Here are two films on Netflix that showcase the spectrum of films that populate the streaming channel. One comes from India, unheralded but a delight. The second is heavily promoted, but fails miserably as a retelling of an Austen classic.
RRR (Netflix India) - If you’re looking for the ultimate bromance movie, steeped in India’s colonial history, with superhero elements, and entertaining CGI and action sequences; then this outrageous and entertaining magnum opus has your name written on it. At over three hours running time, you might think it’ll be an ordeal to sit through this film, but be ready to be surprised by how easy it is to take in this colorful, to the point of gaudy, film. All it requires is a strong suspension of disbelief and a readiness to be carried away by the melodrama, humor, and teleserye elements that make up the film. While it can be said that the storytelling is heavy-handed and painting purely in blacks and whites, there still is a roguish charm to the narrative style, and it’s one we’re ready to overlook, as it’s done with such verve.
SS Ramouli directs, and it’s clear he knows exactly what his audience will be looking for. Komaram is a villager on a mission, as one of the young girls of the village has been forcibly abducted by the British. Alluri is working for the colonial police force, and it’s clear from the outset that he’s driven to be promoted, and carve a name for himself in the eyes of the British. For what motive other than personal gain is what it seems to hinted at, but as is the case with stories of this type, there’s more to that than meets the eye. Its history meets folktale and legends, it's a colonial legacy meeting the fire for independence. And while the case may be made that it’s historically inaccurate, one can’t fault the Rise Roar Revolt sentiment that the film is trying to remind audiences about, while still being entertaining.
Persuasion (Netflix) - This is based on one of Jane Austen’s last novels. Persuasion was essentially a story about second chances. Now I’m not some purist who’ll claim Austen shouldn’t be updated or played with. Beyond Ang Lee’s Sense & Sensibility, I really enjoyed the Emma of 2020 that starred Anya Taylor-Joy, and loved when the same Emma was turned into a teen comedy as Clueless. But I feel there should be some strong connection to the source material if you’re going to retain the title of some Austen work. In the case of Cracknell’s Persuasion, she’s gone and tried to turn the novel into a romantic comedy, and has her actors constantly breaking the fourth wall in Fleabag-style, but with no real purpose, other that it’s cute - and so personally, I found it annoying.
Dakota Johnson must have a really great agent representing her. She came out with Olivia Colman last year in The Lost Daughter, and stars in this film, even if woefully miscast. The English actors that surrounding her just leave her in the dust, as she tries to stay in character and accent, and acts with her whole body and face, while the truly English actors just slip into character easily and look natural delivering their lines. Plus, there’s a sad lack of chemistry between Johnson as Anne, and Cosmo Jarvis as Wentworth. He must have quickly realized that this film was doomed to be savagely ripped apart by critics, and decided to rein in his performance. At times, it’s like he’s wandered onto the set and had the lines thrust at him. The saving grace here would be if Dakota fans will now pick up an Austen book.