As a seasoned gamer who has navigated countless narrative-driven games, I can confidently say that Do Patti is akin to playing a poorly designed role-playing game with multiple unfinished quests. The storyline seems to be an amalgamation of various genres, each element only half-baked and without a cohesive ending.
As a devoted admirer, I find “Do Patti” (Two Cards) to be a movie grappling with its own identity. It appears that both director Shashanka Chaturvedi and writer/co-producer Kanika Dhillon might not have a clear, unified vision for the film’s core essence.
Does it tell a tangled story of twin siblings, one virtuous and one malevolent? Or is it yet another enigma unfolding in a picturesque hill station? (It seems that streaming platforms have a fondness for these narratives – consider Netflix’s Aranyak or Mrs. Serial Killer, Voot’s Candy or ZEE5’s Rautu Ka Raaz. Perhaps the scenic mountain vistas are intended to soften the uneven narrative flow.)
Is this a heartfelt appeal that tackles the issue of domestic violence, or a legal thriller where discerning the roles of each character proves challenging? Could it be delving into the essence of justice, questioning whether adhering strictly to the law or upholding its spirit is more crucial?
Do Patti attempts to be all of these, but ends up being mostly a mess.
In a recent interview, Dhillon – the creator of the Netflix series ‘Haseen Dillruba’ – was asked about her portrayal of women in her work. She explained that her female characters are defined by their strength, vulnerability, and complexity, being well-rounded and authentic. This description fits Rumi from ‘Manmarziyaan’, Bobby from ‘Judgementall Hai Kya’, and to some extent, Rani from ‘Haseen Dillruba’. However, these characteristics seem absent in Saumya and Shailee, the twin characters played by Kriti Sanon in ‘Do Patti’.
It’s understandable why Sanon, who is also a co-producer, decided that “Do Patti” would be the ideal first feature for Blue Butterfly Films. The dual role gives her a chance to display her versatility – portraying Saumya, a character who struggles with anxiety and depression, as timid and tremulous, contrasted with Shailee, a provocative and vengeful sister who seems willing to go to great lengths to outshine her sibling. Sanon tackles both roles with determination and authenticity.
As a gamer, I’ve got to admit, this film isn’t as cleverly written as it seems. The trope of identical-looking twins with contrasting personalities has been a recurring theme in Hindi cinema for ages. Dilip Kumar set the bar high with “Ram Aur Shyam” over half a century ago; Hema Malini truly shone with her exceptional dual role in “Seeta Aur Geeta” (which is referenced in dialogue); and Sridevi, simply fantastic, played both Anju and Manju in “ChaalBaaz”.
Using “Do Patti,” Dhillon appears to draw inspiration from the 1971 film “Sharmeelee.” In this movie, Rakhee portrayed Kanchan and Kamini; the former was lively, outgoing, and more Westernized, while the latter was reserved, shy, and traditionally dressed in Indian attire. It’s not difficult to figure out which character turns out to be evil and ultimately wins the man’s affection.
Fifty-three years on, what marks goodness and wickedness remains unchanged. Shailee, our first sister, has a fondness for alcohol, cigarettes, and provocative attire; she can’t help but expose her midriff, even during court testimonies. In stark contrast, Saumya avoids such activities entirely. Both sisters share an infatuation with Dhruv (portrayed by Shaheer Sheikh), the scion of a prominent politician, despite it being difficult to fathom why – he is known for his questionable actions, particularly towards Saumya. Although Sheik demonstrates some charisma, he, along with the rest of the cast, are all hindered by the script.
To give this familiar storyline an interesting twist, Dhillon introduces an unreliable narrator character in the form of Maaji, the family’s childhood nanny who was later hired as the sisters. Actress Tanvi Azmi delivers a strong performance that manages to make even the most absurd scenes believable. In one instance, she serves Dhruv two glasses of sherbet and, when he goes to take one, looks at him intently and subtly implies he might be making the wrong decision regarding his choice.
However, the writing seems to fall short particularly for Kajol, debuting as a police officer named Vidya Jyothi (which translates to “a beacon of knowledge and light”). In this small, tranquil town of Devipur that she aims to bring order and justice, her character is portrayed as a single-minded woman. Although her character has a progression, mainly investigating the murder allegations against Dhruv, it lacks depth. Apart from one instance where Vidya experiences an attack, revealing a hint of her vulnerability, she remains quite one-dimensional throughout the storyline.
It turns out that Vidya’s legal background serves her well, as she persists with her legal work within the court system. A simple online search shows that officers of the Indian Police Service cannot simultaneously function as attorneys, because by law, advocates are barred from being full-time, salaried employees of the government.
However, Patti seems unconcerned with facts or basic reasoning. Vidya’s Haryanvi accent fluctuates occasionally. The plot heavily features paragliding, but the CGI is so poorly executed that it’s hard to accept the characters are really in the air. To make matters worse, the ending twist is painfully predictable. Regrettably, this film maintains its muddled state until the very end.
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2024-10-29 04:25