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.

ENJOY!

MANJHI - Watch it as a respect towards the spirited man, his true love and the unbelievable task completed single handedly, much important than a well enacted film loaded with many deliberate insertions. (Review By Bobby Sing).

ALL IS WELL - Post a 100 minutes awful show, it tries hard to teach some family values in vain. (Review By Bobby Sing).

GOUR HARI DASTAAN - A must watch depiction of a shocking true story that is sure going to make us feel the shame contributing in the corrupt system. (Review by Bobby Sing).

BROTHERS - Having a miserable first hour, the remake somehow manages to deliver post intermission due to the brothers, their fights and the father well enacted by Jackie Shroff. (Review By Bobby Sing).

ANGREJ (Punjabi) - The immensely lovable performances, ethnic feel, well written dialogues and a fabulous soundtrack makes this familiar love story a worth watching film for sure. (Review By Bobby Sing).

JAANISAAR - Despite being pale in comparison to the director's earlier gems, the film shows how even a mediocre work of the master can teach some important lessons of life lost in our history books. (Review by Bobby Sing).

BIN ROYE (Urdu) - Though based on an ages old plot, it is a beautifully shot film with a fine leading act, a soothing background score and a likeable soundtrack. (Review By Bobby Sing).

MISSION: IMPOSSIBLE - Rogue Nation (English) - Not an epic, but does deliver the expected excellence from the fifth presentation of the series in parts. (Review By Bobby Sing).

BANGISTAN - A tacky and not so funny, over the top execution sadly fails to convey the noble message of One Religion. (Review By Bobby Sing).

DRISHYAM - As a well-written crime thriller many might like it who haven't seen the original, but as a remake, its the weakest one till date, missing the much needed soul, energy and fire. (A Case Study By Bobby Sing).

 
 
  Directors I Love  
  Alfred Hitchcock  
  Mehboob Khan  
  Woody Allen  
  Akira Kurosawa  
  Basu Chatterjee  
  Bimal Roy  
  Charlie Chaplin  
  Chetan Anand  
  Govind Nihalani  
  Gulzar  
  Guru Dutt  
  Hrishikesh Mukherjee  
  Kamal Hassan  
  Ketan Mehta  
  Mrinal Sen  
  Quentin Tarantino  
  Raj Kapoor  
  Richard Attenborough  
  Sai Pranjpe  
  Satyajit Ray  
  Shyam Benegal  
  Steven Spielberg  
  Vijay Anand  
  Ram Gopal Verma  
  Ashutosh Gowariker  
  Mani Ratnam  
  Aleksandr Petrov  
  Saeed Akhtar Mirza  
  Shekhar Kapoor  
  Yash Chopra  
  Frank Capra  
  V. Shantaram  
  Billy Wilder  
  Rajkumar Hirani  
  Vishal Bhardwaj  
  Tigmanshu Dhulia  
  Dibaker Banerjee  
  Rajkumar Santoshi  
  Majid Majidi  
  Ritwik Ghatak  
  Clint Eastwood  
  Prakash Mehra  
  Manmohan Desai  
  Shoaib Mansoor  
  Anurag Kashyap  
  S. S. Rajamouli  
  B. R. Chopra  
  Stanley Kubrick  
 
  Also Active at  
  Gurmat Darshan.com  
  At Youtube.com  
  At Wordpress.com  
  At Facebook  
  At Twitter  
 
 
 
