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.
Amazon Prime Video India held a big press event today to announce the slate of original and licensed Indian content they plan to release over the next two years. The company’s YouTube channel published a short video with footage from some of the featured titles:
The presentation also included mention of three “special collaborations” and co-productions, which will presumably get theatrical releases before streaming on Prime. Those are Tiku Weds Shiru (starring Nawazuddin Siddiqui and Avneet Kaur), Neeyat (Vidya Balan), and Ram Setu (Akshay Kumar).
On top of all that, Amazon went ahead and announced all of the titles that fall under their licensing associations with production houses Ajay Devgn Ffilms, Dharma Productions, Excel Entertainment, and Yash Raj Films for their forthcoming theatrical releases. Here are all the Hindi movies that will make their way onto Prime after their theatrical runs are over (by order of theatrical release date if known, then alphabetical):
Govinda Naam Mera
Jug Jugg Jeeyo
Rocky Aur Rani Ki Prem Kahani
Jee Le Zara
Kho Gaye Hain Hum Kahan
[Disclaimer: my Amazon links include an affiliate tag, and I may earn a commission on purchases made via those links. Thanks for helping to support this website!]
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.
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.
A hit-and-run accident upends the lives of a popular broadcaster and her cook in the drama Jalsa. Strong performances are the saving grace of a film that feels incomplete.
Jalsa opens with a shocking crime. A teenage girl is with a boy on a deserted railway overpass late at night. They fight and she runs away, straight into the path of an oncoming car. The driver and the boy flee, neither knowing if the girl is alive or dead.
Then the story rewinds to earlier in the day, before the accident. Flash-forward opens aren’t generally my favorite plot device, but this one effectively builds tension in Jalsa, because the story catches back up to the crash in about 20 minutes.
During that intervening time, the audience is introduced to Maya Menon (Vidya Balan), a TV journalist known for her tough — and maybe a little self-righteous — interviews of powerful people. Her long hours keep her away from her 10-year-old son Ayush (Surya Kasibhatla), who has cerebral palsy. Ayush is looked after by Maya’s mom (Rohini Hattangadi) and Ruksana (Shefali Shah), the family cook, whose long hours keep her away from her own family.
Since the audience and several of the characters quickly learn the identity of the hit-and-run driver, Jalsa isn’t a true mystery but more of an examination of the consequences of the crime. A subplot with a pair of cops trying to stall the investigation serves as a bit of a red herring, but it doesn’t feel organically integrated into the plot. Likewise, the speed with which a newly hired junior reporter at Maya’s station — who has only just moved to the city and knows no one — uncovers evidence of the police coverup is unconvincing.
Class plays a strong role in the narrative, as Maya and Ruksana face the challenges of parenting with dramatically different resources at their disposal. As someone from outside India and the diaspora (and as someone who’s not rich), I felt like I was missing context about the relationships between wealthy employers and members of their household staff. Without knowing what the expected level of intimacy between the employers and employees should be, I had trouble deciphering when people were acting abnormally or what should be read into certain interactions. Whether that’s my own lack of context or a fault of the writing, I can’t say.
It is worth noting that in my review of Jalsa director Suresh Triveni’s 2017 debut, Tumhari Sulu, I also felt like the movie wasn’t clear about the characters’ feelings or how the audience was supposed to feel about them. Maybe this is just an aspect of Triveni’s storytelling style that I don’t connect with. I also suggested in my Tumhari Sulu review that he bring on a co-writer for his next film, and he did: Prajwal Chandrashekar. Perhaps that’s why I found Jalsa slightly more successful.
Despite Triveni’s storytelling faults, Balan and Shah are such gifted actors that it’s hard not to be invested in their characters. Both women experience pain, anxiety, and anger, and the performances by Balan and Shah are right on point. Manav Kaul — who played Balan’s husband in Tumhari Sulu — has a nice cameo as Maya’s ex-husband/Ayush’s dad.
