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     

A Rare Mehfil by Ustad Imtiaz Ali Riaz Ali

This is a special invitation to all friends of BTC to cherish a rare musical evening with Ustad Imtiaz Ali Riaz Ali (from Pakistan) singing nine exclusive tracks which were recently added in BTC’s Youtube channel. This rare ‘Mehfil’ is a must for every true music lover as it features many ‘never heard before’ versions of some famous songs (mentioned below) which are surely capable of making your day in a remarkable manner.

Along with a fabulous work on Tabla & Harmonium, the Mehfil has the two maestros singing the cherished gems of Ustad Nusrat Fateh Ali Khan Saab including “Sanu Ik Pal Chain Na Aave”, “Main Khayaal Hun Kisi Aur Ka”, “Maikhane Anbhol Gaya Han” and “Gham Hai Ya Khushi Hai Tu”.
A mesmerizing tribute to the legendary Noorjehan in “Sajna Ve, Kyun Bheege Torey Nain”.
Three thoughtfully penned rare Ghazals to be experienced as a must including “Khuda Ke Vaaste Yun Berukhi Se Kaam Na Le”, “Badnaam Kar Diya Wafa Ne” and “Hoyian Kujh Iss Tarah Aklaan Sayaniyan” (Punjabi Ghazal).
And finally the grand surprise with an incomparable and probably the best innovative version of a famous Hindi film song “Baahon Mein Chale Aao” originally sung by Lata Mangeshkar for the film “ANAMIKA” released in 1973. Melodiously composed by Rahul Dev Burman and lovingly penned by Majrooh Sultanpuri, the song unarguably gets many new dimensions in this simply outstanding rendition by the maestros which deserves to be cherished with the 'Repeat' button on.
So to experience these exclusive nine gems of this “Rare Mehfil”, just click at the following link and Enjoy!

Hope these precious magical gems make the day of many musical friends reading this loving melodious invitation. 

Tags : A Rare Musical Evening with Ustad Imtiaz Ali Riaz Ali, Articles on Music, Potery and Life by bobby sing at bobbytalkscinema.com, Rare Musical Treat, Rare Mehfil, A Tribute to Ustad Nusrat Fateh Ali Khan Saab, Tribut to Legend Noor Jehan.
25 November 2012 / bobbysing /
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The swan song of the maestro YASH CHOPRA was widely expected to be much bigger, impressive and memorable than the one witnessed this week, quite sadly. But the veteran was surely visible in certain parts of the film strongly and would be missed forever in this industry fast moving towards pure commercialism.

Having said that Yash Raj banner’s latest big flick JAB TAK HAI JAAN also had too many elements inspired from many other sources mentioned below:
1. First of all, one of the posters of the film (posted here) was highly inspired from the trend started by James Bond films in GOLDFINGER (1964) which was later also adapted in GRIDIRON GANG (2006), SPECIAL FORCES or FORCES SPECIALES (French) (2011), GONE (2011), ANGELS (Thailand) (2012) and probably many more.

(For a detailed article on this check out the link below)
2. The basic premises of JTHJ storyline revolves around the one seen in Yash Raj banner’s first film titled DAAG released in 1973, wherein the key characters of Rajesh Khanna, Sharmila Tagore and Rakhee are replaced by Shahrukh Khan, Katrina Kaif and Anushka Sharma in JTHJ. But since DAAG had many outdated references in its script including the plot of an “Illegitimate Child”, therefore some new ideas were adapted to separate the loving couple and then unite them back in the end. Interestingly DAAG was also based on a British novel published in 1886 titled “The Mayor of Casterbridge”.

(For a detailed article on this check out the link below)
3. Now the major twist in the film, where Katrina Kaif keeps a condition in front of Jesus while praying to him for saving Shahrukh’s life, is straight away taken as it is from THE END OF THE AFFAIR (1999) featuring Ralph Fiennes and Julianne Moore in the lead. The film also has a reference of a manuscript which is read to know the exact proceedings of the past similar to the Diary in JTHJ. THE END OF THE AFFAIR (1999) is based on a novel with the same title published in 1951 which was also adapted for another movie with the similar name in 1955.

