I updated my list of Bollywood movies on Netflix with two big additions to the catalog: Shahid Kapoor’s Hindi remake of Jersey and the Hindi-dubbed version of RRR, which was preponed from its previously announced June 2 streaming release date. The original Telugu version of RRR is streaming now on Zee5, along with dubbed versions in Tamil, Kannada, and Malayalam.
Netflix just announced that Season 2 of the crime drama She will release on June 17. And this is the last week to watch Raees (which I sort of liked) on Netflix before it expires May 26.
Other titles like Dear Zindagi have also expired in recent weeks, but I don’t think this necessarily means that Netflix’s deal with Red Chillies is done for good and that the films are headed to another streaming service. Chennai Express returned to Netflix in August 2021, and Yodha and two other titles returned in January of this year. This could just be a reset before the start of a new streaming contract. However, there’s no guarantee that the above titles will return to Netflix, or that they will return quickly if they do, so prioritize watching them if you’re so inclined.
Last week, Netflix added a pair of Hindi movies, including Radhe Shyam and the Original film Thar, which is really good. The Tamil action flick Beast — starring Vijay and Pooja Hegde — debuts on Netflix May 10 (in the afternoon in the US). And Netflix recently moved Masaba Masaba into the “Worth the Wait” row on their New & Popular page, joining She. No Season 2 release dates for either series yet, though.
A veteran cop’s boring beat is upended by three murders and the arrival of a stranger in the Western noir Thar. Rajasthan is the ideal setting for a Western, and the stunning scenery is highlighted beautifully.
Inspector Surekha Singh’s (Anil Kapoor) decades-long career has been uneventful. Stationed in the Rajasthani town of Munabao in 1985, there’s little in the way of crime, except for the occasional drug bust of smugglers bringing heroin across the border from Pakistan.
All that changes in a single day. A married couple is found shot dead in their home, their daughter’s dowry stolen. Another dead man is found hanging from a tree, an axe embedded in his chest. For the first time in their careers, Singh and his partner Bhure (Satish Kaushik) feel like real police. They figure drug runners are responsible for the deaths, as they set about investigating the connection between the victims.
At the same time, a taciturn stranger arrives in town. He reluctantly gives his name: Siddharth (Harshvarrdhan Kapoor). He’s looking for a few men to help him move some antiques back to Delhi. Men in Munabao routinely work jobs in the city for months at a time, so his request isn’t unusual. A woman named Chetna (Fatima Sana Shaikh) assures him that her husband Panna (Jitendra Joshi) and his friends will be back in a matter of days, and Siddharth agrees to wait.
After Panna — an arrogant misogynist — and his compatriots return, it becomes clear that Siddharth’s intentions are not good. His polite interactions with Cheta are at odds with his actions when he’s going about his business. The mystery at the heart of Thar is: why is Siddharth doing what he’s doing?
Keeping Siddharth’s agenda a secret for as long as the movie does de-prioritizes his character development, blunting the emotional impact when his motivations are finally revealed. That said, Harshvarrdhan Kapoor is great at being mysterious. Nonverbal communication plays a big part in Siddharth’s interactions with Chetna, and Shaikh and Kapoor play off one another exceedingly well.
Relationships play a huge part in Inspector Surekha’s life. He’s got a supportive wife, and Bhure is his best friend, not just his coworker. Writer-director Raj Singh Chaudhary and editor Aarti Bajaj make a point to emphasize how much Bhure means to Surekha. Anil Kapoor and Satish Kaushik are a delightful duo. And Jitendra Joshi is really, really good at playing the loathsome Panna.
The desert location in Thar is not only crucial for making the way the story plays out possible. It’s also absolutely stunning. Though geographically and botanically distinct from the American Southwest, the area in Rajasthan where Thar was filmed feels like the perfect place to shoot a Western. The rocky hills spotted with scrubby brush make an ideal setting for a shootout.
One cautionary note for squeamish viewers is that Thar is very gory — more so than it needs to be to make its point about the nature of the violence being committed. But no one can say the makeup department didn’t do their job, that’s for sure.
In other Netflix news, Dear Zindagi expired today. I guess they hit their Alia Bhatt limit with Gangubai Kathiawadi and had to let one of her other pictures go.
