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!

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).

AKIRA - A strong potent idea gets messed up in the constantly shifting attention between Sonakshi, Anurag & Konkona ending on an absurd note. (Review By Bobby Sing).

 
 
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September 27, 2016 Tuesday     

Na Jhatko Zulf Se Paani - Bobby Talks Cinema.com

For all young and old friends, this is about a song which you must have heard for sure but might not have noticed the magic worked in it with a specific ‘unusual’ word and a unique expression used to define beauty, probably not to be found in any other love song with such sensitivity and sensuality as I strongly feel.
Firstly, we have a word in Hindi language as "PHOOT" used for breakage (Phoot Gaya Gharha!) or for rudely asking a person to leave in a state of anger (Chal Phoot!). The word is also used for denoting the springs flowing out of the mountains (Jharney Phoot Padey!), a bud transforming into a flower (Konplein Phir Phoot Aayin!) and may be for cursing the destiny too in a comical manner (Phoot Gayi Kismat!). So it’s quite difficult to use this particular word in a sensual love song without making it sound awkward, fitting in the rhythm just perfectly.
However, the task is beautifully done by three masters as the lyricist, composer and singer together incorporating the peculiar word describing a beauty, looking at the tiny droplets of water shining in her hair referred as some precious pearls. And the opening lines go as,
“Na Jhatko Zulf Se Paani, Yeh Moti PHOOT Jayenge,
Tumhara Kuchh Na Bigdega, Magar Dil Toot Jayege”
In fact the creators use the word ‘Phoot’ in such a rhythmic and rhyming manner in the track that unless someone points it out to you, one doesn’t even feel like hearing something inept or lesser poetic in the verse from any angle.
Next you must have heard many ghazals, couplets, nazms or Hindi film songs describing the beautiful lips of a woman using various expressions and delightful poetic comparisons in their respective ‘sheyrs’. But the way they get visualized with an adorable sensuality in this absorbing song, takes the collective creation to a completely different level, again using the word ‘PHOOT’ in an entirely new perspective quite amazingly. And the antra (stanza/verse) goes as,
“Yeh Naazuk Lab Hain Ya Aapas Mein Do Lipti Hui Kaliyan,
Zara Inko Alag Kar Do, Tarannum PHOOT Jayenge,
“Na Jhatko Zulf Se Paani, Yeh Moti PHOOT Jayenge,
Tumhara Kuchh Na Bigdega, Magar Dil Toot Jayege”
The song has been penned by Rajendra Krishan with music by Ravi and rendition by Mohd. Rafi for film SHEHNAI (1964) which was produced and directed by S. D. Narang. On screen it has been picturised on Biswajeet and Rajshri as a couple taking shelter post the rains in an abandoned temple like structure.
You can listen, see and cherish the mesmerizing musical creation at the following link:
https://www.youtube.com/watch?v=W_YckCpQAoY
Cheers!
Tags : Unique Lyrics in a song from SHEHNAI (1964), Unusual words used in Hindi Film Songs, Lyricist Rajendra Krishan, Music Director Ravi, Mohd. Rafi, SD Narang, Biswajeet, Rajshri, Sensual Hindi Film Songs, Rain Songs
 
