Thank you Angie for alerting me to this! As always, I have Opinions. Oh, and also information, it’s kind of a funny ragbag of products all mixed together.
Okay, gonna start with data analysis. Of the new “Netflix Originals”, 6 were clearly found, planned, paid for, and filmed long before Netflix got involved (for example, A Suitable Boy which is a BBC production start to finish, Netflix just bought the rights once it was done).
6 are blatantly specifically targeted at wealthy westernized female audience and all but one of those seem to have been developed just for Netflix.
5 of them deal with Serious Topics (child suicide bombers, female infanticide, like that)
2 were specifically clearly planned for a theatrical release before COVID, another 4 were possibly planned for theatrical release of some kind at some point.
So, what am I seeing here? First, Netflix continues to take credit for others’ work in an attempt to make us all feel okay about them monopolizing the market. If I say, “Netflix is bad because it is killing broadcast TV”, you say “But that’s okay, they bring us high quality stuff like A Suitable Boy that we wouldn’t get through broadcast TV”, and I say “No, they don’t, TV network money and TV network workers made that show, Netflix is brainwashing us into thinking they do everything in the world when really they just BUY everything in the world.”
Second, Netflix is both targeting a female audience, and a wealthy audience. I also don’t like that! I mean, I like it because I am a rich woman. But I don’t like it because it is leaving behind so many people. First, with the female audience SEPARATE IS NOT EQUAL!!!! Men going to movie theaters and women watching on streaming is not a healthy dynamic, the genders have just gotta mix more than that for a healthy society. And also, theatrical release films get more attention, more money, more everything. It’s not okay to say “women don’t need movies in theaters, they have streaming.” And second, there is this blatant divide between the Netflix created and paid for and produced serieses that are all “oh poor me struggling with the feminine mystique”, and the Netflix purchased low budget films that are all “women are dying in streets and villages by the thousands”. Netflix will pick those films up, so you can feel good for watching them, but they know the real appeal is watching shows about “normal” people “like us”.
And finally, it’s hard to tell how much difference COVID is making in the industry versus what Netflix was already doing to the industry. If you look at both Dolly Kitty Aur Woh Chamakte Sitare and Ginny Weds Sunny, the production houses had previously made similar light fun films for theatrical release, and those films had been forgotten flops. Perhaps they would have tried again for theatrical release with these films, or perhaps they were worn down by the erosion of the female theatrical audience to the point that they were already to try Netflix.
Oh, one other thing! You know all this talk about “the evils of nepotism”? Which sometimes veers into “thank goodness for Netflix where quality rules all”? yeah, NO! Nawazuddin is in a ridiculously large number of these movies, and Anurag Kashyap is attached one way or another to a lot more of them. Again, I am officially pro-nepotism. Nothing wrong with word of mouth recommendations for people you have worked with in the past. But if you are anti-nepotism, you can’t look at this list and say “Netflix is a paragon of virtue”. Not when it is so clear that they are just working within the same small circle of trusted artists, the same way the Bombay film industry does. For instance, a fresh faced outsider new actor Rohit Saraf in Mismatch. He was launched in Dear Zindagi (co-produced by Netflix and exclusively streaming), went on to be in The Sky is Pink (ditto), and his last film before this was Ludo (look at that, just purchased for an exclusive Netflix release).
Ludo
This is and Kargil Girl are the two movies that were definitely intended for theatrical release. A follow up to Life in a Metro, sort of, that has been rumored for years. Like Life in a Metro, it is supposed to be 4 intertwined stories, and it has a really interesting cast, and just in general the DCIB folks were excited about it. It was never going to be a huge huge hit, but it could have done well in its chosen audience with a theatrical release. I guess the makers decided to take the money while they could instead of holding out. Although if the film was big enough to start a promotion campaign, they probably could have held on longer. I’m thinking part of the tipping point was an awareness that the theatrical audience is already so eroded, they couldn’t expect to get THAT much money from a theatrical release anyway.
The producer is T-Series, so far as I can see this is the first time T-Series has resorted to releasing straight to streaming. They have the money, they don’t usually have to do this.
