Dev (Rajveer Deol), the film’s hero, is attending the wedding of his friend whom he has loved since childhood but never expressed his feelings for her. Meghna (Paloma), the film’s heroine, is attending the same wedding from the groom’s side, and her ex-boyfriend will also be there at the same wedding. This lavish wedding in Thailand seems like an event for Dev and Meghna to overcome some emotional obstacles. This premise hints towards the love story of Dev and Meghna, who are strangers at first. What if I tell you that their love story contributes to not even one per cent of the screenplay? I believe this is the tiny victory of debutant Avnish Barjatya’s Dono.
While watching the film, I realised that Dono is more about the individual journeys of Dev and Meghna rather than them just coming together romantically like a typical mushy romantic Indian film loaded with signature song-and-dance. While too much focus on Dev’s story/journey is obvious, I thought concentrating on Meghna’s story/journey in the second half is refreshing, much like the overall approach of Avnish towards the film. The screenplay creates a zillion opportunities for Dev and Meghna to be together so that they realise that they are made for each other, but convincing the audience that they don’t look at that situation in that manner is quite a different approach.
For example, there is an ice-breaker portion in the film, and we think this will be the first proper meeting of Dev and Meghna, where they talk for the first time and start to get to know each other. To our surprise, they just exchange pleasantries at that moment and get to know each other at various events throughout the film, some obvious while others well thought out. I quite like how they end up coming together always while helping the families of the bride and groom in their crisis. The overdose of uncertainty in their relationship/bonding makes the typical romantic filmy chemistry look a little different. The chemistry we witness in them is more relevant than conventionally filmy.
Dono tries very hard to be relevant to the contemporary generation and succeeds marginally. The film tries to discuss a lot of things, but the surface level at which they are being spoken doesn’t encourage us to take them seriously. Something disappointing awaits us at the end of something cute and nice. For example, the gossip among aunties at the wedding may look typical but relatable. We know such conversations happen at such events. Things like the unbelievable and unreal surprise proposal plan, blue jerseys for the groom’s side and pink for the bride’s for the cricket match make us doubt the maker’s progressiveness (they intend to show).
Dev showing choreography to the groom so that the latter doesn’t end up making fun of himself is not just unconvincing but unintentionally and unbelievably funny. The backstory of Dev and Alina required mammoth conviction. Everything I saw there happens only in dreams, books and films, and there is a tremendous amount of conviction required in the last one for us to buy it, as the other two are a pure play of imagination. The backstory of Meghna and Gaurav is easily and highly relatable. I only wish those portions had more depth for us to care for Meghna strongly. I happily bought everything this portion wanted to say, but a raw touch to it would have been more effective.
Some rawness in newcomers is obvious, but unpreparedness is quite unacceptable. I think Rajveer Deol was either un or underprepared, or got the brief of his character wrong, or was clueless throughout filming. I could see some shades of his uncle Bobby Deol’s swag in him, but his speech was terrible to the extent of ruining the moment beyond repair. It’s too soon to talk of his expressions. Paloma showed decent potential in her performance. I couldn’t understand her style of expressing the pain of dealing with her break-up, but otherwise, she nails the typical debut of an Indian heroine in a warm, fuzzy, mushy romantic film. Her way of expressing emotions lands well. I mildly look forward to seeing her more work. Dono is a dated but typical launchpad for Rajveer Deol and Paloma with limited scope and the stamp of Rajshri Productions.
A film from Rajshri Production wouldn’t be complete with the typical songs and dance, and an eight-track original soundtrack is a rarity in contemporary Hindi cinema. Shankar-Ehsaan-Loy creates some magic in Dono. I had not heard any song before watching the film. After hearing them for the first time while watching the film, I did not find them exceptional or remarkable like the composer’s many previous songs, but every song in the movie works well within the context of the film. None of them felt forced. The compositions and vocals grabbed my attention pretty instantly, and I couldn’t believe I sat back during the end credits while the reprise version of the title track played.
As I got up to exit, I didn’t really mind Dono despite finding a lot to complain about, be it the largely dated execution style, the performances or certain instances in the screenplay. The fact that the film tried to redefine (to the best of its ability) the conventional family romantic drama refused to leave me and made me see some potential in Avnish Barjatya. You certainly require a particular taste in movies or content, in general, to admire Dono wholeheartedly. Otherwise, you have to settle down just with the effort made to create something different. The pleasingly posh production values make Dono a watchable affair, but I would suggest going with the least possible expectations for this one to come out without any disappointments.
meri maaa, CINEMAAA 