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.


BEIIMAAN LOVE - This should ideally be one of the last projects of Sunny Leone's India Tour before slipping into the avoidable new-age HUMA KHAN mode. (Review by Bobby Sing).

SAAT UCHAKKEY - Despite a mix of deliberate & natural acts along with lots of forced abuses, its still watchable and partially enjoyable too. (Review by Bobby Sing).

INFERNO (English) - Offers nothing fresh or exciting in a strictly routine or rather poor mystery thriller. [TTP (To The Point) Review by Bobby Sing].

LOCK (Punjabi) - An appreciable attempt from an honest & bold director who wished to break the set pattern of comedies but couldn't due to his evident limitations of a big star, producers and the fear of conservative Punjabi audience. (Review By Bobby Sing).

SHUTTER (Malayalam - 2012) (Movies To See Before You Die - Thriller/Drama).

MIRZYA - They killed MIRZA again after centuries, they just killed him once again like the betraying SAHIBA. (An unapologetic review by Bobby Sing).

TUTAK TUTAK TUTIYA - A surprisingly clean, comic-horror drama that keeps hanging between a below average & watchable film, yet again ruining two old cult Punjabi tracks. (Review By Bobby Sing).

GANDHI the film and paper planes flying in Chanakya theatre in Delhi. (Those Cherished Cinematic Moments : 2) - By Bobby Sing.

NIKKA ZAILDAR (Punjabi) - Go for this Hrishikesh Mukherjee kind of clean family comedy drama featuring Nirmal Rishi in a terrific form bringing the house down. (Review by Bobby Sing).

M. S. DHONI - Despite being a three hours long film focusing on the selective life events offering not much as 'the untold story', it still keeps you glued with all impressive well directed performances deserving appreciation. (Review By Bobby Sing).

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October 22, 2016 Saturday     
Chanakya-Gandhi-Bobby Talks Cinema.comGANDHI, the dream project of Richard Attenborough released in late 1982 has its own reputed place in the World cinema due to its huge canvas, incredible detailing and incomparable performances including a long list of talented names both in the English and Hindi version (in the form of dubbed voices).
However for me the film has a different kind of memory associated as GANDHI was the first English film I watched in the theatre and that too as an educational show organized by our school GHPS (Vasant Vihar) at Chanakya theatre situated along a trendy market in Chanakya Puri in South Delhi.
Incidentally (the now defunct) Chanakya was also (probably) the first theatre in Delhi to introduce the concept of dual-language screenings with English and Hindi films running at different show timings in the same day. And I later got introduced to many famous English hits and Jackie Chan movies too through Chanakya cinema only in the 80s (should write about it in details in a different article).
Coming back to GANDHI, I was in 5th standard at that time and students of class 5th to 12th were taken for the show in a fleet of school buses like an exciting fun trip, which eventually turned out to be something entirely different ending on a sour note.
At that point of time, we only had some information about Mohandas Karamchand Gandhi referred as Father of the Nation with reference to the Indian freedom struggle but had no idea of anything else about the history or other details of his unique persona, taking the movie as nothing more than a rare recreational outing offered by the strict school authorities after a long time.
However as the film began, the fun was nowhere to be found and after the initial calm moments there was restlessness all over the theatre with sounds of talks, giggling and more increasing with every passing minute. Frankly I do not remember even a single scene of the film from that particular screening but only recall some visuals of Ben Kingsley active on screen and paper planes flying all over the theatre started by the seniors sitting in the top rows (balcony) all of a sudden.
The paper planes were made from the pamphlets distributed among the students giving some important information about the film and after 10 minutes or so probably every single pamphlet was flying in the air creating an electrifying but seriously tense atmosphere within the theatre.
Vaguely remember that the screening was stopped for a while, a loud and angry instruction was heard for a minute and then the film started again completely failing to impress or engross the mischievously excited students for the next two hours. At the end we all returned to the buses with our heads down.
Now fondly recalling the event after more than three decades, I realize that a certain movie, book or poetry makes the much desirable impact on a person or mind, only when shown or read at the right age and time hitting the right note.

Interestingly both GANDHI and CHANAKYA are the two key personalities from our Indian history, though relating to contrastingly different eras and thought processes.
(Will share more about Chanakya and the experience of watching both English and Hindi films together in the next part of this series soon….. )
Tags : Chanakya theatre in Delhi, Gandhi movie at Chanakya, GANDHI the film and paper planes flying in Chanakya theatre, Those Cherished Cinematic Moments By Bobby Sing, Articles on Cinema at bobbytalkscinema by Bobby Sing
05 October 2016 / bobbysing /
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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.
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?
(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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