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May 25, 2017 Thursday     
In the mid-90s, when the cable channels took over the responsibility of making family dramas for their daily viewers with all tried and tested formulas, Hindi film-makers stopped making them and “Family Genre” vanished all of a sudden from our Hindi cinema. Still occasionally films like BAGHBAAN, ENGLISH VINGLISH and more successfully tried to keep the genre alive and a similar kind of attempt is also made by director Indra Kumar in his latest venture SUPER NANI, which can also be termed as a comeback film of the ageless diva Rekha.
Reportedly based on the hit Gujarati play 'Baa Ae Maari Boundary', the basic plot revolves around the lady of the house going through a shocking makeover regaining her forgotten self-respect and passions of life. It readily reminds you of Sridevi in ENGLISH VINGLISH and also brings back the memories of Rekha’s own hit KHOON BHARI MAANG wherein too she comes back as a supermodel (though there is a huge difference in the basic theme and age factor depicted in both the movies).
SUPER NANI begins on an emotional note talking about the importance of mother in every family and then goes on to introduce all seen before kind of characters reminding you of the 80s family dramas, especially the ones featuring Kader Khan and Govinda. Director Indra Kumar keeps the movie crisp with all fast moving sequences along with his typical insertions of humour like the Gay Yamraj. Plus the timely introduction of Anupam Kher in another weird comical get-up saves it from becoming a drag putting it honestly. In addition, Rekha sportingly doing all those ‘Filmy’ sequences referring to Madhubala, Nargis and even Amitabh Bachchan, spreads smiles among the audience, particularly impressing the middle aged ones sitting in the theater.
The film holds your attention well before the intermission, but in the second half gets back to everything predictable, seen before and over melodramatic quite sadly. In short, this easily could have been another ENGLISH VINGLISH banking on the comeback of a veteran artist. But its routine screenplay, uninspiring songs and a climax similar to BAGHBAN doesn’t let you praise the film as anything fresh or well attempted by the experienced team. Yet, a must mention point remains that after a long time here is a family drama with a Bhajan in its soundtrack breaking the set trend. However I terribly miss the traditional rhythm and the sound of Indian instruments in such songs very frankly.
Coming to the performers, needless to say that SUPER NANI entirely belongs to Rekha alone, still the noteworthy acts include the one coming from Sharman Joshi and Anupam Kher playing the Nani’s school time friend. Though the faulty Hindi accent of Sharman remains unconvincing throughout and should have been avoided. Nevertheless the talented actor manages to put up a good show along with Anupam Kher in the film’s second half. Randhir Kapoor, as the husband is ok contributing nothing new and the same can be said about Rajesh Kumar, Anchal Dwivedi and Shreya Narayan too (who impresses in her few scenes later). Shweta Kumar, on the other hand gets nothing much to do as the film’s heroine unfortunately, whereas Vishakha Subedar plays her typical role of a bai in a perfect style.
Summing up, SUPER NANI is all about the star of the film Rekha, right from the first scene to the last and she has once again delivered a polished act in her various avatars, looking stunning even at 60. So if you are a true fan then should certainly not miss the opportunity to watch her on the big screen after so many years in a full-fledged role. But if you are not, then can easily wait and watch after its DVD release or on a channel airing soon in the next few weeks.
Rating : 2 / 5
Tags : Super Nani Review By Bobby Sing, Super Nani Film Review by Bobby Sing, Hindi Films based on Gujarati Play, 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
31 October 2014 / bobbysing /
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Balak PalakThe three letter word SEX has always been a suppressed, lesser discussed and educationally ignored social taboo in our country, which still questionably has the same status even in this second decade of the new millennium despite all the awareness drives active through various communication sources. Moreover the most important part of this subject i.e. SEX EDUCATION among KIDS is still gravely ignored by not even the schools but also the parents in a very careless and irresponsible manner, resulting in many other serious issues reported in the recent times.

So within this strange scenario, if a team presents a brilliant film made on the subject of Sex Education mainly aiming at the parents and that too with a superb comical touch without going into that uninteresting preachy mode, then that is nothing less than a commendable achievement by its makers deserving all the praises.

BALAK PALAK is the Marathi film breaking new grounds in Indian Cinema venturing into that rarely explored territory and delivering the message in a simple yet quite engaging and entertaining manner like never seen before. In fact no other film has dealt with the issue or rather I should say problem in such a thoughtful, bold and comical style ever in the history of Indian cinema till date. And for that, hats off to its director Ravi Jadhav, producer Ritesh Deshmukh and all the young actors in the film giving highly believable & flawless performances forcing you to think differently at the earliest.
