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.


NOOR - What a confused and lazy way to make a crime investigative thriller with neither thrills nor any investigations ending on a weird note. (Review By Bobby Sing).

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

When my Career Consultancy didn't work for a few strangely concerned parents. - by Bobby Sing (Few Life Inspiring Words - 23).

FAST & FURIOUS 8 (English/Hindi) - Partially enjoyable, but strictly for the fans loving the action genre. [TTP (To The Point) Review By Bobby Sing].

MANJE BISTRE (Punjabi) - It seems Punjabi Cinema is now stuck with period dramas focusing on a 'Vyah Wala Ghar' as their latest repetitive obsession. (Review By Bobby Sing).

BEGUM JAAN (Hindi) / RAJKAHINI (Bengali) - Benegal's MANDI meets Manto's TOBA TEK SINGH and Mehta's MIRCH MASALA in this bold but over dramatic effort, sadly remaining too bland to be called an epic despite its noble intentions. (An overview by Bobby Sing).

The last 2 shows at REGAL and the one man behind the event, nobody knows about. (A detailed emotional and technical description by Bobby Sing).

MUKTI BHAWAN (Hotel Salvation) - Could have been a classic, but surely deserves to be seen for its subject, performances and Varanasi in particular. (Review by Bobby Sing).

LAALI KI SHAADI MEIN LAADDOO DEEWANA - Stay away from this marriage and its tiring absurdity. [TTP (To The Point) Review By Bobby Sing].

MIRZA JUULIET - One of those strictly avoidable films that make you wonder why they got made and for whom? (Review By Bobby Sing).

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April 28, 2017 Friday     
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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If a film is about ‘Time-Travel’ then it either has to be ‘a visually stunning project’ or ‘a highly engaging fun-filled one’ that doesn’t let you look for reasons and makes you enjoy the proceedings based on all fictional accounts. But surprisingly this week’s well publicized BAAR BAAR DEKHO scores quite low in both these important aspects and fails to impress despite having a reputed production house, a couple of big-shots as producers, a great looking young couple and a catchy (adapted) song too promoted heavily before the release.
Interestingly the first few minutes are the best moments of this lazy, lengthy film that actually hasn’t got even a single entertaining sequence right till the confusing climax. The execution falls flat, the moment you are introduced to Siddharth as a Maths professor and then the next 20 minutes offer nothing other than the typical Karan Johar kind of Punjabi wedding scenes making no impact whatsoever. And with this, the Hindi film-world should readily accept the fact that at present they cannot really afford a ‘Marriage Song’ in a project minus ‘Punjabi Music’, particularly when you talk about films from Johar or Chopra camps.
The time travel begins without any interesting build-up or any gadget/reason in the script and thus isn’t able to create any enjoyable tension that is a must in a film based on this particular theme. The mediocre songs and emotionally depthless writing keeps adding to the boredom in the first hour and only some light moments around the pregnancy bring some ‘awaited’ smiles in the theatre before the intermission.
In the second half a mostly Punjabi song (in a Hindi film) clearly reveals the confused mindset of the debutant director (maybe under a heavy influence of  the producers) and the boredom continues without any great twists and turns which ought to be the first requirement of a time travel film raising the expectations. However the narration moves into an absurdly laughable state when we get to see the straight faced, grey haired Siddharth and Katrina amateurishly trying to present themselves as two old, mature people. The missing comedy in the film actually begins from here with FAKE written all over the screen and highly sloppy or hilarious ‘old’ acts delivered by the ‘in-demand’ actors. In fact, I seriously did hear some laughter in the theatre during these particular scenes as the hero repetitively travels back in time returning to his young days.
In an otherwise completely lifeless, non-happening and dumb film, the cinematography successfully gives it a classy, high end look (as seen in all KJO produced movies) and background score keeps trying to compliment the rich feel making a decent effort. But not even a single person in the entire cast is able to give you anything in his or her individual performance to be honest. So it’s better not to discuss about them at all, blaming the writer and director together for the wrong choices made both in the cast as well as the script-writing to be specific.
Trying to be an insightful film giving some kind of life-teaching lessons to the viewers, BAAR BAAR DEKHO actually mocks all the family relationships instead of respecting or enriching them. Taking its clear clues and inspirations from similar foreign films like THE FAMILY MAN (2000), CLICK (2006), ABOUT TIME (2013) and more, the makers probably knew that they have got a bad film in hands and that is why asked Badshah to give them a promotional song adapted from a decade old Punjabi hit ‘Kala Chashma’ to fool the young viewers (used in the end credits).
Looking at it from a different angle, BAAR BAAR DEKHO can also be called a unique film as it truly needs some real talent to make such a boring and tiring movie revolving around a time-travel theme which is largely associated with lots of fun, excitement, entertainment and great humour. Hence its director Nitya Mehra and the producers certainly deserve to be praised for this rare feat of theirs arguably.
Hope with this film, Karan also realizes that you simply cannot go on adding a good 15-20 minutes of Punjabi theme wedding scenes and songs into any film whatsoever just for the sake of it. And to end with a general statement pointing towards the utterly silly vision of the film,
“We don’t really need to go into the future to know that all around us and we too are going to die one day.”