 
08 September 2016 / bobbysing /
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In the last few years, we have repeatedly seen Hindi Film Music officially borrowing old hit Punjabi tracks from private albums/artists and presenting them before the audience as new melodious film songs playing a smart game. And the names include big ventures such as last decade’s LOVE AAJ KAL to the recent AIRLIFT and the latest BAAR BAAR DEKHO featuring Amar Arshi’s ‘Kala Chashma’.
(Click here to read in details about many recent borrowed Hindi film songs from Punjabi music)
Interestingly a similar kind of smart act can now be found in the soundtracks of few recent hit Punjabi films too, wherein a complete composition of a cult Punjabi track from the past is adapted for a fresh film song, but without any official credits given to its original creators.
Mentioning the most recent example in Punjabi Cinema, just a month back we had Diljit Dosanjh’s SARDAAR JI 2 having a well-made catchy track as ‘Poplin or Jatt Da Pajama” taking its entire composition from an immensely popular 90s song ‘Husna De Maalko” that was composed by veteran Charanjit Ahuja and sung by the renowned Sardool Sikandar in his private album with the same title. In fact “Husna De Maalko” was one of the most successful and highest selling album of that decade with all brilliant songs.
For reference just check :
Sardaar Ji 2’s “Poplin/Jatt Da Pajama”
https://www.youtube.com/watch?v=RvoZGmpL_7Y
and “Husna De Maalko” (featuring Yograj Singh in its video presentation)
https://www.youtube.com/watch?v=sDOubgAiWho
Second instance is of the film receiving wide appreciation all over for its fabulous content and performances released just last Friday titled BAMBUKAT. And here we have two songs highly inspired from the cult tracks of the past. The title song “Koi Virla Hi Launda Note Bambukat Te” is again based on the composition of Charanjit Ahuja, sung by ‘Kaliyan Da Raja’ Kuldeep Manak as “Goli Maaro Eho Jahe Banuati Yaar De” in one of his famous private albums.
For reference :
Bambukat’s “Koi Viral Hi Launda Note Bambukat Te”
https://www.youtube.com/watch?v=RvoZGmpL_7Y
and
“Goli Maaro Eho Jahe Banuati Yaar De”
https://www.youtube.com/watch?v=C3n8w1TTtXE
And the song “Kainthey Wala Pavey Boliyan” takes it all from Dilshad Akhtar’s famous song “Ghund Kad Lai Pataliye Naarey, Sohreyan Da Pind Aa Gaya”, which ironically had its origin in Ustad Nusrat Fateh Ali Khan's "Yaadan Vichhre Sajan Diyan Aayian"
For reference :
Bambukat’s “Kainthey Wala Pavey Boliyan”
https://www.youtube.com/watch?v=kwFlCXHoB9s
Dilshad Akhtar’s “Ghund Kad Lai Pataliye Naarey, Sohreyan Da Pind Aa Gaya”
https://www.youtube.com/watch?v=4QI3016qTUs
Ustad Nusrat Fateh Ali Khan’s “Yaadan Vichhrey Sajan Diyan Aayian”
https://www.youtube.com/watch?v=JkimTarg798
Incidentally both the above mentioned films SARDAAR JI 2 and BAMBUKAT have a common music director as Jatinder Shah.
Third in the list is an upcoming film 25 KILLE which also features probably the first ever ‘Single Take’ song in a Punjabi film as “Wah Oh Rabba Mereya” with music by Jaidev Kumar, that is completely based on a composition in which the Late Hazara Singh Ramta used to sing his immensely enjoyable comic poetry in the last century.
For reference :
25 Kille’s “Wah Oh Rabba Mereya”
https://www.youtube.com/watch?v=RvoZGmpL_7Y
and
“Ramta Navi Delhi Wich”
https://www.youtube.com/watch?v=iV2hgi1Pxms
Continuing the trend in a different manner, another upcoming film MAIN TERI TU MERA has a song “Shama Pai Gayian” with music by Gurcharan Singh, taking its entire inspiration from a Pakistani singer Bushra Sadiq’s track “Aaja Ve Akhiyan Rondiyan”, which was earlier there on Youtube, but now has been taken off for some unknown reasons. And this particular track is a true gem to cherish, if you haven’t heard it before.
For reference :
Main Teri Tu Mera’s “Shama Pai Gayian”
https://www.youtube.com/watch?v=2kbp6c-a4fg
and Bushra Sadiq’s
“Aa Ja Ve Akhiyan Rondiyan”
http://www.saavn.com/s/song/punjabi/Ni-Main-Kamli-Yaar-Di-Kamli/Aa-Ja-Ve-Akhiyan-Roandiyan/Pi0ABzxbbWo
As a personal opinion, it’s really great if the music directors wish to make the present generation aware of our rich Punjabi music heritage by adapting these compositions as their fresh film songs enhanced with the new-age advancements. But deservingly mentioning the original source, would have certainly taken these inspired creations to a much higher respectable level unarguably.
Cheers!
(Note: Sharing the above instances, I did check the details posted at their official Youtube links but couldn’t find any mention of the original sources. So please do let me know if they are anywhere mentioned by the makers that I might have missed reading the long lists of the credits shared at their individual pages.)
Tags : New Inspired Songs in Punjabi films, Punjabi Songs inspired from Old Punjabi hits, Copied from Charanjit Ahuja compositions, Copied from Hazara Singh Ramta, Rich Punjabi Music Heritage, Bambukat, Sardaar ji 2, 25 Kille, Main Teri Tu Mera Inspired Songs, Bushra Sadiq Inspired song, Inspired Punjabi Music
 
 
03 August 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 /
leave a comment
 
 
 
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