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     
A deadly sandalwood-ivory smuggler and the most wanted criminal in India in the last four decades; a criminal for whom the costliest and the longest capturing operations were undertaken by the authorities of Tamil Nadu and Karnataka; an extremist who had LTTE chief Prabhakaran as his inspirational idol and the killing machine who didn’t even think for a second before shooting a group of people together, certainly deserved an intense, informative as well spine chilling biographical movie unarguably.
So when I heard that RGV is planning to go for the same with a docu-drama style of making similar to his worth watching THE ATTACKS OF 26/11, then I was both glad and excited together being an ardent fan. And further when his KILLING VEERAPPAN (majorly revolving around Operation Cocoon) became a Hit in Kannada language getting rave reviews (to the extent of saying RGV is back) then the excitement got even bigger, waiting for its Hindi adaptation to be released soon (in the same year).
However, it’s really sad that the much awaited Hindi version VEERAPPAN doesn’t turn out to be anything exceptionally great or novel allowing us to declare ‘he’s back’. So the man is not really here with any great movie, but thankfully does manages to deliver an average straight forward biographical film that’s (at least) much better than many of his recent awful attempts in comparative terms.
Interestingly this time it’s the amazing-scary resemblance of its lead actor (to the real VEERAPPAN) that works big time for the movie, much more than any famous directorial touches, out of the box narrative or supporting performances. In other words VEERAPPAN works only when Sandeep Bhardwaj captures the screen as the killing machine and not in any other moment at all to be straight. Though even Sandeep doesn’t display any wide range of expressions throughout the long duration, yet its his strong presence alone that largely saves the film from becoming another forgettable venture from the once ‘trendsetter of our cinema’.
Apart from Sandeep, there is only Usha Jadhav who shows a decent sincerity in her portrayal as Veerappan’s wife along with some new faces towards the end, whereas the rest of the cast boldly exhibits its peculiar standard of acting following a ‘trashy’ mode. For instance, Sachin Joshi confidently keeps conveying I am the hero of the film-as I am the producer too, in his every single scene with a similar expression and Lisa Ray keeps making weird faces into the camera playing her own games. Plus it was really strange to see the gang members running along the man, treated as some unimportant extras called in just to stand in the frame.
Technically generating a ‘deja-vu’ kind of feeling through all familiar sequences, camera angles, character movements and jaded chases, VEERAPPAN isn’t any breakthrough film from a director back in form, crushing all the big expectations raised by some recent ‘must watch’ interviews, like the one taken by Anupama Chopra.
Yes, we do get some glimpses of the maverick in the brutal killings, scenes of ripping off ivory tusks from the dead elephants, the hiding with the kid and the waterfall sequence. Yet the script doesn’t have any grand narration on the subject knocking you down with its every next scene like the RGV we remember from the 90s. It keeps proceeding on the same pace without building any kind of mystery around the controversial figure and then simply ends missing that much awaited exciting thrill or extreme characterization mostly seen in the director’s innovative films. As a matter of fact, Ram Gopal Varma’s JUNGLE (2000) had a much better suspenseful mystical aura built around a similar negative figure with a different name.
In addition, I personally found the presentation quite confusing as it was not clear, how the writer-director actually wished to portray Veerappan before his audience. To give you an example, at one end he is shown to be brave as hell, whereas on the other he quickly runs away without caring about his unarmed wife when the police attacks their hideout unexpectedly. Besides, watching Lisa Ray standing in a police interrogation room right behind the person being beaten to death honestly forced me to think that, was this really a scene from a Ram Gopal Varma film?
Moreover the background music that always has been a forte of RGV ventures, disappointingly turns into loud scary score after a fine start and I really wish the veteran had used “Veer veer veer veer Veerappan” repeatedly in the film just like he did in his earlier gems (instead of going for an unnecessary variety).
Summing up, this is neither any century nor a 50 hit by our not-in-form famous batsman. But it isn’t a duck either and the man does score a good 30-40 runs showing that he has still not lost the touch and is bound to get back soon in the coming years.
Rating : 2 + 0.5 / 5 (with the additional 0.5 just for the perfect lead casting that couldn’t be any better.)

