{"id":3018,"date":"2016-03-13T20:35:40","date_gmt":"2016-03-13T15:05:40","guid":{"rendered":"http:\/\/13.201.39.237\/?p=3018"},"modified":"2026-07-17T20:20:56","modified_gmt":"2026-07-17T14:50:56","slug":"dhadak-janhvi-kapoor-ishaan-khatter-sairat-caste","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=3018","title":{"rendered":"Sairat Lovers, All Your Nightmares About Dhadak are True"},"content":{"rendered":"\n

T<\/span><\/p><\/div>

wo years ago, Nagraj Manjule\u2019s <\/span>Sairat <\/span><\/i><\/a>burst into national consciousness, a scalpel hidden within its folds. The film might have worked the festival circuit but it\u2019s tragic that it largely remained a Maharashtra phenomenon, because it is a pop culture landmark in more ways than one. And because its box-office popularity meant that the film would have to be remade in Hindi for the rest of the country. As a Karan Johar production.<\/span>\n\nSpoiler alert: It\u2019s as dishonest as anyone who has watched <\/span>Sairat<\/span><\/i> expected it to be. <\/span>\n\nSairat<\/span><\/i> afforded its universe an unwavering <\/span>Dalit<\/span><\/a> gaze \u2013 one that most romantic films, including <\/span>Dhadak<\/span><\/i><\/a>, almost always disregard. We\u2019re used to seeing romantic leads who are divided by class or parental opposition or long-standing family feuds. But <\/span>Sairat\u2019s<\/span><\/i> leads are Parshya, a \u201cfair\u201d Dalit boy (Akash Thosar) and Archi, a dusky, upper-caste girl (Rinku Rajguru), who fall in love, marry, and ultimately pay the price for their blatant disobedience toward the \u201cmoral boundaries of <\/span>caste<\/span><\/a>\u201d. <\/span>\n\nThat gaze isn\u2019t just limited to <\/span>Sairat\u2019s<\/span><\/i> two protagonists. The film\u2019s most crushing example of caste oppression comes when a Dalit professor is slapped by Prince, Archi\u2019s brother, exposing the daily injustices that the \u201clower castes\u201d quietly endure. <\/span>Dhadak<\/span><\/i>, however, reduces this scene to a vacuous moment where a professor is slapped by a boy (technically not even a student) just because he has a bad temper. <\/span>\n\nIt\u2019s exactly what we expected. If there\u2019s anyone who can take the ignored issue of caste and ignore it even further, it\u2019s <\/span>Karan Johar\u2019s Dharma Productions<\/span><\/a>. The result is a risible, candyfloss film that embodies everything Manjule mocks in <\/span>Sairat<\/span><\/i>. To make things worse, it\u2019s also a soulless romance. Think of a Bandra kid trying to convince himself that he too has his set of struggles because he didn\u2019t have organic avocado for breakfast \u2013 that\u2019s <\/span>Dhadak<\/span><\/i> in a nutshell.<\/span>\n\n\"Dhadak\"\n