I also updated my list of Bollywood movies on Amazon Prime with a release date for their Hindi anthology Modern Love: Mumbai. It debuts on Friday, May 13 (so probably the afternoon of May 12 in the US). The anthology lineup is seriously impressive:
RAAT RANI – directed by Shonali Bose, starring Fatima Sana Shaikh, Bhupendra Jadawat, and Dilip Prabhavalkar
BAAI – directed by Hansal Mehta, starring Tanuja, Pratik Gandhi, and Ranveer Brar
MUMBAI DRAGON – directed by Vishal Bhardwaj, starring Yeo Yann Yann, Meiyang Chang, Wamiqa Gabbi, and Naseeruddin Shah
MY BEAUTIFUL WRINKLES – directed by Alankrita Shrivastava, starring Sarika, Danesh Razvi, Ahsaas Channa, and Tanvi Azmi
I LOVE THANE – directed by Dhruv Sehgal, starring Masaba Gupta, Ritwik Bhowmik, Prateik Babbar, Aadar Malik, and Dolly Singh
CUTTING CHAI – directed by Nupur Asthana, starring Chitrangda Singh, and Arshad Warsi
Finally, I updated my list of Bollywood movies on Hulu with the premiere of the limited spin-off series Anupama: Namaste America. New episode debut daily at 1 p.m. CT in the US, with the final episode dropping on April 28. Hulu also revealed the trailer for their new Hotstar Special Hindi series Home Shanti, premiering May 6.
Comedies made for an audience of all ages aren’t often considered prestige viewing, but they’re no less difficult to get right. Dasvi does just that, telling a story with broad appeal that never feels dumbed-down, thanks to solid performances and terrific story structure.
Abhishek Bachchan stars as Ganga Ram Chaudhary, Chief Minister (CM) of the state of Harit Pradesh. He’s used to getting his way, flaunting his power by transferring a local police officer he deems too strict and shutting down a proposal to build a school in favor of building a mall.
When he’s thrown into jail pending a bribery investigation, his life doesn’t change that much. Suck-up prison guard Satpal (Manu Rishi Chadha) gives Chaudhary special accommodations, and Chaudhary’s timid wife Bimla Devi (Nimrat Kaur) fills in as CM, taking direction from her husband over the phone.
All that changes when the prison gets a tough new warden, Jyoti Deshwal (Yami Gautam Dhar). Wouldn’t you know, she’s the same strict cop Chaudhary had transferred before he went to jail. She axes Chaudhary’s special privileges, including his daily calls to Bimla Devi, who’s left to govern on her own. Jyoti mocks Chaudhary’s eighth-grade education, calling him an “uncouth bumpkin.”
This hit to his pride — and his desire to avoid manual labor — inspires Chaudhary to take on the challenge of earning his high school diploma while behind bars. If he fails, he promises to drop out of politics.
Chaudhary is a fun comic hero because his flaws are obvious to the audience, but not to him. We know his dismissive attitude toward education needs to change, but why should it while he’s living the life he wants? When he finally gets on the right path, it’s a fun twist that his biggest obstacle is not the warden but his own wife, who’s come to enjoy the power that comes with being the CM.
A lot of the jokes in Dasvi stem from verbal faux pas committed by Chaudhary and Bimla Devi. Not all of the wordplay humor translates, but Laxminarayan Singh does a good job of nailing most of the jokes via the English subtitles (as when Bimla Devi insists that they build an “effigy” of her, when she means “statue”).
But Dasvi isn’t so much a laugh-out-loud comedy as it is one that lets the powerful make fools of themselves. The film doesn’t rely on tacky jokes or goofy sound effects, instead letting well-drawn characters highlight what’s funny about a perverse situation. This is all possible thanks to a carefully constructed screenplay by Suresh Nair and Ritesh Shah and some ace direction by Tushar Jalota, who helms his first feature film.
The cast does exactly what it needs to do to set the right tone, giving characters the right mix of silliness and sentiment. Abhishek Bachchan, Yami Gautam Dhar, and Nimrat Kaur carry most of the load, but supporting actors like Manu Rishi Chadha and Arun Kushwaha — who plays the math wiz bicycle thief Ghanti — complete the world-building.
Dasvi feels a lot like a Hollywood comedy in its structure, but it still makes room for a Bollywood-style dance number and a closing speech about the importance of education (for better or worse). It fits that such a widely accessible film would debut on Netflix, a platform always looking to reach a global audience. Making an all-ages film that families around the world can enjoy watching together is a worthy goal and no mean feat.