Another quality performance comes from Surya Kasibhatla as Maya’s son Ayush. Casting a boy who actually has cerebral palsy makes the role that much more impactful. We can understand why the adults around Ayush feel so protective of him, but also why he’s more independent than they think he is. Kasibhatla plays Ayush with just the right amount of cheek for a kid who’s trying to assert more control over his life but who still loves his family. Casting Kasibhatla was a great choice, and I hope to see him in other films in the future.
Gehraiyaan is writer-director Shakun Batra’s third film, after his brilliant sophomore effort, Kapoor & Sons. Unfortunately, Gehraiyaan repeats some of the same missteps from Batra’s enjoyable but frustrating debut — Ek Main Aur Ekk Tu — including problems with pacing and a muddled thematic conclusion.
Deepika Padukone stars as Alisha, a woman plagued by fears of succumbing to the same fate as her mother, who died by suicide when Alisha was a little girl. Now an adult, Alisha is dating her childhood best friend Karan (Dhairya Karwa), working overtime as a yoga instructor to support his floundering dreams of being a novelist. She feels stuck — a sentiment her mother expressed before her death.
Then Alisha’s cousin Tia (Ananya Panday) re-enters the picture. Tia is rich, the sole beneficiary of her dad’s real estate empire, which he once shared with Alisha’s father. The parents split on bad terms shortly before Alisha’s mother’s death, separating the cousins and sending their financial fortunes in opposite directions. Now Tia is living the high life with her handsome fiance Zain (Siddhant Chaturvedi), her father’s former protege who aspires to be a big-time developer himself.
On the night they first meet, Zain flirts with Alisha. That should be a red flag to Alisha, but she’s desperate for a change. When opportunity presents itself, she and Zain begin an affair. This exacerbates tensions in her relationship with Karan, leading them to break up. Zain promises to end things with Tia in six months, after he returns an investment she made in his company. Then, he promises, he and Alisha can be together.
Alisha and Zain make a sexy pair, and the thrill of their relationship is apparent. There’s always the danger of what would happen if Tia found out — especially since Tia repeatedly hints in conversations with her mother that there’s something important that Alisha doesn’t know.
About halfway through Gehraiyaan, the relationship drama takes a backseat, as the movie pivots to focus for way too long on financial shenanigans at Zain’s company. The details aren’t particularly interesting in and of themselves, and are even less so because they don’t prompt Zain to undergo any character growth. It’s established early on that Zain’s only priority is himself, and the time spent on his subplot feels like it comes at Alisha’s expense. She’s the only character in the film on a personal growth journey.
Part of Alisha’s journey is deciding what kind of relationship to have with her estranged father Vinod (Naseeruddin Shah), whom she blames for her mother’s death. Given their immense talents, it’s little surprise that the scenes between Padukone and Shah are highlights. Panday is also really good in her supporting role, playing Tia as both canny and vulnerable. The film could have used more scenes between her and Padukone as well.
Even when Alisha’s character growth is foregrounded in the plot, the ways the film’s themes are applied to her story feel off. One theme is about moving beyond the past and choosing the direction of one’s life, but it’s hard for Alisha to choose wisely, since every person she knows is hiding something from her. And the theme of moving forward is at odds with a contradictory theme that you can’t really escape the past anyway.
At best, Batra is trying to too hard to avoid a predictable ending. At worst, his theming is just a mess. Either way, the story ends on what feels like a pointless twist. Ek Main Aur Ekk Tu suffered from a similarly disappointing fate. Kapoor & Sons didn’t have that problem, so here’s hoping Batra nails it next time.
Bonus for those of you racing to catch Rocky Handsome before it departs on the 17th: Shah Shahid and I recorded a podcast episode comparing Rocky Handsome to the movie it’s based on, The Man From Nowhere. Spoiler: the girl in Rocky Handsome may have driven me a little crazy. [Update: Rocky Handsome is already gone. Thanks to reader Ryan G for noticing!]
In 2012, Arjun Kapoor and Parineeti Chopra made their lead debuts in the romantic thriller Ishaqzaade. They made an excellent duo, turning in nuanced performances in a story that tackled a number of thorny subjects. Reunited nearly a decade later in Sandeep Aur Pinky Faraar (“Sandeep and Pinky Have Absconded“), Kapoor and Chopra remind us that they might be at their best when they’re together.
