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!

ANAARKALI OF AARAH - You praised Amitabh teaching the meaning of a woman's NO in the court, now praise Swara doing the same in a differently authentic manner. (Review By Bobby Sing).

PHILLAURI - It's a confusingly conceived Punjabi film made in Hindi, based on an interesting but inspired idea with the only merit being its emotional climax. (Review By Bobby Sing).

TRAPPED - Post an unconvincing start, it fairly keeps you engaged as a praise-worthy off-beat attempt featuring an impressive solo act and some notable merits. (Review By Bobby Sing).

This Friday's One Line Reviews by Bobby Sing for making your weekend movie plans..

KONG SKULL ISLAND (English) - Though lacks an emotional pull and the original charm, it's still an incredibly made entertaining comic-book adventure to be experienced in a well-equipped theater. (Review by Bobby Sing).

BADRINATH KI DULHANIA - A unique case of the makers returning with the same lead pair, a similar title, identical looks and the same old premise of a wedding, mocking at the viewers patience & choice. (Review by Bobby Sing).

LION (English/2016) - An emotionally uplifting film which once again depicts INDIA in a bad light and we know the westerners do have a fascination for such dark representation of our country since decades. (Review by Bobby Sing).

ANUPAMA (1967) - Its touching emotional climax and DDLJ - By Bobby Sing.

COMMANDO 2 - Focusing on suspense instead of action, Vidyut gets no support in this poor and so casually conceived film unfortunately. (Review By Bobby Sing).

LOGAN (English/Hindi) - You will make faces, tighten your fists and do several things going through this brutal, cold blooded must watch thriller for sure. (Review by Bobby Sing).

 
 
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March 30, 2017 Thursday     

This is an unique case indeed, as writer-director Shashank Khaitan debuted with HUMPTY SHARMA KI DULHANIA in 2014 (an upgraded version of DDLJ) and now comes up with BADRINATH KI DULHANIA in 2017 as his second film with the same lead pair, similar sounding title, identical feel and the same basic premise of a wedding displaying an amazing kind of over-confidence backed by the same production house unbelievably. And that too when the film is not any official sequel, but a clear attempt to build some kind of brand or franchise with the possible third in the making as another XYZ KI DULHANIA!

No doubt a lot can be concluded from this revealing case about the present state of our Hindi Cinema. But leaving the discussion for another detailed write up, here is a short review of the film, which neither comes up with anything new in terms of content nor treatment, typically made as a safe ‘business product’ serving the greedy multiplexes.

The film begins with all plain ordinary sequences, one average song and an over-energized Varun leading from the front reminding you of ‘a young Govinda’. The well-written entertaining dialogues hold the key in its first half along with the beautiful Alia, and some forced funny sequences keep bringing in the smiles before a (repetitive) twist is revealed just before the ‘Intermission’.

In the second half, the focus suddenly shifts to the girl’s career ambition which was never mentioned in details or specifically talked about in the film’s opening hour. The narration drops pretty fast with the story having no engaging developments or novel turns, but some witty one liners do keep trying to entertain (including an ‘always there’ gay sequence in a KJO production). Besides here we yet again witness a foreign tour looking clichéd to the core having no novelty of any sort leading to over-length and boredom together.

As a positive change, brand promotion is smartly inserted taking the story forward, before it seems like crossing the limits with excessive sequences of Air-hostess training programs towards the end. Having a rich look and feel, surprisingly the film doesn’t have any great soundtrack. The title track takes its basic inspiration from the cult ‘Chalat Musafir’  in TEESRI KASAM and the hook line (Muniya Re Muniya) from its hit remix by the pop-band JOSHILAY without giving all due credits. Strangely where this key song gets played along the end credits, the poor Tamma Tamma remake looks like a clearly forced addition in the last 30 minutes of the film.

The supporting cast mostly works, especially Sahib Vaid as the entertaining friend, but has a miscast too in the important role of the father. Both Varun and Alia play their parts well as the loving couple, but it’s Alia who looks more natural and controlled in comparison to the high-spirited Varun (forcefully) speaking in the regional lingo. In fact right from the language to the social issues incorporated in the script like dowry, working women and their suppressed life post-marriage, everything largely looks like added just for the sake of it without any strong focus or impact except the educated Bhabhi (Shweta Prasad) leaving an impression in her few scenes.

In short, BADRINATH KI DULHANIA offers nothing new and can only be seen if you don’t mind watching the same stuff again and again served in a marginally entertaining way (with a better first half) largely depending upon the charm and fan following of its young stars.

So if that is all you are looking for in your weekly movie outing, then this might work for you, but since I was personally expecting at least some novel and fresh treatment if not a new storyline, this repetitive DULHANIA didn’t work for me to be honest.

