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     
Straight away coming to the point, at one end we have film-makers highly inspired from the west who keep borrowing ideas for their new Hindi films on a regular basis. Whereas on the other we have directors highly inspired and in awe of themselves and their own previous works like Ram Gopal Varma and Madhur Bhandarkar who keep churning out exactly similar movies one after the other following a careless attitude.
So assuming you have already seen Madhur’s PAGE 3, FASHION and HEROINE, this is the director’s 4th film on the same subject portraying it from a different angle, assuming that the viewers have no thinking mind of their own, ready to accept anything and everything coming from a big name served with some attractive, eye-catching toppings. In fact if you include CORPORATE also in the above list then this is Madhur’s 5th film on the similar topic and he surely deserves another National Award for this unique & amazing creative urge unarguably.
Moreover, this time the case gets even worse because in CALENDAR GIRLS you don’t even get to see any of those elegant shots, rich looks, great performances, hard hitting dialogues or the realistic feel Madhur was once known for. Also the film surprisingly appears quite close to a typical B-grade project largely depending upon its sexual content and glamorous appeal with noting great to offer in its script, execution, cinematography, background score or even music or lyrics.
No doubt as a writer-director Madhur tries to put in everything read in the daily newspapers on the screen (as usual), like the rich entrepreneur releasing a famous calendar (pointing towards Vijay Mallya), deep links between heroines-cricketers and bookies, girls from TV and films getting into flesh trade, the lucky ones getting married to rich industrialists (to be their trophy wives), the clever ones bagging big films with their own selfish ways, the opportunists walking into programs like Big Boss and protests planned by various parties against Pakistani artists performing in India. But since the viewers have already seen many similar references in Madhur’s last 3-4 films, one doesn’t feel like watching anything fresh or thought provoking at all in those 2 tiring hours.
Besides, as a viewer you honestly feel like leaving the theater when the director appears in the film playing a cameo (as himself) and then indicates towards his next project too called AIR HOSTESS, once again talking about the same things so carelessly. To be honest, while watching CALENDAR GIRLS, I was really feeling sorry for the girls Kyra, Avani, Ruhi, Akanksha and Satarupa, who must have had great dreams after fetching the reputed project of the well-known Madhur Bhandarkar, only to be ditched by the director by making such a jaded product.
Interestingly CALENDAR GIRLS strongly reminded me of a novel titled SAAT SAAL BAAD by the renowned Hindi crime-thriller author Surender Mohan Pathak that also revolved around a group of ‘Fashion Ramp Girls’ and their super-rich mentor introducing them all.
In the novel, the girls get invited for a grand party in Goa after seven years of their initial success and then one of them gets murdered in the resort raising fingers at everyone else attending the celebrations including a young lawyer. The climax of the novel truly shocks you, as expected from a great murder mystery and the revelation once again forces you to think about the proceedings right from the start finding the given clues.
I really wish someone had given this novel to Madhur Bhandarkar before making CALENDAR GILRS and if only he had made it on this particular plot, the film would have been pleasantly different and a much better, engrossing watch as compared to the current torture.
Rating : 1 / 5
Tags : Calender Girls 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, Inspired Movies
30 September 2015 / bobbysing /
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It’s really strange to see that even in this new small world connected through the worldwide web, we still get to see the same ‘old school’ lousy films made on some badly written scripts not doing any kind of justice to its borrowed plot. And the trend continues with another highly inspired film called BHAAG JOHNY that even has its title strongly indicating towards its original source.
However keeping the ‘inspired from’ revelation for the last, here is the reason why BHAAG JOHNY doesn’t work despite having an interesting subject wherein the main protagonist is given an option to live the next few days of his life in two different ways and then decide which way he wishes to go with after a while.
The film begins on a surprising note with the mention of ‘Black Magic’ and ‘Tantra Vidya’ that raises your curiosity level at once thinking how they are going to bring in these elements into the experimental storyline of a film set in the foreign land. But sadly what happens next post these not so bad opening 10 minutes and a catchy party song, turns out to be nothing exciting enough as per the expectations raised. And further all forced in romance and love-songs simply ruin its innovative plot of showcasing ‘two lives of the same man’ quite brutally.
In simple terms, the major reason why BHAAG JOHNY fails miserably in its execution is that instead of tackling the two versions of the tense situation individually (in separate narrations), director Shivamm Nair chooses to run both simultaneously which actually becomes meaningless as well as confusing for the viewers. So we have the hero killing a young girl in one scene and saving her too in the next edited together resulting in some weird complications that could have been avoided.
Secondly the film once again has the usual deliberate romance and love songs thrown in so vaguely that you feel like laughing at the couple emoting on a nice track. As a matter of fact, if not for their movies, our directors really deserve the ‘most reputed award’ for the courage with which they insert a love song just anywhere in the film even when the so called couple doesn’t know each other while running away from some goons saving their individual lives.
