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!

ISLAND CITY (Hindi) - A not to be missed extremely intelligent take on life that puts you on a serious thinking mode like an innovative, experimental, thought provoking book. (Review by Bobby Sing) (Movies To See Before You Die - Drama).

PARCHED (Hindi) - The positive wave continues with a story of 3 strong rural women, but this time especially made for the international/festival audience having many forced cliches. (Review by Bobby Sing).

BANJO - Why we keep going back to the same old subjects and then expect them to be a success taking the viewers as granted? (Review By Bobby Sing).

RAAZ REBOOT - Yet another similar and poorly made project to fool us in the name of horror. (Review By Bobby Sing).

PINK - Do watch this hard-hitting new age DAMINI, especially for Amitabh's SAFETY MANUAL for girls, boldly ripping off our visible social hypocrisy and sick biased mindsets. (A detailed overview by Bobby Sing).

FREAKY ALI - Avoiding a complete copy of HAPPY GILMORE, Sohail makes a highly inspired Indianised version that's neither entertaining nor exciting full of cliched and predictable moments leading to boredom. (Review By Bobby Sing).

BAAR BAAR DEKHO - Another unexciting, lengthy and feeble (read boring) inspired attempt to make a 'Time-Travel' film in Hindi cinema, missing the entertainment factor. (Review By Bobby Sing).

This Friday's ONE LINE REVIEWS for your weekend plans - by Bobby Sing.

A mesmerizing sensual love song from SHEHNAI (1964) and the hidden unique beauty in its lyrics. (Articles on Hindi Film Music by Bobby Sing) - BTC Exclusive..

DON'T BREATHE (English) - A fine tense psycho-thriller that actually becomes superfine in its final 40 minutes. (Review by Bobby Sing).

 
 
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September 30, 2016 Friday     
As a superhero film A FLYING JATT is certainly a poorly made, below-average project heavily relying on its deliberate religious angle and the lead star. But the film still has a ‘must watch’ important sequence that clearly enlightens the viewers about the actual historical truth behind the Sikh community’s relationship with the ‘clock striking 12’, which is wrongly and sadly (mostly) expressed in a comical or rather insulting manner by many.
The real fact behind this association is sure going to make many proud of the untold or lesser known Indian history where the invaders were bravely defeated by the valiant Sikhs safeguarding our women irrespective of their region, religion or language as collective Indians.
However, the one person who essentially needs to see, grasp and accept the fact with a sporting but regretful spirit is KARAN JOHAR, probably the first director who openly used this ‘time’ reference as some sort of comedy in his very first film, and that too involving a 7-8 years old kid presented as a Sikh. No doubt being a young energetic debutant, born and brought up in Mumbai, Karan had no idea about the actual history behind this reference wrongly used to harass/poke the Sikhs. But coming from a reputed educated background, he could have inquired or gone for a responsible research of the same before using it as a comic element in his debut project following a questionably casual approach.
The film was KUCH KUCH HOTA HAI released in 1998 which featured Shah Rukh Khan, Kajol and Rani Mukherji in the lead roles along with Salman Khan playing a guest appearance. Winning many major awards, including the National Award for Best Popular Film providing wholesome entertainment, it had an adorable character of a Sikh child (played by Parzan Dastur) who was also given (probably) the most famous and repeatedly spoofed dialogue of the film (in Punjabi) “Tussi Ja Rahey Ho….., Tussi Na Jao”.
Sikh-Kid-KKHHIronically the same kid was also used in an unexpectedly disgraceful comic scene, wherein he was mocked by Johny Lever suggesting the ‘sick time reference’ without any reason at all. In their scene together, the kid was shown silently counting the stars looking into the sky at night and feeling puzzled watching him doing this, Johny Lever looked at his wrist watch as if the kid had gone mad at a specific timing. 
Remembering the first week of the film’s release in Delhi (as a personal experience), there were some quick extreme responses from the community made against this particular scene due to which it was later reportedly cut from the prints sent to the theatres of specific regions (in Delhi) and the rest continued to play it as it is. Proving the fact of this selective corrective measure taken at the time of its release, you can now easily find the ‘objectionable’ scene in the uploaded version of the film and probably in its official DVD too in the second half of the narration during the summer camp.
So where a young, talented but unaware director made fun of Sikhs in his debut film released in the late nineties, another thankfully rectified the error after almost two long decades in a respectable, thoughtful manner in the year 2016.
Hoping that Karan Johar somehow watches A FLYING JATT accepting his regretful but maybe unintentional mistake made way back in 1998, the latest superhero film indeed does a noble task that needs to be appreciated by all Indians wholeheartedly.
HIS BLESSINGS
Tags : Karan Johar should watch A FLYING JATT, Sikh controversy in Kuch Kuch Hota Hai, Wrong Portrayal of Sikhs in Hindi films, The Actual truthe behind the time of 12 and Sikhs, Articles on Cinema by Bobby Sing, Rare Articles on Hindi Cinema by Bobby Sing at bobbytalkscinema.com
 
