It’s not easy to follow a film like Sairat or even its more commercial cousin Dhadak. Yet here comes Dhadak 2, directed by Shazia Iqbal, promising a more politically aware, socially conscious retelling that’s both emotionally charged and thematically ambitious. Starring Siddhant Chaturvedi and Triptii Dimri, this new chapter in the Dhadak franchise takes on the harsh realities of caste oppression in India, a bold thematic leap, but one that falters just as it gathers momentum.
At its core, Dhadak 2 is the story of Neelesh (Siddhant Chaturvedi), a young man from a marginalized caste background, who falls in love with Vidhi (Triptii Dimri), an upper-caste girl from a powerful family. While the plotline might sound familiar, the execution veers into darker, more grounded territory. Unlike Dhadak (2018), which was glossy and romanticized, Dhadak 2 attempts to inject realism, pain, and political commentary, but its conviction wavers.
A Story That Wants to Speak Louder Than It Does
The film opens with subtle but deliberate symbolism. Blue shades took over the screen, calling to mind the Ambedkarite movement and Dalit protests. Views of Dr. B.R. Ambedkar, Savitribai Phule, and Jyotirao Phule are featured respectfully. This is no romance novel; this is a sociopolitical canvas sketched with caste identity malaises. But while it promises to be courageous, it never quite delivers that blow.
In contrast to the unflinching caste violence confronted by Pariyerum Perumal (2018) with naked intensity, Dhadak 2 is content to hesitate. You feel the hesitation in its re-dubbed dialogues, its toned-down critique, and its broken attention. This dilutes what could have been a resounding statement on systemic injustice.
Siddhant and Triptii: The Fire Beneath the Ashes
One of the film’s strongest assets is its lead pair. Siddhant Chaturvedi delivers his most mature and nuanced performance to date. His performance as Neelesh, a youth overwhelmed by the burden of inherited shame and social obstacles, is devastatingly quiet. In his silences and suppressed anger, he speaks volumes.
Triptii Dimri, as Vidhi, is his match in fiery emotional intensity. She reminds us of the passion she showed in Laila Majnu, especially in a powerful monologue where she demystifies the outdated notion of ‘ghar ki izzat.’ Her words, criticizing how women are policed for wearing jeans or eating noodles, land like sharp truths. It’s one of the rare moments where the film feels unapologetically honest.
Supporting performances by Anubha Fatehpura and Vipin Sharma (as Neelesh’s parents), Zakir Hussain (as a morally aware principal), and Saurabh Sachdeva (as the looming antagonist) all add weight. Still, the movie never lets these characters develop fully, frequently changing direction too abruptly.
Where the Movie Stings the Most
The actual tragedy of Dhadak 2 is not only its story but also its handling of the story. Several scenes hit with real force: Neelesh’s pet being killed by upper-caste goons, the suicide of a Dalit senior, and his father being stripped and humiliated publicly. These are haunting, painful moments, yet the film fails to build and sustain that emotional tension.
The pacing falters, the tonal shifts feel jarring, and the inconsistency becomes the film’s Achilles’ heel. You’re left moved by moments but untouched by the whole. Just when the story seems ready to roar, it retreats into silence.
Even the climax, where Triptii Dimri unleashes a screaming shriek, attempts to echo the emotional decimation of Dhadak (2018)’s notorious climax. But it falls with far less impact, sounding more like an attempt at art than a recollection.
Subtle Satire and Missed Opportunities
What Dhadak 2 does get right is adding a few satirical strokes. Quotes mentioning public figures such as Vijay Mallya and Arvind Kejriwal add biting cultural commentary, although in brief and limited instances. The jabs are smart, but the film does not capitalize on them enough to leave an impression.
Credit must be given to Director Shazia Iqbal for making a movie that takes its risks, walking a sensitive topic with caution. She uses symbolism and some poetic language effectively enough to show she realizes the gravity of the topic. Her approach to the narrative is disappointingly held back, perhaps out of fear of people criticizing it, censorship, or the commercial pressure of mass-market cinema.
Final Verdict: A Heartfelt but Hesitant Film
Dhadak is the word for heartbeat, and Dhadak 2 is well titled; it throbs with passion, yearning, and the urge to rebel against unfair fences. But where the heart wants to scream, the film merely whispers.
As we trace the cinematic journey from Sairat to Dhadak and now Dhadak 2, it’s clear that while filmmaking has grown more daring, societal truths remain chillingly constant. Love across caste lines is still a battlefield, and cinema, though powerful, often finds itself tiptoeing around the fire instead of standing in it.
Dhadak 2 leaves you stirred, occasionally moved, but rarely shaken. It’s a well-acted, socially aware film with its heart in the right place, but sadly, its voice is not quite loud enough.