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.

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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     

The first thought which came to my mind after watching TEES MAAR KHAN was that “Jin Ke Apne Ghar Sheeshe Ke Hon Woh Doosro Per Patthar Nahin Maara Karte”. The dialogue fits on both brother sister duo Farah Khan and Sajid Khan as a T since it was Sajid Khan who used to reveal every inspired film and its original source in his T.V. show few years back. And now in the present both Sajid and Farah are coming up with the same kind of inspired films and also enjoying their box office success in an amusingly ignorable manner.

Talking about Farah Khan and her TMK, I already knew that the film was heavily inspired from the plot used in Peter Sellers AFTER THE FOX (1966). And as I expressed this view on Facebook, I was told that the film is an Official Remake and the producers have bought the rights for the same. The news did make me happy since this was the right way of doing it like Karan Johar did it in his WE ARE FAMILY. But sadly, there was no declaration of any sort anywhere in the starting titles or in the ending ones from the makers about its copyrights. Therefore I would take TEES MAAR KHAN as another shameless copy from the West which is surely not a decent gesture from anyone involved with the film. And in case they have bought the rights but not revealing it then I would further like to call it A SIMPLE ACT OF CHEATING the audiences, wherein you are hiding your actual source and don’t have any GUTS to admit in public that its not anything original of your own. Moreover, it was quite strange to see this kind of hurting product associated with the reputed house of UTV Productions.
Coming to the movie itself, in simple words it’s a very pale and mediocre interpretation of a very exciting plot. In fact I was quite surprised to see Farah Khan, ruining such a brilliant plot which could have worked like wonder having all the elements of fun and excitement in it. Revolving around the character of a wanted criminal Tees Maar Khan, the story mainly deals with a big heist planned by him fooling a whole village of innocent people including a policeman. The plot is as it is taken from the Peter Sellers famous Classic Comedy and even some jokes are adopted like a true remake. The only difference in both lies in the character played by Katrina Kaif. In the original, she is the sister of the famous criminal, who madly wants to feature in movies, whereas in TMK she is the girlfriend of the lead character having the similar kind of craze.
TMK starts as an uneven ride right from the start with a long plane sequence which is not able to raise enough laughs. The first half has no story development as such and the actual heist plan starts post intermission. As I feel, Farah Khan knew that she has got a weak first half and that’s why she very smartly included both the item songs, “Shiela Ki Jawaani” and “Wallah Wallah” in the first half of the movie itself to keep the viewers hooked in.
The second half starts off on a brighter note and does manage to entertain the viewer for a few moments. But then everything starts happening so easily that you lose the interest in the proceedings and the weak climax leaves you in a confused state where you start thinking, that what was it all about? From the performances view-point the film is one of the best guidebooks on hamming and overacting. In fact kudos to the director, Farah Khan for directing such a unique movie in which almost every single actor is hamming and overacting like never before. Yes, we know that this is her own style of making a film, but atleast it has to be entertaining for the audience, as it was in her last "Om Shanti Om".
Reviewing TMK in it various departments, I would like to write more about the movie in the following straight forward points.
A. The film simply wastes a great potential comic plot in all that hamming and overacting by its entire star-cast.
B. The only saving grace of the movie is “Shiela Ki Jawaani” song along with “Wallah Wallah” coming one after another in the first half.
C. Akshay Kumar does show his old comedy sparks at regular intervals, but here I would like to convey him that “there is a very thin line between confidence and over confidence which clearly shows off on the screen very easily. So please be aware of that”
D. Katrina Kaif should unarguably include TMK in her weakest or worst movies ever, as she just remains a mere show piece in the whole movie and has not got even a single good scene except the famous item song. In fact, I think some of her fans might question her that “Why you had to do it?”
E. Akshay Khanna can easily forget about this venture since he has done only shouting and hamming in all his scenes which is far away of being termed as Acting.
F. Raghu and his brother Rajiv, unexpectedly play complete contrasting characters on the screen moving away from their famous small screen images. And somebody tell them that they both look like fools in the movie, as the joined villain brothers, who just have to giggle and speak together in their few scenes. In the supporting cast Akshay’s three con friends are funny at places and Arya Babbar makes a feeble impact. But both Murli Sharman & Aman Verma in the role of two Officers try too hard to be funny.
G. Truly speaking, from the entire cast if any person made me laugh loudly in just a few scenes then it was Sudhir Pandey in his short role of Akshay Khanna’s secretary.
H. Musically, I didn’t find anything exciting in the soundtrack other than its innovative and catchy title track sung in different voice textures. Interestingly this track is credited to Shrish Kunder and the rest of the songs are from the famous musical duo Vishal-Shekhar who have done just an above average job. Frankly speaking, I even didn’t like “Shiela Ki Jawaani” a lot as I strongly feel that the song surely would not have become so famous minus Katrina Kaif in another project not backed up by any Akshay Kumar and Farah Khan. And in the Cinematography and Art direction department, TMK doesn’t have anything exceptional to showcase to the audience. However I would like to mention here the brilliant opening animation sequence of a child dancing in the womb, which was really well thought of and executed.
I. It was really amazing to see Shirish Kunder taking the whole credit of STORY and SCREENPLAY in the titles where in reality it is all taken from the cult Peter Seller movie almost entirely.
J. Farah's love for Manoj Kumar and his works continues in TMK too. But what a degrading way to use the hugely famous national integration song "Mere Desh Ki Dharti" in the climax.
K. Overall, coming from FARAH KHAN who gave us “Om Shanti Om” in the past, this is a weak project which works only in parts and fails to connect with the audience instantly.  With neither the lead character of a thief winning over the viewers nor his heist making the things exciting, the film fails to give you a wholesome entertainment as expected from its successful director.
In the end, I would only like to say that you can watch it if you are dying to see “Shiela Ki Jawaani” and her moves on the big wide screen along with Salman Khan dancing in “Wallah Wallah”, or if you are a big fan of watching Akshay Kumar in the comic genre. Otherwise just search for the DVD of the Original Peter Sellers Classic Comedy AFTER THE FOX and treat yourself with some good decent humor in your homes.
Rating : No Rating (Since its just a Shameless Copy and even if they have bought the rights, they never disclosed it in front of the viewers by writing that in their titles.)
Tags : Tees Maar Khan Movie Review By Bobby Sing, Tees Maar Khan Film Review By Bobby Sing, TMK Movie Review, TMK Film Review, After The Fox, Peter Sellers, Copied from Peter Sellers Classic comedies, New Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, 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, Inspired Movies, Inspiration from World Cinema, Bollywood Plagiarism, Copied Movies, Inspired Cinema from Hollywood, Copied cinema, Copied movies.
24 December 2010 / bobbysing /
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In the last few months we have seen several small films presented before us without any decent publicity or news. Most of these were the first time ventures of their debutant directors who sincerely wished to make it big with their fresh ideas. No doubt, such ventures usually go unnoticed in absence of any magnetic star value or backing of a big production house. And quite often they also fail to deliver on the execution level too. But the one good thing about all these small ventures is that they do come up with many untouched and novel ideas to share which is indeed a welcome change to see and encourage.

