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May 25, 2017 Thursday     
If you can forget about any specific plot, ready to watch natural performers instead of superstars, can ignore some extreme abuses used and willing to experience something straight out of the real life of two struggling writers knocking at every promising door in Mumbai then do give this a try by making a serious effort as a must. Particularly if you are among the ones who themselves have experienced such time in the city of dreams as a writer, actor or a creative technician looking for work and your first crucial break in the film world.
Cleverly shot in a different, realistic mode by the debutant director Amit Masurkar, his SULEMANI KEEDA might not be a perfect winner, but it does have that much required freshness to offer post many mediocre projects supported by all big names. Its pleasingly authentic portrayal of two struggling writers, their try at girls in a bookstore, the unlimited rounds to the homes & offices of celebrities like Amrita Rao, Mahesh Bhatt, Anil Sharma and Aditya Chopra, their attempt to write something out of the box for their eccentric rich client, falling in love, fighting with each other and then surrendering to the corrupt system ignoring their own cherished art-form, truly gives you a quite mature account of the real life lived by such artists in Mumbai looking for that one major break.
With many admirably natural performances from Mayank Tewari, Naveen Kasturia and the entire supporting cast, who don’t really seem to be acting, the film many a times gives you a feeling of watching something straight from the real life shot in a docu-drama style. And that’s where it scores the most despite losing the grip in the middle (due to the repetitive love affair) and then becoming all predictable towards the end of its 90 minutes duration. Shot in a simple but impressive manner on all next door Mumbai locations, SULEMANI KEEDA remains a comedy throughout maintaining a fine balance between real life and its unique characters. But along with that also represents the deep pain felt by every single person who comes to the city in search of name, fame and money in big numbers.
It mocks at the film industry’s way of functioning much better than the recent HAPPY ENDING and THE SHAUKEENS and has an interesting soundtrack and background score too adding to the overall impact. Yet admittedly it doesn’t hit that hard in the end with the fun losing out to all familiar scenes in its final 45 minutes. Moreover, targeting only the urban youth or selected audience, the film is certainly not going to be seen and enjoyed by everyone as it seems. Having said that, it still gives you a name to watch in the future of its director Masurkar, who surely has a keen observing eye on the life around.
Ending on a different note, SULEMANI KEEDA might only be rated as a realistic, promising first attempt by the entire team performing well, but it definitely needs to be given a chance without any doubt. Specifically if you are film writer yourself or often write about films of the present or the past on your own blog/site as a passionate hobby.

And in case you are still not convinced then sample this one line from the film saying,
“Agar Filmein Bechani Hain Toh Dukandaar Ki Tarah Socho, Writer Ki Tarah Nahin!”

Rating : 3 / 5
Tags : Sulemani Keeda Movie Review by Bobby Sing, Sulemani Keeda Review by Bobby Sing, 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 December 2014 / bobbysing /
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If it’s a project featuring one of the biggest superstars of Indian film industry eagerly awaited by his huge fan following in the south (coming after a long gap of three years ignoring the animated KOCHADAIYAAN), then its nothing less than a big cinematic festival in that specific region celebrating the event in an unbelievable style, not seen even in the case of biggest Hindi film stars to be honest.
However if the same film releases in its dub format in Hindi then it struggles to find viewers even in its very first show despite all the hype and publicity received. And I was really surprised to have this contradictory experience this Friday, when the theater owners told me that you will have to wait for a while as we need more tickets to be sold in order to run its first show as scheduled. Fortunately about 12-15 people did come asking for LINGAA and I thankfully got to see it as desired in its dubbed version.
Moving on to the film, it has everything required for a Rajinikanth project supporting his larger than life image of both a superstar as well as a socially active person. But sadly the content has nothing fresh to say and gives you the same old feeling of watching a complete masala flick of the 80s with ample dosage of heroism, patriotism and emotional drama written around the superstar. In other words, LINGAA once again offers that standard mix of many typical sub-plots put together including a petty group of thieves, a casual heist, a romantic news reporter, the village link, an emotional flashback with the period theme, references of British rule and their brutality, a rich maharaja turning into a savior, an important dam built by him alone, misunderstandings being created, love affairs thrown in to fill the space and then a poor climax with some mediocre action heading towards a happy ending.