Torbaaz
This looks like a legitimately interesting film, based on child suicide bombers in Afganistan with Sanjay Dutt and Nargis Farkhri starring. First time director/producers, but I suspect it was intended for a theatrical release. Sanjay and Nargis aren’t art film names. I’m sorry it missed out on theatrical release just because it would have started interesting conversations that now won’t be happening. If Sanjay has a press conference to release the trailer of his next film, people will talk about it, and talk about Sanjay as a serious actor, and the issue of child suicide bombing, and all kinds of good things. And now it will be a bit hidden away. Not that I can blame the filmmakers. this is not a big name production house, I am sure they reached the point of just needing the money.
Raat Akeli Hai
This is such a nepotism film, which is part of why I am sure it was always intended for Netflix. Nawazuddin and Radhike starring, and the director/producers have been around the industry for ever and have lots of connections with folks, far more connections than experience (first time writer/director/producers). And (shocker!) it’s a gritty drama about crimes against women in India.
Dolly Kitty Aur Woh Chamakte Sitare
This is yet another Balaji produced strong unconventional woman film. Dirty Picture, Veere Di Wedding, this movie, all the same. Oh, and staring strong unconventional woman too, Konkona Sen Sharma and Bhumi Pednakar. Basically, it looks perfect. It is Balaji’s first direct to Netflix production, I am assuming it was intended for a theatrical release because Balaji has had success in theaters with these kinds of films, and shown a loyalty to releasing this kind of film in theaters. But maybe they decided to do a test run with Netflix, or maybe Netflix gave them a really big offer, since this is EXACTLY the sort of film that Netflix wants right now (urban Indian female problems)
Ginny Weds Sunny
This is a tiny production house that’s last film was Shaadi Main Zaroor Aana, a pleasant well-made rom-com with a solid cast, that was completely ignored by the media and therefore by the theatrical audience. Not only that, it ended up being buried on streaming, so it couldn’t find an audience even there. If this film was originally made for theatrical release, I could see how they could easily be persuaded to take the streaming offer for the good of the movie. I could also see that they would wait to start production on this movie until they had a streaming offer in hand. Oh, and this is another pleasant little rom-com, plus VIKRANT MASSAY!!!!
Bombay Rose
An Anurag Kashyap vouched for film. Also, Cinestaan. It does look unique and brilliant, a hand drawn animation film about a young woman flower seller in Bombay. Anurag did one of the voices so probably gave some kind of moral/practical support to the film. Cinestaan produced, they also made Mirzya and Kaalakandi, an interesting combo of visual beautiful slightly odd movies. If you remember Kaalakandi was also the movie that Saif had to throw a tantrum about to guarantee a theatrical release before Netflix, and that release was this half-hearted “whatever, let’s just shut up Saif” kind of thing. So, producers who are a lot more interested in the simplicity of a straight to Netflix one time sale than the complications of theatrical.
Class of ’83
This is kind of an odd duck in the announcement. The only film that really truly 100% for sure is a Netflix Original. Red Chillies developed it for and with Netflix, it was always intended to be straight to streaming, and it has a modest good enough kind of plot and ambition that is a good streaming fit. Bobby Deol has work, we get a solid film about the police training academy, and we don’t lose out on what could have been a theatrical release based on cast and subject matter and so on.
Gunjan Saxena: The Kargil Girl
The other film that was DEFINITELY intended for theatrical release. Like t-series, Dharma has the deep pockets to just sit on this film until they could release it. Well, usually. They had already started a big promotion campaign, which takes money, and it required battle reinactments which usually take money too. So maybe the budget was just so high they had to get some money back. Or maybe they were eager to get the film in front of the public while the PR campaign was still fresh. Or, maybe, they just got a very very good offer. Flipside, maybe it was built into the larger Dharma offer and in order to get maximum money for their hot properties like KKHH, they had to throw in this film.
