Do Patti, directed by Shashanka Chaturvedi and streaming now on Netflix, delves into a tale of deception, domestic abuse, and sibling rivalries while examining the lasting effects of unresolved trauma within a family. As the characters grapple with their personal struggles and confront fractured bonds, the suspenseful storytelling loses momentum with each passing moment. Despite the heavy lifting of the film by talents like Kajol and Kriti Sanon, it drifts further and further away from what could have been…
Set in the fictional hilly town of Devipur, identical twins Saumya and Shailee (Kriti Sanon) grow apart after their mother passes away. Their father sends Shailee to a hostel because she is a troublemaker. After their father dies, their governess, Maaji (Tanvi Azmi), takes care of the quieter Saumya, who has various health issues. As time goes by, Saumya blooms into a young woman and harbours feelings for Dhruv Sood (Shaheer Sheikh), a charming businessman and paraglider to boot. When Shailee returns to her sister’s life, Dhruv starts dating her because he finds her more attractive and modern, which makes Saumya feel betrayed. Despite his feelings, Dhruv is pressured by his father to marry the simple and gentle Saumya and after their marriage, Saumya discovers that her husband is abusive even as he continues to be in love with Shailee. Enter Vidya (Kajol), an honest police officer, who comes into their lives to help them with their problems…
If Saumya is a quiet, polite, and homely woman, then Shailee is upbeat and adventurous. These differing traits become a source of rivalry as both sisters vie for Dhruv’s affection, driving the narrative into an increasingly immoral world. However, the story fails to evoke any sort of empathy or gravitas, making it hard for us to root for either character. The screenplay by Kanika Dhillon, also the co-producer, resembles an assortment of moments that are designed to elicit shallow suspense and cheap drama without any emotional depth whatsoever. Everything and everyone start to feel like a cog in a slow-moving machine because Dhillon and director Chaturvedi struggle to maintain momentum in a story stretched out to nearly two hours. What’s truly frustrating is that the screen time doesn’t use this extra time to add depth to the characters or the narrative but instead repeats plot points while unnaturally dragging out scenes. The final thirty minutes serve as a classic lesson in screenwriting for what NOT to do in a film that has already overstayed its welcome. The voiceover used to describe Vidya’s backstory at the beginning and her state of mind toward the end feels random and unconvincing, ultimately further undermining the film’s credibility.
The film does highlight a couple of crucial issues – how domestic violence is often ignored and urgently needs open discussion. Or how childhood traumas, if left unaddressed, could escalate into serious problems in adulthood. But sadly, the weak writing is sans any pertinent or thought-provoking perceptive on these sensitive topics. The lack of even a single strong and well-rounded male character reveals the filmmakers’ bias, highlighting one-dimensional portrayals that fail to capture the complexity of male perspectives in the narrative.
While Do Patti is a strenuous watch, it does have its few moments – many of which are thanks to its talented female cast. Kriti Sanon, who is also one of the producers, ensures she makes the most of her screen time, showcasing her acting prowess in two distinct variations. As Saumya, she embodies a soft-spoken and docile character, while as the fierce and sultry Shailee, she is truly captivating. By the duality surrounding her character, Sanon walks away with the film’s best performance. Kajol is reliably good as Vidya, portraying a character who adheres strictly to the law and won’t let a criminal go unpunished. Unfortunately, the role doesn’t challenge her enough to fully flex her acting muscles. In supporting roles, Tanvi Azmi and Brijendra Kala also deliver strong performances though Vivek Mushran and Prachee Shah Paandya are reduced to special appearances, with very little to do. Shaheer Sheikh as the charming but abusive husband is weak.
Mart Ratassepp’s cinematography and Naman Arora and Hemal Kothari’s editing also fail to cover up the lopsided nature of the screenplay. While the background score by Anurag Saikia heightens the suspense, the songs by Sachet-Parampara and Tanishk Bagchi feel like unnecessary intrusions in the story.
For a directorial debut, Shashanka Chaturvedi is badly let down by an inconsistent script leading to a dull and uninspiring watch that feels shallow to say the least. Disappointing fare.
Hindi, Drama, Suspense, Color