And more recently the same plot of a conditional prayer or deal with the GOD was also there in one of the seasons of famous American TV Series GOSSIP GIRL.
4. The fearless bomb diffuser character and many of its scenes related with the bombs found are clearly inspired from the famous Oscar Winner THE HURT LOCKER (2008).
5. A rich girl taken for a ‘freak out’ date to re-discover her hidden inner self also reminded me of a similar sequence in ROCKSTAR (2011).
6. Several scenes in JTHJ remind you of Yash Raj banner’s own previous films like the river side scene of Katrina & Anushka together is quite similar to the one in SILSILA (1981) featuring Rekha and Jaya Bachchan sharing the same frame.
7. As a trademark insertion (and not inspiration) JTHJ has also got a not so impressive long dance sequence (on an instrumental track) as per Yash Chopra’s decades old tradition like earlier seen in CHANDNI (1989), LAMHE (1991), DARR (1993) & DIL TO PAGAL HAI (1997).
Hence looking at the above list, I would again like to go back to the good old YASH CHOPRA before the 80s who gave us some memorable and precious movies in that golden era worth watching again & again till our own finale.

(Thanks to Parveen Sethi for the info about The End of The Affair & Tabish Nadeem about Gossip Girl)

Tags : JAB TAK HAI JAAN (2012) and its inspirations, Inspired Films, Bollywood Inspired Movies, Copied Movies List at bobbytalkscinema.com, JTHJ inspired from, Jab Tak Hai Jaan and The End of The Affair.
16 November 2012 / bobbysing /
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Before reviewing this Ajay Devgan’s produced action comedy, let me take you into the probable backdrop of its making as it seems. For those friends who might not be aware, S. S. Rajamauli is a big name in the South Film Industry who has an incomparable record of giving major quality hits in a row in the recent years. A few months back Akshay Kumar tasted success with ROWDY RATHORE which was a remake of Rajamouli’s film and last month Hindi film viewers witnessed one of the most innovative films of Indian Cinema called MAKKHI (EEGA) dubbed in Hindi.