FROM THE GOOD
OLD DAYS
 August 2015 (9)
 July 2015 (15)
 June 2015 (10)
 May 2015 (14)
 April 2015 (16)
 March 2015 (12)
 February 2015 (10)
 January 2015 (14)
 December 2014 (11)
 November 2014 (10)
 October 2014 (10)
 September 2014 (12)
 August 2014 (12)
 July 2014 (21)
 June 2014 (23)
 May 2014 (24)
 April 2014 (23)
 March 2014 (21)
 February 2014 (26)
 January 2014 (28)
 December 2013 (10)
 November 2013 (14)
 October 2013 (16)
 September 2013 (14)
 August 2013 (14)
 July 2013 (12)
 June 2013 (11)
 May 2013 (23)
 April 2013 (10)
 March 2013 (14)
 February 2013 (14)
 January 2013 (15)
 December 2012 (18)
 November 2012 (14)
 October 2012 (15)
 September 2012 (14)
 August 2012 (15)
 July 2012 (12)
 June 2012 (14)
 May 2012 (16)
 April 2012 (15)
 March 2012 (10)
 February 2012 (11)
 January 2012 (11)
 December 2011 (10)
 November 2011 (11)
 October 2011 (15)
 September 2011 (10)
 August 2011 (11)
 July 2011 (11)
 June 2011 (13)
 May 2011 (16)
 April 2011 (14)
 March 2011 (11)
 February 2011 (10)
 January 2011 (12)
 December 2010 (10)
 November 2010 (12)
 October 2010 (11)
 September 2010 (11)
 August 2010 (12)
 July 2010 (12)
 June 2010 (11)
 May 2010 (14)
 April 2010 (15)
 March 2010 (14)
 February 2010 (12)
 January 2010 (15)
 December 2009 (12)
 November 2009 (14)
 October 2009 (15)
 September 2009 (18)
 August 2009 (14)
 July 2009 (16)
 June 2009 (18)
 May 2009 (16)
 April 2009 (18)
 March 2009 (20)
 February 2009 (19)
 January 2009 (20)
 December 2008 (20)
 November 2008 (17)
 October 2008 (21)
 September 2008 (19)
 August 2008 (22)
 July 2008 (23)
 June 2008 (21)
 May 2008 (25)
 April 2008 (22)
 March 2008 (25)
 February 2008 (22)
 January 2008 (22)
 December 2007 (24)
 November 2007 (22)
 October 2007 (21)
 
 
 
 
 
August 29, 2015 Saturday     
It really hurts when an exceptional regional classic DRISHYAM (Malayalam) along with one of its outstanding remake PAPANASAM (Tamil) is proudly included in BTC’s Movies To See Before You Die list with a special mention, but its Hindi remake manages to get only above average ratings and mixed responses from the critics as well as the viewers due to its less energetic making and execution.
It further hurts when this ‘thanda’ Hindi remake has also been directed by a reputed name, whose meaningful MUMBAI MERI JAAN already features in the same must watch list at the site.
And it even hurts more when the film features actors like Tabu and Ajay Devgun with contributions from Gulzar, Vishal, Rekha, Rahat and more failing to generate anything even close to the original and its well-adapted regional remakes very surprisingly.
With all honesty, the Hindi version of DRISHYAM gives me no energy to write about it in details being the weakest remake. And having praised its original & an equally impressive regional remake at length, I need to talk about it in a different manner, re-charging myself and informing you about the entire phenomenon behind this indicative word called ‘DRISHYAM’ (meaning The Visuals).
It actually started in late 2013, when I was told that a Malayalam film had broken all previous box office records in the region and was being praised and written about by almost everyone in the south media inventing a new genre termed as ‘Family-Thriller”. Luckily the film was being played in Delhi too in a nearby multiplex so I rushed to watch it feeling the pull, but was informed that it didn’t have any English subtitles resulting in a big disappointment.
Anyway, while reading more about the film the same night, I went through the names of a novel “The Devotion of Suspect X” by Keigo Hiqashino (the third in his “Detective Galileo” Series), a famous Japanese TV series GALILEO (2007 & more), a Korean film PERFECT NUMBER (2012) and a highly appreciated Japanese project SUSPECT X made in 2008, supposedly having the original plot adapted by DRISHYAM’s writer-director Jeethu Joseph in his blockbuster Malayalam film.
So had to watch SUSPECT X essentially as my very next move and after seeing it, I felt short of words expressing the shocking impact it made and was simply left stunned by the mind-blowing stuff presented in those two hours amalgamating one sided devotion, affection, crime and cunning cleverness so beautifully.

