Lost in adaptation

Nonika Singh

Comparing two films is perhaps unfair. But when one is an official remake of the other, the comparisons are inevitable and clearly on the comparison count, it scores few brownie points and concedes a lot more. 

Those of us who have seen the Marathi super-hit film Sairat on which Dhadak is based/adapted/ sourced, from scene one, we learn that the basic template, almost scene by scene, is the same. Ditto for the music which too is by Ajay- Atul and Zingat does have the same zing.

Only from rustic heartland of Maharashtra, here the scene shifts to colourful and vibrant Rajasthan, Udaipur to be precise. The world of bandhinis, of Lake Palace, the majestic havelis…the setting is just right for romance under the moonlight. So, you do get caught as love blooms between these two innocent youngsters across the class and caste divide; though here both divisions are not even half as sharp which almost impoverished fisherman’s son and rich landlord’s daughter of Sairat represented. Here the caste issue is more an adjunct than the driving force of separation. Nevertheless, Parthavi (Janhvi Kapoor) is the daughter of a rich upper caste politician, Madhukar ( Ishaan Khatter) is the son of a restaurant owner who keeps reminding the beta of the chasm, the caste difference too. But then as they say there is always some madness in love and Ishaan Khatter and Janhvi Kapoor make for a cute couple, if not to die for. 

Expectedly, Ishaan is more impressive, expressive and his energy is palpable. As for Janhvi whose debut Sridevi fans have been waiting for with bated breath, does seem more than at ease in front of the camera and does show promise if not range. Thanks to Ishaan’s moon-eyed expression and Janhvi’s spunky act, in the first breezy half they do keep you invested in their love story. Ashtoush Rana brings just the right degree of menace to the autocratic father who is indulgent enough to promise to heat up the talaab for his daughter and devious enough to remark beti ki bali chada denge. 

Is that a dead giveaway of things to come, even when the eloped couple finds its moorings in a new city, Kolkata this time? Well, the director who tweaks the original love story here and there, throws a surprise, especially in the climax. Yet, surprisingly enough he manages to build a sense of impending doom even for those familiar with Sairat. Does this twist create greater impact? Well, we would rather go for the original ending which came across as soul stirring and mind-numbing (as well as symbolic) in equal measure. For first time watchers of the story, the end is likely to come as a shocker, quite different from Karan Johar’s stable of candy-floss romance. Johar the producer of the film might dub Dhadak as a homage to Sairat, but it would have been a befitting one, only if it had been more heartfelt, intense and layered.

But then, just as nothing can capture the flush of first love, who can recreate the magic of the original especially one that touched hearts with intensity. Nevertheless, Dhadak is watchable fare, especially if you have not seen Sairat and have no intentions of catching up with it, this Hindi version, even if watered down, might suffice.  

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