PAYBACK too falls in the same category of a low budget project which does not have a known star, a Hit song or any controversial plot to rely upon. The only merit it has got is the interesting story plot to tell which sadly gets a mediocre execution both from its director and the writers. Revolving around the happenings of only one night, the film cannot be called upon a racy thriller as its pace keeps dropping and the narration never brings you on to the edge of your seat. Still, it doesn’t become painful as it keeps the viewer guessing and you never know what’s going to happen next on the screen.
The story deals with an honest character of a boy next door, who wants to pay back truly by helping a man who had once saved his life by taking him to the hospital after a road accident. But the problem arises when the boy comes to know that his god sent helper is actually a hit man working for the underworld. The plot had great potential for a fine entertaining thriller on the lines of Sudhir Mishra’s IS RAAT KI SUBHA NAHIN which also was based on a one night plot. Unfortunately PAYBACK is nothing close to that classic movie and therefore fails to make any kind of impact on the viewer.
Technically its one song number, background score, cinematography and the art direction just serve the purpose and do not provide any kind of support to its well thought and noble plot. Moreover its script and direction further converts it into a very slow paced average product which is not enjoyable at all from any angle.
On the acting front the lead actor, Munish Khan unsuccessfully tries too hard to gain the sympathy of the viewer. Sara Khan is not able to impress as there is no visible romance between the lead pair. Mukesh Tiwari & Gulshan Grover are effective as usual but Hrishikesh Joshi overacts. Zakir Hussain as the helping Hit man is great but I still felt his elaborate performance, somehow less than what he always displays in his small roles in all RGV’s films.
Overall, other than its interesting story line, PAYBACK is not going to pay back any kind of entertainment in return of your ticket money, so better save it for the next week.
Rating : 1.5 / 5
Tags : Payback Movie Review By Bobby Sing, Payback Film Review By Bobby Sing, Movie Reviews By Bobby Sing Payback, Small Budget Films, Good Story Plots, New Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, 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
17 December 2010 / bobbysing /
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In the present scenario, there are only two ways to write a descent movie, One – give the viewers a completely fresh entertaining storyline never tried before on the screen which is a tough task to do and Two – surprise them with a novel style of narration, using the same old kind of plots they may have already seen before but not in the same pattern or setting. BAND BAAJA BAARAAT follows a bit of both these rules in its execution and thus comes as a clear winner both in terms of entertainment and value of money.