And as a reference for all friends, this is what I wrote about the film, right away including it in BTC’s ‘Movies To See Before You Die’ list at the following link:
http://www.bobbytalkscinema.com/recentpost.php?postid=postid012914074100

DrishyamPost watching SUSPECT X, I kept thinking about how can they adapt it as an Indian film, how can they surpass such excellence achieved in terms of unpredictable storytelling and how can they even present the final brutal conclusion with a believable justification of any sort whatsoever in an Indian film having its own social restrictions and limitations.
With that kind of mindset, I bought the DVD of Malayalam Hit DRISHYAM (with subtitles) as soon as it got officially released in early 2014 and started watching it all alone in a dark silent night. And after those three hours of witnessing sheer cinematic magnificence with the flawless Mohanlal emoting on screen and all highly contributing performances together, I was once again left speechless, sitting still with my jaws dropped and all my preset notions about the adaptation, inspiration and copying shattered into pieces like never before.
In fact Jeethu Joseph’s original masterpiece taught me a new path that night…….. that how an inspiration can also be used to develop something highly original, even surpassing its actual source of origin unbelievably. Probably that is the reason why Ekta Kapoor is finding it tough enough to claim the ownership despite having bought the official rights for the original novel, “The Devotion of Suspect X”. 
In short this can easily be termed as one of the rarest of rare cases when you very well know that its all inspired but still cannot claim the same, since it also is an original creation in its own form having many new unrelated insertions and story progressions moving on a different path, which is nothing less than a triumph achieved by the writer-director Jeethu Joseph without any slightest of doubt.
The Malayalam gem was surely one of finest crime thrillers I had ever seen, proudly representing our Indian Cinema and this is what I wrote about the film, right away including it in BTC’s ‘Movies To See Before You Die’ list too at the following link:
http://www.bobbytalkscinema.com/recentpost.php?postid=postid060414113255
PapanasamIn the next few months, I recommended the film to many friends passing on the online buying link and received several thanks messages from those who chose to experience it at my strong recommendation. And with this I was pretty convinced that the maximum has already been achieved and the further remakes can easily be missed without any regret whatsoever.
But No, I was proved wrong once again, as there was one man coming with his own emotional and highly touching portrayal of the concerned, clever father next, who was none other than the master of his art, Kamal Hassan along with the original writer-director of the Malayalam classic Jeethu Joseph.
Here though I would prefer and rate Mohanlal’s approach in his film much more authentic and logical considering the actual demand of the specific character in the script. Still the fact doesn’t stop me to admit that Kamal Hassan too bowled me over completely with his soulful portrayal, simply killing it in the final sequence of the film that actually is the most crucial scene too, justifying the criminal act of hiding a crime committed unintentionally.
Making a confession, Kamal did made me cry in that concluding sequence along with an equally impressive Ananth Mahadevaan, forcing me to include PAPANASAM (Tamil) too in BTC’s must watch list (as a rare inclusion along with the original).
And this is what I had to say about the experience at the following link:
http://www.bobbytalkscinema.com/recentpost.php?postid=postid070615081020
DrushyamBy this time, the release date of Hindi remake directed by Nishikant Kamat was out and where at one end I was excited to see Tabu in the IG’s role, I had my firm doubts on Ajay Devgun and 4 songs in the soundtrack released, not actually suiting the requirement of so intense and well written script frankly.
But then before watching the Hindi release, I decided to see the other two regional remakes too in order to find how two different directors had conceived it (other than Jeethu), amazingly resulting in a similar success at the box office winning hearts all over.
And watching the other two regional versions, where I simply loved the sensitive, controlled portrayal of Daggubati Venkatesh in DRUSHYAM (Telugu) along with the other key characters emoting superbly (following a scene to scene representation of the original), I had to appreciate the new small comic insertions in DRISHYA (Kannada) with much more emphasis given to Cinema and a worth noticing, introspective portrayal by V. Ravichandran getting into the character subtly. Hence though the Telugu and Kannada remakes need to be placed at the third and fourth place respectively (not included in the must watch list at BTC), they still brilliantly find the basic soul of the project in an impressive manner, specifically bringing forward A FATHER saving his small family from getting caught for the crime committed unwillingly.
DrushyaMoreover deserving a strong mention here, it’s an intelligent background score that (more or less) becomes an individual character in all the four regional films with highly realistic performances from their entire cast ensemble enhancing the overall experience.
To give you the exact idea, apart from the lead character of the father, the storyline has four other main characters of the mother, the elder daughter (of 15-17 years), the younger daughter (8-10 years) and a Lady Inspector General of police.
And following the vision of what is termed as ‘perfect casting’, 2 of the above mentioned regional films had the same lady (Meena) playing the wife and 3 of these 4 regional classics had the same child artist (Esther Anil) cast as the younger daughter and the same fabulous actress (Asha Sarath) playing the tensed Inspector General of Police to perfection (she is simply excellent). (Even the IG’s son is played by the same boy in three films.)
