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 30, 2017 Thursday     
NeerjaIn Hindi it’s said “Der Aaye Durust Aaye” and in English they say, “Its better late than never”, becoming the two perfect phrases explaining the present Hindi film scenario wherein they have finally woken up to make films on inspiring personalities and ‘must-tell’ historical events of the past not known to many, particularly the present generation. In fact, Cinema has a certain responsibility to adapt such subjects as biographies and real life inspired films spreading more awareness in the society. And thankfully our Hindi Cinema is now doing the same (once again) beginning the journey with films such as PAAN SINGH TOMAR to the latest AIRLIFT and NEERJA thoughtfully enlightening their viewers.
Admitting the truth, there were not many expecting much from this film due to various reasons, including a lesser known director calling the shots and Sonam Kapoor playing the lead raising some major doubts. However giving us all a pleasant surprise, its these two names only that deliver way above the expectations in the film and the result is a clear winner well-supported by a towering performance by Shabana Azmi that’s sure to get a unanimous positive response from all sections of audience without any slightest of doubt.
Based on a true, tragic yet inspiring story of Neerja Bhanot - a beautiful 23 years old air hostess who got killed while helping the passengers of PAN AM flight hijacked by Palestinian terrorists at Karachi airport in 1986, the film commences with a shot of Neerja’s real mother giving her blessings to all viewers. And then there is a sweet, cozy sequence of a society’s celebrations where kids, residents and their families are dancing together on their favourite Rajesh Khanna song ‘Bye Bye Miss Goodnight..... Kal Phir Milenge’. The scene makes a noticeable positive impression right away and takes you back in those DJ-less times of the ‘80s, when we used to carry our own ‘self-recorded compilation cassettes’ to such parties, to be played in the host’s tape recorder taking individual turns.
In these early moments of the film we also get to meet Neerja’s Punjabi mother, a loving father, her brothers, a dear friend and more along with exciting intercuts of terrorists making their own plans of hijacking the plane Neerja is going to board the very next morning, just two days before her 23rd birthday. Being familiar with the basic subject of the film, one rightly feels the excitement seeing the buildup being staged before the actual tension begins. And going through these specific sequences, I strongly recalled having a similar feeling while watching THE BURNING TRAIN in the ‘80s, with people from different walks of life boarding the ‘New targeted train’ before the tragedy.
Without spending much time in this necessary build-up, NEERJA straight away comes to the point and we have the plane hijacked by a group of terrorist in the next 5 minutes only beginning the real film full of well shot, engaging content performed by an aptly chosen cast (particularly the ones playing the terrorists with their typical local accent). The excellence thankfully continues post intermission too with many timely insertions of flashbacks revealing the story behind Neerja’s bad-marriage, the much needed support from her parents and a loving proposal coming from her dear friend Shekhar, despite knowing everything about her forgettable past. Especially the way Neerja keeps remembering the spirited lessons given by her father while dealing with the terrorists leaves a decent impact on the viewer and one strongly feels her helpless state amongst the life-threatening tension and violence depicted through the hand-held camera focusing on the confused terrorists not exactly knowing what to do next in their ‘failed’ plan.
NeerjaHowever just when the proceedings are successfully creating a substantial state of fear and anger together, we shockingly get to see the usual, unnecessary insertion of a song and few forced melodramatic scenes too hampering the otherwise superb pace of the film spoiling the magic spell. In true words, it’s in these few moments of the film, when you start asking the big question that, how can one even think of inserting a song at such stage of a tense movie or are we simply unable to conceive a Hindi film without a song even after the so called evolution of our cinema in terms of meaningful subjects?
Anyway this weak part of the film gets over soon and we return back to the excellence as witnessed before with Shabana Azmi conquering the screen as the suffering mother post the death of her brave daughter. And what the veteran artist does in these last 15 minutes of the film is beyond expressing in a few words, simply giving you a lump in the throat and continuously flowing tears in your eyes listening to her emotional concluding speech remembering the brave Neerja.
Having said that, yes with a more emphasis given to the supporting characters in the plane as well as two neighboring governments (the film keeps focusing on Neerja alone on the cost of ignoring these important aspects), avoiding the forced-in song hugely affecting the pace and with a little more investigative details given for the terrorists mission or background, NEERJA could have become a ‘sheer masterpiece’ without any faults as such.
But since the visible plusses of the movie score much more than the above mentioned ignorable minuses, the entire team led by director Ram Madhavani deserves to be given their due credit and NEERJA has to be seen and rated as a near perfect, heartfelt and respectable film made on one of our proud but lesser-known national heroes who was also honoured with Ashok Chakra in India and Tamgha-e-Insaniyat in Pakistan for her rare act of courage posthumously.