Tribhanga – Tedhi Medhi Crazy
This is a really interesting one! This is how Netflix is interacting with the non-Hindi industries, kind of sideways. It was developed to be a small Marathi mother-daughter comedy film. Then Kajol came on as the star, and Ajay therefore as the producer. The profile of the film went too high for a Marathi film, while too low for a theatrical Hindi release still. And so, the sweet spot, a straight to Netflix release.
Punjab Kaali Khuhi
Okay, this is the movie I don’t mind Netflix buying. Classic Shabana kind of movie, serious social topic (female infanticide), female director, art festival release. Pre-Netflix, this would have made the rounds of festivals for a few years, maybe had a TV broadcast at some point, and then landed on a shelf in your local library on VHS or DVD and nowhere else. Pre-VHS and DVD, there would have been a film reel somewhere in some university libraries that you could watch on demand, and it might have shown up in some specialized festivals over the years. But now, Netflix! It’s still in the festivals and probably your local library, but it has this other bonus not-replacement-but-addition release option. I’m still not gonna watch it, of course, but nice to know I could watch it if I ever decided to be really really depressed.
Serious Men
I can’t find confirmation, but I suspect this is another one developed with Netflix from the start. It’s based on a popular black comic novel about a Dalit underpaid assistant to a scientist who decides to scam folks by pretending his 10 year old son is a math genius. Sounds clever and dark and a little bit angry at the caste system that forces someone into this kind of scam behavior just to get ahead. Sudhir Mishra directing, he’s been around since Jaane Bhi Do Yaaro, never really has hits, just interesting critically acclaimed films. His last few theatrical releases have been increasingly commercial and critical failures (I suspect partly because of producer interference that made him go towards commercial topics that didn’t fit his style), so it’s time for him to turn to Netflix. Oh and Nawazuddin staring, of course.
AK vs AK
Probably also developed straight for Netflix, just because it is a Vikramaditya Motwane directed film and they are TIGHT. It also stars Anurag Kashyap (not producer or director, actor), so there’s another connection. Just to put the topping on the cake, Anil Kapoor is in it too. So yes, I would prefer that it had a theatrical release so more people could see it, but I will reluctantly watch it because I love Anil and I love Motwane.
Series
Mismatched
This is a series based on When Dimple Met Rishi. I have to admit, unlike almost all y’all, I have not read When Dimple Met Rishi. But I just spoiled myself on it and it does look like a good bet for a TV series. Two young people meet, fight, fall in love at a summer computer training camp. The secret is, their parents set them up and Rishi knows it but Dimple doesn’t. Forget the Hindi part of it, isn’t it interesting that Netflix is making a series based on a single YA novel? If it’s a hit, will they take the story forward somehow, or will they just make more one and done YA series? And why decide on the series format for this one, versus the movie format for For All the Boys I’ve Loved Before? Or is it because FATBILB is turning into a three film series and they decided 6 hours is the better length for this kind of story? Oh, and it stars a youtube star, and Alia’s little brother from Dear Zindagi. I can’t find anything on who is directing or producing or writing. Most likely it is an entirely western production.
A Suitable Boy
Mira Nair directing Tabu, that’s the selling point right there. It’s a BBC series, as we all know they are quite experienced with the limited series book adaptation format. It’s more and more common for the BBC to make the series, then sell the streaming rights for simultaneous release in all but a few markets. We Americans are very familiar with the agony of the rest of the world watching a hot BBC property while we sit and twiddle our thumbs for months waiting to get it. Anyway, it looks all BBC-y, gorgeous and well-acted and blah blah blah.
Masaba Masaba
This one looks FASCINATING! In so many ways. First, it’s billed as a show about Masaba playing herself? And Neena Gupta (her Mom) also playing herself? But it’s not supposed to be a reality show exactly? I want to know more about this “real story but not a reality show” kind of genre. Oh, and if it is based on “reality”, that means it will dig into fashion with Masaba’s successful fashion line, and race with her mixed heritage, and social judgement with her “scandalous” illegitimate status.
Bombay Begums
All I can find out about this show is an amazing cast, Pooja Bhatt to Rahul Bose. And the title, which obviously says “this will be about rich society women of Bombay”. I am nervous about quality, the same kind of genre already gave us Made in Heaven (very very good), Four More Shots Please (not good), and Mentalhood (good). The cast is good, but I need to know the creative team behind it to know if they are there because they appreciate the script, or because Netflix is throwing money at them.