Rating : 2 / 5

Tags : Badrinath Ki Dulhania Review By Bobby Sing, BKD Review by Bobby Sing, Alia Bhatt as Dulhania again, 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
 
 
10 March 2017 / bobbysing /
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Before the release neither BEFIKRE’s music nor its overall feel was anything close to a Aditya Chopra film to be honest and it seemed as if the writer-director intentionally wished to break his own set pattern of the past, making a much updated, young and bold romantic film featuring two youth icons.

Surprisingly the film turns out to be neither anything fresh nor engaging enough in terms of its plot or execution coming from the director of films like DDLJ, MOHABBATEIN and RAB NE BANA DI JODI. Yes Aditya’s last two ventures were also not as great as expected from the maker of DDLJ. But they still had their own engaging subject, which is simply nowhere to be found in the disappointingly childish BEFIKRE made with a confused vision. In fact after Karan Johar and his recent ADHM, its now Aditya Chopra who tries to follow the path shown by writer-director Imtiaz Ali, but isn’t able to deliver anything even close to the impressive execution and meaningful content seen in the much appreciated Imtiaz’s films.

In other words, post ADHM and BEFIKRE it’s unofficially official that Imtiaz Ali truly rules the minds of all big shots in the business and everyone is intentionally or unintentionally willing to follow his footsteps despite the absence of any major success.

As a film BIFKRE gives you almost nothing to write about apart from the energetic and spirited performance of Ranveer Singh. But without the backing of any exceptional writing or direction, even Ranveer looks like uninterestingly overdoing the things after a while without any visible feel or depth.

Moreover the opening title song with lots of smooches followed by repeated acts of taking off the clothes and couple of semi-nude sequences clearly reveal a fact that it all depends upon who has made the film and what production house has financed it, when it comes to the Censor certificate which is U/A in this case (that can also be taken as an enjoyable progressive joke cracked openly). In other words, it’s fine to take your kids along to the film and let them watch those scenes as per the Censor Board, which in other cases even beeps out some specific words in a dialogue considering them inappropriate and destructively suggestive for all the young minds. (Worth giving a roaring applause indeed!)

Anyway post the smooching titles the director deliberately keeps focusing on sex since he has actually got nothing fresh to offer either in terms of concept, plot or subject whatsoever. As a result once again we have a non-linear narration wherein a half-desi couple meets abroad, gets together on a condition of ‘No Love Affair’ and then keeps trying some weird ‘Dares’ too exactly like the beginning of Imtiaz Ali’s TAMASHA (and Karan Johar’s ADHM) with the added dosage of a family angle, loads of kisses and many sensual revealing scenes as a special YRF inclusion.

A huge unexpected let-down till interval, the film dips even further post intermission and delivers much more absurd content going back to the ages old plot of a love triangle introducing another young man (Armaan Ralhan), who thankfully remains okay and doesn’t try to go overboard (even in a pathetic Bollywood Karoake night sequence conceived amateurishly). Besides the climax yet again features a marriage being interrupted well in time by an ‘understanding loving friend’, resulting in the most obvious, already seen in uncountable Hindi films in the past (including couple of YRF’s own productions).

Having said that, there still remains one unique feature in BEFIKRE as it seems to be a film with two men romancing on the screen instead of a man and a woman. Yes it might sound a bit rude putting it in this way, but I really couldn’t find the tall, beautiful girl I loved watching in SHUDH DESI ROMANCE anywhere in the film accepting it in all honesty. May be here we have another unfortunate case of a ‘Beauty Enhancing Surgery’ gone wrong resulting in a completely different manly-lady on screen unlike the one I adored. But in any case the Veena Kapoor I wished to see wasn’t there and neither was the much desired feel of love and romance in the film as strongly projected in its promos. The lady tries her best to be ‘the bold and beautiful’ French girl fulfilling the requirement of her director, but at the same time looks like overdoing it all in order to match the bubbling energy of Ranveer standing in the same frame.

Mentioning the merits, yes BEFIKRE has a trendy look, a beautiful cinematography, complimenting background score and a few peppy tracks too along with an interesting use of French language. But what Aditya found novel in this storyline and why he chose such a repetitive and boring script for his film, remains the million dollar question that essentially needs to be asked to gain some instant enlightenment.

Coming to the inspiration section, the hard to find story or plot in the film easily reminds you of several (far better) Hindi and English movies based on the same ‘cliched’ subject and Aditya Chopra coming up with such a pathetic project is exactly like the case of another Ashutosh Gowariker in the making……. giving you the worst news.

From the soundtrack, I found ‘Ude Dil Befikre’ quite close to the format of a Punjabi track ‘Teri Taan Yaad Satave” (recently used in ROCKY HANDSOME too) and the opening notes of the French song very similar to ‘Kay Sera Sera Sera” from PUKAR. However the most moronic inclusion remains the awful Punjabi song used in the end credits having nothing to do with the film pointing towards the so casual mindset behind its making. Interestingly this also clearly proves a fact that they are not able to make a Hindi film today without a Punjabi song, particularly JOHARS and CHOPRAS cannot.

