A warm welcome to all friends visiting the site with a loving invitation to read my personal expressions on movies, music, poetry and life.

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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 27, 2017 Thursday     

There is an old saying in the world of business, that it’s not always good to taste huge success in your very first deal, because that results in an un-necessary and phony confidence for the future. The saying fits best on Himesh who is otherwise an extremely gifted composer but who also incidentally tasted respectable box office success with his acting debut in “Aap Ka Suroor”. With the spirits gained from his first venture, he confidently went on to make a feeble “Karzzz” and now returns on screen with a more shaky “Radio”.

Not interesting from its very first sequence, Himesh’s Radio walks on a very thin and weak storyline which has nothing new or exciting to offer. A couple opts for a divorce and then later tries to get reunited with the help of another female friend. A typical Bollywood love triangle, seen uncountable times before. Really wasn’t expecting such a routine and tried before kind of plot from Himesh who was supposed to come with a unique kind of storyline written around the life of a Radio Jockey. Though the movie successfully captures the life lived by the current digital generation in its fast mode, but the project as a whole, fails to generate enough interest for its viewers. Putting it differently, “Radio” has got only one fresh and experimental element in itself and that’s its title.
 
The movie moves in & out of a radio station which remains interesting in the start but tends to go repetitive and annoying towards the end. The novel background of a radio station could have been used in a more entertaining way as earlier seen in “Lage Raho Munnabhai”. Director, Ishan Trivedi, innovatively divides the whole script into different chapters like a book, but forgets to put the much needed content in its chapters. Being a Himesh Reshamiya movie, the main strength of “Radio” remains its music, but again too many songs coming at the places where they are not needed at all starts irritating the viewer after a few initial entertaining moments. Moreover, I also found the soundtrack of “Radio” weaker than Himesh’s previous musicals. Only two songs “Mann Ka Radio” & “Jaaneman” are able to make an impression rising up to his own set standards in the past.
 
Frankly speaking, an artist always knows his inner strengths and the work he is best at. To prove yourself in a different creative field led by others is just an unwanted trip of the ego and nothing else. As I see it, Himesh, who has already proved his unmatchable musical talent to the world, is un-necessary trying to make a mark in the acting department of movie making. Although he has improved in his newly discovered talent, but actually the transformation is not required at all in the first place. Himesh is better than most of his contemporaries in the music field so he should stick to the work he is best at.
 
Shenaz Tresurywala is bubbly and smart, but she has been doing the same kind of roles in all her movies till date. Sonal Sehgal looks pretty and acts well but the girl desperately needs a stroke of luck since she has already acted in a few important movies but none have been released due to some unknown reasons. May be “Radio” fetches her all the attention she needs to get some healthier projects in her career. Surprisingly, Paresh Rawal looks foolish in his role of a funny radio jockey. His track has no relation with the other happenings on the screen and seems to be deliberately added to bring in some laughter. Shockingly, Zakir Hussain, who normally always impresses in his small cameos, looks like overacting in few sequences. Cinematography and background music is fine but it’s the script which is mainly responsible for the poor results on the screen.
 
Lastly I would like to add that if Himesh really wants to deliver a Hit once again in the future, then he has to try some unusual and experimental stuff in his project, which must have some shock value for the viewers. In a mediocre and uninteresting product like “Radio”, both his superb musical sense and the few well conceived songs have to face the negative response they don’t deserve. In short the movie is strictly as projected by its promotional campaign – childish, confusing and complicated.
 
Rating : 1 / 5
Tags : Radio Movie Review By Bobby Sing, Radio Film Review By Bobby Sing, Movie Review Radio, Himesh's Radio, Himesh Reshamiya, Himesh as an actor, Review by Bobby Sing, New 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
 
 
07 December 2009 / bobbysing /
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Before writing about the movie experience, I would first like to comment over the intelligent, controlled and subtle promotional campaign planned by the team of “Paa”. It was indeed worth praising that despite of the fact that the film revolved around a rare disease causing serious physical and mental disorder in a person, the campaign never showed any signs of a complain looking for some sympathy from the viewers.

The marketing team very pleasantly came up with a positive feel in its promos accompanied by some soothing music and captivating dance movements featuring the main character “Auro”. The balanced amount of promotion hesitated in creating any over hype for the movie and that’s where the makers won half their battle at the box office.

Talking about the movie itself, it evidently proves that Bollywood has still not lost it all and we still have film-makers who can deliver movies at par with the other parts of the world. Yes, the story-idea may have been borrowed from Francis Ford Coppola’s “Jack” and the make-up may remind you of “The Curious Case of Benjamin Button”. But at the same time, it’s also true that “Paa” has nothing else related to these two names. In fact it undeniably surpasses both the above mentioned flicks in terms of director’s approach, his characterisations and the emotional portrayals by his actors.
 