Writer-director Dibakar Banerjee’s chilling opening scene sees a car full of rowdy bros gunned down as the opening credits come to an end. Shortly thereafter, we learn that their murder is a case of mistaken identity.
The real target is Sandeep “Sandy” Walia (Parineeti Chopra), a high-ranking executive at Parivartan Bank. She’s dating her boss, Parichay (Dinker Sharma), and is pregnant with his child. As Sandy waits at a restaurant for her boss/boyfriend, a messenger — Satinder “Pinky” Dahiya — arrives with a note from Parichay asking her to accompany Pinky to a different location.
Pinky is trying get his suspension from the police force overturned by doing jobs for a well-connected goon named Tyagi (Jaideep Ahlawat). Pinky assumes he’s been hired to turn Sandy over to some thugs who will scare her (he doesn’t care why). When he realizes Tyagi intended to have him killed along with Sandy in order to cover up her murder, Pinky reluctantly takes Sandy to a border town where they can cross into Nepal.
Pinky’s emotional arc is pretty conventional and self-contained. He needs to shed his tough guy self-image and learn to care about people other than himself. He does so first by realizing the special considerations Sandy has to take to protect her own health for the sake of her unborn child. Pinky’s progress is also helped along by Munna (Rahul Kumar), a young man who looks up to Pinky and needs a shoulder to cry on. Pinky’s compassion toward Munna — however grudgingly it’s given — yields dividends when Tyagi shows up in town.
Sandy’s arc is more complex and ties in with the film’s themes about misogyny, double standards, and capitalism. Sandy’s just as morally flexible as Pinky, if not more so — comfortable with both large scale corruption and simple interpersonal lies — but she’s often pressured to act by external forces. Parichay convinces her that the only way to save the bank is for her to do something illegal, so she acts in a way that saves her company and her relationship with him at the expense of faceless customers she thinks she’ll never meet. When she needs a clean place to stay, Sandy convinces an older couple — known simply as Aunty (Neena Gupta) and Uncle (Raghuvir Yadav) — to rent a room to her and Pinky even though they have no money. It’s an understandable act of deception for an expectant mother worried about her health.
The world as presented in Sandeep Aur Pinky Faraar allows women no margin for error and gives men full discretion over the terms of their existence. Sandy climbs the ranks in her field through hard work but becomes disposable once she asks for something for herself. She makes a mutually beneficial deal with a local bank manager (played by Sukant Goel) who abruptly changes the terms, then resorts to violence when she refuses to comply. Uncle values his pride more than Sandy’s safety.
Aunty tells a story to Sandy and a group of other women about being so angry at Uncle that she packed a bag and left the house. He followed her out and asked where she was going to go. Realizing she had nowhere else she could go, she turned around and went back in the house. Everyone laughs, but the truth of the story is incredibly sad. All of the options for women in Sandeep Aur Pinky Faraar are bad.
The only woman with a chance of making things right is a lawyer named Sejal (Archana Patel), hired by Parichay to track down Sandy. Like Sandy, Sejal is smarter than the men around her, so Parichay withholds information from her about the reasons why Sandy fled and what he plans to do with her when she’s found. Though at first she seems like another pawn working to preserve the power of capitalism and patriarchy, Sejal is Banerjee’s way of introducing hope into the story. Sandy didn’t see Parichay’s true colors in time, but if Sejal can, maybe she can balance the scales of justice a little bit.
Every performance in the movie is spot-on, down to the smallest roles. But boy do Chopra and Kapoor do an amazing job of reminding you just what they are capable of, especially when they’re working with a great director. Banerjee’s story — co-written with Varun Grover — heads in unexpected directions but never feels like it’s being clever for its own sake, and it does so at a pace that is neither too fast nor too slow. Sandeep Aur Pinky Faraar is totally engrossing and dense enough to merit a second viewing.