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.

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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     
Prithipal SinghBeginning with a basic question, “Why films are made on our worth-knowing heroes of the past?”……That’s because they wish to entertain as well as enlighten the young viewers with the inspiring stories of the heroes who could scale such astonishing heights in their respective deeds or fields setting new benchmarks to achieve for the coming generations.
However when one an unknown film informs you about something so important you are not even aware of (despite being a follower of the related sport), then it certainly becomes a much greater and appreciable attempt deserving a loud applause. So with a heartfelt thanks to the entire team for attempting a feature film on such a huge yet unknown chapter of our Indian sports history, I would love to give you the details of the triumphs achieved by the forgotten hero (in the later part of the review) who is strangely not remembered by even the hockey enthusiasts in our country of the present times.
But before that, reviewing it as a film, PRITHIPAL SINGH is unfortunately not any highly impressive bio-pic in terms of filmmaking, conceived with quite a casual and laidback approach by its debutant writer and director Babita Puri. Yet keeping in mind the limited budget of the project and mostly ‘first-timers’ working in its technical as well as music department, it still cannot be termed as any awful project since the makers do present it with a sensible approach making an intelligent use of the archive footage and sequences presented in Black & White, along with all average to above average performances given by the supporting cast, somehow serving the basic purpose of informing and enlightening the unaware viewers as desired.
Having said that, no doubt such a strong subject truly deserved much better execution by an experienced team in order to reach a wider audience all over the country as well as abroad like earlier seen in the case of BHAAH MILKHA BHAAG and PAAN SINGH TOMAR. In fact Prithipal Singh’s story being quite close to Paan Singh Tomar’s individual struggle for life, it surely had all the elements of making an effective, powerful bio-pic inspiring many youngsters, especially the ones playing Hockey in their school and college teams looking for a career in it.
Anyway moving ahead revealing the major or rather only merit of the film, it’s the performance of Vikas Kumar featuring in his debut movie, whom you must have seen in many TV serials playing some interesting roles (like CID). Vikas not only manages to reach the soul of his character with all the required aggression, anger and ‘no smiling’ mannerism portrayed well, but also looks like the role he is playing of a Sikh sportsman without any concerning visible hassles (and that too minus the over-famous six-pack abs or gym preparations as shown in BMB). In fact many would be surprised watching his published pictures after watching the film, as it really becomes hard to accept him in his original appearance entirely different from the character of Prithipal Singh in the film (just like Farhan Akhtar). Indeed a big compliment for the actor, who tries his best putting everything he has got in an unfortunately weak film made without any passion or fire as it seems. Here I would also like to mention the appreciable work of Vikas’s make-up artist and the cinematographer too adding a lot to his spirited performance on the screen in technical terms.
Coming to the most important section of the review, I would like to mention all the lesser known achievements of Prithipal Singh and the astonishing facts related with his professional as well as personal life that are sure going to be an eye-opener for most of the readers here in all possibilities.
1. Prithipal Singh (1932 – 1983) was an Indian hockey player nicknamed “The King of Short (Penalty) Corner” by the then hockey commentators as he was known to surely convert the corners into a goal with his exceptional skills.
2. He participated in the Olympic field hockey thrice and every time scored the highest number of goals by a single player. The Indian team won Olympic silver in Rome (1960), Gold in Tokyo (1964) and Bronze in Mexico (1968), but Prithipal had to leave or retire from the sport (post the Mexico games) after getting fed up from all the internal politics played by the official selectors against him.
3. In Rome (1960) India lost for the first time in Olympics and that too to Pakistan, settling for the Silver medal. But the team bounced back in the next games in Tokyo (1964) winning the Gold, and out of 22 goals in these games 10 were scored by Prithipal alone making another big record.