Rating : 1 / 5
Tags : Baar Baar Dekho Review By Bobby Sing, Baar Baar Dekho Film Review by Bobby Sing, Inspired Films, Copied Films, Hindi Films on Time Travel, 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
09 September 2016 / bobbysing /
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Budhia Singh Born To Run
Continuing the trend of making films on exceptional sports personalities, this week’s BUDHIA SINGH BORN TO WIN is not a usual bio-pic for a change, since its not about the achievements, but how an amazingly talented young athlete was not allowed to live his dream raising an important national debate. So as a film, this is an important venture as it rightly serves one of the key purposes of CINEMA by enlightening a big number of unaware citizens of the country about a gifted boy, who has already suffered a lot due to the petty politics played by the visionless bureaucrats of his state and their questionable carelessness.
Set in the divine city of Puri in Bhubaneswar (Orissa/Odisha), the film introduces you to a 4 years old kid Budhia, who first gets sold off to a local by his poor helpless mother, but luckily gets rescued by a social worker-judo trainer Biranchi Das (played by Manoj Bajpai), who incidentally notices an exceptional ‘god-gifted running’ talent in him while giving a punishment. As a coach Das begins training the child for big marathon events and then makes him run a 65 km distance between Bhubaneshwar and Puri in about seven hours without water, turning him into ‘The Pride of the State’ and ‘A Talk of the Nation’ overnight.
An account of all real life events in Orissa around the year 2006, the film later showcases how the government authorities took an action against the allegedly forced display of talent exploiting the small kid and the Child Welfare Board’s committee also filing a case against his coach Biranchi Das for the same. Heading towards a shocking climax, the film further reveals how it all ended with a suspiciously solved murder and a ban on Budhia’s running which is still continuing till date affecting his rare gifted talent and a possible great career becoming a victim of our sick bureaucracy.
Without revealing the exact sequences, assuming that a majority of young viewers are not aware of this unbelievable ‘national star’ of the last decade, I would like to recommend BUDHIA SINGH as a well-made film, which though progresses in a form of docu-drama, yet is not any documentary film at all, remaining true to its subject as required.
Written and directed by debutant Soumendra Padhi, the film has been penned and executed with utmost simplicity without bowing down to any unnecessary melodrama or forced nationalism usually found in such films. Despite following a highly realistic approach the narration never slows down even for a while, once it beings talking about the actual marathon event post the initial 20 minutes of a fine build-up. Hence clearing the obvious doubts of a big section of viewers, BUDHIA SINGH doesn’t deserve to be considered and ignored as any realistic art movie unable to engage the viewers.  
Technically, though the music yet again remains the weakest part, it’s the worth noticing cinematography, a crisp editing and the well-composed background score that constantly keeps enhancing the story progression, especially in the brilliantly conceived marathon sequences and the second half.
Looking at it from a different angle, BUDHIA SINGH might be predictable to the viewers who are well aware of the real life story behind this ‘wonder child’ becoming an unfortunate target of our sick system and politics. But for the rest this is sure going to be a shocking eye-opener film revealing the highly sensitive and heartbreaking truth of the debatable struggle faced by an immensely gifted child without any fault of his own.
Also as a film BUDHIA SINGH largely works because of its unthinkable concept and incredible performances by Mayur Patole as the kid Budhia, Manoj Bajpai as the coach Biranchi, Shruti Marathe as Biranchi’s wife and the lovable kids in their orphan house/judo school remaining completely natural in their small roles adding a lot to the film’s overall impact.
It’s certainly not easy to work with young kids below 7-8 and make them act. However what Soumendra does with Mayur Patole simply takes the film to another level reminding you of two valuable projects namely TAARE ZAMEEN PAR and STANLEY KA DABBA from the past. Mayur plays it so truthfully that you start believing him only to be the real child going through all the troubling attention a decade back. His performance never seems to be forced or taught throughout and that’s exactly where the film scores the most to be honest.
Manoj Bajpai is once again remarkable as Biranchi and he truly plays it like a real-life coach especially in the marathon sequence running along the boy inspiring him constantly. Together they both steal the heart of the viewers with an appreciable silent support coming from Shruti Marathe. And the same can also be said about the talented supporting cast including Tillotama Shome as Budhia’s real mother and Chhaya Kadam as the scheming minister. 
