Dhadak 2 Review: A Bold but Flawed Cry Against Caste, Elevated by Stellar Performances

Dhadak 2 Review

Dhadak 2, directed by Shazia Iqbal and a remake of the 2018 Tamil film Pariyerum Perumal, is a cinematic attempt to confront the festering wound of caste discrimination in modern India. It follows the story of Neelesh (Siddhant Chaturvedi), a Dalit law student, and Vidhi (Triptii Dimri), an upper-caste Brahmin, whose romance is battered by systemic oppression and societal prejudice. The film, presented as a spiritual sequel to 2018’s Dhadak, aims to blend raw emotion with social critique but stumbles under the weight of its own ambitions. While it boasts exceptional performances from its leads, particularly Chaturvedi and Dimri, the film’s narrative inconsistencies, heavy-handed execution, and failure to fully harness its thematic potential blunt its impact.

Performances: Siddhant Chaturvedi and Triptii Dimri Shine

Siddhant Chaturvedi delivers a career-defining performance as Neelesh, a young man crushed by the relentless machinery of casteism yet defiant in his pursuit of dignity. His portrayal is a masterclass in restraint and eruption, his eyes convey a haunting mix of shame, rage, and resilience. In scenes where Neelesh faces humiliation, such as being ridiculed for his English or enduring physical degradation, Chaturvedi’s physicality and subtle expressions capture the visceral toll of systemic injustice. His transformation from a meek, self-conscious student to a man embracing the mantra “maaro ya maro” (fight or be killed) is both heartbreaking and inspiring. Chaturvedi’s ability to embody Neelesh’s internal conflict torn between personal ambition and the weight of his community’s history makes him the film’s emotional anchor. He doesn’t just play Neelesh; he becomes him, carrying the weight of centuries of oppression in every glance and gesture.

Triptii Dimri, as Vidhi, is equally compelling, bringing a fiery intensity that recalls her work in Laila Majnu while carving out a distinct identity. Vidhi is a complex character, a privileged law student whose initial ignorance of caste dynamics evolves into a fierce rejection of her family’s regressive values. Dimri navigates this arc with remarkable nuance, particularly in her monologue dismantling the notion of “ghar ki izzat” (family honor), where she tears apart patriarchal and casteist norms with raw conviction. Her chemistry with Chaturvedi is electric in moments of tenderness, though the script occasionally undermines their connection with overly didactic dialogue. Dimri’s ability to portray Vidhi’s awakening from a naive, social-media-savvy progressive to a woman grappling with her complicity in systemic privilege is a testament to her range. She commands the screen, especially in the climax, where her “loud shout” resonates with emotional depth, even if the script doesn’t fully match her intensity.

Supporting performances, including Zakir Hussain as the empathetic college dean and Anubha Fatehpura as Neelesh’s resilient mother, add depth to the narrative. Hussain’s portrayal of a man who has risen above his own marginalized background is quietly powerful, while Fatehpura’s understated strength grounds the film’s emotional core.

The Problematic Use of Black Makeup on Siddhant Chaturvedi

A glaring flaw in Dhadak 2 is the decision to darken Siddhant Chaturvedi’s naturally fair skin by two to three shades with makeup to portray a Dalit character, rather than casting a darker-skinned actor. This choice is not only ethically questionable but also undermines the film’s anti-caste message. By artificially altering Chaturvedi’s appearance, the filmmakers perpetuate a harmful stereotype that equates Dalit identity with darker skin, ignoring the diversity of Dalit communities and reinforcing a simplistic, visual shorthand for marginalization. This practice echoes the discredited tradition of blackface, where makeup is used to mimic a marginalized group’s appearance, often reducing their identity to a caricature.

Casting a fair-skinned actor like Chaturvedi, who is otherwise brilliant in the role, and darkening his skin reflects a failure to prioritize authentic representation. Dalit actors, particularly those with darker skin tones, are underrepresented in Bollywood, and this was an opportunity to amplify their voices and lived experiences. Instead, the choice feels like a safe, commercial compromise, likely driven by the industry’s bias toward bankable stars. It risks alienating audiences who see through the performative gesture and undermines the film’s credibility as a critique of systemic oppression. The makeup itself is noticeable and inconsistent in some scenes, further distracting from the narrative and highlighting the artifice.

