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July 03, 2015 Friday     
Exposing the hidden cracks in an otherwise joyful ‘Elite Class’ of the society, Dil Dhadakne Do (DDD), the latest flick from Zoya Akhtar, takes you on to a long, feel-good cruise party organised by a wealthy dysfunctional family with a hidden agenda. The film tries to explore the shallow emotional aspect of all affluent people in its script with a pinch of realism and humour. But at the same time it also reminds usabout two lesser known instances from the past with some interesting similarities.
The blunt execution of Zoya firstly makes us remember the art-house classic from director Govind Nihalani, released in 1984, aptly titled Party. Though the film exploited the subject in much insightful manner, featuring many reputed names, it still had many identical elements in its ahead-of-time concept revealing the social-hypocrisy practiced widely.
For instance, Party begins with the elderly couples having conflicting conversations about society and life, their middle-age crises, their grown-up children facing their own problems in marriage, love and career. And as the actual party begins, we get to meet several other characters such as a struggling artist reciting revolutionary verses, a social worker confronting others with some provoking remarks, another rich lady looking for a suitable match for her young son and few others expressing their deep concerns for the underprivileged just for the sake of it. Later a middle-aged lady pukes due to overdrinking and some new loving relationships are formed with a couple getting caught kissing in the woods too. But above all, here also we have a young girl who loudly confronts her mother with disrespect calling her a parasite, accusing her of having a boyfriend encashing her husband’s name without any guilt as such.
No doubt, Nihalani’s Party is a much more hard-hitting, artistic film exploring human mind & emotions with a vision of enlightening the viewers, quite different from Zoya’s big budget entertainer ending on a bizarre note. Yet the basic theme remains the same, talking about the double standards practiced by this particular section of the society, though tackled distinctively.
Coming to the second instance in DDD related to the ‘speaking dog’ Pluto narrating the entire film from his own viewpoint, the sub-plot actually reminds us of an unfinished project titled Reporter (1960) featuring Raj Kapoor in the lead, also having a talking dog with him as his only companion. However, the difference remains that in Reporter the dog literally talked with a rare gift of predicting future events, while in DDD Pluto only chats within in his mind commenting upon the people around as a monologue.
Luckily, few scenes from the film showcasing the conversation between Raj Kapoor and the dog (in female voice) can still be seen in an available unusual project titled Film Hi Film(1983)directed by Hiren Nag, which was interestingly conceived by using such unused footage and songs of many shelved films, edited together with a specific storyline of a stressed producer.
So the talking dog was there in our films since 1960 but couldn’t make it to the screen unfortunately.
Published on IBNlive.in.com on 8th June with the heading :

Is 'Dil Dhadakne Do' similar to Govind Nihalani's 1984 classic 'Party'?


Tags : How DIL DHADAKNE DO reminds us of the classic PARTY (1984) and Raj Kapoor, Similar Concept Films, Inspired Films, The Talking Dog in Hindi Films, Govind Nihalani's Party,
10 June 2015 / bobbysing /
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Kundan Shah’s Jaane Bhi Do Yaaron released in 1983 is unanimously considered as one of the most famous cult comedies of Hindi Cinema till date. And the moment you think about the film and its hilarious characters played by well-known actors, the first memory you have is of its sequences featuring Satish Shah as the corpsebeing taken along by Ravi Basvani and Naseeruddin Shah reaching the stage-show where a play on Mahabharta is being performed. In fact, such was the popularity of this particular insertion in the film (post its initial release), that in the subsequent decades the dead Satish Shah used as an entertaining prop gradually became a textbook referencewhile discussing black comedies and political satires made in India.
Interestingly Kundan Shah’s fascination of using the corpse for creating funny sequences on the screencontinues in his latest project P Se PM Tak too, that coincidentally also happens to be a black political satire on our present scenario of the country going through a significant change. Revolving around the story of a prostitute accidentally getting into the major political circle of the state, the film again has its final hour written around a dead minister whose body is used as a mere prop that can walk, talk, jump and even dance through some electrical gadgets fitted in by an eccentric scientist.
So after 32 long years, director Kundan Shah once again tries to incorporate the tried and testedidea in his latest flick,witha hope that it might help in recreating the same euphoria again in an upgraded (sci-fi) form going with the changing times.
However, this time the idea doesn’t work due to a completely outdated execution on screen coming from the veteran director and is not able to do any wonders whatsoever in uplifting the mediocre venture. In other words, the particular sub-plot that earned huge appreciation for the director in his first film gets outrightly rejected when re-used after three decades in another political satire from the same person.


Published on IBNlive.com on 3rd June with the heading :
“Filmmaker Kundan Shah's fascination with a corpse as prop continues in his latest ‘P Se PM Tak’”

Tags : Article on Cinema by Bobby Sing, Kundan Shah's fascination with a corpse as prop, P Se PM Tak, Jaane Bhi Do Yaaron and its corpse gimmick.
07 June 2015 / bobbysing /
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As a rare coincidence never seen before, there has been an interesting similarity between some of the latest releases from Hindi and Punjabi cinema resulting in contrasting results at the box office.
Last week we had Tanu Weds Manu Returns (Hindi) and Oye Yaara Ainvayi Ainvayi Lut Gaya (Punjabi) releasing on the same Friday having similar concepts of a loving couple going for a divorce and then getting back together in the end realizing their individual mistakes. However,beginning on a similar note, the stories had their own distinctive progression as two different films with exactly opposite results at the box office in terms of unanimous appreciation and monetary returns,clearly led by the incomparable leading lady Kangna Ranaut.
Interestingly a similar coincidence is there in the current week too when we have both Ishqedarriyaan (Hindi) and Gaddar – The Traitor (Punjabi) revolving around the same basic theme of a rich Indian industrialist settled abroad, returning back to India (Himachal/Punjab) to clear a misconception around the reputation of his family and his innocent father.But again the treatment and further developments in the scripts result in two different genre filmswith a role reversal in terms of box office results too, since this time it’s the Punjabi film that is sure to take the cake with a known leading face of Harbhajan Maan, breaking his good boy image by playing a grey character.
Nevertheless, it is indeed quite amusing to notice the rare similarities (similar beginnings) in two different language films released on the same Friday as a unique instance being repeated twice in succession.
Bobby Sing
Published on IBNlive.com on 1st June with the heading :
“How 'Tanu Weds Manu Returns’ and Punjabi film 'Oye Ainvayi Ainvayi Lut Gaya' have the same theme yet different Box Office returns”

Tags : Similar concepts but contrasting results in the recent offerings from Hindi and Punjabi cinema, An interesting observation by Bobby Sing, Tanu Weds Manu Returns and Oh Yaara Ainvayi Ainvayi Lut Gaya, Ishqedarriyaan and Gaddar, Same concepts but different results at the box office, Rare Similarities in films of different language released on the same Friday, Rare and Exclusive information about Hindi and Punjabi Cinema
02 June 2015 / bobbysing /
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