\n

In Shashank Khaitan’s Dhadak, Jahnvi Kapoor exhibits her blank face . <\/p>\n

Image credit: Dharma Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nThe characters in Shashank Khaitan\u2019s <\/span>Dhadak<\/span><\/i> live in a utopian version of Udaipur where no one is<\/span> poor<\/span><\/a>, and class and caste do not exist. The film shuttles between four cities and three languages, and still manages to do justice to none. In it, a rich Madhur (Ishaan Khatter), who pretends to be middle-class but often forgets it, falls in love with the very rich Parthavi (<\/span>Janhvi Kapoor<\/span><\/a>). Since the two lovebirds have no class or caste divide that can prove to be an obstacle, Parthavi\u2019s perennially angry father (Ashutosh Rana, who has been constipated since 2002\u2019s <\/span>Raaz<\/span><\/i>) decides to disapprove of the pairing over something as trivial as Madhur living in the Bandra East or West Delhi of Udaipur. Enraged by the discrimination, the couple elope to Kolkata via <\/span>Mumbai<\/span><\/a> via Nagpur because #NotAllBandraites. This is the most amount of emotional heft and drama that the film can accomplish in its 137-minute-long runtime.<\/span>\n\nIn an <\/span>interview before the film\u2019s release<\/span><\/a>, Janhvi revealed Khaitan\u2019s meticulous directorial process. Apparently, it involved frequently yelling \u201cJust ham\u201d to them during important scenes. Unfortunately for Khaitan, his leads are secretly wax statues so they can\u2019t even execute that simple request. When Janhvi\u2019s face isn\u2019t looking like it\u2019s a love-child of Innisfree face masks and Est\u00e9e Lauder\u2019s hydrating face serum (it looks shinier than my future), it\u2019s scrunched up awkwardly. If not that, then it\u2019s her eyebrows enunciating most of the acting. Ishaan, on the other hand, tries to channel the pained look of someone whose <\/span>gym membership<\/span><\/a> has been cancelled and runs with the broodiness of a star kid who hasn\u2019t yet been signed by KJo. <\/span>\n\nWhere <\/span>Sairat<\/span><\/i> was nearly three hours of unflinchingly putting its leads through the hoops \u2013 living in a Hyderabad slum, merciless poverty, and systemic violence \u2013 all Dhadak<\/em> accomplishes are faulty expressions. Much of the film\u2019s second half revolves around Janhvi being in distress, except she ends up looking perpetually shocked. Perhaps it\u2019s the realisation that she was offered a film despite her non-existent <\/span>acting skills<\/span><\/a>. Ishaan\u2019s version of sadness is no better: He stares vacantly at a wall, then at Janhvi eating chaat with her boss, and reaches the pinnacle of vacant staring while meeting his estranged brothers-in-law. The two times that caste is reluctantly mentioned in Dhadak<\/em>, it is quickly passed off as an afterthought. Unfortunately, it’s also the best evidence of the issues mainstream Bollywood films reduce to a mere footnote.<\/span>\n\n\"Dhadak\"\n

\n

Dhadak is the Sairat remake that we could have lived very well without.<\/p>\n

Image credit: Dharma Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nBut to its credit, <\/span>Dhadak<\/span><\/i> does come packed with a pertinent life-lesson: A slap solves everything. Before Madhur slaps Parthavi on the road, she is perpetually irritable and sad but right after her cheek meets the force of Ishaan\u2019s perfectly manicured hand, Parthavi learns to smile again. It\u2019s a wholesome memo that we certainly need at a time when India reels from the daily aftermath of <\/span>male violence.<\/span><\/a>\n\nEvery frame and plot twist of <\/span>Dhadak<\/span><\/i> feels like it\u2019s the work of a wannabe artist who is mistakenly convinced that his duplicate of Michelangelo\u2019s paintings are even better than the original. That is precisely how watching <\/span>Dhadak<\/span><\/i> feels.<\/span>\n\nBut the unkindest cut is that <\/span>Dhadak<\/span><\/i> doesn\u2019t merely spoil the essence of the spine-chilling end of the original with a terribly bloated update. For a film that ends with a warning about the ills of <\/span>honour killing<\/span><\/a>, it even manages to get that somewhat wrong. For a second, I naively thought that the film was trying to make a point about caste, by not using last names in the end credits. But I was soon proven wrong when I realised that barring the surnames of the two <\/span>\u201cstar kids\u201d<\/span><\/a>, everyone\u2019s names were left intact. I can only deduce that the idea was to encourage viewers to look at the newcomers in isolation, minus the privilege of their famous last names. <\/span>\n\nJust like this stunt, <\/span>Dhadak<\/span><\/i> feels like a family craft project which earnestly believes itself to be impossibly smart. But is actually the most vapid and least self-aware exercise of all time.<\/span>\n","protected":false},"excerpt":{"rendered":"

Spoiler alert: Dhadak is as terrible as anyone who has watched Sairat expected it to be. If there\u2019s anyone who can take the ignored issue of caste and ignore it even further, it\u2019s a Karan Johar production. The result is a risible, candyfloss film that embodies everything Sairat mocked.<\/p>\n","protected":false},"author":103,"featured_media":3022,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[2282,2999,5927,3001,240,79,5928,398,5929],"class_list":["post-3018","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-caste","tag-dhadak","tag-ishaan-khatter","tag-janhvi-kapoor","tag-karan-johar","tag-maharashtra","tag-nagraj-manjule","tag-sairat","tag-shashank-khaitan"],"yoast_head":"\nSairat Lovers, All Your Nightmares About Dhadak are True<\/title>\n<meta name=\"description\" content=\"Spoiler alert: Dhadak is as terrible as anyone who has watched Sairat expected it to be. If there\u2019s anyone who can take the ignored issue of caste and ignore it even further, it\u2019s a Karan Johar production. 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