The dialogues are specifically written asking for claps and whistles in the theater, whereas few early songs are just added into the script like a five minutes relief item or a musical advertisement as usual. Beginning with all below average sequences, the narration goes into a long (nearly 100 minutes) flashback hindering the pace severely. And returning to the present you just have the routine end-fight to see, shot hurriedly with some mediocre special effects, strangely in a Rajinikanth film. Probably the length has something to do with the viewers phenomenal love for their icon, forcing the makers to give them more. But having nothing fresh to say in its nearly three hours, LINGAA struggles hard to make an impression and remains just an average film with the only saving grace being the Superstar.
Mentioning its plus points, the film largely works in its emotional or confrontation scenes alone and fails to deliver anything great when it comes to the basic storyline, songs, background score and performances. Where the action impresses in its early train sequence, it does exactly the opposite in the climax fight. Cinematography and Sabu Cyril’s art direction visibly gives the film its much required support but A. R. Rahman’s musical score remains the biggest disappointment undeniably. The master composes a very ordinary soundtrack for such a big venture and it was even more surprising to see the name of Gulzar behind some of its weird lyrics like “Mona Gasolina” and more.
Performance wise, Rajinikanth does manage to deliver a towering act as the generous Maharaja, but doesn’t have anything novel to offer as the young thief (he has a double role in the film). Sonakshi Sinha does it well and is more appealing in her controlled act in the later reels. Anushka is charming as far as looks are concerned but gets to play a completely artificial character in the film. Plus the enormous supporting cast mostly comes up with all average acts as required in its flashback sequences.
In short, it’s a project featuring one of India’s biggest superstar, but again has the same predictable story to tell where the lead character first gets maligned and thrown out of the village only to regain his lost respect and image as the truth gets revealed with a hugely disappointing climax. Honestly we have seen this many times before since the last century and now actually wish to see something more innovative, path breaking and unexpectedly impressive when it comes to names such as Rajinikanth. Hope our Thalaivaa will deliver the same in his next venture rising above the routine soon.
Rating : 2.5 / 5
Tags : Lingaa Hindi Review By Bobby Sing, Rajinikanth Lingaa Review By Bobby Sing, 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
30 December 2014 / bobbysing /
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The third part of fantasy, once again revolving around all familiar characters begins differently from the year 1938 where a few archaeologists are searching for some ancient treasure and they accidentally find it too when a kid falls into a pit. Among the precious finds of that treasure is a magical tablet that later causes all the trouble by making everything alive at night in the museum. And our hero, the night-guard, once again has to set it all right after an unexpected chaos on the night of a big event organized within the museum itself.
Written around on a repetitive kind of plot, this time we have more love and emotion in the air along with the usual dinosaurs, Capuchin monkey, Wilson-Coogan’s team and all others. Plus Ben Stiller is here in a double role with the hard to recognize one also falling in love with another lonely lady-guard of the British Museum. Supporting the romantic feel Robin Williams also finds a soft corner for Mizuo Peck in this probably final version of the series. And adding to its emotional factor, the film also has a sub-plot devoted to Stiller as a father and his relationship with his young son who wishes to be a DJ.
Beginning on an engaging note, the progression loses all its energy in its next hour with various sequences having some historical as well as mythological references too visualized brilliantly like that of a snake demon, exploding volcano and even a tiny Garuda interacting & dancing around in a hilarious manner.
In short, the film has its few engaging moments but is not a thoroughly exciting fun ride as one expected it to be. It entertains partially but then makes a soft emotional impact on the viewer towards the end with few moving scenes and the late Robin Williams saying goodbye with a smile. Just a time pass fantasy ride with much less adventure.
Rating : 2.5 / 5
Tags : NIGHT AT THE MUSEUM: SECRET OF THE TOMB Review by Bobby Sing, Night At The Musuem Movie Review at bobbytalkscinema.com, Hollywood Movie Reviews by Bobby Sing, English Film Releaes in India Reviews by Bobby Sing.
28 December 2014 / bobbysing /
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Reading about all controversies over Sanjay Leela Bhansali’s RAM-LEELA and Hirani-Aamir’s PK in the recent years, if you think that we have now become more sensitive in the issues related with religion in the present times then you are gravely mistaken as this has been happening since the Golden Era of Hindi films unfortunately.
