Do Patti attempts to explore significant themes but fails to deliver the depth or finesse required to render its flawed characters intriguing.
Fame and relevance are complex subjects to quantify and even harder to appreciate. There was a time when Kajol ruled Bollywood through her powerful performances and layered roles. There is no doubt that she is a true powerhouse. But in a constantly evolving industry, staying relevant requires more.
The verdict for Kajol 2.0 is still out, but the signs are not promising with Do Patti.
Let’s find out.
What’s the Story About?
Do Patti features Kajol alongside two characters played by Kriti Sanon and a turbulent performance by Shaheer Sheikh in his film debut. Tanvi Azmi, who portrayed the mother of twins— coincidentally played by Kajol in Dushman — returns as a guardian figure to the twin Kritis.
In the story, the identical twins Saumya and Shailee, played by Kriti, are at perpetual loggerheads. Saumya is portrayed as the timid, traditional sibling, while Shailee embodies the rebellious spirit. Both sisters are enamored with Dhruv Sood, the adventurous bad boy who prefers paragliding as his romantic expression. Despite his initial dalliance with the wild Shailee, Dhruv chooses the more homely Saumya. Yet, his unresolved personal issues lead to domestic strife. Concurrently, portraying the determined officer Vidya Jyothi, Kajol becomes entangled in their complicated lives. The drama escalates with a paragliding accident, leading to accusations against Dhruv of attempted murder. What truly happened becomes the central mystery.
What Works in Do Patti?
They managed to get Kirti Sanon and Kajol to star together in a movie. Kirti Sanon got her production house, Blue Butterfly Films, off and running with a woman-focussed film. And that’s about it.
We want to say that Kajol is reliable as ever and delivers a powerhouse performance, but even she is hampered by an irritating and moody accent that comes and goes like a migraine.
What Doesn’t Work?
The movie, spanning over two hours, centers on the complex relationship between two sisters, Saumya and Shailee. The plot thickens around ninety minutes into the film when what appears to be a straightforward justice delivery prompts Officer Vidya Jyothi, played by Kajol, to suspect that the resolution is too simplistic. Her decision to delve deeper into the case opens up a can of worms, revealing a backstory filled with melodrama reminiscent of a Dinesh Pandit novel from Balaji Telefilms’ arsenal.
However, the narrative takes a preachy turn, attempting to address domestic violence in its final segments without much finesse in its execution. The transition into an anti-domestic violence message feels forced and lacks the subtlety needed to impact effectively. Director Shashank Chaturvedi struggles to lift the script beyond its soap opera foundations, undermining the film’s serious message with its lackluster presentation.
Kanika Dhillon, known for creating compelling female leads in films such as Manmarziyan and Judgemental Hai Kya, has recently seen a dip in the allure of her storytelling. This trend is evident in her latest Netflix project, Do Patti. Previously celebrated for her dynamic and unapologetic female characters, Dhillon’s recent works, including the Haseen Dilruba series, have lost their narrative edge. In Do Patti, she addresses domestic violence, yet the treatment of such a serious issue lacks depth and is reminiscent of the melodramatic tone typical of a Balaji Telefilms series. Overall, the film attempts to blend intense family drama with critical social issues but needs to improve execution, leaving the audience expecting more than what is ultimately delivered.
Tropes: The Good, The Bad and the Done to Death
Bollywood has a proud and persistent infatuation with twins. Having grown up watching such evergreen stalwarts as Dilip Kumar in Ram Aur Shyam, Hema Malini in Seeta Aur Geeta, and Sridevi in ChaalBaaz, the bar that Do Patti attempts to cross might as well have been in another galaxy far, far away.
Do Patti suffers from what can only be termed lazy characterization with Shailee, the wild twin, sporting a short hairdo, indulging in alcohol, smoking, and wearing scanty outfits even in court. Saumya, on the other hand, is the quintessential good girl: shy, reticent, and quick with the waterworks.
What’s disappointing is that some of the actors in this film have played almost the same role in another movie that was so much better. Who can forget The 1998 thriller Dushman in which prime Kajol played dual roles as twin sisters—the vivacious, bob-haired Sonia and the gentle Naina. The movie masterfully blended gritty themes of rape and abuse within an engaging thriller framework. One of the most haunting scenes is when Rana’s character, Gokul Pandit, horrifically kills Sonia with an ice slab after assaulting her and fatally wounding her with surgical scissors.
The Do Patti Plot Has More Holes than a Golf Course
They say every great idea was once a thought. But the road from the mind to the screen needs execution, which is where this movie falters. At the movie’s core is a deep-seated conflict between the literal interpretation of the law and its underlying intent. It focuses on how circumstances can influence judicial outcomes—a theme much in demand these days. It has also been explored in the widely discussed Menendez Brothers series and documentary. However, after briefly touching upon it, the film decides to go in a completely different direction.
The characters are not well-developed, lacking complexity and depth. They seem more like caricatures and bullet points. It’s high time that Kriti Sanon started showing that there’s another gear to her acting skills. Even the seasoned Tanvi Azmi is underutilized, whereas Shaheer Sheikh delivers an unremarkable performance, overshadowed by Kriti’s presence.
As if bad acting wasn’t enough, Do Patti also overlooks realistic details, such as Vidya simultaneously acting as a lawyer, a role not permitted for Indian Police Service officers. Other oversights include inconsistent regional accents, poorly executed CGI for paragliding sequences, and a foreseeable plot twist that does little to resolve the narrative’s inconsistencies. Even the parts where the film attempts to be nuanced and different, like Vidya carrying the rabbit everywhere, come off as weird and off-putting.
Final Verdict
Ultimately, Do Patti remains muddled, struggling to find coherence until the very end.
We — some of us still being nostalgic Kajol fans — give it a 1 out of 5 stars.
