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.


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 29, 2017 Wednesday     

Beginning with the praises, director Amitoj Mann always manages to come up with a fresh and different story idea in his every new film, but his chosen themes (ironically) remain much more interesting and potent only till you watch the film.

In other words, as a writer and thinker, he always hits the right note taking evident clues from the changing social scenario around, but his overall execution and direction falls way short of what he himself might have conceived while writing the script in details.

Repeating the same shortcoming, his latest MOTOR MITRAAN DI also happens to be a film made on an important potential subject with all noble intentions, which otherwise fails to make an impact due to an amateurish and loud kind of execution (mostly) deviating from its core subject. (Spoilers Ahead)

Giving you a clear idea, though its entire publicity and promotional material revolved around exposing the ‘Fake Babey and Dera culture’ in Punjab making some shocking revelations. The film actually doesn’t focus on the same in the major part of its script and keeps revolving around a corpse creating a forced situational comedy that marginally works before the intermission, but falls completely flat in the second half where even the veterans are made to act in a quite amateurish manner.

To be specific, the moment its focus shifts on to a ‘Daayan’ in the bus, the film goes into a silly, pathetic mode and then ends on the same typical note without addressing its core issue in any kind of solid or thought provoking manner. No doubt, its a bold move by Amitoj making a film without any usual romantic angle squeezed in just for the sake of it. But I seriously wish he had taken a different route exploiting the relevant subject, something like GLOBAL BABA tried to do last year without any hiding or conservative handling of the subject revealing it fearlessly.

To be honest, where many instances in MOTOR MITRAAN DI reminded me of GLOBAL BABA itself, the local bus business and special discount to girls reminded me of similar sequences seen in SURYAVANSHAM featuring Amitabh Bachchan and Anupam Kher. Plus the hide and seek with the corpse made me recall the cult comedy JAANE BHI DO YAARON along with Alfred Hitchcock's lesser talked bout gem titled THE TROUBLE WITH HARRY. 

In short, take out Gurpreet Ghuggi out of MMD and the film will look like a poor, B grade attempt with a mediocre soundtrack, average cinematography and many loud, over the top acts by Yograj Singh, Vikram Ranjha, Sonia Maan and more. In fact Ghuggi and Happy Raikoti remain the only performers underplaying it naturally.

Having said that, though a bit loud but there are two other actors in the film, who must have enjoyed every minute of its shoot enacting their unusual challenging roles breaking the image barriers. One is the veteran Sardar Sohi (as a bald sadhu/lama) and the other is Harsharan Singh (as a funny looking PA to the fake Baba), who must have had a great time during the shoot, as you seldom get such experimental opportunities to showcase your skills in Punjabi Cinema.

Summing it all on a serious note, Punjabi community and its flag bearers loudly keep shouting and campaigning against the famous ‘Santa Banta Jokes’ and Hindi films making fun of Sikhs portraying them in a ridiculously comic manner. But I have never heard any person or group raising a voice against fun made by one Sikh of the other in Punjabi films differentiating them in the categories of Bhaapas and Jatts.

Relating the shameful truth with the current MOTOR MITRAAN DI, this is yet another film which continues doing so (with a particular character wearing printed pagdi saying words like ‘Bharaa Ji’) showcasing a sick kind of mindset behind the writing and its on screen presentation.

In fact, it’s this disgraceful discrimination between the community itself, which urgently needs to be addressed by the concerned people, leaders and groups before pointing out the others as I strongly feel.

