Dono Review: Debutantes Rajveer Deol, Paloma Dhillon's film has a refreshing take on romance

Over the last three decades, Rajshri Productions has firmly cemented its position as a banner that champions Indian values and family system intrinsic to our culture. Even as Hindi cinema got a modernised look and feel in its aesthetics and ethos, the banner stuck to its roots. However, Dono promises to turn a new leaf in the Rajshri book of filmmaking.

3 things you need to know

• Dono marks the debut of Rajveer Deol and Paloma Dhillon, whose performances are sincere, albeit uneven.
• Debutant director Avnish Barjatya has shot a majority of the film in picturesque Thailand.
• Dono steers clear of the usual narrative choices and delays the romantic union of the leads till the very end.

Hot Take

Dono charters the journey of Dev (Rajveer Deol) and Meghna (Paloma Dhillon), two young and vulnerable people who are trying to move on from broken relationships after they meet each other at a wedding they are obliged to attend. On the surface, the film may appear as a family entertainer. But debutant director Avnish Barjatya has a handful of surprises up his sleeve, both in terms of scripting and execution. Dono surprises the viewers with its unconventional structure and progressive outlook.

(A still from Dono | Image: Instagram)

Does Dono live up to the hype?

Dono exceeds expectations by choosing an independent viewpoint to narrate a familiar story about relationships and expectations that come from one's family. It keeps the viewer engaged throughout.

Avnish's debut directorial is a spin on Rajshri's 'family concept' movies

The movie opens in the midst of a Marwari wedding, set in Thailand. There is a friendly cricket match that goes down between prospective in-laws and their respective families. However, just when we begin to get flashes of Hum Aapke Hain Kaun, Dono subverts expectations.

Dono, coming from Rajshri Productions, stays loyal to its roots. Even though Avnish decks up Thailand like Jaisalmer, he ensures we know that he did it intentionally. At another point, a character’s mother describes the groom’s family as ‘bhayanak waali family’. It almost feels like blasphemy to hear a line like this in a film from the banner that idolises families but the new director knows what he is doing. He doesn't have any qualms in making some honest observations about the double standards of our conservative society.

Dono empathises with its protagonists

The movie works in the context of its own 'universe' which has been guided by conservatism and family-comes-first philosophy. The existential and empathetic approach to its protagonists who are simply seeking solutions for their identity crisis is refreshing to witness. Dev and Meghna depend too much on the world for validation.  Dev consistently refers to himself as a loser, someone who never thought of himself as special.

(A still from Dono | Image: Instagram)

Meghna talks about being conscious of her smile early on in the film. It only makes sense when she falls for a boy who praises her smile. The film effectively, and in a sweet manner, captures their journeys till redemption, even though it comes at the cost of no emphasis on romance.

In a very low-key manner, Avnish also touches upon the skewed gender equations in most relationships, where men often take charge and women tiptoe around them in order to be accepted. There are moments of surprise like these that compel you to forgive the debutant director for his occasional lack of grip on pacing.

Rajveer Deol as Dev holds his ground in an ensemble cast but struggles to lend gravitas to moments that rely on performance. Paloma Dhillon, in comparison, is much more confident and in control of her character. Even though she is not consistently impressive, she brings a lot of vulnerability and charm to her character.

Interesting narrative choices

When the first half ends with a conflict between Dev and Meghna, conventions dictate that the narrative will shift focus to their blossoming romance. But, it can be seen either as a sign of strength or weakness, that Dono doesn’t follow the conventional structure of a rom-com.  

We continue to follow Dev and Meghna as they untangle and deal with their pasts. Initially, they don’t even show a romantic inclination towards each other. Instead, the narrative keeps them busy with resolving their own issues.

The final act is particularly impressive in how courageous it turns - the film walks down two paths, one where Dev finally confesses his feelings to his first love, which feels a little too lengthy mostly because of the laborious dialogues and the performers who are sincere but not seasoned enough to carry this sort of material with grace.

(A still from Dono | Image: Youtube)

At the same time, the narrative makes space for a moment where a flustered Meghna looks around at everyone at a ceremony - they are jubilant and completely oblivious of the dilemma the bride is going through. Dono looks and feels young - visually as well as thematically. This is not a garb or a facade - the story's heart is full of youth and vigor. And one can surely feel the vibe.

Watch it or Skip it?

Dono deserves a watch for its unconventional narrative structure, a breezy vibe and its ability to reexamine the philosophy of the banner's own brand of filmmaking.

Bottomline

Despite the uneven performance by the debutants, Dono makes for a very refreshing watch. The film is also a progressive take on the age-old conflict between the young and the ageing.

Rating - 3/5