Tantalising mystery with a message

There are no saints in writer-producer Kanika Dhillon’s universe. Thus, in the very first scene of this Netflix film, when a woman named Somaya (Kriti Sanon) accuses her husband of attempt to murder, you know there is more than meets the eye. Rewind, and the story of identical twins Somaya and Shailee begins. Childhood trauma and the early demise of their parents has created a wall of friction between them. Toxicity has led to both vying for the same man, until he chooses one, expectedly the homely one. Before we jump the gun and accuse Kanika, who has given us some deliciously wicked women, of stereotyping and glorifying the simpleton against the ultra-glam mould, let it be said once again — trust her to throw a googly at us.

If you are Sherlock Holmes, you can probably guess which way the cookie will crumble. Is Shailee out to spite Somaya? Still, nothing will rob you of the joy of watching this engaging drama playing out in the lives of these two girls. Both are in love with this hero/antihero Dhruv Sood (Shaheer Sheikh). Son of an influential politician, Dhruv runs an adventure sports company in the hills. If the beauty of the picturesque, yet fictitious, Devipur (somewhere in Uttarakhand) is caught majestically, paragliding is in itself a character here.

Not just key players Kriti, Kajol and Shaheer, but every actor worth his/her salt shines. Brijinder Kala can find his groove even in the smallest part, and he does. Tanvi Azmi is a perfect fit as the loving caretaker of the two girls, partial to one perhaps, but blessed with a sharp mind.

Kajol plays the cop, Divya Jyothi, investigating the case. She doubles up as a lawyer and once again reminds you what a natural she is. Clearly, she has lost none of her ability to light up the screen. Shaheer (Arjun of ‘Mahabharata’) is the face of patriarchy; with a solid television innings behind him, the actor is on a strong footing.

Last but not the least, Kriti, also the co-producer, excels in what is easily an author-backed role. After all, what can be meatier than playing a double role, that too of contrasting inflections — one a firebrand and the other demure? Indeed, we have seen this in ‘Ram Aur Shyam’, ‘Seeta Aur Geeta’, even ‘Chaalbaaz’. Yet another visit down the same lane can only evoke a yawn, one would assume, but this is where Kanika deals a trump card. As film after film is tipping its hat to films of yore by snatches of songs, pop references et al, here is a perfect ode to the original. While Kanika takes the kernel of the idea from the erstwhile films, she truly turns it on its head. As she weaves in a few threads, including one of mental health, she never loses sight of what she finally intends to convey. Many films have been made on a similar theme (we wouldn’t like to name them and spoil the fun). The concept of word of law is pitted against the spirit of law… but you may or may not agree with the somewhat convenient interpretation.

And yet, there is no disputing the spirit of storytelling. A tantalising mystery with a significant message thrown in, ‘Do Patti’ is a fulfilling experience. Savour it. In one of the scenes, Kala’s character of assistant to Kajol’s cop act enquires, “Madam sir, what have we been doing here for the two last hours?”, and she replies, “Admiring the brains of these women.” After watching the two-hour breezy and impactful film, one could say the same about all the women out here.

Of course, one man, director Shashanka Chaturvedi, certainly deserves to be counted. A renowned maker of ad films, he wields the directorial baton with consummate ease. The twists and turns in Kanika’s thriller story have no rough edges in Shashanka’s seamless execution, even when it goes back to pack in yet another blast from the past. And when the film veers towards a bit of preaching, the engagement quotient is never compromised.

As for the picturisation of the eternal Punjabi song ‘Madhaniyaan’, the words ‘Kinha jamiyaan kinha le jaaniyaan’ sound ever so poignant and soulful. The film, of course, has both soul and heart, topped by a full-bodied story, probably Kanika’s best so far.