Apart from the appreciable cinematography, background score and well-conceived narration within the visual limitation of the subject, what actually takes NEERJA to another level is its performances led by both Sonam and Shabana Azmi together, along with Yogendra Tikku (the father), Shekhar (in a cameo as the friend) and the actors enacting the terrorists so brilliantly. In fact if Sonam wins your heart in the first 45 minutes of the film, Yogendra Tikku does the same in the middly (watch out his stumbling on the phone) and then Shabana simply excels them all in the end (with a subtle Punjabi accent) deserving a loving standing ovation by one and all. Unarguably the best film of Sonam’s entire career till date, this is a project she can be very proud of right till the end and the girl strongly needs to thank her stars for the same as NEERJA is a kind of film every actress always dreams for.
Mentioning the two key names behind the commendable effort brought to screen, it’s a debut production of famous photographer Atul Kasbekar and has been directed by Ram Madhvani who is known for his widely acclaimed advertisements and songs directed for Aamir Khan’s various projects. Still not many would have seen his first venture in English titled LET’S TALK that came way back in 2002 featuring Boman Irani in the lead (when Boman was not a big known name in the industry) and the film was indeed a worth watching take on relationships, I often recommend when someone asks for Indian films on marital relationships in particular. But then why the talented director took a 14 years long exile to make his second film as NEERJA is a question I still don’t have any answer for.
Concluding with another worth noticing point in the film, NEERJA also beautifully describes what CINEMA actually means to most of the Indian cine lovers living all over the world. These are the people (including myself) who not only eat, drink, sleep cinema all the time in their entire life-span like big fanatics, but would even like to DIE with a cinematic vision in the end exactly like the courageous NEERJA remembering a famous film dialogue. We are the film-buffs who just don’t watch films as our regular weekly entertainment but try to learn life too through those 2-3 hours of imagery shown on the screen with poetic lines such as, “Zindagi Badi Honi Chahiye Babu Moshaiye ……………., Lambi Nahin”
Thinking about the fearless girl from this filmy angle, Neerja was certainly one of us - the mad, obsessive lovers of Hindi films, who always feel like living in a big housefull theater with many memorable life teaching dialogues constantly echoing in our mind. And I am sure many of the friends here would love to walk away too leaving a similar message for our beloveds saying, “Pushpa…………I hate tears”.
In all, paying my respectable tribute to NEERJA BHANOT with a Big SALUTE, hope the real life story of this daring young martyr inspires the entire present generation going through a difficult phase of forced division in terms of patriotism. But then ending on a lighter, positive note, would like to share the few words said by Neerja’s real mother to Sonam when she went to meet the lady as the lead actress.
And looking at her the proud mother said, “My daughter was prettier”.
Rating : 4 / 5 (Including the additional 0.5 for just Shabana Azmi for her touching finale speech)
(Note : Following the current wave of patriotism, if a person not willing to stand during the National Anthem played in the theaters is considered to be an anti-national, then I would like to say the same for those too who don’t get moist eyes while watching Shabana expressing her pain in the final moments of the film as Neerja's mother.)
Tags : Neerja Film Review by Bobby Sing, Neerja Movie Review by Bobby Sing, Real Life Inspired Hindi films, Must Watch realistic films, New Bollywood Movies Released, 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
19 February 2016 / bobbysing /
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Revealing the bitter reality, a film like NH10 can be reviewed by two set of distinctive mindsets. One by the people who have actually lived in those areas personally, have been to those deserted scary roads without the sight of any single person for miles, feeling the horror and nature’s beauty together. And the others who have never been to the region but are simply judging the film as a project depicting a harsh realistic truth in a somewhat filmy manner.
But keeping the discussion for the later part of the review, as a film, no doubt this is another impressive venture from the director Navdeep Singh, who once again comes up with a script that beautifully incorporates the inspirations taken from a western flick as seen in his MANORAMA 6 FEET UNDER (2007) borrowing much of its inputs from the cult-classic CHINATOWN (1974). Returning to the screen after a long gap of 8 years, this time Navdeep and his writers choose another English film titled EDEN LAKE (2008), add to it the current in-news theme of “Honour Killings” and then end it all like a typical Hindi film reminding you of the fiery heroines from the 80s taking their revenge in PRATIGHAAT, PHOOL BANEY ANGAAREY or KHOON BHARI MAANG.
NH10 opens nicely with a much focused vision that keeps you guessing about what’s going to happen next in its first half. The unpredictable excitement continues till the roadside scuffle happens with a sudden twist that also seems to be a bit foolish and deliberate one too keeping in mind the particular district. The noteworthy lonely locales, brilliant camerawork, natural lighting, minimal-well composed background score and all superlative performances build-up the momentum in a superb manner and you feel like coming on to the edge of your seats repeatedly before the intermission.