 
31 August 2016 / bobbysing /
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When we consider the term ‘Professionalism’, then at one end it specifically means strictly not disclosing details of any ongoing project to the others, particularly to the ones working in the similar profession. But at the same time, the term also means that if a second project is offered to an actor, quite close to the one he has already done in the past or is currently involved in, then ideally that needs to be clearly conveyed to the writer/director making the offer, leaving the decision on him that whether he still wishes to continue with the same or decides to drop it.
Toofan-JaadugarA few recent Hindi releases forced me to think about these two ‘tricky’ meanings of the word sharing it honestly and the subject once again took me back to the late-80s controversy between two famous duds of Amitabh Bachchan namely TOOFAN and JAADUGAR releasing in close succession in the same year of 1989. Based on a common unconventional subject revolving around magicians, both these films did have Amitabh playing the key role of a Jaadugar (though with completely different story plots), which was exactly the point raised by Prakash Mehra that his leading man didn’t tell him about the similarity during the entire making. Now how and why the fact didn’t get revealed in time avoiding the messy clash cannot be guessed rightly. But the truth remains that both these film actually got made, released and rejected too (at the same time with TOOFAN releasing first) for the very reason of similarities apart from the mediocre making.
Ironically even Amitabh’s SHAHENSHAH releasing a year before in 1988 had a similar theme like TOOFAN focusing on a super-human kind of figure fighting the evil at night and another similar looking character playing the comical part in the daytime entertaining the viewers (though it wasn’t the case of a double role).
Adding another worth mentioning fact about MKD films, just like COOLIE (1983), TOOFAN is also mostly quoted as a Manmohan Desai film, whereas the first was directed by Prayag Rag (sharing the credits with Manmohan Desai) and the latter was the second directorial venture of his son, Ketan Desai.
Wazir-Te3nComing back to the present, the recent example is of two major films releasing at the gap of 4 months namely WAZIR and TE3N in the first half of 2016 based on a similar theme. Interestingly in this case too we have Amitabh Bachchan only playing the lead role in both the films as an old man who has lost a girl in the family to an unfortunate event and now is willing to take his revenge from the known killer. Despite being contrastingly different in the mystery involved and its treatment, amazingly both WAZIR and TE3N have Amitabh only as the main conspirator behind the games being played like a shrewd criminal fooling his close associates Farhan and Nawazuddin respectively. Now was this acute similarity actually known or conveyed to the respective makers or not (working simultaneously) is certainly a backstage mystery to be solved by asking the makers themselves.
Admittedly many a times two or more films do get made on a similar theme by different directors. But the mystical question is that when a same lead actor is doing both these projects at almost the same time, then does professionalism allows him to remain silent and hide this crucial fact from both the makers or it rightly demands to reveal the truth at the earliest and let them decide for the rest.
Darr-AnjaamQuoting a couple of examples of the same, PREM SHASTRA and ISHQ ISHQ ISHQ both had the mention of a bold subject of incest with Dev Anand and Zeenat Aman playing the lead, releasing in the same year of 1974 (and none of the two worked). In the mid-90s, Shah Rukh Khan repeated his stalker act of DARR (December/1993) in a much brutal manner in ANJAAM released just a few months later in (April/1994), clearly indicating that they both were into the making almost simultaneously in the year 1992-93.
The above examples are of the films that were being made around the same time - featuring the same lead stars - revolving around the same theme, that’s indeed quite amusing and intriguing to even think about.
However there are other instances when a lead star featured in a film that was quite similar to what he had earlier done in the past too in another venture.
To begin with we have a very recent case of Irrfan Khan playing the lead role in DEADLINE – SIRF 24 GHANTE (2006), JAZBAA (2015) and MADAARI (2016) having an identical theme of a kid getting kidnapped in all the three.
Now in JAZBAA, there is a sequence where the kidnapped girl gets sick and the kidnapper makes a call to the mother (Aishwarya), to bring the medicine at a particular place leaving the packet at a specific spot. An exactly similar sequence is there in DEADLINE too where the kid girl gets an attack of asthma and the kidnapper has to bring in the mother to take care of her for a while. No doubt the sequence is tackled in a much better manner in DEADLINE where Irrfan himself plays one of the kidnappers (in contrast to the inspector in JAZBAA), but whether he recalled or pointed out this similarity to his writer/director of JAZBAA or not remains an exciting mystery.
Deadline-MadaariAmusingly another important fact related with both these films reamins that where JAZBAA was an official remake of a Korean thriller SEVEN DAYS (2007), DEADLINE was an unofficial version of an English film TRAPPED (2002) having an exactly similar sequence like a weird co-incidence.
Talking about the most recent MADAARI (2016), here too it’s again Irrfan Khan playing the forced criminal kidnapping the kid of an influential figure of the society. And the only difference is that where in DEADLINE he kidnaps the daughter of a doctor/surgeon blaming him for the death of his young child, in MADAARI he picks up the son of a Home Minister, who was the key person, passing a faulty flyover causing the death of his only child. However the question still remains the same that did Irrfan honestly inform or discuss these exact similarities with the writer-director of MADAARI or not?
Giving some similar references from the past, in the 80s and 90s, most of the films of Dharmendra and Mithun Chakraborty often generated the feeling of Deja-Vu in a vague manner.
Besides, Rajesh Khanna and Hema Malini featured in two films based on a similar reincarnation theme namely MEHBOOBA (1976) and KUDRAT (1981).
VAASTAV (1999) had its seeds in a similar act by Sanjay Dutt in his HATHYAR released in 1989, with the entire transformation beginning from a road side food stall only.
Anil Kapoor played an innocent adult with an underdeveloped mental state in YUVRAAJ (2008), which was quite identical to what he superbly played two decades back in EESWAR (1989).
And on a lighter note, cannot really guess that while shooting for the last shot of LAGAAN (2001) playing the winning sixer, did Aamir Khan recall that he had earlier played an exactly similar sixer in the climax of Dev Anand’s AWWAL NUMBER (1990) too, though playing modern cricket in a stadium instead of the pre-independence era against the Englishmen.
Anyway the question still stands tall as an unsolved mystery that, whether the lead stars actually spotted these similarities and discussed with their directors too or they just decided to let it go……. posing as some different kind of professionals remaining silent?
Cheers!
(Note : Do let me know if you recall another similar instance of the past that deserves a mention in the article.)
Tags : Lead actors doing similar roles in two films, Inspired Films, Copied Films, Similar Themes, Articles on Inspired Hindi Cinema by Bobby Sing, Articles on Cinema by Bobby Sing at bobbytalkscinema.com, Toofan and Jaadugar, Darr and Anjaan, Deadline and Madaari, Wazie and Te3n, Lagaan and Awwal Number, Backstage stories of Bollywood films.
 