Rating : 1.5 / 5

Tags : MOTOR MITTRAN DI (Punjabi) Review By Bobby Sing, Motor Mittran Di Film Review By Bobby Sing, New Punjabi Films Reviews by Bobby Sing at bobbytalkscinema.com, Punjabi Comedies, Fake Babas and Deras in Punjab, Social Satire Comedy
02 January 2017 / bobbysing /
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When you are making a crime-deceit drama in the year of 2016, then you obviously need to keep in mind the present technological and scientific developments in the field of investigations and then carefully pen down a script wherein a crime is planned taking good care of the same leaving the minimum loopholes.
(Clear Spoilers Ahead)
However what can one say about a film releasing in the present era made on the decades old outdated plot of ‘his own death’ staged by a person in heavy debts for his insurance money. And further focuses on a supposedly clever hero too, who doesn’t even bother to find a person or body of his same blood group to be presented before the police and insurance agents as a proof of his own death. Also here is a film, where we don’t even have any official or detective interested in investigating the unusual death (involving a completely burnt body) coming from the insurance company and then such an intelligent hero who even casually goes to a mortuary asking for a body without hiding his own identity. Moreover the man dares to return to the town too visiting his own apartment (post the staged death) without any disguise whatsoever, probably considering himself as the invisible man coming straight from the novel of H. G. Wells.
Wasting its entire first half on the build-ups and detailed introductory sequences that could have been easily edited in the opening 20-25 minutes, MOH MAYA MONEY actually begins just before the interval and then simply fails to make an impact the moment you come to know what the mystery is actually all about.
No doubt we have some fine performances from the lead (Ranvir/Neha) and supporting cast in this song-less crime thriller that might appeal to the viewers who don’t really care for the clues left or are interested in solving the mystery themselves. But for the ones who are die-hard fans and regular readers or followers of this particular genre, the film is going to be nothing more than a kids play to be honest.
Praising the debutant director Munish Bhardwaj for building a realistic (Delhi) feel throughout extracting mostly natural performances following a non-linear narrative, it was really shocking to see how he carelessly handled the mystery and completely ignored the simple loopholes in a crime plan executed in such an amateurish manner.
Overall, you can surely go for MOH MAYA MONEY as a casual time pass watch catching it on a television channel, but its certainly not going to be any amusing film for the friends, seriously into this particular genre of crime and mystery thrillers. May be we will get to see a much better film from Munish as his next project specifically taking care of its writing department.
Rating : 1.5 / 5  
Note : The outdated subject strongly reminds you of hit films like Billy Wilder’s DOUBLE INDEMNITY that came more than seven decades back in the year 1944.
Tags : Moh Maya Money Review by Bobby Sing, Moh Maya Money Film Review by Bobby Sing, Outdated subject, Double Indemnity (1944), 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
26 November 2016 / bobbysing /
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Rakeysh Omprakash Mehra and Gulzar together retelling Punjab’s folk tale of Mirza-Sahiba introducing Anil Kapoor’s son Harshvardhan along with Saiyami Kher was enough to excite the filmgoers and there was a great buzz seen in the social media too when the teaser and trailers of MIRZYA were released followed by the unusual or experimental soundtrack made available on Youtube (the new-age way of releasing the soundtrack online).
However no such buzz was witnessed before the film’s release, probably because the makers themselves knew that they didn’t have a great product in hand and it will be suicidal to further raise the expectations by doing some heavy promotions. Sharing my personal expectations from the film, I never felt excited knowing the basic theme right from the start as it had nothing new to tell as per the storyline and therefore was only interested in the way director Rakesh Omprakash Mehra visualizes it on screen based on the screenplay/dialogues written by the veteran Gulzar, who with a Punjabi background was sure to add something unique into the script bringing in the novelty factor.
But shockingly MIRZYA comes up as a huge disappointment unexpectedly and I never thought Mehra and Gulzar together could make such a flat, repetitive and energy-less (supposedly) romantic film that doesn’t work even in a single scene from its first sequence to the last resulting in A BIG NOTHING, except a couple of above average songs and an eye-catching cinematography.
As a matter of fact, if cinematography can easily be rated as the only worth-talking feature  of MIRZYA in terms of visualization and presentation, then that too has been provided by an imported technician from the west, a Polish cinematographer Pawel Dyllus along with Australian action director Danny Baldwin, who no doubt excel in their individual departments well supported by the art director, especially in the sequences depicting the silent fantasy (with a touch of famous TV series “Game of Thrones”) and the stunning locations of Ladakh and Rajasthan.  
But again, are we supposed to watch and praise a film just because of its frames, art direction and cinematography ignoring everything else?
Made on an already known, paper-thin storyline with nothing new for the viewers, surprisingly the renowned writer-director duo present an utterly confusing story progression running on three parallel tracks (timelines) representing the past and the present. Following the similar ‘seen before’ format used in his RANG DE BASANTI (adapted in a pathetic manner), Mehra begins from a fantasy sequence denoting the past and then brings you back into the present focusing on the school days of his lead pair spent in Rajasthan (as always seen in traditional love stories like Laila-Majnu). In addition, he keeps throwing a third track in between showcasing a group of folk dancers over-reacting to the proceedings with some highly charged up dances and facial expressions making no connection whatsoever with the other two.
