ‘Godly Caretakers’ in the open.
In the last century, New Age Indian Spiritual Masters like J. KRISHNAMURTHY and OSHO kept saying this for many years throughout their life but very few heard them resulting in the present chaos in the country and world over. So here is OH MY GOD giving the same message to the people once again but deep inside I also know that the situation is never going to change for the very reason that,
“We all are taught to be GOD FEARING and not GOD LOVING people by our so called Religious Teachers!”
Rating : 3 / 5
Tags : Oh My God Movie Review, Oh My God Review by Bobby Sing, OMG review, OMG Review by Bobby Sing, Review by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews By Bobby Sing, 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
28 September 2012 / bobbysing /
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The morning newspaper had this front page news in its entertainment supplement saying ‘Shahrukh Khan’s new film poster is all inspired’. The news was not surprising to me as I had seen the poster few days back and very well knew that it was inspired. But honestly the case here is not of just copying the source mentioned in the news and all the other net-posts, but its actually the trend of following a particular style or genre initiated by the James Bond Series in the mid sixties. And I really wish both the print and net media had brought the right picture in front of their readers rather than just serving some half baked news in the name of sensationalism.

Setting the records straight, this innovative style of showing moving images inside the shadow or the image of a person was first introduced in the opening credits of James Bond movie titled GOLDFINGER released in 1964. In fact Bond films always had an added attraction of their exceptional opening titles which used to introduce a new style with its each new release and you can easily see them all in some special videos posted by fans on the Youtube.
In Bollywood this was adapted or copied in Ramesh Sippy’s SHAAN (1980) in the film’s opening titles only (as in the picture above) which had the song “Doston Se Pyar Kiya” sung by Usha Utthap being played in the background. The sequence had a girl wearing a body hugging white costume on which the films different actions scenes were projected which was a first in Hindi Cinema at that time.
Now this innovation was recently also adapted by world cinema in the promotional posters of more than one films namely GRIDIRON GANG (2006), SPECIAL FORCES or FORCES SPECIALES (French) (2011), GONE (2011), ANGELS (Thailand) (2012) as shown below and probably many more.
So after going through this interesting tour of inspirations, it should be clear that Yash Chopra has not just copied for his JAB TAK HAI JAAN from any particular film’s poster but he has actually followed a trend which has been adapted by film-makers all over the world in the past more than once.
Tags : Jab Tak Hai Jaan Inspired Poster, Jab Tak Hai Jaan inspired from James bond, Bollywood Inspired Posters, Inspiration in Hindi Films, Shahrukh Khan inspired from James Bond.
23 September 2012 / bobbysing /
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