Coming to the latest Hindi version directed by Nishikant Kamat, if I think about the experience of watching it keeping aside any of the film discussed above, then its not a bad remake in technical terms since it follows the original film frame to frame and with such a solid script-content is bound to make a decent impact on the viewers who haven’t seen or know nothing about any of the four regional movies made before the Hindi remake.
Using a fresh backdrop and a local feel it has got its impressive moments that obviously come in the final hour when the proceedings become high paced, intense and brutal too with police interrogation crossing all its extreme limits at the orders of its own IG. But at the same time, it doesn’t make any change in its slow first half, following the fixed format that was also pointed out as the weaker portions of the original by few critics. Still, despite the not so happening first hour, one might like it as a crime thriller that doesn’t allow the viewers to move in its concluding hour, offering many unexpected twists and turns keeping them thoroughly engrossed. 
However it’s the missing emotions, lack of energy or fire, average performances, a loud-inconsistent background score, avoidable spoon-feeding and few unnecessary (ridiculous) commercial insertions that don’t let you rate the film more than anything above average or decent. Thankfully they use only two songs out of four (in the soundtrack) as required but fail to en-cash on the emotional aspect of the script that should ideally have been its key feature becoming a ‘family-thriller’.
As a bitter truth, the theme of the film didn’t require any kind of philosophical soundtrack both Vishal and Gulzar are known for. The weak acts of Shriya Saran, kids and more contribute a lot in its feeble impact. Plus confirming my doubts Ajay Devgn remains a miscast in the role of a clever minded, cinema loving father guarding his small family. Moreover the most disappointing feature remains Tabu, who doesn’t come up with anything even close to what was being expected quite surprisingly, whereas Kamlesh Sawant as the cruel sub-inspector scores the most.
In comparative terms, it seems DRISHAYM (Hindi) has been made hurriedly in some kind of available time with the star or team, without giving any major emphasis on solid characterizations as seen in the original. In clear words, where in all the four regional films, the actors seem like sinking deep into their given characters, the Hindi version has them all doing it as another of their professional assignment standing in front of the camera with no home-work done of any sort to play their given roles. Mentioning it specifically I didn’t find any concerning FATHER in Ajay Devgn or a MOTHER in either Shriya or Tabu disappointingly, that was supposed to be the main requirement of the script as my personal conclusion.   
Anyway moving ahead, the latest remake also strongly raises a significant question that,
“How come the three versions of the original in South could deliver the content superbly but not the Hindi one despite having a reputed director, a talented cast and all necessary backing?”
Interestingly I found the answer to this question in the four ridiculous observations made while watching the Hindi remake mentioned below that surely brings down the intellectual level of the film quite severely:
1. Despite knowing that this is supposed to be a “Family-Thriller”, the makers still had the guts to throw in a mention of ‘Sunny Leone’ in some dialogues, spoken with all lust in the eyes and body movements. (Why? – Only they can answer!) May be since they couldn’t include her in person or in an item number, so decided to remember her in some lines written deliberately!
2. If my memory is working fine, then none of the four regional films had the girl’s secretly shot mobile video presented with some sick skin show. Then why the Hindi makers were very much interested in showing the naked back of a minor school going girl clearly? (Only they can answer!)
3. If I am not wrong then none of the four better films had some childish, filmy kind of entry given to the IG’s mature character interrogating some criminals like a typical 80s film. Then why the Hindi re-makers inserted this silly or bizarre sequence to introduce an IG? (Only they can answer!)
4. As I can recall, there is no mention of an adopted girl in the original and even in its remakes, but why such a clichéd reference of an adopted elder girl unnecessarily was included here in the Hindi version? (Only they can answer!) May be they didn't wish to show Ajay and Shriya that old!
Coming back to the original classic DRISHYAM (Malayalam), yes for a few it might have got an avoidable long build up (not for me frankly) and bloopers too. But at the same time its also one of the best crime thrillers made in Indian Cinema till date and strictly needs to be seen before any of its four versions, specifically the Hindi one. In fact the sequence should be the original Malayalam film (Mohanlal) followed by the Tamil one (Kamal Hassan), both written and directed by Jeethu Joseph being the key representatives of this brilliantly conceived theme of ‘family-thriller’ leading from the front.
Otherwise as always it all depends upon the choices we make in life that,
whether we will be okay or satisfied with a Hindi remake generating 60% of the original impact ...OR…. would like to go for the original masterpiece (with subtitles) generating a highly effective and well enacted 100% cinematic impact as rarely experienced before.
However, if for any reason you decide to watch the Hindi version first then you will never be able to get those unexplainable & outstanding, virgin goose bumps ever again going for the original later.
Moreover it would be like the case of a person tasting Masala Dosa in North India and loving it a lot with no idea of what it actually tastes (many times better) when made by the real creators down South.
Cheers to Great Cinema with HIS BLESSINGS