In short, BUDHIA SINGH – BORN TO WIN is one of those powerful, thought provoking films which force you to think that what was actually RIGHT or WRONG in this one unusual case at that particular point of time?
And if it was right to stop the deliberate exploitation of an innocent 4 years old kid by his talented but eccentric coach, then who is responsible for ruining his bright sports career putting a decade long - still continuing BAN on the display of his gifted talent?
If it was right to stop the boy being forced to try so hard in that tender age then why the authorities didn’t take care of his exceptional talent in the later years, sending him for the much required professional training giving him an opportunity to prove himself yet again?
Who stopped them to lift up the ban and let him run in the small events?
Who stands responsible for the failure of an athlete who was not even allowed to showcase his skills due to the same old sick bureaucracy and ego-clashes between the political parties.
Anyway at present in the year 2016, after watching BUDHIA SINGH BORN TO WIN, the question arises that,
Can this film in any way help the kid now who is around 14 years of age?
Can the film help him get rid of the ban and feel inspired to run again? and
Can this movie make any difference of any sort whatsoever?
Sadly the answer in my personal opinion is NO and the conclusion gets confirmed when I go through a recently published interview/article about the young boy (post the film’s official release) and I am sure after reading the following informative pointers, you will also feel the same with a heavy heart.
A. At the age of 4-5, Budhia successfully completed the 65 km marathon between Bhubaneshwar and Puri in a few minutes over seven hours, and got a place in LIMCA BOOK OF WORLD RECORDS as the ‘Youngest Marathon Runner in the World’.
B. HBO and BBC funded a 98 minutes documentary on Budhia titled “MARATHON BOY – Running For His Life” in the year 2011 covering his 5 years of life beginning from 2006. The film also got nominated for EMMY AWARD in the category of “Outstanding Investigative Journalism Feature”.
(Check out the site at http://marathonboymovie.com)
C. The Hindi film BUDHIA SINGH BORN TO WIN won the Best Children’s film NATIONAL AWARD in 2016, but with the original title as DURONTO meaning restless or without a stop. (Though the film is a lot more than just a Children’s film)
D. Reportedly there was a Gangster angle behind the murder of coach Biranchi Das which has not been showcased in the award winning Hindi film keeping the complete focus on the ‘wonder kid’.
E. As per the most recent article in DNA, Budhia accepts that he cannot remember anything from those days of amazing marathons and has spent 10 long years living and getting trained in the sports hostel since then. However due to the still ongoing official ban, he is not allowed to run in even the local marathons.
F. When he saw the film, he actually couldn’t recall any of those great moments or various events of life including the big applauses, fan following and surprisingly his coach Biranchi Das too. In fact he asked, “Did all this really happen to me?”
G. Budhia is 14 now but since the authorities think he is still too young to perform in a professional event, the ban is going to be there till he is 18.
And therefore the debate continues about what is right and wrong in this specific context?
Interestingly, BUDHIA SINGH made me recall another related story of an ignored sportsman PAAN SINGH TOMAR and then I also had in mind the 6-7 years old innocent kids participating in the so called ‘Reality Shows’ on many reputed channels.
Perhaps no body there too knows anything about what is right and wrong while interacting with all the kids as per the given scripts. Kids, who might not be even remembering what and which show or who was the judge after 10 years from now…….!
No doubt, we are surely fast losing the sense of judging what’s really right and wrong in this constantly changing era led by the clueless media.
Rating : 3.5 + 0.5 / 5 (with the additional 0.5 for the exceptional kid in the film and selection of this off beat social subject opening the eyes of many.)

Note: The mentioned article by DNA can be read at the following link.)

Would love to include the film in BTC's 'Movies To See Before You Die' List due to its unbelievable, eye-opener subject and execution.)
Tags : Budhia Singh Born To Win Review by Bobby Sing, BORN TO WIN Film Review by Bobby Sing, BUDHIA SINGH Review by Bobby Sing, Hindi films based on Real life stories, Hind Biographical movies, Bollywood Bio-pics, 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
07 August 2016 / bobbysing /
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