To inspire you further, its certainly not easy to shoot this kind of subject (and bold scenes) with the child actors in that crucial indecisive age. Its not easy to convey the life transforming message in such simple words to both the kids as well as the parents. Its not easy to depict the dilemmas faced by the adolescents in those tender years. And its definitely not easy to make a movie on Sex Education and keep it well within limits without going vulgar or obscene.
BALAK PALAK performs that difficult task admirably and comes to the point from the very first scene itself progressing well with a crisp editing. It has a great background score and apt soundtrack used well in its superbly written and performed sequences. Also the film connects the present times and the 80s with a highly interesting link of VCRs reminding you of those days of watching 3-4 films together on rent. Plus, despite being a film on SEX EDUCATION it can easily be rated as a delightful, educational as well as a wholesome, much watch entertainer for the young parents in particular since sooner or later they would be dealing with this issue in their homes too, undeniably.
Hence, whatever be the age (above 15), BALAK PALAK (meaning Children-Parents) needs to be seen by all as it reminds you of that ‘most important dialogue’ between the parents and their kids which should necessarily happen just at the right time before its too late.
Rightly rated as UA by the censors, this is an important social film and many thanks to Ritesh Deshmukh for being a celebrity with a vision to support such relevant projects feeling his creative responsibility towards the society. So do watch it as a must and teach the kids those essential lessons of life in time yourself, before they begin learning them all from numerous avoidable sources easily accessible to them just with the click of a mouse.
Tags : Balak Palak Marathi 2013, Must Watch Classic Indian Movies, Movies To See Before You Die List by Bobby Sing, Worth Watching Indian Regional Films, Rich Indian Regional Cinema at BTC, Regional Indian Cinema Classics at bobbytalkscinema.com
26 October 2014 / bobbysing /
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After reaching a cult status, often big stars find it hugely risky to experiment with new directors and novel concepts following a fresh approach towards making entertaining cinema. And that is the reason they keep sticking to their own tried and tested camps, friendly directors and those fairly safe concepts adapted several times before. Yes, actors like Aamir Khan keep trying to break their own set standards of the past pushing their writers-directors along, but somehow Shahrukh Khan has lost that momentum which he once displayed in his films like CHAKK DE INDIA, SWADES and MY NAME IS KHAN. As a result in the recent times his films have been made on all ‘repetitive concepts’ only to en-cash the known euphoria around his name and nothing beyond that.
Unfortunately HAPPY NEW YEAR fails to deliver even that and remains amongst the weakest film of the actor as well as the director post their entertaining OM SHANTI OM. To give you a fair idea, Shahrukh’s CHENNAI EXPRESS still had much more enjoyable moments than HNY featuring a confident charmer Deepika Padukone with her fresh south Indian accent. But sadly, even Deepika is unable to save this pretty long, completely predictable and uninteresting film with her tapori mannerisms.
Clearing the speculations being made around its inspired status, HNY has nothing to do with the films with the same title i.e. HAPPY NEW YEAR (1987 - English), HAPPY NEW YEAR aka LA BONNE ANNE'E (1973 - French) or the Spanish heist film LADR'ON QUE ROBA A LADR'ON having few similar characters. In fact this is a poor mix and match of our own several Hindi films since the main revenge plot straight away reminds you of DHOOM 3 and many dialogues make you remember the previous films by the team quite clearly.
Beginning with all grand looks of the Dubai hotel, the makers keep stressing on the BODY structure right from the first few minutes itself and then go on giving the introductions for a good long 45 minutes. Looking for something fresh, one desperately starts expecting Deepika to come in fast to offer the much needed relief but such is the (all clichéd) below average script progression of the film that even her decent performance is unable to become the saving grace. The comedy barely works in only a few scenes and the dance competition before the intermission exactly looks like watching any mediocre movie unexpectedly.
The long and lazy sequences continue to test your patience in the second half and (once again) the heist is so easily done as if the owners were just waiting for the diamonds to be stolen in advance. Particularly the elements of ‘not in use’ AC duct & the excessive water involved in the act were just mind blowing throwing away the logic as always. Next the painfully stretched climax trying to pump in some fake patriotism simply falls flat and the film thankfully ends raising a big question in your mind that,
“Why did Shahrukh signed this and didn’t they all read the script first before saying Yes?”
and moreover,
“Why everyone including Aamir, Akshay, Hrithik, Salman & now Shahrukh are all desperately doing the same heist films all of a sudden?”
Keeping aside the writing which more or less gets revealed from the description above, I would like to mention the direction which questionably doesn’t give you even one impressive or memorable scene in the film to be precise. Refusing to learn from the mistakes of the past, this time Farah makes fun of Saroj Khan in a spoof and with Shahrukh (once again) being present in the act, becomes the ‘partner in the crime’ unarguably. In honest words, I really cannot understand the need and fail to laugh at any such act disrespecting our veterans, whom we have grown up watching in all the past decades.