Rating of DRISHYAM (Hindi) – 2.5 / 5
(Gets 0.5 less due to the four silly insertions)
Note : Hope after DRISHYAM many passionate Hindi filmgoers get enlightened that in reality our Indian Regional movies and makers are miles, miles…..miles ahead than the mainstream Hindi Cinema in all respects.
(List of all the films in the series for your reference.)
Drishyam (2013 - Malayalam)
Written & Directed by Jeethu Joseph, feat. Mohanlal.
Drishya (2014 - Kannada)
Directed by P. Vasu, featuring V. Ravichandaran.
Drushyam (2014 – Telugu)
Directed by Sripriya, featuring Daggubati Venkatesh.
Papanasam (2015 – Tamil)
Directed by Jeethu Joseph, featuring Kamal Hassan.
Drishyam (2015 – Hindi)
Directed by Nishkant Kamat, featuring Ajay Devgn

---------------
A part of this article, presented as a separate one about the ‘deliberate insertions’ was published on IBNlive.com on 5th August 2015 with the heading :
“Four deliberate insertions in 'Drishyam' that were not present in the original” – By Bobby Sing
Tags : Drishyam Review By Bobby Sing, Drishyam Case Study 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, Inspired Films, Official Remakes, Articles on Cinema by Bobby Sing, Drishaym as must watch film at bobbytalkscinema.com
 
