The cinematic odyssey in which Shah Rukh Khan and Rajkumar Hirani collaborate in “Dunki” has a depressing monotony permeating the 161-minute story. The glaring absence of emotional resonance throughout this temporal sprawl made me question the artistic merits of the film. Even the portrayal of Shah Rukh Khan’s character Hardy seems to have exhibited too much labor for little gain.
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In this movie venture, Khan plays Hardayal Singh Dhillon, known as Hardy, a soldier involved in the secret world of illegal immigration, metaphorically referred to as an asshole, explained by the word “”to defeat.” His character becomes Mannu (Taapsee Pannu), Buggu (Vikram Kosar)”. and Guri, who takes Bally (Anil Grover) through the perilous landscapes of Pakistan, Afghanistan, Iran, and Turkey towards their desired haven, London.
The film’s initial stage takes place in a fictional Punjab village, documenting the trio’s struggles and efforts to navigate the labyrinthine process of securing UK visas through shady agents. The challenge of grappling with the nuances of the English language as well as job interviews and subsequent rejections was to be Hirani’s strength, an area in which she usually weaves her unique narrative magic. But “Dunki” emerges as a lackluster reprise, reminiscent of a hybrid between “Mind Your Language” and a divergent version of “East-and-West.”
Known for her uncanny ability to tell excellent stories and evoke deep emotions, Hirani faltered in this cinematic effort. In contrast to its previous activities of inspiring viewers to embrace incredible scenery, “Dunki” fails to create anything but a sense of excitement and boredom. Even Hardy’s character, the seemingly based-on-reality hero, is not entertaining, despite his ubiquitous presence in almost every scene.
Unlike his presence in blockbusters earlier in the year, Khan lacks the nuances of a larger-than-life personality in Hardy. Their skills lie more in physical feats within ‘rehearsals’ than in sophisticated manipulation of complex weapons. Despite his role as Manu’s guardian, the obvious chemistry is thin, leaving the audience with a clear sense of Khan working hard for little gain.
The film’s expected climax, in which Khan channels his authentic self and reaffirms his unwavering commitment to his motherland, is devoid of the expected emotional gravitas. Moving away from “Pathan” and “Jawan,” Khan once again plays a patriotic person who embraces his country with all its flaws. But this seemingly touching moment doesn’t leave a lasting impression.
Despite the shortcomings of the film, Vicky Kaushal manages to leave a lasting impression with his brief but memorable character. Looking back, Kaushal’s performance is a poignant reminder of Hirani’s precocious ability to elicit both laughter and tears from an audience, an aspect conspicuously absent from this particular cinematic effort.
In the final analysis, “Dunki” stands as a testament to the unexpected trajectory of artistic collaboration. Expectations were high from the union of Khan and Hirani, but sadly, the film ends up with an ambiguous ending devoid of the expected cinematic charm.
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