In 1961 even Dilip Kumar had to face a rather embarrassing scenario when his film GANGA JAMUNA (as actor-producer) got caught in the censor troubles and was asked to make many major cuts. Astonishingly one of those objected scenes was in the climax when Dilip Kumar says ‘Hey Ram’ as his final words before dying. And why it was objected – it should be an obvious guess for anyone knowing the thespian’s original personal backdrop with a different name. The film was later passed after being shown to the then Prime Minister, Pt. Jawaharlal Nehru along with the much needed explanations given by Dilip Kumar himself and is now considered as a cult classic of Hindi Cinema widely.
Kalyug Ki RamayanLater in the late eighties, Manoj Kumar, the man popularly known as Bharat Kumar making films representing the Indian culture brightly embracing its various religions equally, also had to face a strong opposition from the censors as well as the people when he courageously made a satire titled KALYUG KI RAMAYAN in 1987. Starring Prem Chopra, Om Prakash, Madhavi, Bindu, Rajiv Goswami and more it had music by Kalyanji Anandji along with lyrics by Maya Govind, Verma Malick and Manoj Kumar. The storyline pointed towards the changing state of our society more interested in imitating the west forgetting their own traditional values and had an interesting concept of Lord HANUMAN visiting the earth to set a family right. Directed by Babubhai Mistry and edited by Manoj Kumar, every character in the film had a name similar to the ones found in the sacred RAMAYAN and the title role of Pawan Kumar was played by Manoj himself enacting as Lord HANUMAN interacting with everyone as a common man.
In the veteran’s own words, this was one of his best scripts that went through a lot of changes and lost all its original charm in its final version. The characters were earlier called Ram-Sita and it also had a song with the lyrics, “Kalyug Ki Sita Milne Judge Ko Chali, Sau Chuhe Khake Billi Haj Ko Chali” that couldn’t be included due to the objections raised (later changed to "Kalyug Ki Kanya"). The censor board refused to pass the film (with a threat of ban) without the suggested cuts and thus the title had to be changed from KALYUG KI RAMAYAN to KALYUG AUR RAMAYAN, but the film was no longer the same as conceived post all the alterations. Interestingly this is also considered as one of the weakest films from the visionary director in his last phase that also couldn’t do any wonders at the box office despite all controversial publicity gained before its official release.
Giving you a personal account, recalling that time of the year in 1987, every theatre used to have many huge hand-painted display hoardings of the upcoming films in their premises weeks before their actual release. So there was a large hoarding of the said film too in NATRAJ theatre in our locality (West Delhi, now taken over by FUN CINEMAS) with the title written in big letters KALYUG KI RAMAYAN having a red image of Lord HANUMAN in the backdrop of Manoj Kumar standing with his hand in the pockets dressed in white (as shown in the picture above). For weeks we kept seeing that hoarding catching attention with its attractive colours standing tall along a few others.
Kalyug Aur RamayanBut just a couple of weeks before its release date, as the news of many objections raised on the film’s suggestive content came in the newspapers, one fine morning we were informed about an agitation being made in the theatre premises shouting some slogans asking for pulling the posters down. After a timely intervention by the Police officials, the protestors went back making some noise and within a day came the next news of film’s title being changed inserting an ‘AUR’ making a clear distinction between the two heavy words, ensuring its timely release.
One of our friends used to be a local banner and board painter in those days, operating from a small shop just behind the theater who was then called in by the owners after the change of title. And accompanying him we excitingly witnessed the painting of AUR instead of KI in the film’s title written on the huge hoarding converting it to KALYUG AUR RAMAYAN.
Looking back, though today many might rate the movie as a B-C grade, below average film made on an interesting concept. But admitting it honestly, I really enjoyed watching it then on the bigger screen with all those tacky special effects and love to watch it again in the present times too on the home video format quite often.
Concluding the write-up, yes we are currently into the second decade of the new millennium enjoying all the amazing developments around. Yet we still find it hard to grant such creative freedom to the film-makers/writers or painters when it comes to the subject of RELIGION ………..as always.

(For friends interested in reading the original interview of Manoj Kumar given back in June 2012, do click at the link below and Enjoy!)
Tags : Kalyug Aur Ramayan and Censor Issues, Kalyug Ki Ramanyan caught in censors, Did You Know facts about Bollywood, Amazing unknown facts about Hindi films, Manoj Kumar and Censor issues with film Kalyug Ki Ramayan, Bollywood Trivia at bobbytalkscinema.com
27 December 2014 / bobbysing /
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