Don’t really know what the makers wished to portray with this kind of puzzling and indigestible ‘3-tier program’ frankly? And if a dear friend reading this would like to comment that this is art which I couldn’t understand……, then yes, I am certainly not able to understand this kind of forced, boring, unemotional, lethargic and unrelatable artistic expressions at all (quite thankfully!). I am all game for any kind of life enriching poetry painted on screen using many colourful backdrops, but definitely not when it is deliberately done to present some kind of ‘made to order classic’ to be very honest.
In straight words, a masterpiece cannot be made forcibly at will or on order, bringing in some foreign technicians as an enhancement to present your visual imagery.
Moreover, I failed to understand why Mehra and Gulzar decided to deduct PUNJAB out of a traditional folk tale of the region and the director presented both the main protagonist (Sahiba) and the brothers as some kind of foreigners (may be to impress the so called festival audience). Besides, though the past sequences were shot as a silent inclusion in the film (adding to the silly confusion), I truly missed the name SAHIBA in a film titled MIRZYA…… not mentioned even once in the entire story progression (or did I miss something enjoying my Nachos more!)
May be the acclaimed director was religiously following his strange but consistent career strategy of giving a big messy FLOP post his every HIT seen in the past as AKS-RDB-DELHI 6-BHAAG MILKHA BHAAG and now MIRZYA. Ironically he may successfully bounce back with his next film too in the coming years, but this is certainly not any sign of a great, thoughtful director as he is widely referred to in the trade circles and media.
On the other hand, it was really disheartening to see this kind of extremely slow paced, unexciting, depthless and stale screenplay penned by the genius GULZAR, blessed with an unparalleled experience of witnessing and participating in different schools of filmmaking in the past six decades.
On a personal note, I am a die-hard fan or mureed of Gulzar since the 80s and that’s the very reason I cannot appreciate MIRZYA at all, expressing the disappointment of a true fan with all due respect. In fact, will have to write with a heavy heart that it’s the impactless script of Gulzar only which remains the biggest culprit behind this colossal failure in reality.
Coming to the music, yes the film has a technically rich soundtrack featuring innovative arrangements and many interesting names as performers, but its also a highly overrated OST missing the much required instant connect with the audience. Contradicting the vision of a musical, the songs seem to be all forced into the narration coming one after another and despite being a good title track, Daler Mehndi’s high pitched voice actually starts annoying inserted in several uninspiring sequences along the changing timelines.
No doubt the lyrics are mostly fine including the regional touch too, but I would love to read them in a book penned by Gulzar instead of a lackluster soundtrack failing to deliver any highly melodious composition reaching my heart and soul. Honestly only three above-average songs manage to impress in the film, namely the title song, ‘Hitchki’ and ‘Teen Gawah’ among the cluster of many. Besides, the background score also remains like something trying to be too classy overlapped by the songs, along with the VFX using ‘the slow motion’ much more than required making it less exciting and tacky.
Lastly but most importantly if this is a kind of film planned, conceived and visualized for two young energetic debutants (including the son of a reputed star) then I would like to call it a highly irresponsible and directionless act from the veterans without any holding back. Hence instead of judging the performances of both Harshvardhan and Saiyami, I would humbly like to give them an urgent suggestion that forget the poor debut taking it out of your system, but do try to recall the people who wholeheartedly appreciated and praised this ‘bad film’ before its official release, as that should be your first eye-opener lesson in this fake show business.
Expressing it differently I found the gypsy girl sacrificing her life for love, having much more intensity, chemistry and sensuality in her eyes or act than any other person in the film including the lead pair. Unfortunately nothing great can be said about the supporting cast too wherein another British actor is strangely roped in to play the father and Om Puri remains wasted in just a two scene appearance.
Concluding it with another harsh comment, it really feels awkward to believe that these big names picked up a subject of MIRZA-SAHIBA to be made in a western style, forgetting all about its actual regional origin and the traditional composition associated with the folk tale spiritedly sung in Punjab since ages. Frankly for me it’s just like writing/making a film on HEER RANJHA without incorporating the cult composition of HEER killing the entire theme and folksy feel arrogantly.
In short,
You killed MIRZA once again after centuries dear Rakeysh Omprakash Mehra and Gulzar,
which is an unpardonable act as per my personal opinion.
Sadly MIRZA-SAHIBA never got any great film made on their unique, tragic end explaining their individual perspectives.
Interestingly Harshvardhan’s ‘forgettable’ debut film MIRZYA made me recall his father Anil Kapoor’s poor dud HEER RANJHA released in 1992.
But then it still had the ‘Heer’ composition sung by the incomparable Reshmafrom Pakistan, just like the 1947 released MIRZA SAHIBA (Noorjehan’s last film before partition) had the Punjabi traditional song in its climax and 1957 released MIRZA SAHIBA (with Shammi Kapoor playing Mirza) had the cult composition incorporated in a dance track maintaining the sanctity.
Unfortunately or rather ridiculously, the present MIRZYA neither tells you why this is the only love story having the male name first instead of the female nor it makes you feel any lump in the throat or goosebumps listening to the original poetry. So if you do wish to feel the magic in its beautiful composition, then just forget about this unexpected misfire of 2016 and listen to this rare, unplugged MIRZA sung by Asa Singh Mastana (at the given link) remembering ‘Peelu’ - the original writer of the poetry from the 17th century.