Bhaag Beanie Bhaag
This is Swara’s second streaming series, and it’s so interesting how they change the topic based on the audience! In India, Prime is cheap cheap cheap. So Swara’s Prime series is kind of silly, about average urban folks in an average urban neighborhood, she is the sexy teacher who comes into their life and changes things. Netflix in India is comparatively expensive, so here is a series about an educated career woman and balancing work and family and Modern Life and so on.
dontcallitbollywood 
I read that 7 movies from the list were supposed to be released in cinemas :
Gunjan Saxena
Ludo
Dolly Kitty..(I remember seeing the poster many many months ago)
Torbaaz
Bombay Rose
Raat Akeli Hai
Ginny Weds Sunny (I had a feeling this movie isn’t Netflix original because I liked it a lot from the first photos I saw. I usually don’t like Netflix films because they are always or about raped women or about rich urban women going to clubs and stuff or some super boring stories nobody cares like the last one they added about a guy who has a little shop)
Netflix Originals
Tribhanga
AK vs AK (I’m not watching this one for sure)
Bobby Deol film
Serious man
Kaali Khuhi
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Raat Akeli hai is the one that surprises me on that list, and Bombay Rose is the one I don’t quite believe. Raat Akeli Hai just feels like such a Netflix movie! Nawazuddin and Radhike, crime and violence against women, takes place in rainy overcast weather, classic Netflix. Bombay Rose I can believe they wanted a theatrical release, but it sounds so brilliant and beautiful and strange that I don’t know if that was ever going to happen.
On Thu, Jul 16, 2020 at 5:02 PM dontcallitbollywood wrote:
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I’m not sure I understand some of your analysis. Are you being sarcastic when you associate nepotism with people like Nawaz, Anurag, Radhika and Rohit Saraf (who I’ve never heard of)? These are people who have been on the fringes of the mainstream for years, have worked their way up and are now getting avenues for their talent. Why would anyone oppose them getting multiple projects, as they have proven themselves over time? In fact this is how it should be. Is this equivalent to industry kids getting lead roles for years on end despite audience rejecting them? This is what the ‘anti-nepotism’ crowd are against, at least the sane ones amidst all the filth.
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I’m not, I’m actually challenging people to think a little more deeply about the issue. All of those folks consistently get jobs thanks to being part of a small known group of artists. If you feel that is different from industry kids getting lead roles, then tell me why that is. What makes Anurag Kashyap personally recommending someone he thinks is talented for a Netflix deal different from Karan personally recommending someone he thinks is talented for a role in a movie? Both circles have a central connected group that are used again and again, and a larger circle that is varied and open. Which is pretty common for this kind of industry, where word of mouth recommendations are paramount.
Nawaz and Anurag were on the fringes and worked their way up. They finally arrived thanks to Karan Johar who noticed their talent and sponsored them. Radhika had a false start to her career, but then returned and as soon as Badla came out, was set. Rohit Saraf has taken off pretty fast, largely in Netflix films. Again, I don’t have a problem with any of this, but it is clear that what makes their career go is personal recommendations and building a resume, just like in most industries.
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Those folks are only now getting work regularly after struggling to get work for years, unlike insiders who straight away get multiple mainstream lead roles not commensurate with their talent. There’s no working their way up from side character roles, is there? And it’s just a coincidence that the majority of people recommended by Karan happen to be insiders? And not to forget the power dynamics of Karan being one of the most powerful people in the industry. When someone in his position recommends someone, there can be consequences for not obliging. While Kashyap may be important, he has nowhere close to that kind of power and in fact struggles to get proper distribution for his own films. All this just skews things so much in favor of people already privileged. Which is a universal truth not specific to film industry. But I’m just surprised you don’t think that outsiders have struggles which insiders never even have to consider!
Which film of Nawaz is associated with Karan? AFAIK Karan and Kashyap have co-produced things, has he sponsored any of the latter’s directorial ventures?
