Dhadak Movie Review: Janhvi Kapoor And Ishaan Khatter Can't Enliven Comatose Film.
Dhadak Movie Review: The film gets neither the love story nor the socio-political context of Sairat right.
Caption: Janhvi Kapoor and Ishaan Katter in Dhadak.
Cast: Janhvi Kapoor, Ishaan Khatter, Ashutosh Rana, Kharaj Mukherjee, Aishwarya Narkar
Director: Shashank Khaitan
Rating: 2 Stars (out of 5)
An attempted takeover of a tested storyline is never more than a handful of missteps away from turning into an outright mauling. The latter is exactly what Dhadak metes out to Nagraj Manjule's 2016 Marathi sleeper hit Sairat. A muddled screenplay, bland storytelling and uneven lead performances leave this glossy Karan Johar production without a proper, palpable heartbeat.
With Bittergaon's Parshya and Archi, beleaguered lovers in whom we were deeply invested, giving way to a pair of prettified, pale shadows, it is only sporadically that Dhadakshows any signs of life. The rest of the 137-minute film can bore the pants off even the most indulgent Bollywood watcher.
Dhadak Movie Review: A still from the film.
Neither the blossoming of the furtive and risky romance between two college mates nor their forced flight from their hometown when their affair is discovered by the girl's ruthless, class-conscious family springs out of the screen quite in the profoundly affecting manner that it did in Sairat, a film that drew much of its efficacy from casual, confident understatement.
The world that Dhadak creates is too synthetic. It lacks the power to evoke empathy.
In the original film, an air of dread and despair hangs over the young couple as they try to come to terms with their new life in Hyderabad. Dhak's many ill-advised detours - narrative, ideational and locational - take the focus away from the plight of the lovers who are never out of harm's way even when they find what appears to be a safe haven a thousand miles away from home.
The script by director Shashank Khaitan (Humpty Sharma Ki Dulhania, Badrinath Ki Dulhania) may well have been titled Madhukar Ki Dulhania.
It deviates in major ways from Nagraj Manjule's trenchant, unfussy narrative built upon a keen personal understanding of the milieu that his film is set in.
Dhadak transports the story to Udaipur, gives the two principal characters new names - Madhukar Bagla (Ishaan Khatter) and Parthavi Singh (Janhvi Kapoor) - and reduces to near-irrelevance the class and caste divide that the plot of Sairat swivelled around. This takes the sting out of the film's shocking climax.
Neither the blossoming of the furtive and risky romance between two college mates nor their forced flight from their hometown when their affair is discovered by the girl's ruthless, class-conscious family springs out of the screen quite in the profoundly affecting manner that it did in Sairat, a film that drew much of its efficacy from casual, confident understatement.
The world that Dhadak creates is too synthetic. It lacks the power to evoke empathy.
In the original film, an air of dread and despair hangs over the young couple as they try to come to terms with their new life in Hyderabad. Dhak's many ill-advised detours - narrative, ideational and locational - take the focus away from the plight of the lovers who are never out of harm's way even when they find what appears to be a safe haven a thousand miles away from home.
The script by director Shashank Khaitan (Humpty Sharma Ki Dulhania, Badrinath Ki Dulhania) may well have been titled Madhukar Ki Dulhania.
It deviates in major ways from Nagraj Manjule's trenchant, unfussy narrative built upon a keen personal understanding of the milieu that his film is set in.
Dhadak transports the story to Udaipur, gives the two principal characters new names - Madhukar Bagla (Ishaan Khatter) and Parthavi Singh (Janhvi Kapoor) - and reduces to near-irrelevance the class and caste divide that the plot of Sairat swivelled around. This takes the sting out of the film's shocking climax.
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