In short, BEFIKRE can only be seen if you are a die-hard fan of Ranveer Singh or willing to watch a promotional tour of FRANCE (Paris) along with a couple of good songs.

Otherwise if this is a product coming from one of the top three production houses of Hindi Cinema and its reputed writer-director (having an epic film like DDLJ to his credit), then there is something seriously wrong in their followed thought process requiring an urgent re-check and solid rectification.

Rating : 1 / 5

Tags : Befikrey Movie Review by Bobby Sing, Befikre Review by Bobby Sing, 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, Badly made bold romantic Hindi films.
 
 
09 December 2016 / bobbysing /
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What can be said about a film which is all about musicians and music makers but still doesn’t offer any great memorable song except a decent Ganapati track coming up in its predictable climax. Putting it differently, how is one supposed to enjoy or appreciate a film titled BANJO, when it doesn’t even have any catchy musical piece (or theme music) played on its particular highlighted instrument that stays in your mind for long, like the one played in KARMA released three decades back.
Revolving around the street musicians known for their local Banjo Band active during the Navaratras and other state festivals in Maharashtra, the film begins with an intro of the key members of a group led by Ritesh Deshmukh. And this introduction is conceived in an interesting, engaging manner depicting the daily life in slums using Vjiay Raaz’s voiceover.
However post this impressive start, the first 40 minutes can be best described as a colourful Chitrahaar featuring all average songs (without any story as such) and then the next 90 minutes offer nothing new in the name of content or plot, straight away reminding you of ABCD series and the earlier ROCK ON moving on the similar path. So it’s yet again the same old stuff presented along an unconvincing sub-plot of an ‘attempted murder’ and some dazzling, grand visuals of Mumbai’s colourful festival.
In other words, the writing as usual turns out to be the major culprit here heavily relying on everything strictly routine, also full of confusions and contradictions in its main characterization. For instance, Ritesh is more than once shown as soaked in filthy gutter water for no reason whatsoever and one never gets to know who Nargis Farkhri actually is - a singer, composer, producer, a DJ, an entertainment company’s representative or what, coming from abroad in search of the local band? The same goes for the cunning and lusty character given to Mohan Kapur. But becoming the most hilarious feature of BANJO, the one international music competition/festival its supposedly all about, never actually happens in its 137 minutes of duration and the film ends without even mentioning it, probably because the writer-director wished to quickly finish it off avoiding any such ‘unnecessary details’.
As the directorial debut of Ravi Jadhav, the man behind much appreciated Marathi films such as NATARANG, BALAK-PALAK and TIMEPASS, this is nowhere close to any of the gems Ravi is known for. And the sole responsibility of this lies in his uninventive choice of subject, which could have only worked if made on some kind of extraordinary script supported by an outstanding soundtrack like SAIRAAT. No doubt his directorial experience and talent is visible more than once in the film in the depiction of slums, Ganapati celebrations and the climax song. But with such a weak, predictable, confused or ‘seen before’ writing and execution, it doesn’t really seem to be a film directed by the same person.
Frankly the biggest mistake in this attempt has to be the casting of Nargis Fakhri, who doesn’t look like acting for even once and keeps rendering her dialogues with just a single face expression throughout. In fact the girl has never been able to deliver even 10% of what she displayed in ROCKSTAR in all her later ventures. And this one major miscast truly hampers this specific film quite drastically.
On the other hand, the versatile Ritesh Deshmukh once again gets betrayed by his writers, music composers and the director too unfortunately. Ritesh makes a sincere effort along with Dharmesh Yelande (known for his dancing skills), Aditya Kumar (the perpendicular of GANGS OF WASSEYPUR 2) and the fourth friend. But together they are unable to deliver anything worth appreciating in the film due to its lazy and repetitive writing making a zero impact. The same can be said for the entire supporting cast including Luke Kenny as the only helping hand of Nargis in India.
Moving over the performances, the dialogues are fine as per the theme and cinematography strikingly portrays the life in slums as well as the colourful grandeur of Ganapati festival as required. However both the background score and editing remain just average.
In all, in this musical film called BANJO, there is neither any music nor any fresh storyline or execution to justify its chosen title. So just play some good music on your audio system instead and leave this BANJO alone, may be to be tried later when aired on a channel soon.
Rating : 1.5 / 5

(Note : The Indian style Banjo is also called Bulbul Tarang)
Tags : Banjo Review by Bobby Sing, Banjo Film Review by Bobby Sing, Banjo Movie Review at BTC, Inspired Films, 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.
 
 
23 September 2016 / bobbysing /
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