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Yeah, this is something I’ve wondered. Can it really be a ‘casual’ recommendation when coming from Karan, or are there unspoken pressures?
I don’t see why one has to be for or against nepotism. As I understand it, neither extreme is sustainable for the industry. People should be able to come in and people should be able to recommend their trusted co-workers.
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Yes, I like your version. Let new people come in, let established people be recommended by word of mouth, both are healthy. I’m very happy to see Motwane working with Anil Kapoor for the first time, I think it’s exciting that they are both reaching outside of their comfort zone like that. That’s important too, these little circles of familiar collaborators occasionally opening up to try someone from a different circle.
On Thu, Jul 16, 2020 at 11:42 PM dontcallitbollywood wrote:
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You are right about Karan being powerful so his recommendation carries more weight, that’s one of the best things about Anurag, he has so little power and he expends it as much on promoting other talent as on his own.
Karan promoted and distributed the Lunchbox, which was the film and role that finally brought Nawaz to general attention in the industry. He didn’t do it to promote Nawaz, but he respected the film as a film and put his full force behind it which had the result of making Nawaz suddenly a bigger deal.
Karan was the one who had the idea for Bombay Talkies, Lust Stories, and Ghost Stories, the 4 short films from different directors movies. Anurag himself talks about how supportive Karan is of him, both in a business sense and a personal sense. It’s not just a money relationship. Karan also acted in Anurag’s Bombay Velvet, the only time he’s acted onscreen. And because of that, he got to know Vicky Kaushal who he went on to sponsor and bring to wider attention. The Anurag versus Karan dynamic, one being encouraging of raw talent and outsiders and the other keeping people out, is something that fans have created but the two people actually involved are partners.
There is an outsider/insider divide, but the way “nepotism” is defined does not seem to be addressing that. Is “insider” just someone who has friends within the industry that recommend them for roles? In which case, all the people I call out as regular players in Netflix films would qualify. Is “insider” someone born into the industry? In that case, half the folks accused of “nepotism” don’t qualify.
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“This is such a nepotism film, which is part of why I am sure it was always intended for Netflix. Nawazuddin and Radhike starring”, this just makes me do a double take & then LOL
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And then why do you laugh? Nawazuddin and Radhike consistently are cast in films from certain director/producers, and it is clear that the Netflix higher ups like them and will buy movies that have their names in them. Nawazuddin had years looking for parts, but Radhike had one brief failed attempt at a career and then pretty much strolled into movie after movie after movie once Netflix decided to sponsor her. Putting the two of them together in a film is a good way to guarantee a Netflix purchase.
The World has decided to call them out as the “good” alternative to nepotism, but in fact within their area, they have benefited as much as any of the mainstream players in recent years, far more so in the Netflix world where they are probably better known than anyone, and are certainly given roles others could do better just because they are familiar.
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Strangely, I was most excited for AK vs AK as I thought it’s a talkshow like KwK with the two AKs hosting! Maybe it’s the couch and Anil’s expression. Now I’m disappointed to learn it’s not.
I think I’m interested in Ludo, Dolly Kitty, Ginny Sunny, Kargil Girl. Which ones are you looking forward to? And except the last three, which other ones are targeted at western females? It’s sneaky to label all of them as Netflix Originals! I wonder if it bothers the makers, do they give away all control when they sell and Netflix can market them as they please?
I just can’t help asking whenever I see anything about Class of ’83, why Bobby? He seems nice enough but I just find him bland!
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I have no idea what the AK movie is going to be, I can’t even find a clear description anywhere. But then, it’s Motwane, it is always going to be weird and original and impossible to describe, so the lack of a description really means nothing.
I’m looking forward to Ludo, Bombay Begums, Bhaag Beanie Bhaag, Ak vs Ak, Tribhanga, and Dolly Kitty. Mostly based on casts, now that I look at them. They are the movies that gave interesting semi-big name performers different kind of roles.
For my 6 transparently urban female aimed, Tribhanga and Dolly Kitty plus the last 3, and then I can’t remember if I was also thinking of Sunny-Ginny or Mismatched, but it works for either one.