First of all its uses the backdrop of a entirely new kind of business in which the lead pair is running a company of WEDDING PLANNERS in which they plan a whole wedding for a fixed amount of fees. Now their novel work certainly adds some fresh outlook to the project as it has never been used in a full fledged way for a Bollywood movie before. However you may remember glimpses of this job seen in Deepa Mehta’s MONSOON WEDDING where Vijay Raaz played the role of a Decoration Contractor.
Secondly, though revolving around the same concept of opposites attract (the boy and girl first fight and then fall in love), BAND BAAJA BAARAAT comes up with a completely fresh style of narration, using the realistic ambience of Punjabi Families and youth living in the areas of WEST DELHI. The openness found in the narrow lanes of Delhi’s famous colonies like Janak Puri, has got a huge attraction value in terms of language, warmth and daring. The viewer at once feels a relation with every character on the screen within minutes and that’s where the director starts making his impact on the audience in a big way.
The other important merit of the film is the way it defines the word INSPIRATION in the best possible manner. No doubt the writers take the inspiration for their basic plot from the English flick “THE WEDDING PLANNER” (2001). But here they have only taken the base for their story from the Original film and then have developed their own script on the foundation of that borrowed idea, which truthfully displays what exactly we should mean by the word, Inspiration.
Coming to the film all together, it’s a pleasant journey throughout with a highly entertaining first half and a very thoughtfully directed second. Where the first half is full of fun, dance and engaging moments, the second is more strong on the emotional side with few tolerable dull moments too. The whole narration is so fresh in execution and content that the viewer at once falls in love with the entire proceedings and starts enjoying. Looking at the basic premises where the movie is based i.e. New Delhi, it is an extension of the genre introduced by KHOSLA KA GHOSLA, OYE LUKCY LUCKY OYE and the recent DO DOONI CHAAR. Interestingly BBB’s screenplay has also been brilliantly written by Habib Faisal, the director of DO DOONI CHAAR and his script gives its full support to the confident direction of the debutant director Muneesh Sharma. As a team they both are really capable of doing wonders in the near future and I would be eagerly waiting for their next.
To be precise, BAND BAAJA BAARAAT wholeheartedly belongs to its lead pair of Anushka and the newcomer Ranveer. With their immensely likable chemistry, they both deliver superb performances in the movie and leave a highly positive impact on the viewer in the end. Here I would like to admit that with BBB, Anushka, whom I never took seriously in her previous movies, forced me to change my view about her acting skills. She very effortlessly slips into the body of a strong North Campus University Girl, who reacts with her brave boyish attitude and speaks with a heavy Punjabi accent.
On the other hand, Ranveer is simply outstanding in his amazing first time screen appearance and he straight away creates fans out of his viewers. The boy clearly gives you the reason, Why he was chosen to make his debut in a Yash Raj Film, who are known to be more comfortable with all the big saleable stars. In fact it was Ranveer and his remarkable portrayal of a directionless young graduate in the movie, which satisfied me a lot after a long long time and also made me feel like dancing on my seat at several instances. So, God willing, the boy has a great future ahead. His impressive act even reminded me of another similar kind of superb debut performance given by Arshad Warsi in his first film, “Tere Mere Sapne” released in 1996. Apart from their sparkling youthful performances both Anushka and Ranveer equally excel in their emotional scenes too which says a lot about their real hidden talent. And that’s not all since BAND BAAJA BAARAAT also has one the most sensuous, emotional and touchy kissing scene ever filmed on the Indian Silver Screen between its leading pair. After a long time I felt a director dealing with the issue of pre-marital sex with a more thoughtful, practical and appreciative approach in our Indian Cinema, which is a clear indication of our film-makers growing in their fearful stance towards the issue.
On the music front, one starts liking the soundtrack by Salim-Sulaiman and lyrics by Amitabh Bhattacharya while he is watching the film but I still think that a big universal HIT song could surely have helped the film in a much better way. The songs “Tarkeebein”, “Main Te Ainve Ainve Ainve” and “Band Baaja Baarat” are good and do stay in your mind while leaving the theater. In the marriage sequences both Choreography and Cinematography add to the entertaining mood of the film, shot in some interesting real locations of West Delhi. And in the supportive performances Neeraj Sood stands out as the Flower Vendor while Manmeet Singh and Manish Chaudhari suit their roles perfectly.
In all, BAND BAAJA BAARAAT is the most pleasant surprise of the year, which entertains many thousand times more than the big budget NO PROBLEM released along with it. But if still the latter gets more success on the box office, then it would certainly be a big loss for the viewers themselves in the long run. Finally, Yash Raj Films have a winner in their hand and they should continue doing the good work of giving chance to new kind of scripts, writers, actors and directors to come up with more movies like BAND BAAJA BAARAAT. So, you are all cordially invited to take part in this entertaining on-screen celebrations at the earliest.

Rating : 3.5 / 5

Tags : Band Baaja Baaraat Movie Review By Bobby Sing, Band Baaja Baaraat Film Review By Bobby Sing, Movie Review Band Baaja Baaraat, BBB Movie Review by Bobby Sing, BBB Film Review,New Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, 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.
11 December 2010 / bobbysing /
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