4. Even after winning the Gold in Tokyo Olympics (1964), due to the personal conflicts with the selectors, in the next Games held at Mexico the Indian team was sent with two Captains heading the boys………..Yes (unbelievably) two captains…….. only to humiliate Prithipal Singh and divide the team members negatively getting into two different groups. As a result, the team was not able to perform as earlier and could win only a Bronze medal due to its inner tussles, forcing Prithipal Singh to leave or retire from hockey forever.
Prithipal Singh5. A post-graduate in agriculture, after working for both Punjab Police and Indian Railways, Prithipal Singh became the deputy director for youth welfare in Punjab Agricultural Unviersity, Ludhiana. And it was there that he got involved in students politics leading to many serious consequences in the early 80s.
At one end, he was supposedly accused of murdering a famous student leader active in campus politics, on the other was also known to be a guiding figure for many involved in various college sports too. But with the group clashes taking a decisive turn, it came as a shock for everyone when Prithipal Singh was shot dead in broad daylight right within the campus in front of several students and officials witnessing the bullets being fired.
Shockingly none of the people watching the brutal murder came forward as witness to support Prithipal Singh identifying the known accused and the case got closed without any person booked allowing the killers to roam freely.
(However the death was not in any way related to Punjab Militancy active in the early 80s. Still it might have made the availability of arms easier for the students as it seems causing the campus bloodshed.)
6. Mentioning the awards, apart from receiving various honours from Agricultral College Ludhiana and Indian Railway Police, the first-ever Arjuna Award to a hockey player was conferred upon Prithipal Singh in 1961 by the Government of India and he was later also given the Padma Shri in 1967 for his meritorious contributions to the Indian Hockey.
Admittedly where a few readers might be already familiar with Prithipal Singh and his life history through any of their personal experiences, I was honestly not aware of the name before watching the film, despite having many friends actively following the game of hockey (as Delhi has a large number of hockey lovers, particularly living in West Delhi). So where I am extremely thankful to the makers for attempting a film on this ‘must-know sports personality of India’, I frankly also wish the impressive Vikas Kumar had got a better writer-director visualising this proud but rather unknown, shocking, upsetting, shameful and scary chapter of our Indian sports history on the silver screen.
So you should ideally watch it not as any film but as an informative document featuring the spirited Vikas Kumar, reminding us about a forgotten chapter of our proud sports history which also reveals how sports authorities have been questionably working in our country since the mid of last century.
Ratings (as a film) : 2 / 5 (with a big thanks for making us aware of the Indian “King of Short Corner” named Prithipal Singh)
Tags : Prithipal Singh Movie Review by Bobby Sing, Prithipal Singh Film Review by Bobby Sing at BTC, Real Life Inspired Films, Hindi films based on Indian Sports Personality, 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, Inspired movies
31 October 2015 / bobbysing /
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Once Upon A Time In BiharMoving ahead of all those over dramatic and filmy takes on the issue by the renowned director Prakash Jha, here we have a much responsible film written and directed by Nitin Chandra that sincerely tries to reveal the actual state of Bihar, hinting towards the intended bias, humiliation and exploitation of its people both within and outside the state following a sick tradition.
To be honest, we are not talking about any classic here having its own avoidable shortcomings with many debutant artists in the team trying to perform to the best of their ability. But its actually the true to life execution and the purposeful vision of the film that forces you to consider it respectfully with many ‘realistic dialogues’ talking about the distressing life of even the highly educated youth in the ‘much talked about’ state.
Opening with the real life inspired riots-sequences of Patna during March 2005, it goes into more than a year old flashback introducing three key characters set in Buxar district of Bihar. And then starts looking into their individual life-struggles faced within their home-state dealing with their own people in power quite shamelessly. With the first half stumbling in the beginning moving on a slow pace, it’s the second half that makes a much better connect with the audience through all the thrilling moments related with the planned abduction gone wrong. In other words, as soon as the script starts talking about the crime-angle introducing the character of Ashish Vidyarthi, it pulls you in and starts delivering as an engaging film in terms of entertainment. However, despite the two halves dealing with their distinctive plots, Nitin never loses the vision of enlightening the viewers about the conflicting situations faced by a Bihari youth finally choosing the path of crime unwillingly.