However a short song inserted just before the interval looks like out of place and then the film as usual goes back to the same predictable as well as monotonous plot of revenge in its second half (reminding you of the recent BADLAPUR too). Yes, the brutal execution of its finale terrorizes the viewer well representing the woman-power strongly in all the bold sequences. Yet the lack of novel twists and turns in the second hour hamper its overall impact severely and one doesn’t feel like watching anything out of the box in real terms as it ends.
Having said that, the director’s (expected) sharp, intelligent insertions are right there in NH10 throughout its 2 hours of duration, but the engrossing pull or punch goes missing in the latter half of the film unfortunately. For instance, just watch out the scenes where the husband brings a cigarette pack for his wife on their fun-trip, Anushka rubbing a derogatory word written on the door of a Dhaba toilet, the group of hooligans talking in Haryanvi hinting towards a rape, Anushka lighting up the cigarette just before going for the killings, the kid asking for the missing light in the watch, Deepti Naval cleaning the almirah of her dead daughter and the Daughter-in-law not giving her the ear-machine fearing the consequences.
The engaging script and sharp editing progresses well keeping your interest alive before it all goes back to the routine towards the end. And the performances actually add a lot to NH10’s overall impact which ideally should have been a song-less venture without using even that single well-written and soulfully sung track in the mid. So it was indeed a relief to notice the much publicized song “Chhil Gaye Naina” and many more listed in the end credits not getting featured in the movie as per its dark and bloody theme.
Being there on the screen from the first frame to the last, Anushka gives an intense, spirited performance as the victim girl but the act still falls short of anything path-breaking due to the usual, melodramatic and clichéd second half diluting the end result to a big extent. Neil Bhoopalam is fine as the helpless husband and so is Deepti Naval as the mother fighting with her own inner-self. But its Darshan Kumaar who truly excels playing the extremely violent character post his silent, emotional avatar in MARY KOM, along with the actor playing Mamaji.
Coming back to the point stated in the beginning, you can easily review NH10 from all cinematic angles if you have never been to the region and don’t actually know what happens there in reality and how.
But for the ones, who actually know the sad, questionable state of affairs, the whole fight sequence at the road side dhaba turns out to be too filmy or fake since this is not how anyone intervenes in such matters in these specific highways, even if you have a revolver. In fact showing a revolver can even worsen the things, since its nothing more than a toy for that particular region to be honest. Interestingly the fact gets literally proved in the film too wherein the (city) hero has got the revolver but the (village) goons have simply got iron rods in their car to make an attack.
For many friends this may sound strange but that’s what the shameful reality is, where no heroism of any sort works as falsely shown in the film. So for me, if the scuffle was there through some other natural angle in the dhaba sequence, it would have been much more impressive and realistic. But the present one certainly seems to be a deliberately written scene just to make up a storyline around a socially relevant plot of ‘Honour Killings’. Also, when Neil had already called the DGP informing about the serious issue then it was simply fool of him to go after the hooligans trying to teach them a lesson all alone with a girl in that unknown scary jungle.
Regarding the issues the film had with the censors asking for nine cuts, NH10 teaches you a new way of using cuss words in few of its scenes unintentionally. In other words if you cannot say it then just write those words on the wall and let the audience read it themselves, simply nullifying the so called noble act of muting the abusive by the censors. Moreover it really makes me wonder that where all these objectionable words, extreme action or sex is not good for the society, there showing our Police as corrupt close associates of the criminals is quite fine with the Censors sounding funny. May be because they find this truly realistic, making a lot of sense in life, looking at the current scenario.
Anyway hoping that this ridiculous game of objections changes soon, I would like to explain how a simple cuss work entirely changes your perception about a character on the screen in a Hindi film.
There is a scene in NH10 where Neil has gone in search of the goons and Anushka is waiting for him sitting in the car locked from all sides. There is nobody around in the lonely locales when suddenly a thin bearded man comes at the window staring at Anushka. As she tries to talk to him calmly it gets revealed that the stranger is a kind of mentally retarded person with the mind of only a 10-12 years old kid. And as he converses more, we get to know that he is not at all interested in Anushka but in her car instead and wants to drive the vehicle asking for keys.
Knowing the condition of that man, Anushka feels safe, comes out of the car, asking him that has he seen a person (Neil) anywhere around wearing a jacket. The bearded man is just interested in the car and talking about that only he points towards a particular direction giving Anushka a hope and she starts running towards it leaving him alone with the car.
As she runs away, the bearded man says a word looking towards her that must have been “Randi” (a bad character woman with loose sexual morals), but is spoken as “Jhoothi” (liar) which was probably changed as one of those nine cuts ordered by the Censor Board.