Lastly leaving big loopholes in almost every badly written twist, the biggest awful surprise in the film comes with the writer-director Vikram Bhatt playing the cameo of a ‘Jinn’ (a friendly ghost) who gives the power to our hero to live two lives for a few days and then make a choice. God Knows what made Vikram do this strange cameo? May be a supporting actor couldn’t report in time and they got an opportunity to save their time and money both roping him in.
Regarding the performances, Kunal Khemu sincerely tries his best to play the two lives, but doesn’t get any help either from the script or from the three ladies namely Manasi Scott, Zoa Morani & Mandana Karimi, who are strictly okay in their respective portrayals (with Zoa scoring the least). Mukul Dev is once again wasted as a long haired police officer exactly similar to his role in MEERUTHIYA GANGSTERS and Vikram Bhatt’s strange cameo has already been discussed above. Cinematography keeps trying to give it a fresh look capturing the foreign locales along with some good action, but an average editing fails to create the thrill, basically due to the faulty narrative followed by its captain of the ship.
In all, there are only two decent features going in favour of BHAAG JOHNY. One is its background score that catches your attention repeatedly and second are the two good tracks as 'Daddy Mummy' and 'Iss Qadar Pyar Hai' giving you some kind of relief in those two hours. Apart from that its simply another of those inspired films that fail to rightly grasp their borrowed theme.
Coming to the original film the inspiration has been taken from, its Germany’s RUN LOLA RUN (1998) and its influence can also be seen in the title i.e BHAAG JOHNY. Apart from that if you are really interested in this particular innovative theme then do watch GROUNDHOG DAY (1993) and MELINDA AND MELINDA (2004) too along with the German film and thank the makers of BHAAG JOHNY for making you see some well-made classics of the World Cinema.
Rating : 1.5 / 5
Tags : Bhaag Johny Review by Bobby Sing, Bhaag Johny Film Review, Inspired Films, ew Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, New Hindi Films Reviews at bobbytalkscinema.com, Run Lola Run, Hindi Films Inspired from World Cinema Classics
28 September 2015 / bobbysing /
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Kis Kisko Pyaar Karoon No Mega Khan, Kapoor or Kumar in the cast.
No Star son-daughter-niece-nephew-relative in the lead.
No huge publicity campaign influencing the people.
No Big Star backing the project coming on the front.
No major hit song in the soundtrack.
And above all no hugely impressive promos creating a pre-release hype.
Still the euphoria I witnessed in the single screen theatre of West Delhi in its afternoon show of Friday was simply unexpected, pleasantly shocking and hugely unbelievable. All because of one man alone, the exceptionally talented boy from Amritsar, the man who re-defined comedy in India in the last 7 years, Kapil Sharma making a debut on the bigger screen after winning millions of hearts of not only Indians and Pakistanis but people of our regions residing all over the world unarguably. In fact last time I heard these kinds of screams, claps, whistles and maddening reception by the audience in a single screen was while watching BAJRANGI BHAIJAAN on its first day.
So the verdict was very clear within the first 10 minutes itself that Kapil was one of their most loved personalities whose big screen debut they were eager to watch and now the next crucial question was that whether the film has got the content to win over the viewers providing the much awaited entertainment or not?
Thankfully the answer to this second significant question also turned out to be positive as KIS KISKO PYAAR KAROON successfully managed to give them a good return of their money spent in its 137 minutes of duration, despite having a clichéd theme and few forced songs incorporated just for the sake of it. In short, though it clearly reminds you of David Dhawan-Govinda’s 1996 hit SAAJAN CHALE SASURAL and even SANDWICH released in 2006, KKPK largely works because of Kapil Sharma, Varun (Choocha of FUKREY) and a pretty decent supportive cast taking you onto a hilarious ride with loads of funny situations and well written dialogues.
The film begins introducing the entire cast intelligently explaining the reasons behind the three marriages (that obviously need to be believed keeping the logic aside) and then presents two average songs in its first 30 minutes (where the initial one could have been easily edited). At first watching the proceedings with a smiling face and occasional laughs, one feels as if its nothing but an extension of Kapil’s TV program with few gags working and few not. But as the film progresses further bringing in the young lawyer, the fourth woman, her father and later Kapil’s own separated parents into the script, the narration become tighter and the team doesn’t give you a single moment to look aside till the emotional climax.
To give you a fair idea, apart from Kapil Sharma performing so confidently with his incomparable comic timing even in the emotional climax of his debut film, we have many other elements working big time in the project making a major contribution to its overall impact that cannot be simply ignored.
For instance here we have Varun Sharma, who comes out as a strong winner playing the young lawyer with his hilarious scientific explanation roping in ‘Newton’ and his scenes together with Kapil are truly a delight to watch. Making another impressive debut in the film is Johny Lever’s daughter Jamie as the Kaam Waali Bai and her every single scene generates an instant laughter, particularly the underwear one. There is Arbaaz Khan having good fun playing the deaf ‘Don Bhai’ of one of Kapil’s wives and Manoj Joshi, who doesn’t ham but gives you a real good time particularly in the shopping mall sequence dealing with all the ladies. Plus among the veterans we have Supriya Pathak and Sharat Saxena taking the important responsibility of creating some fine entertaining situations in the second half.