The typical regional language used in its key conversations (with some noticeable lines) is sure going to appeal the people of Bihar undoubtedly and it’s the indicative insertion of many burning issues of the state that actually lifts up the film in totality. For instance the writing intentionally includes the reference of competition tuition classes business in Bihar, the bribe rate cards for government jobs, the gunda-raj of not paying for anything by the relatives of politicians, the fearless loots in front of spineless public in absence of effective Police-control, the known business of ‘ransom-earning’ chosen by the youth, the social problem of arranging big amounts for marriage by the girl’s family, the under-employment of highly educated youth forced to do some labour jobs, Bhojpuri films and music being made and promoted so openly close to soft-porn poisoning the present generation and naxalite problem hurting the nation since long.  
Musically OUATIB has a few well composed soulful tracks (played in the backdrop) working fine with its core subject and story progression, though the lyrics remain in the local lingo appealing to only selective audience (like “Chanarma Mein Daag Baa” & more). In the technical department the noteworthy art direction, background score and cinematography majorly help the film to make a decent impact shot at actual locations. Particularly the dark sequences executed well in the final hour of the film certainly need a special mention here giving the team of technicians their deserving due.
In the performances, both Kranti Prakash Jha and Deepak Singh underplay their given roles in a decent manner effortlessly along with Ajay Kumar playing the most nervous one of the trio quite well. Ashish Vidyarthi as usual impresses in the film’s concluding moments but being the only female character in the entire narration, Arti Puri keeps trying her best to bring in the emotional factor as required.
Coming back to the downers, OUATIB does become preachy at times (especially in the beginning or towards the long climax) and with many other films already been there made around the same theme of ‘ransom business in Bihar’, it could have done much better if released along with the ‘over-hyped’ Prakash Jha films in the gone years. Besides a more clear and explanatory climax could have added a lot to the last-minute impact on the viewers as I strongly felt. Because in the end it still remains a film focusing on the problems alone without any possible solution to give as a visionary project.
Having said that, there is no denial to the fact that ONCE UPON A TIME IN BIHAR has been made with all positive vibes and intentions by its writer-director Nitin Chandra hoping for the much needed change coming soon in his home state. The film will no doubt appeal more to the residents of Bihar and the people migrating to the other states only due to its regional feel, but its time such problems are considered as ‘national issues’ by the central government too before its gets blown to much grave proportions reaching the other states.
The basic idea of the film is to enlighten the viewers about the present scenario with a highly authentic portrayal of its regional theme and that’s exactly one of the most important motives of ‘Cinema’ along with providing the usual entertainment to its target audience. Hence at times, we as the viewers also need to strongly support such courageous attempts made giving us the real (scary) picture by purposefully ignoring any of its visible shortcomings.
Ratings : 3 / 5 (including the special brownie points for the sincere and concerning intentions of the talented team)
Tags : Once Upon A Time In Bihar Review by Bobby Sing, OUATIB Film Review by Bobby Sing, An authentic Hindi film on Bihar, Bihari Language, Bhojpuri Cinema, 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, Inspired movies
30 October 2015 / bobbysing /
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Taking you back in time before the 90s (or rather 80s), SHAREEK once again brings forward an ages old feature of PUNJAB and its conventional style of living, wherein the ownership over land and ego issues were (and still are) widely considered as equivalent to some kind of ‘social status’ much ahead of any level of education, values, affection, love or even blood-relationships. There were a significant number of Punjabi films made around this particular subject in the past decades and it was supposed to be a ‘must-have’ sub-plot even in the projects dealing with some contrasting genres.
Putting it differently, this family rivalry and a bloody history of ugly events related with the same can easily be considered as an essential feature of life in (mostly rural) Punjab and that is the reason a major chunk of the Punjabi Songs (even in the present times) revolve around the theme of ego wins, guns, clashes, killings, court cases and similar things.