“Paa” certainly belongs to its director R. Balki and the phenomenon called Amitabh Bachchan. Just when everybody thought that this man has done it all, he comes up with an extraordinary and out of the world character named “Auro”. What’s even more astonishing in his portrayal is that you never find the real Amitabh Bachchan anywhere on the screen in those two hours. In the entire past comprising all his mammoth blockbusters, Amitabh has always been there as a Bollywood persona hidden in his onscreen characters. But here is a movie where you know that there is Amitabh featuring in it, but you still can never feel him on the celluloid. He simply adopts a completely different soul minus his world famous style and baritone voice structure. And that’s the magical spell, cast by the magician actor. Truly speaking, Amitabh literally sends every reviewer in search of new words to praise his impeccable and incomparable act of ‘Auro’ in “Paa”.
 
Right from the first scene introducing “Auro” in his school function, the veteran actor makes you believe what you are seeing. He humbly forces every viewer in the theater to admit that he is watching the most accomplished actor of all times who has just walked beyond any number games and Bollywood Titles. Especially in the scenes where he is interacting with his kid friends in their own school lingo and in the emotional climax sequence inside the hospital, Auro goes on to set new benchmarks for the entire Indian Film Industry. Though the script has some unnecessary references of political activities and slums which could have been easily avoided, but the spotless performances of the entire cast don’t let you ponder over these needless insertions and the movie goes on impressing you continuously.
 
Unexpectedly Amitabh is not the only one to watch out in the movie. He is superbly supported by three highly talented people in the cast lead by Vidya Balan as a tough mother who raises Auro on her own with the help of her mother. For Vidya’s effortless performance, I would only like to say that in all these years of movie watching, she is the only female actress who reminded me of Jaya Bhaduri Bachchan and her flawless natural acting.To feel what I am trying to say, just carefully watch the scene where Vidya gives Auro her approval to visit Delhi. She exactly acts like Jaya in that particular scene.
 
Abhishek Bachchan as the truthful politician and father of ‘Auro’, delivers another polished act on the lines of his “Guru” and “Yuva”. He comes up with a very controlled emotional performance and never tries to outshine any other person in the scene. Both Vidya and Abhishek share a very cozy chemistry on screen which actually helps a lot in enhancing the overall impact of ‘Auro’ on the viewers.
 
The third worth mentioning act comes from Arundhati Naag, who plays Vidya’s mother and Auro’s naani, whom he fondly calls as Bums. Her praise worthy act emerges as a strong pillar in addition to the other stalwarts present in the movie. Paresh Rawal again remembers his immense talent after few irresponsible acts in some brainless movies. Last but not the least come all the child artists in the movie, who are intelligent enough to understand the pain and suffering of their friend “Auro” and try to help him out wherever they can. It was really nice to see that ‘Auro’ was not being teased in his school as suggested by the promos. In fact it was very thoughtful to show all the kids having the empathy to feel the abnormality ‘Auro’ was born with.
 
Musically, the film has the maestro Illayaraja to give exactly what was needed as per the subject. His theme music is pleasant and his songs don’t act as a hindrance in the narration. R. Balki very skillfully uses the songs in their short versions and in the background wherever needed. Dialogues are intelligent, witty and well written. Cinematography by P.C. Sreeram is remarkable. He brilliantly uses innovative camera angles to portray the character of “Auro” and his abnormal body structure. But what makes “Paa” so believable is the unimaginable make-up done by Christien Tinsley and Domini Till. Kudos to the duo to achieve this herculean task and hats off to Amitabh Bachchan for undergoing such a painful process in this age.
 
Honestly, the main highlight of the movie is that even when the story revolves around a diseased character with an abnormal behavior, the director is simply not interested in taking you onto an emotional journey at all. So, “Paa” is not just another tear jerker as expected by many. On the contrary it’s a very enjoyable movie having many light entertaining moments with ‘Auro’ for everyone in the family. And for that the director R. Balki rightly deserves all the praises.
 
Everyone remembers the golden era of Hindi Films when all the talented directors were more interested in telling fresh stories with a simple treatment. “Paa” is a perfect example of a movie made on the similar lines of those timeless classics. It is a fresh story told in a simple way with many incredible performances to cherish.
 
In short the movie is an amazing must watch experience for everyone still enjoying the gift of life at any age. It makes you realize the importance of all your days left in the count. And on the top it has a performance which can easily be kept along with any world class act by any actor in the entire globe. In other words, only one statement can match the unbelievably expressive and impressive act of Amitabh Bachchan in the movie.
 
He once again proves that at present he is the only "Big Paa" for the entire Indian film Industry.

Rating :
(4.5 / 5) It straight away moves into my list of “Movies To See Before You Die”
Tags : Paa Movie Review by bobby sing, Paa Film Review by Bobby Sing, Movie Review Paa, Amitabh Bachchan as Paa, Jaya bhaduri in Paa, Abhishek Bachchan, Vidya Balan, Jack, Inspired Movies, Review by Bobby Sing, New 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
 
 
04 December 2009 / bobbysing /
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One simple question to start with……In the current scenario, are we always supposed to see a Bollywood Comedy leaving our thinking brains at home?......Really fed up with this phrase often used to praise mindless comedies, I was completely taken back by the treatment given by Priyadarshan to his latest script-less movie called “De Dana Dan”. Once again taking his inspirations from the English flicks, “Blame It on The Bellboy” (1992) & “The Towering Inferno” (1974), the director delivers a completely over the top and loud movie which miserably fails to impress the viewers in any of its department.

