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‘Dhadak 2’, directed by Shazia Iqbal, attempts to adapt the socially conscious story of ‘Pariyerum Perumal’ for a Bollywood audience. The film grapples with the challenge of balancing the original's potent message on caste discrimination with the more mainstream sensibilities often associated with Dharma Productions. The review suggests that the film, while brave in its attempt, falls short of delivering a truly impactful and authentic experience. The comparison to the remake of ‘Sairat’ underscores this point, highlighting how transplanting a story can dilute its essence. The original Tamil film, ‘Pariyerum Perumal’, used a poetic and dreamlike quality to illustrate the pervasive nature of caste discrimination and its impact on a young romance. The female lead's initial ignorance of these social realities served as a metaphor for a section of society that remains oblivious to the issue. The antagonist represented the entrenched old order resistant to change. ‘Dhadak 2’ retains many elements of the original but seemingly loses the ethereal quality that made the former so effective. It becomes a more straightforward narrative, addressing various issues related to caste but failing to evoke the same level of emotional resonance. The music, often a crucial element in Bollywood romances, is deemed underwhelming in this context. The character of Vidhi, played by Triptii Dimri, is portrayed as irritating rather than innocent. Despite being a law student, she appears oblivious to the caste dynamics around her. There is untapped potential in the relationship between Vidhi and Neelesh, played by Siddhant Chaturvedi, that doesn't fully materialize on screen. The review criticizes Triptii Dimri’s performance, suggesting that she overplays the 'bubbly' aspect of her character, failing to convey the underlying complexities. The setting of the law college is described as resembling typical Dharma productions, lacking a realistic portrayal of how caste issues might play out in such an environment. Neelesh, despite his mother's encouragement to use education as a tool of resistance, fails to challenge instances of discrimination, such as when a teacher targets him for being from the 'quota'. The film seemingly neglects the importance of education and legal recourse as tools for social change within the Dalit movement. The review acknowledges Siddhant Chaturvedi's honest performance and Saurabh Sachdeva's portrayal of the antagonist. While the second half of the film shows some improvement, it ultimately remains a project that raises several crucial topics but fails to weave them into a compelling and emotionally resonant narrative. Overall, ‘Dhadak 2’ presents a valiant effort to tackle a sensitive subject within the framework of Bollywood cinema, but its impact is blunted by a lack of emotional depth and a somewhat sanitized portrayal of the harsh realities of caste discrimination.
The reviewer emphasizes the importance of conveying a lived-in experience when tackling sensitive social issues like caste discrimination in cinema. While 'Dhadak 2' attempts to retain the elements of the original Tamil film, 'Pariyerum Perumal,' it seemingly falls short in translating the nuances and emotional depth of the source material to a broader Bollywood audience. The film is described as becoming more of an 'explainer' on Dalit lives for an audience unfamiliar with the realities of caste, rather than a visceral portrayal of the struggles and complexities involved. The reviewer draws a parallel to the previous remake of 'Sairat,' titled 'Dhadak,' highlighting a similar dilution of the original's message. While 'Dhadak' rekindled the romance of 'Sairat' with music and ambiance, it compromised on the caste angle. In 'Dhadak 2,' the issue is reversed: The film clearly spells out the caste conflict, but it does not adequately stir the romance, causing an imbalance. The original 'Pariyerum Perumal' possessed a dreamlike quality that effectively conveyed the pernicious effects of caste discrimination. The female lead's ignorance of social realities was presented as innocence, symbolizing the obliviousness of a segment of society. In contrast, 'Dhadak 2' struggles to replicate this dynamic. The female lead's ignorance comes across as irritating, and the film fails to translate the untapped potential between the lead characters, particularly regarding the impact of untouchability on their relationship.
The review further elaborates on the shortcomings of 'Dhadak 2' in addressing the nuances of resistance and social change. Neelesh's refusal to engage in politics, despite his mother's encouragement to use education as a tool, is seen as a missed opportunity. The film does not fully explore the potential of legal recourse or activism within the Dalit movement. The reviewer points out that even though Vidhi's father fears legal repercussions, the film doesn't present Neelesh with the option to pursue such avenues. The review acknowledges the complexity of social contracts and the process of circumventing and resisting societal norms. However, it argues that 'Dhadak 2' fails to capture the layered nature of these processes. Harish Khanna's performance as the girl's lawyer father is praised for expressing some of this complexity, but his character arc is deemed underdeveloped. Despite the shortcomings, the review recognizes Siddhant Chaturvedi's honest performance and Saurabh Sachdeva's effective portrayal of the antagonist. The second half of the film shows some improvement as ambition meets expression. However, overall, 'Dhadak 2' remains a film that raises important issues but fails to construct a compelling and emotionally resonant narrative around them. Ultimately, the reviewer suggests that 'Dhadak 2' is a well-intentioned but ultimately flawed attempt to adapt a socially relevant story for a wider audience.