For years, the cinematic adage has been that a great narrative shows more than it tells and evokes emotions more than it explains. However, with a recent surge in content on OTT platforms, there seems to be a growing proclivity towards overt exposition. “Do Patti” is another addition to the long list of films opting for streaming services, bypassing the traditional theatrical route. It illustrates the phenomenon of storytelling reduced to mere message delivery, leaving little room for cinematic exploration.
Playing out like a spiritual successor to “Seeta Aur Geeta” and “Darlings,” “Do Patti” embarks on its narrative with the approach of a police procedural, meanders into chick-lit territory, and ultimately devolves into a discourse on domestic abuse, akin to a public service announcement for the Bell Bajao campaign. The dialogues penned by writer Kanika Dhillon carry more bite than the screenplay, which is plagued by an inconsistent tone. The mishmash of genres hampers the potential for fostering deep empathy for the characters. Ironically, the film advocates for the spirit of justice over its letter yet fails to embody the essence of true cinematic expression.
Set against the picturesque backdrop of Uttarakhand’s misty hills, “Do Patti” narrates the story of two sisters, both portrayed by Kriti Sanon, alongside an unwavering police officer played by Kajol, who is on a mission to unravel an attempted murder case. Saumya and Shailee are metaphorically two birds of the same feather. However, their turbulent childhoods forge them into distinct individuals, each secretly vying for and defending the same man.
Dhruv Sood, played by Shaheer Sheikh, emerges as the entitled son of a Haryana politician. With underlying anger issues, Dhruv embodies the embodiment of male privilege. Despite his seductive charm, which fuels feminine imagination, beneath the surface lies an insecure beast nurtured by age-old patriarchy.
. Viewing the sisters as mere ornaments to display according to the guest visiting, Dhruv’s character is a critique of entrenched misogyny.
In collaboration with director Shashanka Chaturvedi, Kanika Dhillon endeavors to underline the violence endured by women at the hands of such beasts. However, translating these poignant moments and social insights into a seamlessly flowing narrative remains a challenge. Mart Ratassepp’s cinematography serves well in selling Uttarakhand’s allure to adventure enthusiasts but lacks depth for those keen on unraveling the nuances of the characters’ inner worlds.
While Kriti Sanon admirably depicts the dual roles, the narrative device falters as it inadvertently signals the big reveal prematurely. It becomes an opportunity to showcase Sanon’s acting prowess in portraying both the submissive and rebellious facets of the feminine psyche, yet it somewhat eclipses the plot development.
Shaheer Sheikh, on the other hand, is tasked with delivering a performance beyond his typical range, yet without overshadowing the main storyline, resulting in a portrayal that lacks clarity and conviction.
Kajol follows peers such as Raveena Tandon and Karishma Kapoor in portraying a police officer resiliently navigating her challenges, life, and an unsupportive hierarchy. Despite her efficiency and natural spontaneity, the vernacular slurs feel awkwardly placed within her dialogues, highlighting the misalignment between the character’s depiction and the actor’s typical range. As the movie progresses, even her adept performance appears constricted by a script punctuated by uneven writing and directives from behind-the-scenes decision-makers.
“Do Patti,” now streaming on Netflix, remains a visually appealing yet convoluted exploration of domestic abuse intertwined with familial ties and personal ambitions. At its heart, it strives to comment on societal issues but struggles to weave them into a coherent and impactful cinematic journey. In a landscape where content often prioritizes message over artistry, “Do Patti” stands as yet another testament to this evolving trend.
