For many cinephiles, the essence of a truly gripping film lies not in merely stating facts but in weaving a narrative that allows the layers to peel back slowly, rewarding the viewer with poignant revelations along the way. However, with the burgeoning of digital platforms and their emphasis on instantaneous content delivery, this age-old cinematic principle seems to be taking a backseat. ‘Do Patti’ joins a growing roster of films that cater to the online streaming audience, prioritizing direct messages over the nuanced art of storytelling. While it succeeds in broadcasting its themes, it appears to falter in imbuing them with depth or charm.
Drawing comparisons to well-known films such as ‘Seeta Aur Geeta’ and ‘Darlings,’ ‘Do Patti’ unfolds as an intriguing mix of genres. It kicks off as a police procedural narrative, delving into chick-lit motifs before concluding as both an exposé on domestic abuse and a visual testament to the spirit of the Bell Bajao campaign. Beneath its engaging dialogues penned by Kanika Dhillon lies a screenplay struggling with inconsistency. The film lacks the cohesiveness required to forge a genuine emotional connection, spanning a disjointed array of themes that never quite harmonize. Curiously, while the film champions justice beyond rigid legal frameworks, its cinematic execution does not exhibit the same boldness.
The movie finds its setting in the picturesque hills of Uttarakhand, recounting the tale of two sisters, both played by the formidable Kriti Sanon, and a tenacious police officer portrayed by Kajol. These two siblings, Saumya and Shailee, evolve from a turbulent childhood to inhabit contrasting personalities—one submissive and the other assertive—and end up navigating their affections for the same man. Enter Dhruv Sood, played by Shaheer Sheikh, the son of a Haryana politician. Dhruv embodies a cocktail of privilege and aggression, a character marked by both superficial charm and a deep-seated insecurity, stemming from deep-rooted patriarchal norms. To him, the sisters are akin to trophies to be showcased at will.
In an attempt to uncover and critique the violence women endure, writer Kanika and director Shashanka Chaturvedi spotlight the predatory nature of men like Dhruv.
. Unfortunately, the pair fall short of transforming this insightful social commentary into a seamlessly flowing narrative. Mart Ratassepp’s cinematography successfully captures the breathtaking terrain of Uttarakhand, a visual delight for adventure seekers, yet offers scant insight into unraveling the characters’ intricate psyches. The backdrop, as charming as it may be, does not compensate for the lack of depth in character development.
Kriti Sanon’s portrayal of dual roles is skilled and engaging, though as a narrative device, it telegraphs pivotal plot twists too early. This rather overt setup, unfortunately, diminishes the tension necessary for a compelling thriller. Kriti’s ability to navigate the complexities of both a docile and rebellious character shows her prowess, yet the storytelling fails to surprise or deeply engage. On the other hand, Shaheer Sheikh shoulders the burden of portraying a nuanced antagonist, though his portrayal occasionally reveals a sense of bewilderment rather than conviction.
Meanwhile, Kajol embodies the role of a world-weary police officer tasked with navigating her responsibilities amidst personal tribulations and bureaucratic pressures. Drawing parallels to the performances of her peers like Raveena Tandon and Karishma Kapoor, Kajol brings a spirited resilience to her character. Her performance is imbued with an inherent spontaneity, although it is somewhat restrained by uneven writing and overt scripting decisions that curtail her expressive prowess. As a result, despite Kajol’s adeptness, her character arc feels burdened by the narrative’s limitations.
Currently available for streaming on Netflix, ‘Do Patti’ presents an earnest attempt to meld entertainment with social issues. However, its noble intentions are overshadowed by a storytelling structure that sacrifices depth for immediacy. While the film brings attention to critical societal issues, it serves more as a cinematic reflection of well-intentioned yet incomplete storytelling—a narrative that informs but fails to inspire. As viewers navigate this world of digital content, ‘Do Patti’ serves as a reminder of the cinematic potential that emerges when stories are allowed to unfurl naturally, unrestrained by the bounds of digital immediacy.
