Come Friday and it is the time for latest Bollywood update from JustInReviews. Dhadak is the movie to have released this week, and we are here with the movie review.
Our protagonists Madhukar and Parthavi played by Ishaan and Janhvi respectively, fall for each other. Yet the thing that they are from different castes of the society, turns into a hurdle in their love story. The sweethearts set out to conflict with the societal standards and fight all odds, just for love.
Rajasthan’s Udaipur serves as a backdrop in Dhadak, which happens to be a remake of the Marathi super-hit film Sairat (2016). Lying under its sparkling legacy hotels, breathes a populace that is not permitted to fall in love, in any event not outside the limits set ages back. The big domes of the royal palaces and the deep lakes are just a facade to hide the genuine identity of its residents that is characterized by the cast.
Dhadak’s strength lies in its overflowing innocence and freshness. That this film portrays the new faces in Ishaan and Janhvi, works in the favor of its story. This take on love attempting to survive the savage world of politics and merciless social pressure, allows Dhadak to keep you somewhat engaged. The film takes after Sairat for the majority portion, however, it alters some of the scenes and the backdrop.
It’s a recognizable set-up. We have come across numerous such plots, yet there is a logic behind why Sairat strikes a chord quickly and Dhadak does not have that instant appeal. As a matter of fact, it’s the distinction between what you know and what you feel. Sairat may have inspired Shashank Khaitan, the director, for its symbolic nature and its penetrating yet simple tone, however when he chose to redo it, he concentrated on tastefully shot scenes as opposed to working up a perilous clash.
Even as the lead pair is attempting a hand at making both ends meet, they succeed in keeping their fashion quotient spic and span, throughout appearing tidy and proper in relatively every circumstance. For a film that stems from unforgiving reality, this sparkled over perspective makes it hard to believe.
Another noted distinction between Dhadak and Sairat is the handling of the male lead. The reserved Parshya was a result of long periods of oppression, however Ishaan’s Madhu is pretty much vocal. He comes from a well-to do family who never anticipates that things will go outside their control.
With regards to the performances, Ishaan’s body language has that energy and freshness of a newcomer, while his execution portrays the confidence of an experienced actor. He does well in the emotional scenes and his young puppy eyes help to maintain the innocence of this romantic tale. Janhvi on the other hand, appears radiant and beautiful; her innocence makes you believe in the plot. All things considered, she comes over a bit crude in contrast with her co-star, particularly in the scenes having drama that ask for a some what loud performance. It’s her first film, and needs to polish off her acting skills, yet it’s a decent beginning. Ishaan’s vertically challenged friend in the film played by Shridhar Watsar, makes you laugh all through. Ashutosh Rana as the threatening dad and political figure is impeccably intense. Performances from the whole supporting cast are first rate.
Ajay-Atul have reinvented two tracks from Sairat, one of which is the colossal hit Zingaat. The background score of the film by John Stewart Eduri is composed strikingly and it mixes in with the plot of this story. The film likewise has some appealing cinematography by Vishnu Rao, who paints a lovely picture out of Udaipur’s landscapes.
It might not match the original one, but the Hindi speaking audience can go for it in case they wish to.
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