[And now I would honestly like to know what actually went wrong in this Hindi version falling way short of its original Kannada hit KILLING VEERAPPAN in comparison.]
Tags : Veerappan Review By Bobby Sing, Veerappan Movie Review by Bobby Sing, Hindi Version of Killing Veerappan in Kannada, Hindi biopics, Biographical movies in Hindi cinema, 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
27 May 2016 / bobbysing /
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The trend of interesting concept based films made in a limited budget with an out of the routine mindset is no doubt a welcome change in Bollywood. But a limited budget doesn’t mean that you don’t have to spend anything on the script or story-writing and have a liberty to copy or lift another creative person’s work simply frame to frame. A revelation of such kind undoubtedly makes you feel awkward when you come to know that the film which you really felt like praising was completely copied and a kind of shameless DVD replica in a different language with some new actors.

A few years back, the HIT small budget surprise package “Bheja Fry” gave me this similar kind of feeling when later on I found that it was a pure rip off from the French Film “The Dinner Game” with even the lead actors chosen keeping the original cast in mind. And this week, I again felt the same when a friendly reader at BTC informed me about the copied status of the recently released “UTT PATAANG” surprisingly again featuring Vinay Pathak in the lead.
So the truth is that Srikanth Velagaleti directed and Saurabh Shukla written film “UTT PATAANG” is a scene to scene copy of a Japanese movies titled “UNMEI JANAI HITO” or “A STRANGER OF MINE” released in 2005. But as I always hesitate writing about any such act before actually seeing the film, so I searched about this unknown film (may be in our part of the world) ove the net and found it right there on Youtube.
And after watching it I simply thought that - Do they actually keep the DVD players and a separate monitor running the Original Film at the shooting spots too? And Do they really keep referring to the shots taken in the actual movie and then go on to shoot their own version exactly in the similar manner? Whatever may be the case but truly speaking it was really awful to see the Japanese movie progressing exactly in the similar manner as seen in UTT PATAANG or rather I should say the other way round.
May be many of the viewers don’t really care whether its a copied work or not but for me its really tough to praise an (supposed to be) original painting which is a replica of its original masterpiece lying in a different part of the world, painted by a different person altogether.
(Thanks to ‘Chandan’ for this valuable info given in his comment)
Tags : Utt Pataang (2011) and A Stranger of Mine (2006), Vinay PAthak in Copied Movies, Inspired Movies, Inspired Cinema, Bollywood Plagiarism, Plagiarism in Hindi Cinema, Copied Movies, Movies Inspired From, Movie is Inspired By, Borrowed Concepts, Inspired Plots, Bollywood & Hollywood, Reviews by Bobby Sing, Bollywood Gets Inspired, Cinema Gets Inspired, Bollywood & World Cinema, Inspiration from World Cinema, Bollywood Movie Inspirations, Inspired from Japanese Films
12 May 2011 / bobbysing /
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"Via Darjeeling” is a modernized or a highly inspired version of Akira Kurosawa’s “Rashomon” (1950). The basic plot of the movie is very close to the Black & White Classic where everyone is giving his own interpretation of an event.

Amusingly, you can also spot Rajat Kapoor in a particular scene of "Via Darjeeling", holding the DVD of “Rashomon” in his hand while talking to the other character. May be it was director’s own innovative way of giving tribute to the master film-maker.
Tags : Via Darjeeling, Rashomon, Akira Kurosawa, Inspired Movies, Inspired Cinema, Bollywood Plagiarism, Plagiarism in Hindi Cinema, Copied Movies, Movies Inspired From, Borrowed Concepts, Inspired Plots, Bollywood & Hollywood, Reviews by Bobby Sing, Bollywood Gets Inspired, Cinema Gets Inspired, Bollywood & World Cinema, Inspiration from World Cinema
12 April 2009 / bobbysing /
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