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.


  Directors I Love  
  Alfred Hitchcock  
  Mehboob Khan  
  Woody Allen  
  Akira Kurosawa  
  Basu Chatterjee  
  Bimal Roy  
  Charlie Chaplin  
  Chetan Anand  
  Govind Nihalani  
  Guru Dutt  
  Hrishikesh Mukherjee  
  Kamal Hassan  
  Ketan Mehta  
  Mrinal Sen  
  Quentin Tarantino  
  Raj Kapoor  
  Richard Attenborough  
  Sai Pranjpe  
  Satyajit Ray  
  Shyam Benegal  
  Steven Spielberg  
  Vijay Anand  
  Ram Gopal Verma  
  Ashutosh Gowariker  
  Mani Ratnam  
  Aleksandr Petrov  
  Saeed Akhtar Mirza  
  Shekhar Kapoor  
  Yash Chopra  
  Frank Capra  
  V. Shantaram  
  Billy Wilder  
  Rajkumar Hirani  
  Vishal Bhardwaj  
  Tigmanshu Dhulia  
  Dibaker Banerjee  
  Rajkumar Santoshi  
  Majid Majidi  
  Ritwik Ghatak  
  Clint Eastwood  
  Prakash Mehra  
  Manmohan Desai  
  Shoaib Mansoor  
  Anurag Kashyap  
  S. S. Rajamouli  
  B. R. Chopra  
  Stanley Kubrick  
  Also Active at  
  Gurmat Darshan.com  
  At Youtube.com  
  At Wordpress.com  
  At Facebook  
  At Twitter  
 May 2017 (10)
 April 2017 (14)
 March 2017 (11)
 February 2017 (9)
 January 2017 (12)
 December 2016 (12)
 November 2016 (11)
 October 2016 (15)
 September 2016 (10)
 August 2016 (12)
 July 2016 (12)
 June 2016 (16)
 May 2016 (14)
 April 2016 (17)
 March 2016 (10)
 February 2016 (10)
 January 2016 (9)
 December 2015 (11)
 November 2015 (10)
 October 2015 (10)
 September 2015 (11)
 August 2015 (12)
 July 2015 (15)
 June 2015 (10)
 May 2015 (15)
 April 2015 (16)
 March 2015 (12)
 February 2015 (10)
 January 2015 (14)
 December 2014 (11)
 November 2014 (10)
 October 2014 (10)
 September 2014 (12)
 August 2014 (12)
 July 2014 (21)
 June 2014 (23)
 May 2014 (24)
 April 2014 (23)
 March 2014 (21)
 February 2014 (26)
 January 2014 (28)
 December 2013 (10)
 November 2013 (14)
 October 2013 (16)
 September 2013 (14)
 August 2013 (14)
 July 2013 (12)
 June 2013 (11)
 May 2013 (23)
 April 2013 (10)
 March 2013 (14)
 February 2013 (14)
 January 2013 (15)
 December 2012 (18)
 November 2012 (14)
 October 2012 (15)
 September 2012 (14)
 August 2012 (15)
 July 2012 (12)
 June 2012 (14)
 May 2012 (16)
 April 2012 (15)
 March 2012 (10)
 February 2012 (11)
 January 2012 (11)
 December 2011 (10)
 November 2011 (11)
 October 2011 (15)
 September 2011 (10)
 August 2011 (11)
 July 2011 (11)
 June 2011 (13)
 May 2011 (16)
 April 2011 (14)
 March 2011 (11)
 February 2011 (10)
 January 2011 (12)
 December 2010 (10)
 November 2010 (12)
 October 2010 (11)
 September 2010 (11)
 August 2010 (12)
 July 2010 (12)
 June 2010 (11)
 May 2010 (14)
 April 2010 (15)
 March 2010 (14)
 February 2010 (12)
 January 2010 (15)
 December 2009 (12)
 November 2009 (14)
 October 2009 (15)
 September 2009 (18)
 August 2009 (14)
 July 2009 (16)
 June 2009 (18)
 May 2009 (16)
 April 2009 (18)
 March 2009 (20)
 February 2009 (19)
 January 2009 (20)
 December 2008 (20)
 November 2008 (17)
 October 2008 (21)
 September 2008 (19)
 August 2008 (22)
 July 2008 (23)
 June 2008 (21)
 May 2008 (25)
 April 2008 (22)
 March 2008 (25)
 February 2008 (22)
 January 2008 (22)
 December 2007 (24)
 November 2007 (22)
 October 2007 (22)
May 25, 2017 Thursday     

It’s more exciting to watch a film you know nothing about in comparison to a much talked about and publicized mega venture. But it’s also really disappointing when it turns out to be just another inspired film based on an interesting idea that eventually becomes a victim of a largely confused, tacky and faulty execution.