 
31 July 2015 / bobbysing /
leave a comment
 
Trying an experimental kind of project just a decade after the Indian Independence in the mid-fifties, Ab Dilli Door Nahin (1957) showcases the creative vision Raj Kapoor had even in the initial years of his illustrious career taking the calculated risk. Moreover, when a similar subject gets repeated after more than half a century in the new millennium, it gets proved that the man truly deserved the title of ‘The Showman” as fondly given to him by the industry and media together due to his exceptional body of work and contribution made to the Indian cinema in its developing stages.
Ab Dilli Door NahinMade under the banner of RK films and directed by Amar Kumar, Ab Dilli Door Nahin (Black & White) is actually more remembered as a children’s film due to its basic storyline revolving around an innocent child and its hugely famous song “Chu Chu Karti Aayi Chidiya” (Hasrat Jaipuri / Dattaram / Mohd.Rafi). However the film did point towards much bigger and important issues through its novel story progression that was indeed a quite courageous as well responsible step to take at that particular time of the century representing the young India.
It narrates the story of an innocent child Ratan’s journey from his village to Delhi in order to meet Pt. Jawahar Lal Nehru, then Prime Minister of India who was also famous in the kids as Chacha Nehru. He wishes to tell Pandit Ji about his father’s innocence who has been falsely charged with a murder and believes that the PM is the only person who can help his family come out of this serious problem and no one else. Ratan has an important letter written as a proof by an eye witness that he wishes to hand over to Pandit Ji personally and how he painstakingly completes his journey meeting the PM, becomes the main crux of the script capturing human emotions and expectations quite beautifully.
I Am KalamInterestingly after more than half a century post Ab Dilli Door Nahin, director Nila Madhab Panda made his award winning film I Am Kalam in 2010, that also revolved around a young boy who wishes to study and do something in his life inspired from the most beloved national leader of the new millennium, Dr. A.P.J Abdul Kalam (who sadly passed away due to a sudden heart attack on 27th July 2015).
The kid in the film (working in a roadside dhaba) called as Chhotu, accidently listens to an inspiring speech of Dr. Kalam coming on television and gets motivated enough to continue with his studies (left in the middle) despite many hurdles of poverty and lack of resources. Renaming himself as Kalam (becoming an ardent fan), he even runs away to Delhi in order to meet the (then) honourable President (in the film’s climax) with a personal ‘Thank You’ letter to be delivered by hand just like the child in Ab Dilli Door Nahin. But unfortunately he has to give the letter to a security officer in front of the President’s house who promises him that it will be delivered to Dr. Kalam positively. The film won several awards in India and abroad along with Harsh Mayar winning the National Award for Best Actor in the Child Artiste Category for his brilliant portrayal as Chhotu/Kalam.
Considering the acute similarities in both these films, the most significant point to be noted here is that after 50 years of RK Film’s Ab Dilli Door Nahin and six decades post our Indian independence since 1947, the only man director Nila Madhab Panda and his writers could think of as an honest, influential, friendly, non-political, legendary Indian icon impressing a young, receptive mind was of Dr. A.P.J. Abdul Kalam and nobody else amongst hundreds of key names representing India and its core leadership.
And this otherwise filmy fact, actually gives us the real scenario of the present, where we still do not have any other name who was, is and will always be unanimously respected as an highly qualified, intelligent, non-political, humble and completely devoted visionary becoming a guiding figure for every young and old citizen of our country as well as the world…….. forever!
With my utmost love and respect for Dr. A.P.J. Abdul Kalam Sir,
HIS BLESSINGS
Tags : AB DILLI DOOR NAHIN and I AM KALAM, Pt. Jawahar Lal Nehru and Dr. A.P.J. Abdul Kalam, Articles on Cinema By Bobby Sing, Raj Kapoor's exerimental films, Nila Madhab Panda and his movie on Kalam, Dr. Kalam as the youth icon, Articles on music poetry and life by Bobby Sing at bobbytalkscinema.com
 
 
28 July 2015 / bobbysing /
leave a comment
 

Friends having personal experience would readily agree that one of the most difficult times around the years of adolescence begins when a child’s parents decide to shift to another town due to some personal or professional reasons opening many new chapters of life for every individual member of the family in just few days. There are unknown surroundings to adjust with, new people to deal, unexpected arrangements to handle and a new life style to be adapted as per the changed scenario. The sudden twist does bring its own shares of joy and pain for all simultaneously, but it’s actually the child who has to suffer the most in those tender years of growth joining a new school, meeting all stranger classmates and then making fresh friends, causing a substantial amount of change in his or her personal character.

Inside Out

Interestingly we had two widely acclaimed films released in the last few weeks coming from completely contrasting regions and mindsets, dealing with the same theme mentioned above tackled differently. And these two releases were INSIDE OUT, an English animation film made with a splendid idea and KILLA, an Indian Marathi feature film winning the National Award.

Now in both these films we have a young child of the family, finding himself/herself in an unfamiliar city, a new home, joining a new school with all unknown kids around to deal with. The feeling of loneliness is the only friend they find walking along as a constant companion and the stories revolve around how the kids fight with their own undisclosed trauma and how parents decide to go back instead of continuing with the difficulties faced in the new city. Here though the movies remain completely different products on creative grounds made with entirely unrelated visions, it’s the interconnection of expressing the same scenario from two different perspectives that gave me the idea of writing this particular piece.