Bobby is the one who makes the most sense to me! He’s a good actor, he works hard, he is slightly well-known, he is the perfect lead for a Netflix film. It’s all these others that feel strange to me, too big and too famous to be on the small screen.
On Thu, Jul 16, 2020 at 6:40 PM dontcallitbollywood wrote:
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Bobby has never stood out in anything for me, so I remain skeptical. But I remember actively hating him in Dostana, completely miscast IMO.
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lol Bobby makes that movie for me. I get it though, he has a weird quiet kind of charm, I had to get used to it.
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Agree! It just made no sense to have him in Dostana as the “cool smooth hot” one when John was so much hotter and Abhishek so much smoother.
On Thu, Jul 16, 2020 at 11:27 PM dontcallitbollywood wrote:
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AK vs AK is supposed to be about a director (Anurag) who kidnaps famous actor’s daughter to film his desperation and make a movie.
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Huh. That could be really bad or really interesting. It’s Motwane, so I will have faith that it will be interesting.
On Fri, Jul 17, 2020 at 12:57 AM dontcallitbollywood wrote:
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Sonam, Harsh, and Rhea are also part of AK vs. AK. Sonam plays the daughter who gets kidnapped.
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Oh, that’s really nice! I wonder if Anil and Anurag are going to be playing characters similar to themselves, or actually themselves? It would be kind of cool if they were for real playing themselves.
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When Dimple Met Rishi is not exactly one novel. There is a spin-off book about Rishi’s brother. And there is a spin-off to the spin-off about Rishi’s brother’s friend. So the leads of the series change with each book, but they are set in the same universe. However, I am not looking forward to them. What made the book special for me was it’s Indian-American perspective. It was more than a cute love story. The novel had a very interesting discussion about culture. If the leads are Indian, this will be gone.
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I’m honestly not sure if the leads are Indian or not. I can’t tell for sure about the actors, let alone the characters.
But it is interesting, from what you say, that it is being promoted on “Netflix India” right now as part of their group, not regular Netflix. They’ve had such big hits with rom-coms in all markets, and this one seems like a great story to be big in the West, why promote it as part of the “Indian” group instead of as part of the Babysitter’s Club/The Kissing Booth/etc. group? I know the book has been really successful in all markets already, I know loads of non-desis who’ve read it.
On Thu, Jul 16, 2020 at 8:26 PM dontcallitbollywood wrote:
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I could totally see then 3 seasons already lined up, one for each book. The more general “mismatched” title would make more sense so people wouldn’t get confused when a second season of “When Dimple Met Rishi” isn’t actually about Dimple or Rishi. I’ve never read any of the books, but I really want to, and I’m in the same boat as you that potentially setting it in India and casting Indians instead of Indian Americans is kind of concerning.
On an unrelated note, that’s what make the Netflix series Never Have I Ever work so well for me. The main character is Indian, and the fact that she’s Indian adds some really fun layers to the story, but it’s first and foremost an American teenager experience.
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Oh good point about the title! I was wondering why they changed it, your theory makes perfect sense.
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The “nepotist” Raat Akeli Hai has more seasoned actors than the lead of the a”Dharma” promoted Gunjan Saxena:The Kargil Girl whom I saw in just one movie and she wasn’t half as charismatic as the heroine in Sairaat despite the fact that I watched Sairaat with subtitles.Netflix isn’t about quality,above paragraph itself mentions movies both bolstering as well as debunking this statement,not necessarily in the order of mention.
Thank goodness Ishaan is trying to learn and get experience with seasoned actors instead of starring in an inconsequential ready made role where he could only get to be a star because of the “generosity and friendliness” of certain magnanimous entities and then fade out in face of real talent.Hope that A Suitable Boy does well and gives him a boost of career that he deserves if he works consistently.Apparently Radhika and Nawaz are popular only due to connections but in my unpopular(emphasis on “unpopular”) opinion they have experience.