Revealing the inspirations first, COFFEE WITH D clearly borrows its basic idea from English films like THE INTERVIEW (2014), FROST NIXON (2008) and to some extent our own TERE BIN LADEN series too (as a reference). For its lead character’s name the writers model the infamous Arnab Goswami of Times Now and then base their complete film on the mysterious persona of one of the most wanted criminals of the globe DAWOOD popularly also known as D.

No doubt, a controversial Indian journalist going for an almost impossible interview of the DON residing in Pakistan was a great potential idea having a lot of meat in it. But the way director Vishal Mishra presents it on the screen along with his (surprisingly lazy) actors and poor writing, the idea never excites right from the initial moments itself making a pretty bad start.

The first half gets lost in many unengaging scenes (allowing you to take some short naps too) and the second half remains completely focused on the two men sitting across a table unable to keep you involved. Moreover it’s the technical snags in the film, of many muted words (even sentences), an uneven background score and a pathetic dubbing that actually annoys you much more than the performing (or rather sleepwalking) actors.

Honestly it was really sad to see even an experienced and extremely talented Sunil Grover (of Guthi fame) struggling to generate some humour through his lifeless act and Zakir Hussain trying hard to rise above the mediocre script. On the other hand Rajesh Sharma does fine in his few scenes and Anjana Sukhani comes out as a complete natural along with Pankaj Tripathi, who certainly scores the most among the entire cast.

Pointing towards the downers of the TV industry always looking for content to raise its TRP ratings, a few early sequences rightly showcase the way beautiful faces are given more attention and preferences ignoring their lack of knowledge or talent and how ideas are often copied by the professional rivals in this cunning trade. But I really wish it was all presented differently with a much finer execution reaching out to the viewers too.

In short, a project is bound to sink when even the makers are completely confused about what kind of film they wish to present and to what kind of target audience? In other words COFFEE WITH D begins as a comedy, then tries to be a thriller and lastly turns into an unimpressive social satire ruining the entire potential plot wasting the actors too.

However, if the idea still excites you then do try to watch the two English films mentioned above (particularly FROST NIXON as a must) and have a great time.

Rating : 1 / 5 (including 0.5 for the talented cast trying hard to rise above the poor script)

For friends interested in reading more about FROST NIXON (2008), the following is the link of its write-up at BTC:

Tags : Coffee With D Review by Bobby Sing, Coffee With D Film Review by Bobby Sing, 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
20 January 2017 / bobbysing /
leave a comment
Chauthi-KootBefore going into details, I would like to begin by calling CHAUTHI KOOT - a ‘tricky cinematic masterpiece’ that deserves to be seen as a must by both the elders as well as the youngsters together. And the word tricky has been used for two particular reasons that are sure to clear much confusion in your mind about the film’s actual content.
Firstly the term ‘tricky’ has been used for its unique title, which (though) is in Punjabi, but still remains ‘alien’ to more than 80% of even the born Punjabis, knowing and speaking the language since their early years. Honestly speaking, I also could guess its meaning taking a clue from one particular line of Gurbani as ”Chaarey Kunda Bhaal Ke”, meaning “After searching all four directions”. So CHAUTHI KOOT here literally means “The Fourth Direction” for both the Punjabi and non-Punjabi friends looking for the title’s actual meaning.
Secondly the film is tricky, because the moment one comes to know about its basic subject revolving around the dark times of Punjab in the mid-80s, he or she starts imagining the repetitive visuals of brutal killings, exploitation, police encounters and youngsters becoming extremists as earlier shown in various films of the past en-cashing the ‘sensitive subject’. Whereas CHAUTHI KOOT has nothing of that sort at all in its two hours of duration to clear all possible doubts.
In fact the film is neither about the 1984 riots in Delhi nor is any propaganda film made against the establishment giving you any chance of saying ‘Bole So Nihaal, Sat Sri Akal’ in the theatres pumped up by some intense, aggressive sequence as expected by a certain section of viewers excited by the 80s connection.
So on the cost of disappointing many reading this detailed write-up, I would like to add that you might have seen many movies, docudramas, documentaries, short films, clips or more based on that unforgettable dark era of Punjab in the mid-80s, but CHAUTHI KOOT is simply not interested in giving you anything similar to that making a brave move. Moreover the film goes way beyond your imagination presenting an entirely different perspective that cannot be compared with any previous film on the subject till date whatsoever.
Making it more clear, this is actually pure storytelling through the medium of cinema making the best possible use of realistic visuals (cinematography), actual locations, minimum dialogues, natural sounds, effective lighting and all relatable performances transforming you back into those uncertain times, but not in any usual (filmy) manner you have anywhere experienced before.
Incorporating two different stories of Punjabi’s renowned writer Waryam Singh Sandhu, the film is directed by Gurvinder Singh, who also won the Best Director National Award for his last Punjabi film ANHEY GOHDEY DA DAAN in 2014. Executing and visualizing the writer’s vision in the most authentic manner on screen, Gurvinder narrates the two stories unrelated to each other, which might be an issue for some viewers searching for an obvious interconnection between the two. But if you can overcome this one (possible) shortcoming of the film then CHAUTHI KOOT has a lot more to offer, forcing you to think about the uncertain life lived by the innocent people of those times in hundreds of small villages without any other alternative.
Here talking about the two stories, would like to mention one particular shot that got stuck in my mind for long and it was the dissolve shot merging the two narrations, wherein the back of a cart gets converted into the back of a train’s last compartment focusing on the two railway lines.
Having praised the film in length, it also needs to be warned that this isn’t going to be an easy watch for many looking for the same cliched stuff related with Punjab’s extremist movement clashing with the party in power of those times. CHAUTHI KOOT progresses at a very slow pace, with even the dialogues coming at long intervals and silence playing a big role in the narration which might be disturbing for friends habitual of watching the fast paced mainstream cinema as a routine.   
Besides, the film is not about any political or extremist figure, any group or revolt against the system to be precise. On the contrary it’s about those ordinary people and families that unnecessarily used to get caught in the crossfire between the forces and the militants resulting in a tense atmosphere of fear and uncertainty affecting one and all.
With no intention of revealing the basic plots, I would like to suggest that if possible please avoid reading many reviews online and watching its trailer too since a lot of advance information is sure to kill the shocking surprise element of the film and you will never be able to feel the tension as conceived by the writer and director together.
Accompanied by a superbly designed sound and brilliant cinematography with breathtaking visuals of wide fields, paths, swaying trees, the lonely house and that one long shot of vehicles with old people going for a protest, CHAUTHI KOOT deserves to be seen in the theatre. And you will simply be killing the whole effort, watching it on any kind of smaller screen ranging from 5 to 32 inches following the routine habit.
Performed by mostly an unknown cast including Suvinder Vikky, Rajbir Kaur, Gurpreet Kaur Bhangu, Kanwaljit Singh, Rajbir Kaur, Harnek Aulakh, Tejpal Singh and the two kids, the well-chosen actors never make you feel the inexperience in even a single scene, for which the entire credit goes to their director Gurvinder Singh. And this remains one of the big reasons for the film getting a loud appreciation at Cannes and many other film festivals all over the world, along with receiving the Best Punjabi Film National Award for the year 2015 in the country itself.
Heading towards the end, I still feel like writing something out of the box to influence you to watch CHAUTHI KOOT strictly in the theatres, despite lesser shows and odd timings ignoring the limitations of our exhibition system. So here is some information that might make the difference helping you to take a decision as desired.
The film is on two short stories taken from Sahitya Akademi award winning collection of Waryam Singh Sandhu titled Chauthi Koot (Fourth Direction) and Main Hun Theek Thaak Haan (I’m Fine Now). So the title of the film comes from one of the original story only.
As per the writer’s recent interview, both these stories are based on true events happened with his known people and family members, written with some creative freedom in order to enhance their overall impact. The writer has also been given due credit for the film’s dialogues too as some of the lines have been used as it is in the film, as there in the original published stories.
