'Dhak Dhak' review: Road trip feminist drama bludgeoned by potholes
Tarun Dudeja's Dhak Dhak is an ambitious film, in the sense that it's led by a female cast ensemble and is based on their biking journey to Khardung La, one of the world's highest motorable roads. The idea sounds exciting and thrilling on paper but becomes wayward and wobbly when translated into celluloid. A passable film, it boasts only sheen but no substance.
This is the story of the film
DD showcases four women who see the trip as an opportunity to break the shackles of life—mostly patriarchy-induced. Uzma (Dia Mirza) is an unrespected homemaker, Mahi (Ratna Pathak Shah) is a widow seeking a new purpose, Manjari (Sanjana Sanghi) has grown up under her family's excessive control, and Sky (Fatima Sana Shaikh) is anxiety-ridden due to her personal and professional life falling apart.
The story is not solid enough
At over two hours long, DD bites more than it can chew, and consequently, chokes more than once, especially in the second half. It doesn't know what to do with its characters, the backstories are neither fully convincing nor engaging to hook us in for the entirety of the drama. There is not enough meat for Dhak Dhak to sink its teeth into.
We cannot care for any conflict or complexity
Dhak Dhak often throws a complexity in our faces, but it gets resolved in mere minutes, and since this happens over and over, these sequences feel wooden and artificial. So, each time such a sequence arrives (the bikes getting damaged, the bikers getting sick), we already know that the film will find them a resolution within minutes, and all this is a mere show.
Bogged down by too many cliches
To its credit, DD doesn't feature these women as only "adventure junkies" but also tries to humanize them, however, it's too little too late. The characters are riddled with stereotypes and cliches, and the cookie-cutter storyline doesn't exactly offer any novelty. Moreover, films that show a simplistic speech, a phone call, or a conversation end patriarchy take the easy way out. DD does that.
The characters don't evoke any emotions
Speaking of the lack of character development, Mahi's decision to accept the offer to ride with Sky is rather unconvincing and rushed and we never really learn how bikes became such an important part of Manjari and Uzma's lives. Sky's character is the only one that feels authentic and Shaikh sells her well, but the drama sags due to other underwritten characters.
More on the characters
Manjari sticks out like a sore thumb—she's scared of rats and insects, but has learned to ride Royal Enfield Bullet, even in difficult terrains, and despite such an orthodox family that doesn't even let her speak to her fiance. The film could have done a lot better if the screenplay didn't feel like perfunctory events stitched together and saved its characters from being one-note.
Supporting characters are simply to use and throw
Dhak Dhak is inhabited by a few supporting characters, like the people who run eateries on the hills, the Monasteries that travelers find spiritual solace in, thieves along the way, and good samaritans who volunteer to help when they see women traveling alone. None of them is memorable; they exist only for the sake of it and do nothing except add to the runtime.
Reminds you of 'Uunchai,' but 'Uunchai' was miles ahead
In many ways, Dhak Dhak is easily redolent of last year's Uunchai, which focused on a group of senior citizens who traveled to the Mt. Everest base camp. However, the similarities end there. Unlike Uunchai, Dhak Dhak cannot pride itself on any strong emotional undercurrents and nothing tugs at our heartstrings in Dhak Dhak's world where nearly everything screams "cliche!"
Positives: It would have fallen apart completely without Shah
Dhak Dhak would have been an even worse affair if it didn't cast Shah, and she carries it with utmost finesse. She has a disarming quality about her that's hard to resist, and as a Punjabi woman, she looks and speaks the part; hers was the only backstory and character development I was invested in. This would be a different film sans her.
Its locations and cinematography are its other strengths
Apart from Shah, the film's other strength comes from its cinematography—Leh, Ladakh, Manali, and hills from several other places find a place in Dhak Dhak, and so do the houses nestled in these hills. While the film begins from Delhi, the picturesque setting soon takes over—lush green farmlands, sheets of ice, gorgeous weather, sky stitched with stars—it's like several paintings etched on screen.
Can give the film a miss
You desperately want to root for DD but eventually cannot since its flaws are hard to simply ignore. With a more striking screenplay, it could have been a layered, nuanced film with a story to remember, but as it stands currently, it can prompt you to pack your bags and go on a trip, but that's all there is to it. Verdict: 2/5 stars.
