With an increased amount of traffic to my website in the last couple of weeks, I thought I should give a quick explainer of how Access Bollywood operates for anyone new to the site. First of all, welcome newcomers! I update my lists of Indian movies on Netflix and Indian movies on Amazon Prime every day with new additions to the catalogs and info on upcoming releases and expiration dates, when available. I used to take weekends off, but I’m switching to a 7-day-a-week schedule for the foreseeable future. We need something to keep our spirits up these days, and if I can help alert folks to new movies to watch, I’m gonna do it.
The “Newly Added” section at the top of my Netflix page has all of the Indian movies and series that have been added in the last month, plus international projects that feature prominent Indian actors, like Netflix’s April release Extraction, starring Randeep Hooda and Manoj Bajpayee. Because Amazon Prime adds so many more titles than Netflix every month (75 in the last week alone), all of the new additions from the last seven days are at the top of the “Newly Added” section of my Prime page. Below that are all the 2020 releases added in the last month.
In happy news, Eros Now is offering two free months of streaming if you sign up using the code STAYSAFE. I haven’t used Eros Now in a while, but their catalog is massive, with content across multiple languages as well as original films and series. The only sort option is “Most Popular” — though you can winnow results down by “Language” and “Decade” — so it can be hard to find what you’re looking for. Here are some of my favorite films in the Eros Now catalog (the title links to the movie’s Eros Now page, the star-ranking to my review). Stay safe! — Kathy
Force is a damned fun movie, successfully integrating Bollywood’s signature “everything under the sun” approach to storytelling into an exciting action film.
Force opens with a man we later learn is named Yash (John Abraham) being thrown out of a window and over a cliff’s edge. He scales the cliff, only to collapse — body riddled with bullets — at the top. Taken by his friends to a hospital, his consciousness wavers as a surgeon begins to operate. Yash remembers… a montage?
Specifically, it’s a song montage featuring a beautiful woman named Maya (Genelia D’Souza). The song’s lyrics list the qualities any Bollywood heroine must possess: “The looks and complexion, the gait and attitude.” Maya certainly fits the bill.
The flashback takes us through Yash’s unconventional meet-cute with Maya, scaring her as he beats up drug dealers by throwing a motorcycle at them. Maya assumes — as do we — that tattooed, beefed-up Yash is a thug himself. A series of misunderstandings reveal Yash to be an undercover narcotics officer.
Acting on tips from an informant, Yash assembles a team of officers to help him obliterate the local drug trade: the veteran, Atul (Mohnish Bahl); the rookie, Mahesh (Ameet Gaur); and the loose cannon, Kamlesh (Kamlesh Sawant).
Meanwhile, Yash struggles with his desire to let Maya into his life. Atul’s wife, Swati (Sandhya Mridul), chides him for using Maya’s safety as an excuse to push her away. Swati explains that the wives of police officers know what they are getting into, and that it’s okay for Yash to allow himself to love. Cue the requisite romantic song number featuring Maya in a formal gown atop a sand dune!
However, Yash and his crew don’t realize that their successful operation opened the door for a new gang to take the drug trade in a more violent direction. Aided by his brother, Anna (Mukesh Rishi, best known as Bulla from Gunda), the sadist Vishnu (Vidyut Jammwal) returns from faking his death abroad to make the lives of Yash and his crew into a living hell.
Jammwal’s martial arts background makes him such an asset in action films. His skills enable impressive fight scenes that don’t rely upon wires and stunt doubles. Note how much longer the camera lingers on Jammwal during action sequences as compared to the quick cuts when Abraham fights.
Director Nishikant Kamat does some smart work in Force — aided by cinematographer Ayananka Bose and editor Aarif Sheikh — especially when it comes to storytelling efficiency. For example, when Yash and his crew concoct their plan to take out the gangs, the dialogue is delivered as though it is part of one continuous conversation, yet the camera cuts between the various groups of people involved at different points in the plan’s development. The first shot shows Yash receiving partial instructions from his boss; the second features Yash conveying the next set of instructions to his crew; then back to the boss, and so on. The audience knows that everyone involved is up to speed, without having to hear the same instructions twice.
Most impressive of all is a haunting song sequence that juxtaposes a funeral with violent action. As a mournful hymn builds to a crescendo, the camera cuts between mourners crying next to a pyre and Yash’s crew taking bloody revenge. It’s absolutely riveting, one of my favorite Hindi film song sequences of all time.
Force balances its darker elements with lighter ones, too. D’Souza is bubbly in the very best sense of the word, and her character gives Yash plenty of reasons to smile, bringing out Abraham’s softer side as a result. Swati, Atul, and the other members of the crew are sympathetic and well-developed, fleshing out the world in which Yash lives.
And then there’s that fight scene where Yash’s and Vishnu’s shirts simultaneously rip off for no good reason. Who wouldn’t be charmed by that?