In other Netflix news, the Malayalam film Night Drive debuts on the service in the US in the early afternoon on April 9. Also, the title of the upcoming Netflix Original Hindi film Jaadugar — which I wrote about in my 2022 preview for What’s on Netflix — has been changed to Love Goals.
Authors don’t often direct the movie versions of their books, and perhaps with good reason. The Netflix Original film Cobalt Blue — based on a novel written by Sachin Kundalkar, who also directed the movie — could have benefited from an outsider’s perspective.
The story takes place in 1996 in Kerala. Literature student Tanay (Neelay Mehendale) lives with his grandparents, parents, brother Aseem (Anant V Joshi), and sister Anuja (Anjali Sivaraman). When the grandparents die, Tanay’s parents rent their vacant room to a paying guest, who is never named (played by Prateik Babbar).
The Guest is an artsy beefcake, prone to shirtlessness. His looks draw the admiration of Anuja and the other young women in the neighborhood, as well as Tanay. The Guest correctly interprets Tanay’s constant hovering as romantic interest, and the two have sex. Tanay is in love, but the Guest is coy about his feelings.
Meanwhile, Tanay’s parents are trying to find a groom for tomboy Anuja. She wants to take her field hockey career to the next level, but her parents insist that she start looking and acting like their idea of a proper lady.
While I’ve not read the book on which Cobalt Blue is based, I suspect much of the dialogue is taken directly from it, because it sounds like dialogue written to be read, and not actually spoken. Few of the conversations in the film actually sound conversational. Most lines are delivered with flat affect and punctuated with unnatural dramatic pauses.
The performances across the board are quite stiff, but none more so than that by Mehendale as Tanay. His posture and gait are so rigid as to make Buckingham Palace guards look relaxed by comparison. On top of that, some of his facial expressions — especially in the final shot of the film — are plain odd.
This is Mehendale’s first film, but his inexperience isn’t solely to blame for his awkward performance. That’s on the director, who should have given him better guidance. Kundalkar himself is not new behind the camera, with eight Marathi and Hindi films under his belt before this one.
Considering that Kundalkar wrote the book on which this movie based and adapted the screenplay himself, it’s reasonable to conclude that this is precisely the film he wanted to make. But its flaws feel like issues that could have been rectified by someone with a fresh perspective — someone who hasn’t had these characters in his head for more than two decades. The film has interesting things to say about the loneliness of being gay in a time before widespread internet access. The story isn’t the problem, just the way it’s presented.
Looop Lapeta is an official remake of the 1998 German film Run Lola Run (complete with a couple of cute nods to the original). To give a hint to the Hindi adaptation’s main problem, consider this: Looop Lapeta is 2 hours and 11 minutes long, while Run Lola Run has a runtime of just 1 hour and 20 minutes.
From the start, debutant feature director Aakash Bhatia makes a statement with the film’s bold visual style. The color palette tends toward saturated greens and reds, and the camera makes frequent use of closeups of the actors’ faces. The style, coupled with a raucous soundtrack, preps the audience for a film that could be colloquially described as a bit “extra.”
Taapsee Pannu plays Savi, a former track athlete whose plans were dashed by a career-ending knee injury. She’s saved in her moment of despair by Satya (Tahir Raj Bhasin), a guy who means well even if he struggles to do well. Though they love each other, they’re getting nowhere, with Savi addicted to prescription drugs she steals from the elderly man she takes care of and Satya gambling away whatever money he earns.
Things get serious when Satya loses $5 million and has less than an hour to replace it before his gangster boss cooks him alive. Savi jumps into action to save Satya, stymied in her quest by a lovelorn cab driver named Jacob (Sameer Kevin Roy) and bumbling brothers Appu (Manik Papneja) and Gappu (Raghav Raj Kakker), among others.
There’s more to Savi’s mission than simply saving Satya’s life — Savi has to stop hurting herself and others and reengage with society in a productive way — but the film doesn’t do the early work to establish why we should care whether Savi and Satya succeed. It’s taken for granted that we will because they’re the main characters and because Savi is pregnant (something she’s not happy about).
That said, when the film finally establishes what Savi’s real goal is, the story is quite enjoyable. Pannu does a nice job switching from a woman angry with the world to one with a purpose. Her subplot with Jacob the cabbie is pretty fun.
