Yes, the film is an old-fashioned romantic film, where it’s certain that the leads on the poster would end up falling in love. And yet, the film tackles many modern themes, some of them rather sensitive, and quite admirably at that. Relationships in today's age are riddled with newer complications, in addition to the already existing age old ones. And yet, there are very few ‘modern’ films that truly peel through these complexities. Romance in Hindi films these days is largely frivolous, possibly catering to the restless ‘reels’ era. I don’t recall many films dwelling upon the vulnerabilities or frailties of modern love, or of the individuals involved. Dono succeeds in doing that to some extent. Yes, it could have been tighter, and could have done without some tropes for more impact. But there is enough subtext and depth here to keep the discerning engaged, while also being entertained.
Barjatya sets the film during a grand destination wedding in Thailand. It gives ample opportunity to showcase gloss, and stage some mirth. It is as conventional a setting that one can expect from a film coming from Rajshri Production’s stable. What is not conventional though is the choice of leads, their characterization, their battles, and their arcs through the narrative. Rajveer Deol, the younger son of arguably the most famous poster boy of masculinity on Indian celluloid, plays Dev, a character completely devoid of machismo. Paloma Dhillon, the daughter of a heroine known for her beauty and grace, plays Meghna, a character not very confident about her own being and lacking a sense of self-worth. They both are tentative, not just with themselves, and with each other, but also with the audience. In the first act, they miss many notes, their expressions seem taught, and they come across as very raw. However, as the film gets going, this rawness comes through as a strength. Their characters open up not just with each other, but also with themselves, and thus, with us too as audience.
There is some attempt at humour, and while some jokes fall flat, there are some that land as well. That itself feels like an achievement, given that today’s humour tracks are hardly ever as family friendly squeaky clean as what is attempted by Barjatya here. The music apart from the title track is generic and unmemorable, and does not support the narrative as much as it should have. The dances are well shot though, I particularly liked the one where Palomi’s character Meghna finally takes centre stage in the last act of the film, after a bit of a redemption arc. The finale is fitting, and offers satisfactory ‘closure’, sought through the runtime by Dev.
Apart from the leads, the film offers meaty parts to many other unknown faces, who all do a good job of leaving a mark by the time the film ends. The direction and writing by Barjatya is solid for most parts, and would have come across as more polished if he would have resisted adding standard tropes, and a couple of token song sequences. The sensitivity with which he has handled the depiction of an abusive dominant relationship, and its impact on the individuals, deserve much kudos (writing more here would reveal spoilers, but let’s just say expect slightly more angst here than a regular Rajshri film)
Parting Note: Overall, while the film is far from being a new-age classic, it definitely does not deserve the neglect it received upon release. A good OTT watch, which would have been decent on the big screen too.