So honestly where the majority of audience (of Punjab) might enjoy SHAREEK taking it as a highly satisfying extension of their own similar outlook towards various issues, I would like to draw a completely different picture of the film with a noble intention of diverting your heated energies to an extremely positive and socially relevant point of view in the text ahead.
Explaining the meaning of its title first, though in Urdu the word means ‘participating, sharing’ or ‘associating’, in the film’s Punjabi context the word SHAREEK refers to a competitor, rival or enemy to be exact (that might be even cousins). Focusing well on its specific theme of mutual rivalry, the film has a script that strictly follows its core issue right till the end and keeps hitting the target repeatedly resulting in some strong engaging moments at regular intervals. The excellent performances of the lead actors including the ever-reliable Jimmy Sheirgill, the veteran Guggu Gill, the brilliant learner Mukul Dev (coming from a contrasting world of Hindi films), the spirited Kuljinder Singh Sidhu and the beautiful Mahie Gill superbly add to its overall impact on the viewer without any doubt.
But giving the other four aces of the film their much deserving due it’s the combined effort of a realistic direction, well-written dialogues, a fast moving script and the impressive portrayals of Jimmy-Kuljinder and Mukul put together that SHAREEK doesn’t turn out to be something unimpressive made on the same old formula with all familiar things. Along with that, what further provides a much stronger support to the film is its appreciable cinematography, splendid background score and the emotionally touching slow musical tracks that start playing in the backdrop just at the right moments having some hard hitting lyrics rendered soulfully.
Having said that SHAREEK has an equal number of shortcomings too that doesn’t allow it to be rated as any classic product or masterpiece as many might feel. And its major minuses include, a few deliberately added average songs (as usual), the weak presentation of the younger generation by the inexperienced debutants, less attention given to the changes in the physical appearance of characters despite more than a decade passing in its storyline, the repetitive & easily predictable events in its script progression, the weird-illogical sequence of two ‘baraats’ of cousins heading for the same girl and a highly stretched climax that unnecessarily adds to the film’s painfully long length of over 140 minutes. In other words with a better edited product and more (serious) emphasis given to the performances of the second generation in the storyline, SHAREEK could have been a much finer product having an important message to give to its younger viewers.
Besides, bringing in the Hindi film enthusiast in me watching a Punjabi film, I many times felt as if the narration, the character of ‘Jassa’ and its overall treatment, more or less was highly inspired from the famous ‘Tiger’ of Mukul Anand’s HUM (1990) majestically enacted by the one and only Amitabh Bachchan. SHAREEK’s Jassa surely had the elements of Tiger in it in his various sequences as I strongly felt.
Coming to the most critical part of the review sharing an entirely contrasting study of SHAREEK as a realistic take on the bloody family rivalry between two brothers. Just try to think about each and every character of the film for a moment. Simply consider the persona of every single person participating in its long storyline going into decades and then see if you can find even a single positive character in the entire film right from its first sequence to the last giving some optimistic message.
No you will not, as there is none.
As a matter of fact, SHAREEK is a kind of unique eye-opener film with all NEGATIVE characters in the script giving an all POSITIVE message to the ones who are willing to learn.
In other words, no one is ever interested in the film to talk about compromises, re-establishing relationships or finishing the rivalry off for the sake of future generations. On the contrary it even has the women of the house effectively adding scary fuel to the fire and the elders successfully sowing poisonous seeds of revenge in the innocent adolescent minds working on their own egoistic agendas focusing on the near future.
Winning the ownership of the disputed land remains the only sole motive of their entire living and the grown-ups feel no kind of shame in even using their 20+ young sons and widow daughter-in-law too for the purpose quite pathetically. In fact even ‘the old mothers’ are willing to provoke their young boys to pick up the guns and no one is even remotely interested in thinking about making peace ever, even in their wildest of dreams.   