Now what difference does it make to the character on screen and its impact on the viewer?
The difference is that if he says “Jhoothi” then the mentally retarded (grown-up) person with a child’s mind remains a child only and shows no evil intentions for the beautiful girl hidden inside his ‘not so rightly developed’ mind and his thought process. As a result the viewer also feels a kind of sympathy towards the thin, bearded man as he says “Jhoothi”.
However looking at it from the other angle if he says “Randi” then suddenly the character splits into two parts with just one word spoken intentionally. The word actually reveals that though a part of his personality might not have developed due to some medical reason, but a certain part of his mind or thought process does have many evil intentions towards the women he meets. And if those women don’t agree to what he is asking for, he starts calling them “Randi” as if they all are of loose character, not to be respected in any way. As a result, the moment such a character says “Randi” looking at the girl moving away, the viewers feel “all disgust” for such a person with no sympathy at all for his medical state.
Hence such is the change in the viewer’s perception caused by the alteration of only one word in the dubbing that the Censor Board needs to understand urgently.
Returning to NH10 as the latest Friday release, for many it might be a much relevant film talking about ‘women empowerment’. But for me it was another of those technically appreciable as well as inspired (well-performed) attempts with a routine second half that fails to deliver the required punch.

Rating : 3 / 5
Tags : NH10 Movie Review by Bobby Sing, NH10 Review by Bobby Sing, NH10 and EDEN LAKE, Inspired Hindi Films, Copied Hindi Films, New Bollywood Movies Released, 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
13 March 2015 / bobbysing /
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Maestro director Manmohan Desai truly knew the art of how to convincingly entertain his audience with a pleasant mix of emotions, drama, action and comedy. His most successful films always had a ‘Feel Good’ element associated with them and he often added a lovable surprise too in his major ventures.
One of such great but hard to execute surprises was there in his film NASEEB released in 1981, wherein he filmed a party sequence and got many big reputed film personalities of those times, together on one platform in an amazing manner for the first time. The party was filmed on a song “John Johny Janardan” which had Amitabh Bachchan playing the entertaining singer-waiter serving to actors such as Raj Kapoor, Shammi Kapoor, Dharmendra, Waheeda Rehman, Mala Sinha, Simi Grewal, Indrani Mukherjee, Rajesh Khanna, Sharmila Tagore, Prem Chopra, Shakti Kapoor, Randhir Kapoor, Rakesh Roshan, Bindu, Simple Kapadia, Prema Narayan and Vijay Arora. In fact the song also had Raj Kapoor playing the accordion in his own famous style quite sportingly.
Naseeb-Dharam-Veer - Bobby Talks Cinema.comNow the interesting link is that the party which is being celebrated within the song is actually the Golden Jubilee (50 weeks) Celebration party of film DHARAM VEER, which was also the directorial venture of Manmohan Desai released 4 years back in early 1977. And in the song you can clearly see the Backdrop saying DHARAM VEER Golden Jubilee along with standing cut outs of both Dharmendra and Jeetendra at the two sides of the main gate.
Taking a clear inspiration from this party scene, director-choreographer Farah Khan inserted a similar party sequence in her film OM SHANTI OM after more than 25 years in 2007. And it had Shahrukh Khan (playing the role of a successful actor) celebrating his film party in the song “Deewangi Deewangi” and all present film celebrities enter the premises exactly in the same style as in the song “John Johny Janardan” with a particular signature tune.
However one major quality difference between the two songs is that where in NASEEB, all the veterans are standing together in the same frame and dancing with each other (i.e. shooting together). There in OM SHANTI OM song we have mostly individual entries, intelligently edited into a final version wherein it seems they are all together but actually they are not and have given their individual shots only as per their available time. Probably that is how both the era and time has changed, clearly visible in this thoughtful comparison.
Interestingly the only common person in both the songs is the He-man Dharmendra dancing along with his son Bobby Deol in the OSO track. Also in this new age version Jeetendra makes his presence felt too with his son Tushar Kapoor, who was the missing main lead in that Golden Jubilee party of DHARAM VEER. Plus here you can spot another star-son Saif Ali Khan, representing his mother who featured in the NASEEB song along with Rajesh Khanna.
Hence as I see, this can be easily considered as an amusing (screen) account of change of generations & relationships in the last few decades of our Hindi film industry, when we compare these two film songs both conceived & executed superbly (but shot differently) by their respective directors.
(Bobby Sing)
Tags : The link between NASEEB (1981), DHARAM VEER (1977) and OM SHANTI OM (2007), Did You Know Facts about Bollywood by Bobby Sing at bobbytalkscinema.com, Unknown Facts about Bollywood, Interesting Trivia about Hindi Films,
31 December 2013 / bobbysing /
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