Coming to the four leading ladies in the film, they all perform decently in their given limited time and do not turn out to be some amateurs bagging a big film. Individually Manjari Fadnis (as the only known face), Simran Kaur Mundi and Sai Lokur perform well but its Elii Avram who seems to be having the maximum fun on the screen quite convincingly.
In the technical department where the camerawork and art direction is just fine, background score really supports the comedy well and it’s the editing that never lets the pace drop making you feel duly entertained both in the first and second half equally without any dragging sequence. Besides it’s the fast paced screenplay and lot of well written sequences and dialogues placed brilliantly that actually save the film from moving into any dull phase right till the end.
As the downers, KKPK has the major drawback of having a stale story to tell that has its own share of big absurdities. Yes, while watching such comedies we are not supposed to bring the logic in, but what many would have loved much more is some fresh and novel concept coming from the team led by the gifted Kapil Sharma surprising one and all. Soundtrack plays another spoilsport in this well paced comedy with nothing great to offer except few catchy hook lines in a couple of songs or the finale track. And had there been even 1 or 2 killer songs to help the film, it could have scaled much greater heights at the box office looking at the initial response. Honestly with Kapil having a great sense of music and melody himself, I was personally expecting a much better soundtrack to enjoy, so was pretty disappointed in this specific section.
Anyway coming to the most sensible players in this safe bet, they are none other than the talented director duo Abbas-Mustan, who have handled the project with an amazing ease, even when it was not of the genre they are known for. As a matter of fact the duo very smartly allowed Kapil to lead from the front and provided him all the experienced support of their vision and a well written script having loads of hilarious situations to play with. And Kapil as a thorough professional, made the optimum use of the opportunity given resulting in an enjoyable product.
However, a related fact to be essentially kept in mind is that this was Kapil’s first film and considering the massive love of people for their comic hero, it was bound to be a safe project in all probabilities, which will certainly not be the case in his next venture. Hence in his second film Kapil will have to be extra cautious in choosing the subject as well as the music providing the much needed novelty to his millions of fans keeping them largely satisfied.
Nevertheless, in the present, just go for KIS KISKO PYAAR KAROON and have a great time remembering those good old days of Govinda and David Dhawan of the 90s with the new age comic stars, Kapil and Varun.
Ratings : 3 + 0.5 / 5 (with the additional 0.5 for Varun Sharma and the dialogue writer for being the other two winners along with Kapil)
Tags : Kis Kisko Pyaar Karoon Review By Bobby Sing, KKPK 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
25 September 2015 / bobbysing /
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When the so called Godman released his first film of the series, I wrote, “Its actually not a movie but a 3 hour long, tacky 'Showreel of the Dera' made for its existing and would-be followers alone.”

(The complete write-up can be read at the link below.)
Ironically the outcome remains exactly the same in this second part of the project too, which is nothing but a promotional campaign for the Dera once again……… instead of any feature film as such.
However this time the ‘one-man-team’ goes many steps further by even including ‘real life footage’ of Sant Ram Rahim Insaan’s social works and discourses in the narration with a voice-over spreading the message much clearer and wider. Plus the loads of amateurish animations incorporated in its shorter duration (in comparison to the first) also force you to call it a smaller producer’s BAAHUBALI watching all the graphically created bulls, elephants, snakes and lot more. More so, because just like the cult hit, MSG 2 also ends declaring a ‘part three’ coming next with a huge demon entering the scene in its final freeze.
In addition another shocking revelation in the film is the historical linkage established with iconic characters of EKLAVYA, MAHARANA PRATAP and Sikh's GURU HARGOBIND in its different sequences.
Besides while watching it I also thought of a question to be asked to our respected Censor Board, that at one end they have (rightly) put big restrictions on using real animals in action, fight and Bali (sacrifice) sequences of a film saving them from the unintentional cruel torture. But on the other, the same mindset doesn’t raise any objection when an actual 8-10 years old kid is thrown away in the air and visibly used in a similar Bali sequence on the screen quite strangely?
Ending on another eye-opener note, the experience of watching MSG 2 in an almost house full theater with whole families of followers cheering, clapping and screaming creating an electrifying mood exactly like a Salman Khan-Rajshri film, actually got me enlightened.
Why? - Because no matter whether these tickets were really bought or distributed among the hardcore followers as a gift, this is actually how a CULT is slowly built and generations roped in creating a false impression of spirituality or divinity by some sharp minds.
Rating : It’s again an advertisement document and not a movie which has only one positive and that’s the social noble works being done by the Dera for the poor and needy.
Tags : MSG 2 Review by Bobby Sing, MSG 2 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
21 September 2015 / bobbysing /
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