Yes, this has been the undeniable feature of life in Punjab from ages.
But the problem is that if you are still living that way in the year 2015 and also enjoying watching the same on screen finding fun in the bloodshed shown, feeling some kind of sync with any one of the characters in the script cheering his agitated act as if it’s your own story being told……. then that indicates that we still haven’t learned from the mistakes of the past and all education and better standard of livings have failed to purify our egoistic souls even in the changed times of the new millennium.
So SHAREEK can also be considered as a clear mirror revealing that ugly state of Punjab, wherein family rivalries have eaten up many more lives along with the over famous political conspiracies of the last century. And I can only hope the film forces the present generation to finally think and move over this sick tradition…… instead of relating to the larger than life depiction on the screen……. enjoying it negatively!!!!
Ratings : 3 / 5
Tags : Shareek (Punjabi) Movie Review by Bobby Sing, Shareek Film Review by Bobby Sing, Punjabi Films Reviews by Bobby Sing, New Punjabi Film Reviews at bobbytalkscinema.com, Punjabi Film Reviews by Bobby Sing at Bobby Talks Cinema dot com, Inspired movies, Punjabi Films Inspired from Hindi cinema.
28 October 2015 / bobbysing /
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The quirky characters in the film’s concerning promos did strongly point towards something upsetting coming from the talented team. But it would turn out to be so absurd walking down the same old decayed paths offering nothing new, wasn’t really expected from the thoughtful Vikas Bahl, the director of two National Award winning films namely CHILLAR PARTY and QUEEN (with the first co-directed by Nitesh Tiwari).
On the cost of repeating myself, I would once again like to share that there are broadly only two basic ways of delivering ‘a winning project’ impressing majority of audience sitting in the theater. One is to give them something completely fresh and novel offering a never before kind of entertaining (or enlightening) theater experience in terms of subject & storyline. And two present the same content in such a refreshing, entertaining way that they don’t mind watching it again, making an instant connection with the characters emoting on screen in a relatable manner. Admittedly the first way is pretty tough to follow and deliver, therefore we mostly see the second option tried repeatedly by the makers making a decent amount of money (as seen in the last week’s PYAR KA PUNCHNAMA 2 that was an entertaining remake of its own original released in 2011.)
However what SHAANDAAR offers to the audience in its more than 140 minutes of duration is neither novel nor enjoyable, but rather pathetic - considering the shocking execution tried by the otherwise talented team comprising of many known names.
Having said that the name Vikas Bahl was the one, who actually came up with two novel films in the past (in terms of subject & treatment) impressing both the masses as well as the classes unanimously. But with SHAANDAAR he strangely steps down to a much lower and easier path when given a comparatively bigger and better chance working with two known stars. In fact this clearly proves a common saying in the industry, that the new talented (thinking) directors who make brilliant films within a limited budget featuring a lesser known cast, always mess up badly when given a more than required budget and bigger stars to work with in a mega venture.
Anyway coming to the film, SHAANDAAR honestly gives you nothing to write about in details as it has been made on the same formula of a fairy tale narration heading towards a big happening wedding planned between two supposedly rich families as a business deal. It has all seen before clichéd characters of a rich empire led by a manipulating old grand-ma including young sisters, a father, an adopted girl (who in reality is the illegitimate daughter not knowing the truth), the silly bridegroom, his gangster like brother and a wedding planner who starts romancing the sister of the bride as usual. The grand look and art direction with all the designer dresses given to the artists roaming around in a big mansion situated abroad typically follows the well-known settings of a Karan Johar film, who eventually also features in one of its sequences too as Karan Johar only.
Its music and interestingly shot songs at times become the only savior in the absurdity displayed on screen (thrown abruptly as usual). But here too the new obsession of ‘The Film Industry’ continues to be followed blindly, that is of ruining old musical gems by reworking on their original composition and lyrics without any need as such. And this time they have picked ‘Neend Na Mukhko Aaye” and “Eena Meena Deeka” to crucify them in their own new-age brutal way unnecessarily.