In the animation film INSIDE OUT we have an 11 years old spirited girl Riley and in KILLA we have an 11 years old thinking boy Chinmay (Archit Deodhar), both finding there adorable little world being crushed to pieces as their families decide to permanently move to a new town.
But from here on, where INSIDE OUT follows a highly novel and courageous idea of taking you into the brain of the little girl (with an outstanding animation), showing how the mind-mechanism works with the five major emotions as Joy, Fear, Anger, Disgust and Sadness (the five speaking characters), KILLA shows you the same feelings expressed from the outside in the real world through the talented boy’s impressive act and facial expressions. So where the English film innovatively interprets the subject from the ‘Inside’, the Marathi movie beautifully interprets the theme from the ‘outside’ in a realistic mode.
Killa - MarathiAs a magnificent take on the fictional conversations between the five emotions, INSIDE OUT displays an exceptional understanding of how ‘brain-mechanism’ probably works dealing with the past and the present memories stored suitably, whereas KILLA takes you onto an emotional journey of the child with an eye catching cinematography capturing many striking natural locations also dealing with the corruption faced by the mother in her new office.
Humour remains a key element in both the movies with a splendid effort by the kids in KILLA led by Parth Bhalerao (of BHOOTNATH RETURNS fame) and an imaginary character of Bing Bong in INSIDE OUT. Incidentally, where the fictional characters of the English animation marvel move into a big theme park called Imagination Land manufacturing dreams like a huge factory, the Marathi film takes you into a real Killa (a deserted fort) where Chinmay encounters fear as never before left all alone by his friends unintentionally. 
Specifically talking about the five emotions working inside Riley’s brain, the western writers-filmmakers actually come up with the names as Joy, Fear, Anger, Disgust and Sadness since the west doesn’t have or follow the traditional Indian concept of ‘Five Vikaars’ as ‘Kaam (Lust), Krodh (Anger), Lobh (Greed), Moh (Attachment) and Ahankaar (Ego)’. Still the presented western analysis comes quite close to the Indian thought and the number ‘Five’ also conveys the visualization following exactly the same path as guided by the ancient Indian scriptures.
Concluding the write-up, it unarguably requires a special kind of understanding, emotional depth and a fine study of human psychology to conceive a film like INSIDE OUT that’s not exactly for the kids despite being an animation film. And for this splendid effort director Pete Docter, Ronaldo Del Carmen and their team of insightful writers certainly deserve a big round of applause from every true lover of cinema in the world over.
However, KILLA too remains a sweet, entertaining film that has been shot well and thoughtfully directed by Avinash Arun with some great performances extracted from the talented kids that straight away remind you of ‘Swami and friends in Malgudi Days’ created by R. K. Narayan.
So if you wish to experience how the two films tackle the same subject from their own distinctive perspectives of ‘going inside the mind’ and ‘remaining outside in the real world’ quite impressively, then do watch both INSIDE OUT and KILLA as a must and just cherish the way the world is looked upon by two innocent kids struggling with their unexpected ‘change in life’.
Cheers!

 

Tags : Inside Out Animation film, Killa Marathi Film, Natonal Award Winning Marathi Film, Similarities in Film concepts, Ariticles on Cinema by Bobby Sing at bobbytalkscinema.com, Swami and Malgudi Days, Avinash Arun
 
 
20 July 2015 / bobbysing /
leave a comment
 
 
 
Reviews in All (654)

 
 
 
Inspired Hindi Movies
Alphabetical
List (412)
 
 
 
 
Articles on Music,
Poetry & Life (83)
Did You Know! (85)
Few Life Inspiring Words! (20)
Nostalgia (Books on Cinema,Vintage Magazines, Scans & more) (27)
 
 
   
   
   
   
   
   
   
   
   
   
 
 
 
   
 
   SEARCH
 
 
 
 
   
 
   
 
Page copy protected against web site content infringement by Copyscape
Google Analytics Alternative
 
 
 
The site is a collection of personal expressions of the writer to share his own views on different mediums of art, with no intention of hurting any person or organisation in particular. The site is also not responsible for any inappropriate acts practiced by the third party links added here only for information purposes.
   Visit bobbytalkscinema.com for Bollywood Movie Reviews, Inspired Cinema, Movies To See Before You Die, Amazing Bollywood Facts, Articles On Cinema, Music, Poetry & Life
 
Site Best View At 1024 X 768 Resolution & Above