In one of his radio interview, director Gurvinder Singh reveals the actual meaning of his title CHAUTHI KOOT as the fourth direction a person normally fears to go for. The most risky and uncertain direction of the four, which one doesn’t wish to take until it becomes a matter of life and death without any choice left. However, after watching the film, I personally thought of another meaning of the title wherein the fourth direction can also be denoted by those innocent speechless creatures having no value of their own caught between the militants, authorities and the ordinary-common man representing the other three.
Giving you some indicative details, CHAUTHI KOOT is one unique film that dares to present those difficult times by focusing on the loving adorable relationship between a man and his pet animal against the backdrop of militancy and military forces in Punjab. Being more specific, one of its stories entirely talks about the pet DOG in the house and how it becomes the linking force between the family, armed forces and the visiting militants.
Truly surprising you with its strong, thought provoking content, moving far ahead than any of the earlier films made on Punjab’s separatists movement, CHAUTHI KOOT’s soul lies in its true to life, innovative stories fulfilling the basic purpose of CINEMA……..and that’s the reason it goes into the Movies To See Before You Die List at BTC.
Hoping that the above few lines rightly inspire you to go for it at the earliest, please do watch this film in the theatres as that’s the only way we can support such courageous, meaningful cinema and its exceptionally talented team thinking out of the routine.
Rating : Movies To See Before You Die
(Note: Wish they had made an entirely different trailer, as the present one reveals a lot killing the surprise element, giving many vague ideas to the viewers about something, which the film doesn’t directly talks about in details.)
Tags : Chauthi Koot Review by Bobby Sing, Chauthi Koot Punjabi Film Review by Bobby Sing, Chauthi Koot on Punjab, Militancy movement in Punjab in the 80s, Movies To See Before You Die List at BTC, Gurvinder Singh, Must Watch Movies, Not To Be Missed Punjabi Movies, Authentic Movies in Punjab Issue, Worth Watching Films Reviews at bobbytalkscinema.com
04 August 2016 / bobbysing /
leave a comment
Straight away coming to the point, at one end we have film-makers highly inspired from the west who keep borrowing ideas for their new Hindi films on a regular basis. Whereas on the other we have directors highly inspired and in awe of themselves and their own previous works like Ram Gopal Varma and Madhur Bhandarkar who keep churning out exactly similar movies one after the other following a careless attitude.
So assuming you have already seen Madhur’s PAGE 3, FASHION and HEROINE, this is the director’s 4th film on the same subject portraying it from a different angle, assuming that the viewers have no thinking mind of their own, ready to accept anything and everything coming from a big name served with some attractive, eye-catching toppings. In fact if you include CORPORATE also in the above list then this is Madhur’s 5th film on the similar topic and he surely deserves another National Award for this unique & amazing creative urge unarguably.
Moreover, this time the case gets even worse because in CALENDAR GIRLS you don’t even get to see any of those elegant shots, rich looks, great performances, hard hitting dialogues or the realistic feel Madhur was once known for. Also the film surprisingly appears quite close to a typical B-grade project largely depending upon its sexual content and glamorous appeal with noting great to offer in its script, execution, cinematography, background score or even music or lyrics.
No doubt as a writer-director Madhur tries to put in everything read in the daily newspapers on the screen (as usual), like the rich entrepreneur releasing a famous calendar (pointing towards Vijay Mallya), deep links between heroines-cricketers and bookies, girls from TV and films getting into flesh trade, the lucky ones getting married to rich industrialists (to be their trophy wives), the clever ones bagging big films with their own selfish ways, the opportunists walking into programs like Big Boss and protests planned by various parties against Pakistani artists performing in India. But since the viewers have already seen many similar references in Madhur’s last 3-4 films, one doesn’t feel like watching anything fresh or thought provoking at all in those 2 tiring hours.
Besides, as a viewer you honestly feel like leaving the theater when the director appears in the film playing a cameo (as himself) and then indicates towards his next project too called AIR HOSTESS, once again talking about the same things so carelessly. To be honest, while watching CALENDAR GIRLS, I was really feeling sorry for the girls Kyra, Avani, Ruhi, Akanksha and Satarupa, who must have had great dreams after fetching the reputed project of the well-known Madhur Bhandarkar, only to be ditched by the director by making such a jaded product.
Interestingly CALENDAR GIRLS strongly reminded me of a novel titled SAAT SAAL BAAD by the renowned Hindi crime-thriller author Surender Mohan Pathak that also revolved around a group of ‘Fashion Ramp Girls’ and their super-rich mentor introducing them all.
In the novel, the girls get invited for a grand party in Goa after seven years of their initial success and then one of them gets murdered in the resort raising fingers at everyone else attending the celebrations including a young lawyer. The climax of the novel truly shocks you, as expected from a great murder mystery and the revelation once again forces you to think about the proceedings right from the start finding the given clues.
I really wish someone had given this novel to Madhur Bhandarkar before making CALENDAR GILRS and if only he had made it on this particular plot, the film would have been pleasantly different and a much better, engrossing watch as compared to the current torture.
Rating : 1 / 5
Tags : Calender Girls Review by Bobby Sing, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, New Hindi Films Reviews at bobbytalkscinema.com, Inspired Movies
30 September 2015 / bobbysing /
leave a comment
Reviews in All (929)

Inspired Hindi Movies
List (521)
Articles on Music,
Poetry & Life (98)
Did You Know! (90)
Few Life Inspiring Words! (23)
Nostalgia (Books on Cinema,Vintage Magazines, Scans & more) (28)
Page copy protected against web site content infringement by Copyscape
Google Analytics Alternative
The site is a collection of personal expressions of the writer to share his own views on different mediums of art, with no intention of hurting any person or organisation in particular. The site is also not responsible for any inappropriate acts practiced by the third party links added here only for information purposes.
   Visit bobbytalkscinema.com for Bollywood Movie Reviews, Inspired Cinema, Movies To See Before You Die, Amazing Bollywood Facts, Articles On Cinema, Music, Poetry & Life
Site Best View At 1024 X 768 Resolution & Above