Yet the movie would’ve been better if it were quite a bit shorter. Bhatia’s remake is 50 minutes longer than the original, and without good reason. The script relies on repetition for humor, to its detriment. Characters repeat the phrase “pachaas laakh” (“five million”) to each other over and over in a scene that repeats itself multiple times throughout the film. It’s not amusing.
Worse still is the time devoted to the bumbling brothers Appu and Gappu, sons of a jewelry store owner who feel unappreciated by their dad. They plan to rob the jewelry store at the same time Satya is trying to rob the same store. The brothers are irritating and repetitive, subtracting more than they add to the story.
Director Bhatia’s first feature film shows some promise, but he missed a crucial lesson from his source material: less is more.
Chandigarh Kare Aashiqui is the first mainstream Bollywood romance to feature a transgender lead character. While the movie represents a huge step forward, it opens up a wider conversation about representation and who gets to tell trans stories.
Manu (Ayushmann Khurrana) runs a gym in Chandigarh that struggles for business. He hopes that winning the local strongman competition in a few months will raise his gym’s profile, but his chances of beating the reigning champ are slim.
Then Maanvi (Vaani Kapoor) arrives. New in town, Maanvi shows up at the gym to start a new Zumba program — one of Manu’s schemes to keep the gym afloat while he trains for the competition. Maanvi is gorgeous and energetic, and soon her Zumba students outnumber the bodybuilders.
On top of being popular, Maanvi is kind and generous. She helps Manu when he breaks his nose, getting him safely home and impressing his family in the process. The two spend time together, sparks fly, and love blooms.
Yet Maanvi is cautious. She’s been hurt before, so it’s only when Manu proposes marriage that she tells him an important secret: she’s transgender. Confirming her worst fears, Manu reacts terribly, spewing hateful slurs and vowing to ruin her life.
Chandigarh Kare Aashiqui is aimed at a broad audience — many of whom may not have given much thought to what it means to be transgender and the challenges that come with that — so the plot hinges on Manu’s emotional process as he comes to understand what Maanvi’s confession means for both of them. He educates himself about what it means to be transgender, educating the audience in the process.
Given the power imbalance that favors male stars in Bollywood, many romantic comedies treat their female leads as little more than accessories to the male lead. Not so with Maanvi. She has a full backstory that’s conveyed through her current relationships and also via smaller details, like the cutting scars on her arms or the nervous way she fidgets with the strap on her purse during a conversation that could turn awkward. The film tells us who Maanvi was by showing us who she is, without relying on flashbacks. Maanvi is a prime example of how to write a female lead character with as much depth as the man she’s romancing.
Two main points of criticism can be leveled at Chandigarh Kare Aashiqui that have nothing to do with how watchable or competently-made the movie is (it is both): the actor playing Maanvi is not a transgender woman, and no one on the writing team — including director Abhishek Kapoor — is trans. To the second point, the idea for the film’s story came from writer Simran Sahni, who is a mother to two trans daughters. Director Kapoor has stated in interviews that he and his co-writers consulted with trans people and organizations while writing the film.
Not casting a trans woman to play Maanvi is a missed opportunity. That’s taking nothing away from Vaani Kapoor’s performance, which is the best of her career. But casting a transgender woman would have elevated the movie from being a “conversation starter” to an example of turning a good intention into action. Director Kapoor claims that the film needed an established star like Vaani to draw the audience’s attention, but how can trans actors become stars if directors and producers won’t cast them?
Abhishek Kapoor told Filmfare: “This is not the last movie, this is the first movie of its kind that has been made and the kind of response and the kind of houses that this story has penetrated because of the kind of casting we’ve done . . . there is an understanding of the trans community and from hereon when you cast trans people for roles, I think it has opened doors, it has started conversations.” He’s right that this is the first movie of its kind. And maybe it was the studio or producers who insisted on a cisgender woman playing Maanvi. Still, hoping that someone else will see the success of Chandigarh Kare Aashiqui and take the next step is by no means a sure thing.
As much as I enjoyed the film, I recognize that as a cisgender woman I may have missed important context or other elements that could be problematic. I’ve linked below to a couple of articles about the film written by trans women that I found helpful, as well as interviews with Abhishek Kapoor about his casting choices. I’ve also linked to a great video essay about intention in storytelling that, while about a different specific subject (Asian-inspired movies by non-Asians), still seems relevant to Chandigarh Kare Aashiqui.