 
26 July 2016 / bobbysing /
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The name Guru Dutt brings back the memories of a highly sensitive, emotional and loving visionary who could write magical poetry on screen and is unanimously acclaimed as one of the most celebrated filmmaker of not only Indian but World Cinema, sadly living a very short life span of just 39 years. As a reputed actor, producer and director of Hindi movies, his major films are considered as the key representative of Indian cinema and have found there respected places in the All Time Great Movies lists prepared by renowned publications and organisations all over the world.
A lot has been written about Guru Dutt’s personal life, his love affairs, the artistic cinema and his cult films of the past by many renowned authors, columnists, editors and bloggers since his death in 1964. But most of these writings have always focused upon his effective presentation of pain and sadness on the celluloid through his expressive performances, chosen themes, characterizations, music and execution in films such as PYAASA, KAAGAZ KE PHOOL & SAHIB BIBI AUR GHULAM (directed by Abrar Alvi) in particular.
Putting it specifically, a big majority of these write-ups and tribute articles have always shown a deep inclination towards the writer-actor-director’s tragic end and his constant relationship with sadness or loneliness seen in the last years. And very rarely you find anyone mentioning the young, fun loving, flirting Guru Dutt we get to witness in his early films such as 12 O’CLOCK (lawyer/boyfriend), AAR PAAR (taxi driver), MR AND MRS 55 (a cartoonist) and CHAUDHVIN KA CHAND (a young lover).
Personally speaking, I really cherish watching his deep, poetic persona in all the well-made classic films talking about love, tragedies and separations in a sad yet thoughtful mode. But I honestly enjoy watching his amazingly relaxed and effortless performances in the thrillers, light dramas and romantic comedies a lot more finding an entirely different Guru Dutt in deep contrast with the over-famous gloomy image presented, followed and publicized by the majority of people.   
Therefore would like to pay my humble tribute to the true artist by remembering his lesser talked about, pleasing and joyful image on screen in a particular song, where he is spiritedly dancing on a Bhangra (Punjabi) rhythm along with Asha Parekh. And the most amazing fact related with this particular song is that this is from a film that got released in 1963 (as one of his last ventures) post the release of his three cult classics i.e. PYAASA (1957), KAAGAZ KE PHOOL (1959) and SAHIB BIBI AUR GHULAM (1962) that actually established the sad-tragic image within the viewers and the industry.
The song “Kaahey Itna Gumaan Chhoriye, Yeh Mela Do Din Ka” is from film BHAROSA (releasing a year before his death), with music by Ravi, lyrics by Rajinder Krishan and rendition by Asha Bhosle, Mohd. Rafi and chorus. 
     Guru Dutt Dancing in a Bhangra song.
No doubt, these five minutes would introduce you to a completely different Guru Dutt, far away from the image of a depressed-lonely man sitting on the chair in a deserted studio, partially visible through the beam of a streaming sunlight.
Click at the following link for the song video:
https://www.youtube.com/watch?v=1kSYAhn7Jpw
HIS BLESSINGS
Tags : Guru Dutt in a dancing mood, Guru Dutt as a fun loving dancer, Articles on Cinema, Remembering Guru Dutt, Articles on Music, Poetry and Life by Bobby Sing, A Tribute to Guru Dutt at bobbytalkscinema.com
 
 
10 July 2016 / bobbysing /
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