In 2009-10, Rajamouli thought of a plot based on a silent Hollywood film OUR HOSPITALITY made in 1923. The storyline was such that it needed a central character who could play it as a comedy and generate enough laughter in the theater. In order to portray the plot authentically, Rajamouli decided to take an unconventional cast and took the risk of making it as an experiment calling it MARYADA RAMANNA with Suneel in the lead role. The gamble paid off and the film clicked big time as it had enough comedy to keep the viewer entertained fairly for about two hours.
Now in 2011-12, Ajay Devgan bought the rights of this Telegu film which was also remade in other regional languages too. But the problem was that with such a plot, how to create a sure shot comedy as Rajamouly did in his Hit version. And working on this confusion Ajay Devgan’s team thought of a sad but brilliant commercial idea of converting the whole regional village comedy into a Punjab based film with all Punjabi or Sardar characters as comedians. The reason being, that it was so easy and exciting to make an explosive comedy with all Santa-Banta kind of people fighting with each other on the screen like clowns. Further the genre with the added “Sardar” thing had its own commercial advantages both in the country as well in the overseas market as proved in the recent times repeatedly. So that’s how the work on SON OF SARDAR started, ready to exploit the rich culture and the lively people of Punjab in a funny manner just to earn some quick money bags by the team and nothing else.
Putting it differently, SON OF SARDAR is a film which makes fun of the community in such an open, loud or confident manner that one may not even feel that there is something objectionable in it at all while watching it (which is indeed an intelligent move by the director). At one end, Ajay Devgan keeps on praising the spirit of Sikhs, their pride in their turban and the teaching of their honorable Gurus with all the due respect. But on the other, the writer-director continues cracking sick jokes one after another on the living styles of Punjabi’s, their ever-ready fighting spirit, their drinking habits and their other forcibly created confusions to generate regular laughter in the theater. To be honest, after watching the film even the SIKHS would be in a confused state that whether we should appreciate this kind of solid portrayal of ourselves on the screen or it needs to be opposed strongly. And that’s precisely how Ajay Devgan must have got the approval from all those Sikh authorities the film was shown to, after agreeing to some cuts pointed out by them before its release very cleverly.
Moving on to the film itself, SOS begins in a totally commercial mood, with the title song followed by a long fight sequence in which you right away meet The Pathaan, Salman Khan entering on the screen to help Ajay. So all those claps & seetis can be heard in the first 10 minutes only in the theatre, filling you with a great energy. The pace continues for another hour and you enjoy the proceedings mostly before it says intermission. But the basic plot of the film is too thin to be stretched beyond a certain limit and therefore all you have in the second half is many well directed fight sequences in pure South style to keep you amused. Hence as an individual Hindi film, SOS entertains you effectively in its initial hour but fails to do the same post interval due to its not so great story-plot.
However if you see the original MARYADA RAMANNA directed by S. S. Rajamouli then he doesn’t let it drop so badly in the later part and continues looking after the entertainment factor right till the climax. But SOS largely becomes dependent upon the long action sequences in its second hour with less of the comic entertainment promised, which eventually goes against the film in the end. So for all the true fans of action genre, it has a lot in store in its final hour as an essential feature of a Ajay Devgan project. But for the ones who wish to see a great enjoyable comedy, it gives you the same only marginally.
Another merit of SOS lies in its fresh pairing of Ajay Devgan and Sonakshi Sinha, who look very charming on the screen saying all those one liners with the Punjabi touch. Ajay’s “Kadey Has Vi Leya Karo” and Sonakshi’s “Chal Jhootha” work fine with the audience almost every time they say it impressively. But its really high time Sonakshi thinks of doing some meaningful role in her chosen films, other than being there just as a beautiful showpiece. Ajay plays the mix of a comedian and an action hero well and he is going to be loved by his fans in this new avatar of his as a Sardar.
Sanjay Dutt as the strong opponent acts tough yet I couldn’t get his confusing get-up thought of by director Ashwani Dhir. It was nice to see Tanuja on screen after a long time but Juhi Chawla sadly remains in her “Kurkure” form throughout like a cartoon character. Vindu Dara Singh gets some good punches along with Rajesh Vivek saying “Silencer La Puttar” and Mukul Dev once again impresses in a film made around the Punjabi backdrop. Among the rest Arjan Bawa, Puneet Issar and Mukesh Tiwari do not get anything substantial to show up their acting skills.
In its musical department SOS gets a good support from its four catchy tracks composed by Himesh Reshamiya with the famous “Pon Pon” featuring Salman Khan coming along with its end credits following the latest trend. But as usual all these tracks are simply added into the film without any need as such. Sandeep Chowta’s energetic background score gels well with the feel of the movie and the superbly shot innovative action sequences are sure going to help it get some good response in the smaller centers
In all, made exactly on the format discovered by Rohit Shetty and Prabhudeva in their films, it will not be surprising if SON OF SARDAR does exceptionally well in the coming days as projected. Because if Ajay’s last comparatively weak film “Bol Bachchan” can surprisingly enter the so called ‘100 crore’ club then SOS should also do that quite easily.
Rating : 2.5 / 5
Tags : Son of Sardar Movie Review by bobby sing, Son of Sardar Movie Review at bobbytalkscinema.com, SOS review by Bobby Sing, Reviews 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
14 November 2012 / bobbysing /
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Ardent fans of Yash Chopra brand of cinema, would readily agree that there was a vast change in the maestro’s films before and after his DARR released in 1993. Though all those films were received well at the box office too but that perfect blend between meaningful art and entertainment, visible in his films before the 90s was somehow missing in the later part of his career. Probably that was the reason, Yash Chopra decided to revisit the 70s again and remake his own film DAAG with which he started his personal banner Yash Raj films in 1973. So unintentionally revealing its basic storyline JAB TAK HAI JAAN is a kind of modern remake of DAAG (1973) wherein Shahrukh, Katrina and Anushka replace Rajesh Khanna, Sharmila Tagore and Rakhee along with an additional new age flavor of A. R. Rahman’s musical notes.

