Review: ‘Avnish debut directorial “Dono’ explores fresh horizons in the ‘Barjatya Universe’
Review: ‘Avnish debut directorial “Dono’ explores fresh horizons in the ‘Barjatya Universe’
Despite having made attempts Avnish to breathe new life into the Barjatya cinematic universe with a not-so-platitude love story, ironically, he falls short when it comes to effectively translating this vision onto the screen.
A fresh wave of budding talents embarked on their cinematic journey with the romantic drama, “Dono.”a proud presentation from the production house of the Barjatyas- Rajshris.
The most special part of the film was the introduction of new budding talents in Sunny Deol’s son Rajveer Deol and Poonam Dhillon’s daughter and not to forget Avnish Barjatya, hailing from the illustrious Barjatya lineage.
While ‘Dono’ proudly bears the Rajshri film banner, it ushers in a fresh perspective, a new creative mind at the helm. After watching the film, frankly speaking, a fresh concept lacks precise execution
Amidst hearts seeking closure from past relationships, two individuals cross paths at a wedding, an event closely tied to the very people they’re trying to keep a distance to themselves from what follows is a love story that defies the usual clichés. It’s not just about their budding relationship; it’s also about their personal journeys of self-discovery.
However, notwithstanding the exceptional concept and eloquent narrative at the heart of ‘Dono,’ the film struggles in its execution. It’s almost as if the emotional depth and the important message it aims to convey get lost in a maze of unclear visuals and misdirection.
The film is like watching a lavish Marwadi wedding video infused with personal drama. While it’s undoubtedly a grand affair, the film occasionally loses sight of its core message.
The wedding starts with a cricket match amidst the team Dulha and team Dulhan.
The question does pop up- Did the makers have a discussion with Parineeti-Raghav about this?
The stretch of the film is again a problem and could have been cut short a few minutes here and there.
The essence of a Rajshri film is a well-known treasure trove—filled with family ties, relationships, timeless values, grand weddings, sheer opulence, and a touch of extravagance.
It’s a signature recipe that births a Sooraj Barjatya masterpiece. Avinash, in his directorial endeavor, treads on this familiar path but with a bold twist.
While the Barjatya trademark elements are still intact, this time the narrative takes a distinctive turn. Availing himself of the classic Barjatya elements, Avinash endeavors to strike a chord with today’s generation.
Avinash and Manu Sharma’s writing seeks a fresh perspective, one that comprehends the complexities of modern relationships.
All the while, it seamlessly upholds the cherished traditions of extravagant weddings, heartwarming family drama, timeless romance, a plethora of songs, and beloved traditions.
Rajveer Deol, plays the character Dev, and appears to embody some of his own traits. He portrays Dev as a shy and introverted individual, someone who wouldn’t typically make a move. Even as some of his dialogues come across as robotic, almost as if he’s rehearsing a script reading, Rajveer attempts to convey Dev’s emotions. In his debut film, he manages to deliver a decent performance but certainly has room for improvement.
Paloma Thakeria as Meghna has conviction in her character. However, many of her lines feel more like recitations than acted-out expressions. There’s a noticeable absence of emotion, and the chemistry between Rajveer and Paloma falls short. Their on-screen presence lacks the spark that should ignite between romantic leads.
Kanikka Kapur, in the role of Alina, stands out as a strong presence, often feeling like the film’s focal point, particularly in the second half and during crucial climax scenes. Her charm shines through, and she delivers a commendable performance. Rohan Khurana as Nikhil and Aditya Nanda as Gaurav adheres to their roles as scripted, offering decent performances.
The musical score of ‘Dono’ is regrettably subpar. With the exception of the titular track, none of the other songs come anywhere close to earning a spot on your playlist, and their recall value is nil.
The film’s setting is an absolute visual delight. The vibrant hues, the breathtaking beaches of Thailand, the city’s exquisite beauty, the luxurious resort, and the intricate wedding details are all masterfully captured with meticulous precision, creating a visual symphony.
Avnish maintained a consistent palette of vivid colors throughout the film, from start to finish.
All said even as Avnish tried to breathe new life into the Barjatya cinematic universe however, he falls short when it comes to effectively translating this vision onto the screen and harnessing the full cinematic potential of the characters.
News Edit K.V.Raman