Apparently someone speaking up for an animated film especially in a country where people are quick to denounce animation as just kid’s cartoons,is favouritism.Although the animation in Bombay Rose isn’t perfect(the movements are not very fluid but the budget and efforts required for creating hand drawn animation of the pre-Pixar era,like the Golden and Silver age of Disney is not a profitable choice),it seems evocative of the impressionism inspired Mumbai graffitis.Hope it is received well,though the movie is certainly very edgy and I feel it was certainly made for Netflix.The edgy animation and theme seem more Netflix like than mainstream.
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Gunjan Saxena is an interesting film, I just looked at the cast. I agree that Jhanvi seems an odd pick for the lead, but it did have to be a fresh young actress just for the role. Practical experience would always be unlikely for that part although someone just a few years older with more stage and academic experience might have been better. However, she is surrounded by a cast of struggling outsiders with years of experience. Angad Bedi, Pankaj Tripathi, Manaj Vi, and Vineet Kumar Singh. Raat Akeli Hai is from a first time director with two leads who are familiar to the audience from similar kinds of films. We haven’t seen either movie so we can’t speak to their respective quality, but Gunjan definitely got a more polished promotion campaign from the start, as you would expect from an established studio like Dharma.
I think Radhike and Nawazuddin are both talented, but I also think they are perhaps given slightly more credit than they deserve. I have seen both of them give tired performances that felt like rehashing what they have done before instead of something new. And I have seen both of them tend to stay within a safe comfortable space in their work instead of branching out.
Speaking up for an animated film isn’t favouritism, but perhaps Netflix choosing to listen to that person who is speaking is favouritism. Bombay Rose does look lovely and I am glad it is getting attention, and I am glad Anurag is using his voice in this way. But we should maybe think about why we see this pattern (Anurag finding an unusual film and recommending it to Netflix) and see it as good, but see other producers recommending artists and say it is bad.
On Fri, Jul 17, 2020 at 12:00 AM dontcallitbollywood wrote:
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Why do you say “but I will reluctantly watch it because I love Anil and I love Motwane.”? Do you not enjoy watching things that directly go to streaming?
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It’s more that I don’t want to support the idea that high quality films should be tracked towards streaming instead of theatrical release. I think the theater audience is just as capable of appreciating a thought provoking film as the streaming audience.
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Many thanks for this breakdown. I’ll probably watch all of them except the YA romcom, which is just not my genre. Particularly looking forward to Dolly Kitty because I’ll watch Konkona and Bhumi do pretty much anything, and also the thing with Kajol and Mithila because ditto, and Bombay Begums because even if it didn’t have my spiritual boyfriend Rahul I would just watch it for the title. I hope Rahul’s career takes off and he’s known for something besides getting overcharged for bananas.
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I’m really excited for the Dolly-Kitty thing! It sounds like it is going to be a female friendship movie, and we never get those. Bombay Begums, I’m nervous that the show won’t live up to the cast, but Pooja Bhatt choosing to be in it gives me hope, she can afford to be picky about scripts. Plus, of course, Rahul.
On Fri, Jul 17, 2020 at 2:53 AM dontcallitbollywood wrote:
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Haha, I’d forgotten about the ‘overcharged bananas’!
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Vikrant Massey! I will watch only for him. Aside from that, Dolly Kitty and A suitable boy. Dolly Kitty I actually really wanted to see in theatres but it wasn’t getting a release here so I am pleased. A Suitable Boy I am hoping will bring the classy Merchant Ivory vibe I am forever hoping for from all my highbrow entertainment. Jim Sarbh is not in any of these movies, what HAS he been doing for the past year?
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I might also go for Bhaag Beanie Bhaag, because I love “strange woman comes to town and makes it over” stories. But it depends on how they do the story.
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I will volunteer to sample Bhaag Beanie Bhaag and report back to all of you.
On Fri, Jul 17, 2020 at 4:20 AM dontcallitbollywood wrote:
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Thank you!
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Maybe the next season of Made in Heaven is a psychological drama in which Jim Sarbh acts out all the parts as part of his therapy sessions in a rehab retreat, and therefore he has been desperately filming it for the past year?
