For years, the golden rule in filmmaking has been to “show, not tell,” where powerful storytelling is driven by imagery and subtle expression rather than overt explanation. This approach, often heralded as the mark of great cinema, seems to be on the backburner with the influx of films on Over-The-Top (OTT) platforms that prioritize explicit messaging over nuanced storytelling. The movie “Do Patti” is a recent addition to this digital-first collection, where filmmaking is distilled down to a mechanism for conveying poignant messages, albeit at the expense of engaging cinema.
“Do Patti,” echoing classic and contemporary films like “Seeta Aur Geeta” and “Darlings,” embarks on a narrative journey that begins as a police procedural, transitions into what feels like chick-lit, and concludes as a didactic piece on domestic abuse reminiscent of a public service announcement. Despite its rich thematic concerns, the film struggles with an uneven narrative, lacking the cohesiveness needed to foster a deep emotional connection with its audience. Screenwriter Kanika Dhillon’s dialogues occasionally pack a punch more significant than the storyline itself, crafting a patchwork of genres that feels disjointed and overly convenient.
Set against the scenic backdrop of Uttarakhand’s mist-laden hills, “Do Patti” chronicles the lives of two sisters, portrayed by the talented Kriti Sanon, who share contrasting personalities yet find their lives intertwining around a common love interest. Saumya and Shailee, as two facets of femininity — one reserved, the other vivacious and self-assured — find their paths diverging due to a tumultuous upbringing. Their shared affection for the same man sets the stage for a complex drama.
Dhruv Sood, played by Shaheer Sheikh, is the film’s male protagonist, an heir to a Haryana politician’s legacy and mired in his own personal demons. Portrayed as a charming yet troubled young man with deep-seated issues rooted in patriarchal traditions, Dhruv views the sisters as trophies in his personal showcase. However, the film’s portrayal of such a profound subject through Dhruv’s character lacks the transformative power of its predecessors, failing to evolve into the narrative powerhouse it attempts to be.
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Director Shashanka Chaturvedi, in collaboration with Dhillon, attempts to depict the stark realities of gender-based violence through poignant plot elements, though the execution wavers in cohesion. While the underlying message of women’s endurance under oppression is acutely relevant, the juxtaposition of the narrative feels clunky rather than seamless, with cinematographer Mart Ratassepp’s lens primarily serving the natural beauty of Uttarakhand instead of delving into the inner lives of its characters.
For Kriti Sanon, the dual roles pose a significant challenge, as they require her to simultaneously embody the polar opposites of femininity. Yet, this very narrative device diminishes the potential for surprise in the film’s climax, turning into more of a showcase for Sanon’s acting prowess rather than serving the overarching story. Meanwhile, Shaheer Sheikh’s portrayal wavers in impact, with an uncertain performance that hints at a struggle to fully embody his complicated character without overshadowing the protagonists.
As for Kajol, she follows in the footsteps of her peers such as Raveena Tandon and Karishma Kapoor, taking on the mantle of a tenacious police officer. Despite her character’s resilience against bureaucratic decay and personal hardships, Kajol infuses spontaneity into her role actively. Yet, harsh dialogue seems misplaced for her typically graceful persona, and her natural expressiveness is occasionally stilted by the inconsistent script.
Ultimately, “Do Patti” endeavors to be a gripping exploration of societal issues and personal struggle; however, it grapples with balancing its many thematic elements and genre shifts. While now available on Netflix, this ambitious film demonstrates once more the ongoing challenge in translating societal narratives into engaging digital content that resonates with viewers beyond its direct message. Indian cinema viewers, both traditional and contemporary, may find themselves divided on how effectively “Do Patti” walks the line between an artful message piece and captivating entertainment.
Published – October 25, 2024 02:40 pm IST
Indian cinema
Hindi cinema