With a career span of more than 50 years featuring some of the most famous & respected films in the 100 years history of Indian Cinema, Yash Chopra was evidently one of our important stalwarts of Hindi Film Industry without any doubt. But being his die-hard fans since the 70s, I honestly felt quite confused and sad during the first half of JTHJ, since it turned out to be largely uninteresting, repetitive and too long unlike all those Yash Chopra films, still fresh in our minds. The first 30 minutes of the film are just ok and then it starts walking on an all ‘seen before’ road with many sequences reminding you of YRF’s earlier hits and other films such as THE HURT LOCKER (for bomb diffusing scenes) and the recent ROCKSTAR (when the rich girl is taken on a freak-out night to rediscover herself).
Moreover I was also surprised to see the ‘Punjabi Learning’ sequence thrown in just for the sake of it wherein neither of the two (SRK & Katrina) speak even one dialogue of Punjabi apart from the Lyrics of that song. And that also when SRK was supposed to be knowing the language well as he is also shown singing a complete Punjabi song just a few minutes before in the film itself called “Jhalla” (and not “Challa” which I will reveal later). Further this first half also features a not so impressive long dance sequence (instrumental) added as per Yash Chopra’s decades old tradition (like earlier seen in Chandni, Lamhe & Dil To Pagal Hai) in which Katrina unsuccessfully tries her best to dance in a never before style on the screen.
But most importantly I was really amazed to see the totally unconvincing twist in its storyline on which JTHJ’s whole screenplay is based. The reason behind the separation of the lead couple in the film is highly absurd which really made be sad watching this last venture of the maestro supporting such a weak thought. However then came the only two saving points in its first half and they were its two good songs “Heer” and “Saans” plus the highly entertaining cameo of Rishi Kapoor and Neetu Singh Kapoor, which gives you some great moments to enjoy and cherish at last. In short, though both Shahrukh & Katrina have performed well but JTHJ can easily be rated as a weak film till its intermission wherein you can the sense the presence of the good old Yash Chopra only in parts and his strong touch of emotional entertainment remains largely missing.
However, the tables get turned post interval when you have the vivacious Anushka, coming in to save the film from sinking in a remarkable manner. Here admittedly, the girl has done many similar roles earlier in her recent hits. But in JTHJ she once again proves her acting skills impressively and that too scoring a lot more than both Shahrukh and Katrina together. So despite of the fact that we have the same old cliché’ plots of road accidents, loss of memory and efforts to bring it back in this second half too. Yet the film gets rescued only & only by Anushka Sharma alone and the whole team of JTHJ should be actually thankful to her. If truth be told then had she not performed this well, the swan song of Yash Chopra would have gone into the dark clouds of rejection in the first few days itself since it lacks many of those elements associated with the big name clearly.
Hence it’s the second half of the film which actually gives you some of those emotions you were eager to see and then it again goes down to end on another mediocre note unexpectedly. Therefore if you are eager to see something exceptional from the maestro in his last film, then its going to be disappointment more or less, as JTHJ just remains only a good one time watch and that’s it. And I am truthfully saying this as I really know who was Yash Chopra in real terms and what he has given us in all those precious incomparable gems in his entire illustrious career of more than 50 years.
Coming to the performances, it certainly remains a Anushka Sharma film altogether without any second thoughts. The moment she enters on the screen the film gets a sudden positive jump and you start liking the results on the screen instantly. Shahrukh Khan performs fine in the first half but the age factor hampers the impact naturally. And the veteran makes his presence felt when he actually plays his age in the second half. Yet, even the King Khan visibly gives up interacting with the spontaneous Anushka in few scenes quite sportingly. Katrina Kaif also plays it well but looking at the intense performances of both Anushka and Shahrukh, she forcibly can be placed only at a rank after the two.
Rishi Kapoor and Neetu Singh Kapoor are a sheer delight to watch. And I really enjoyed watching their scenes in particular with those few meaningful dialogues reminding me the Yash Chopra vision of life once again. The team of 3, working with Sharukh in the Army base, support him well but Anupam Kher is purely wasted in a small role. Following another ages old tradition of Yash Raj banner, JTHJ is again a brilliantly shot film showcasing the picturesque locations of Ladakh, Kashmir and London beautifully.
Still the same cannot be said about its screenplay which does have many flaws and dull moments (in the first half) which could have been avoided to reach a smaller duration (as currently it’s a 3 hours long film). For instance, the road accidents shown are happening too casually, there are so many bomb diffusing sequences tackling it too lightly and there is a “Main Man” of Indian Army who visits London, has an accident, gets into the hospital, loses his memory, stays there for weeks or months…..but the Indian Army is least worried to look out for his absence quite strangely.
Now talking about the other important feature of a Yash Chopra film i.e. its music, I honestly expected a lot more than delivered from the unique trio of Yash Chopra, A. R. Rahman and Gulzar. Where the background score mostly works with the emotional theme of the film featuring a signature melody, the songs in its soundtrack are not that great (except Jiya Re & Saans) as one expected from the three exceptionally talented personalities working together. But apart from the songs, I have another serious problem with its one track mentioned below.
Its related to the song titled “Challa” which is not at all about any Challa i.e. a Ring (in Punjabi). In reality if you study the lyrics of the song and listen to its pronunciation by the singer too, then its talking about a mad person searching for something called “Jhalla” in Punjabi and not “Challa” a ring. But very strangely or weirdly all the print material of the film calls it “Challa” and not even Yash Chopra, Rabbi (the singer) or the lyricist Gulzar himself asked for its right correction to be made (and shockingly all these three men are born Punjabi’s). To make it more clear I would like to explain the meaning of its first two lines in support of my point here.