With more than 20 characters in the script, played by all well known actors of the Industry, the project has too many things to deal with on its platter. It really remains a questionable decision that even after the presence of the famous “Hera Pheri” comic trio, what was the need of roping in almost everyone related to comedy genre in the industry ranging from the veterans Asrani & Shakti Kapoor to the currently famous Johny Lever & Rajpal Yadav. Priyadarshan may have successfully dealt with them all in few of his previous projects but this time he simply slips disastrously.
 
Storyline has never been the major highlight of a Priyadarshan project. But in “De Dana Dan”, he very daringly treats the story requirement of a movie in the most careless manner. Starting with few good scenes moving around a Kidnapping plot, the movie starts going into various opposite directions with a desperate plea to make you laugh. Post interval it looks like the director and the whole unit somehow lost their original script in the transit and just went on with the shooting as per their outdoor schedule.
 
After an hour the movie has nothing related to a story and it just has all its characters confusingly following each other with mistaken identities. Collectively living in the same five star hotel, everyone keeps barging into unknown rooms trying to create some hilarious scenes for the viewers. And the most surprising part is that post intermission the biggest star of the movie, Akshay Kumar simply vanishes from the screen for more than half an hour. According to the proceedings he gets locked in a closet and remains there for a good amount of time. But what was the use of locking your most sellable star like that. Anyone else could have been easily locked with a little change in the one page script.
 
“De Dana Dan” has loads of absurdities in its narration, which fail to convince even if you take them as a part of a brainless comedy flick. For instance, a full grown man (Akshay Kumar) has been kidnapped but the whole Indian community (in Singapore) and the entire media is searching for a kid instead, because that is the only photograph available of the kidnapped person. In the climax the top floor water reservoir of a more than 30 story hotel gets exploded due to a bomb. And that shockingly brings a major flood like situation in the entire multistory building with everything floating in the heavy water flow. In fact the silly watery sequence hilariously resembled the one recently seen in “Tum Mile”.
 
Performance wise this is a perfect example of a film with the most numbers of stars, where not even one makes his presence felt in the end. For the first time ever, I found Paresh Rawal, hamming with his intentional Punjabi accent. The viewers are sure going to miss the cult Paresh Rawal act of his previous hit comedies. Akshay Kumar is not entirely there in the movie. He starts off with some good scenes with Archna Puran Singh, but later gets lost in the overcrowded star-cast. Not using him as per his much applauded comic timing is entirely the fault of his director. Suniel Shetty does his act with an unconcerned ease and he seems to be included only to complete the famous comedy trio.
 
Both Katrina Kaif & Sameera Reddy can count their major scenes on one hand. They only contribute in the film as its female lead and nothing else. In comparison, Neha Dhupia makes a better impact in her few moments on the screen. Archana Puran Singh shouts more and acts less. Aditi Gowariker once again proves that she is a better model. Shakti Kapoor repeats his sex maniac act. Asrani, Tinnu Anand & Manoj Joshi are routine, but Chunkey Pandey, Rajpal Yadav and Johny Lever are wasted in their unimportant roles. Sharat Saxena & Vikram Ghokhle are miscast as they simply do not belong to the comedy genre.
 
Pritam’s music is not outstanding as expected. But the RDB track “Paisa Paisa” is a major hit which also has its own history in the Punjabi Music Industry. The track was the opening song of the Debut Album of Manak-E released few years back, which had music by RDB and was also promoted well with a music video on the leading Punjabi channels. It was indeed quite thoughtful of both RDB and Akshay to use the song with the same singer in the promotional campaign of the movie. However as usual, all the songs are inserted in the script without any specific need. Background score by Salim-Suleman is energetic and Cinematography is fine as per the requirement of the subject but the film tends to go over length due to its bizarre climax.

On the whole, it’s just another instance of better promotion and poor content. Few weeks before, I could understand the success of “Ajab Prem Ki Ghazab Kahani” (though I personally rated it quite low) as it had a worth praising act by Ranbir Kapoor, good songs and some hilarious scenes with mass appeal, but if “De Dana Dan” goes on to become a big Hit then I really fear what kind of projects we are going to get in the near future.
 
And lastly one sincere request for the director, who gave us the cult “Hera Pheri”……..Please take a break and re-invent yourself on priority basis…!
 
Rating : 1.5 / 5
Tags : De Dana Dan Movie Review by Bobby Sing, De Dana Dan Film Review, Movie Review De Dana Dan, DDD Movie Review, DDD Film Review, Akshay Kumar, Priyadarshan, Review by Bobby Sing, New 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
 
 
27 November 2009 / bobbysing /
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