Societal opposition, manifesting itself through angry parents, have formed the backbone of classic love stories. In Sairat (2016), filmmaker Nagraj Manjule took the tried-and-tested Romeo and Juliet formula and placed it in a setting where the conflict rose from caste and socio-economic divide, firmly rooted in a region and its culture. The Marathi film’s Hindi adaptation, Dhadak, finds this resistance in class divide (between a heritage-haveli-residing girl and a boutique-cafe-running boy), mentions of ‘oonchi jaati’ (high caste) by the boy’s father and political campaigns where the girl’s neta father declares, “Udaipur ki izzat uske sanskaaron mein hai (the honour of Udaipur lies in its values)”. Filmmaker Shashank Khaitan displays a commitment to societal resistance but shows no interest in the social iniquity on whose back this extravagance is built.
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Director: Shashank Khaitan
Rating: 2 Stars (out of 5)
An attempted makeover 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 Dhadak shows any signs of life. The rest of the 137-minute film can bore the pants off even the most indulgent Bollywood watcher.
A young fellow, having worked his way through a shared snack with his female companion, drinks from a mug of water in a plastic drum at the roadside food vendor. She crinkles her nose when he offers her the mug for a sip, prompting him to buy her bottled water instead. It’s a seemingly innocuous moment from Nagraj Manjule’s Sairat, but oh, so telling – the couple, their backs against each other, both drinking water. Yes water, that great leveler; required by both the rich and the poor, by those belonging to every caste and class, and yet the very clue in this moment that points to the yawning divide between this pair.
That scene – like many others – has been left out of Dhadak, the Hindi remake of Manjule’s excellent Marathi film from 2016 about the intensely gripping and ultimately tragic romance between a lower-caste boy and an upper-caste girl in rural Maharashtra.
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