“Jhalla Ki Labhda Phirey, Yaaron Ohda Ghar Kehda, Lokan Taun Puchhda Phirey,
Jhalla Hasda Phirey, Jhalla Ronda Phirey, Jhalla Gali Gali Rulda Phirey”
(What is this Mad Man searching for? Which is his house….He is asking from the people around. The Mad Man is laughing, he is crying and he is wandering in all the local lanes.)

Now why this song was titled as “Challa” (The Ring) instead of “Jhalla” (The Mad Man) in all the film’s print material, I really couldn’t understand.
Summing up, with all due respect JAB TAK HAI JAAN is the maestro YASH CHOPRA’s swan song as decided by the destiny…..! But its definitely not amongst his best works if you are well aware of the body of work presented before us in the past decades. So my message to all the youngsters out there would be that do watch JTHJ as a good one time entertainment for sure, but don’t make an opinion about the VISIONARY MAN from this one film alone.
To know the MAGICIAN called YASH CHOPRA, you need to watch all his movies since the 50s to be straight. Because without experiencing all those gems you cannot reach the beautiful vision of life, he used to portray in his diversified projects so skillfully.
And remember he never died as an old man of 80…………….as he always was a young boy of 18 at heart…………right till his final days saying “Jab Tak Hai Jaan”.
Rating : 2+1 / 5 (Including an additional 1 just for Anushka Sharma alone)
Tags : Jab Tak Hai Jaan REview By Bobby Sing, JTHJ Review by Bobby Sing, Yash Chopra's Swan Song, Yash Chopra's Last Film, Reviews 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, Inspired Films, Inspired Hindi Movies, Copied Hindi Movies
13 November 2012 / bobbysing /
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