On Fri, Jul 17, 2020 at 4:17 AM dontcallitbollywood wrote:
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I would watch that so hard. I think he’s been doing a lot of non acting stuff and theatre, mostly, but maybe I will ask him.
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When you ask him, also tell him my idea for a one person season 2 of Made in Heaven, see what he says. Maybe as an alternative special feature?
On Fri, Jul 17, 2020 at 11:02 AM dontcallitbollywood wrote:
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It’s basically that music video he did, he’d love it.
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Excoted for Ak vs Ak.
Vikramaditya makes some some good off bewt films lootera, udaan , bhavesh joshi , trapped.he has a dedicated following among the youth.
A director (played by Anurag Kashyap) who kidnaps the daughter of a popular movie star (played by Anil Kapoor) and films the actor’s desperate search for his daughter in real-time to present it as his next blockbuster.
Besides this excited about a suitable boy , heard a lot about it.
And dolly kitty as I simply love koko and adore her.rest look meh.
And finally kargil girl.biggest of the lot, and also has the most riding on it.
It is a dharma film containing janvi kapoor
.people are still angry about sushant and cancel karan johar , but at the same time , it’s about a kargil hero.
It would be interesting to see audience reaction
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What I find interesting in both your arguments at the end is that neither of them relate to actually wanting to see the film. People won’t watch it because they see Karan Johar as a villain. Or they will watch it because it is a patriotic thing to do. But what if they just want to see the movie because they enjoy the experience of watching movies? Is that not a consideration any more? I think no, based on the way filmmakers keep hitting the patriotism and “social good” button. It’s a lot easier to get the internet on your side by spinning your film as patriotic than by actually making a good movie. And it’s a lot easier to get people against a film by convincing them it is unpatriotic or otherwise “bad” than by convincing them it is just a poorly made film.
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Sadly that’s the true.
That’s y they r trying to resurrect sid malhotras career by a film on vikram batra India’s top army hero , as the name would be enough to bring audience to the theatres.
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A Suitable Boy won’t be available on Netflix for American or British audiences.
Am I the only one who is not interested in most of these? They really wouldn’t make me get a Netflix subscription or hold on to one. The Indian content Netflix puts out really isn’t very good compared to Amazon and Hotstar. I’ll watch them because they’re there but it’s not like any of these projects look exciting.
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I think Netflix is very targeted in their audience. I think that’s true in general, but it’s really noticable with this list. These vary a lot in quality, but not so much in content. I think Amazon and Hotstar are less picky in what they pick up, so they end up with more of a scattershot approach, Netflix seems to know exactly the audience it wants and aim it’s products to that audience.
So, yes! I think there are probably lots and lots of people like you! I am interested in about half of them, but then I fall in the very small targeted audience they want (working female professional between the ages of 35 and 50). For anyone who doesn’t fit that description, I can’t imagine this list will be a huge thrill.
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I’ve casually had my eye on Gunjan Saxena and Dolly Kitty since they were announced. Probably wouldn’t have trekked to the theater for them, but since they’re on Netflix, I might check them out. Also many Ginny Weds Sunny. Seems sweet. And I already went on about Mismatched in response to someone else. Still might watch it anyway, not sure.
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Ginny Weds Sunny and Serious Man have release dates.
GWS – 9 October
Serious Man – 2 October.
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Just watched Dolly Kitty which was de-press-ING! And has made me leary of all the others.
On Sun, Sep 20, 2020 at 1:50 PM dontcallitbollywood wrote:
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Yes, but we knew Dolly Kitty will be depressing.
Ginny weds Sunny looks fun and light, and it has colourful wedding song. I can’t wait 🙂
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I didn’t! I had hopes for an empowering sisterhood tale!
On Sun, Sep 20, 2020 at 3:16 PM dontcallitbollywood wrote:
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I felt it won’t be for me, and had my suspicion confirmed when I saw the trailer.
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Ah, see, I didn’t see the trailer, that was my problem. Just the kind of cheeky dark humor poster.
On Sun, Sep 20, 2020 at 3:35 PM dontcallitbollywood wrote:
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