Becoming the clear victim of all routine and repetitive writing, neither the lead pair nor the veterans are able to impress as desired. Yes, Shahid and Alia look good on screen having a fine chemistry but the film fails to take any advantage of the same due to its own faults. Also as the girls say, it was indeed the script’s demand to get into the 2 piece swim suit and that too in a dream sequence! In the supporting cast it is shocking to see the cruel treatment given to Anjana Sukhani standing silently in the crowd whereas Pankaj Kapoor is a delight to watch as always in any kind of role given to the master. Sanjay Kapoor gives a surprise appearance playing the 'over-the-top’ Sindhi big brother after a long gap, but the one person who scores the maximum when it comes to performances remains Sanah Kapoor (real life sister of Shahid) making a decent impact in her debut film (playing a character that seems to be clearly inspired from the recent hit DUM LAGA KE HAISHA). 
To give you my personal opinion, though SHAANDAAR is said to be directed by Vikas Bahl but I found Karan Johar visible in its most of the frames more than Vikas due to many obvious reasons. It is a film based on Karan’s favourite subject of ‘A big fat wedding of the rich’ (‘destination wedding’ to be exact) with everything in excess right from the grandeur to the execution as seen in his own films. There are specific scenes reminding you of the typical KJO treatment like the ‘Weirdly behaving twin sisters’, ‘Lavish Non-Veg Dinner on a Tuesday’, ‘Mehndi Interview with Karan’ or the ‘Girls-Boys Qawwali Competition’ towards the end wherein Pankaj Kapoor makes a grand entry as expected. The long descriptive use of animation adding the elements of various fairy tales like ‘The Frog’, along with the must-have ‘I am Gay’ insertion further makes you strongly feel as if you are watching a Karan Johar film and not a Vikas Bahl one to be precise.
Plus a questionable sequence featuring a 7-8 year old Sikh kid seriously forced me to ask that Why on earth they wanted to show Shahid as a born Sikh? What it had to do with the story anyway?.....Or Was it just to add some sick, silly humour as seen in ‘the great director’ Karan Johar’s debut film KUCHH KUCHH HOTA HAI, where he deliberately used a similar kid character to generate some ugly laughs along with Johny Lever and then was later forced to edit out those particular scenes ‘referring to a specific time in the watch’ post the film’s release.
But wait, I have still not revealed the most ridiculous insertion in the film yet, that straight away reminds you of the cult-comedy JAANE BHI DO YAARON, wherein the dead old lady of the house is made to sit on her couch with full make up on, projected as alive and kicking. God knows what made them write that and approve it too in the first place? Besides what was the humour behind the child setting the old lady on fire in the end remained out of my understanding completely. Also why our honourable Censor Boards didn’t take notice of this particular highly objectionable scene (featuring a minor) further puts me in doubts about their set parameters and rules once again.
In short, SHAANDAAR might work for a few who don’t care about eating the same dish again and again served casually without adding any fresh tasteful ingredients. But for me it didn’t work at all (except for the ‘feel good’ climax focusing on the revolting girl) coming from such a thoughtful director known for delivering novel and entertaining subjects moving ahead of the routine. May be this absurdity was a result of the famous ‘KJO vision’ messing with the original thought process of ‘Ph se Phantom’ forcing them to take a more commercial look at the projects forgetting about the ‘cinema’ in them.
But whatever may be the cause this is exactly why producers dream to get a solo release on a Festival holiday to remain in a pretty safe zone. Because in a long Festival Weekend even a grand-mess like SHAANDAAR gets house-full in the multiplexes promising a good initial. 
Rating : 1.5 / 5
Tags : Shaandaar Film Review By Bobby Sing, Shaandaar Film 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, Inspired movies
23 October 2015 / bobbysing /
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