Other than this highly objectionable addition Farha also brings in some surprising cameos featuring Sajid Khan, Prabhudeva, Anurag Kashyap, Vishal and more. But none of them is able to bring in that much desired laughter in the theater. Plus the overuse of a particular suggestive abusive word in the dialogues seems to be really strange as well as sick considering the King Khan’s status.
And I would humbly like to ask the Censors that
“Does the committee only understands English abusive words, strongly objecting their use in our films and really not familiar with the Hindi abuse suggestively used in HNY? OR
“Do we have different set of rules for small, medium and big budget films featuring the known names?”
Musically, the songs are not able to make any kind of long lasting impact on the viewers and the only catchy number “Main Lovely Ho Gayi Han" is highly inspired from a Punjabi composition also reminding you of "Main Yaar Manani Ni" from DAAG (1973). Coming to the other technical departments, a heist movie is largely dependent upon its Background Score which keeps you glued to the screen when the task is being done without any major dialogues. But HNY doesn’t have any pulsating Background score to make you feel the excitement and the camerawork keeps trying hard to fill in the missing element through its different angles along with some fine action. Also the editors are not able to deliver a fast paced, engaging product probably because they had to give each and every actor his due scenes keeping the main focus on Shahrukh.
In the performance section, I really haven’t got much to write as none of the names come up with anything exceptional other than a few scenes of Deepika, Boman and Abhishek. Despite being there in almost every frame Shahrukh doesn’t deliver the Khan magic and I truly missed the actor seen in SWADES and CHAKK DE INDIA. Both Sonu Sood & Anupam Kher are wasted just for nothing, Vivaan is only there to fill up the space and Jackie Shroff is the same, as seen before playing a routine act.
In all it seems that the film was made just for the sake of friendship since in comparative terms HNY is arguably one of the most disappointing films of the year which misses out the opportunity to encash a talented cast ensemble. Nevertheless its pretty obvious that the film will still make a big killing at the box office due to our own gross ignorance and so huge cinema loving population of the country.
However signing off on a positive note, I would like to request Shahrukh to please adapt new concepts, new directors and better films in the coming years, since the actor himself and his fans certainly deserve much better films than HAPPY NEW YEAR.
Rating : 1.5 / 5 (with the additional 0.5 just for the efforts of Deepika, Boman and Abhishek)
(On a personal note I still find the good old Dharmendra heist movies much more entertaining and enjoyable than these mediocre new age ventures, particularly SHALIMAR, JUGNU and AZAAD)
Tags : Happy New Year Review By Bobby Sing, HNY Film Review by Bobby Sing, HNY Movie Review at BTC, 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
24 October 2014 / bobbysing /
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In the recent reviews of many Hindi horror films, I have repeatedly mentioned a visible fact that this particular genre is one of the safest ones having a large section of viewers always ready to watch the latest flicks in the theaters despite their lower budgets, lesser publicity or an unknown star-cast. And that is the reason why there are always at least 30-40 persons in the first show of these films expecting something better scaring them like never before. Plus these horror ventures also have a decent demand in the home video market too since the Ramsay era.
Unfortunately the significant fact mentioned above is also known to many mediocre film-makers too which is repeatedly resulting in such silly and laughable products that not even qualify to be called as a Horror flick. In straight words, MUMBAI 125 KM once again proves that for few thoughtful minds a Horror film is nothing else than many dark scenes, shocking sounds, few flying spirits, some continuous brutal murders and a flashback secret served with a good dosage of sex and that’s it. Now here if you think I missed out the word story or plot then for these specific minds, a group of friends going on to an expedition or adventure (with references taken from few foreign movies) is all which is required in the name of plot as displayed in this latest dud.
Describing the experience of watching this so called Horror film in few lines, it as usual starts with a scary dream sequence, followed by a party/love song introducing a group of friends (with a love triangle) deciding to go on a quick journey which obviously turns out to be spooky introducing a woman ghost with a linking twist. But giving out the actual truth this is certainly one of the most foolishly written and carelessly directed films that just has been made in 3D aiming at those 250 Rupees lying in your pocket and has nothing to do with the genre or even cinema in some exact words. And since I can easily sense your disinterest in reading about the film, there is no use writing about its performances, cinematography, background score, direction or script wasting your valuable time any further.
However I would surely like to end with a simple request to the makers, that yes there are decent takers of this genre undoubtedly, but please don’t consider them as fools serving such immature products repeatedly calling them as Horror films.
Rating : 0.5 / 5 (and that too just for the hard-working crew involved in its making)
Tags : MUMBAI 125 KM Review by Bobby Sing, 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, Silly Horror Films in 2014
22 October 2014 / bobbysing /
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