After playing the above track, experience another modern but a highly emotional, heartfelt take on the story by Harbhajan Maan at the following link having a video too.
Much more effective and impactful than the latest soul-less MIRZYA, these two tracks would make you feel for the legendary story from heart and after listening to them (even if you don’t really understand the lyrics), I am sure you will also like to end the debate saying,
You killed MIRZA once again after centuries dear Rakeysh Omprakash Mehra and Gulzar………. You just killed him once again like the betraying Sahiba”
Rating : 1.5 / 5
For interested friends,
more variations of the traditional composition can be heard at the following links :
The climax Punjabi track from Hindi film MIRZA SAHIBA (1947) – (Play it from 8 min 2 sec)
The earliest rendition by Alam Lohar (Pakistan).
By Daler Mehndi (in his first album released in the mid 90s)
By Arif Lohar (Alam Lohar’s son) at Coke Studio, Pakistan
(Would soon share a detailed write-up on an exceptionally unique track recorded by us a decade back, sung by one of my dear friends, presenting a completely different vision of the folk-tale you would have never read or heard before for sure. So stay tuned till I find/upload it on Youtube in the coming week.)
Tags : Mirzya Film Review by Bobby Sing, MIRZYA Movie Review by Bobby Sing, MIRZYA An unapologetic review by Bobby Sing, Inspired from traditional folk love stories,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
08 October 2016 / bobbysing /
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