The film does incorporate symbolic elements, like the color blue tied to Ambedkarite resistance, but the use of darkened makeup on Chaturvedi feels like a lazy substitute for meaningful visual storytelling. A more thoughtful approach could have used lighting, framing, or other cinematic techniques to convey Neelesh’s “otherness” without resorting to altering the actor’s skin tone. This misstep is particularly disappointing given the film’s ambition to confront casteism head-on.

Drawbacks: A Diluted Narrative and Structural Flaws

Despite its noble intentions, Dhadak 2 falters in its execution, resulting in a film that is stirring but never truly shattering. The most glaring issue is its narrative indecision. The film struggles to balance its identity as a raw social critique and a polished Dharma Productions romance, resulting in a diluted impact. Unlike Pariyerum Perumal, which wielded its anti-caste commentary with unflinching clarity, Dhadak 2 pulls its punches, seemingly softened to appease censors or a mainstream audience. The Central Board of Film Certification (CBFC) reportedly mandated 16 cuts, including altered anti-caste references, which strip the film of some of its intended bite. The redubbed climax dialogues, in particular, feel jarring and disconnected, undermining the emotional crescendo.

The pacing is another significant drawback. At over two hours, the film feels bloated, with scenes that linger too long on expository dialogue or repetitive confrontations. Editors Omkar Uttam Sakpal and Sangeeth Varghese could have trimmed at least 20 minutes to sharpen the narrative’s edge. The climax, while emotionally charged, feels rushed and restrained, failing to deliver the catharsis the buildup promises. The resolution, which hints at a hopeful future, lacks the clarity or conviction to feel earned, leaving audiences with a sense of incompletion.

The screenplay, written by Shazia Iqbal and Rahul Badwelkar, is overly didactic, often prioritizing speeches over subtlety. Moments that could have been conveyed through visual storytelling or character interactions like Neelesh’s hesitation to embrace Vidhi due to “centuries of untouchability” are spelled out in heavy-handed monologues. This “tell, don’t show” approach undermines the film’s emotional depth, making it feel like an explainer for audiences unfamiliar with caste dynamics rather than a lived-in experience. Vidhi’s arc, while compelling, suffers from this as well; her ignorance of caste feels exaggerated at times, bordering on irritating, which weakens her relatability.

The music, a hallmark of Dharma Productions, is another letdown. While tracks like Duniya Alag and Bas Ek Dhadak are soulful, the overall soundtrack lacks the memorable, heart-wrenching quality of Sairat or even the original Dhadak. The abrupt interruption of the title track, meant to underscore the harsh reality intruding on romance, feels more gimmicky than impactful.

Thematic Ambitions and Missed Opportunities

Dhadak 2 aims to tackle a slew of hot-button issues like casteism, classism, feminism, and gender identities, but its ambition outstrips its execution. The film introduces powerful moments, like a chilling dialogue about a Dalit escaping cannibalism because “koi chhoota tak nahin” (no one would touch him), but fails to let such lines resonate. Instead, it rushes to the next plot point, diluting the weight of its own insights.

The adaptation of Pariyerum Perumal also loses some of the original’s raw authenticity. While Pariyerum Perumal grounded its romance in the gritty realities of rural Tamil Nadu, Dhadak 2’s urban setting (a city resembling Bhopal) feels curiously sanitized, despite its attempts to depict caste violence. The film’s “Dharma polish” smooths over the rough edges that made the original so visceral, making it less a reimagination and more a cautious reinterpretation.

Moreover, the film underutilizes Neelesh’s potential for intellectual resistance. His mother urges him to wield education as a weapon, yet the narrative rarely shows him engaging with the “pen as a sword” philosophy. Instead, it leans into physical confrontation, which, while dramatic, feels like a missed opportunity to highlight the power of intellectual defiance in the Dalit movement.

Conclusion: A Film That Stirs but Never Shakes

Dhadak 2 is a film with noble intentions but significant flaws. Siddhant Chaturvedi and Triptii Dimri deliver electrifying performances that elevate the material, their chemistry and emotional depth carrying the film through its weaker moments. However, the decision to darken Chaturvedi’s skin with makeup instead of casting a darker-skinned Dalit actor is a critical misstep, undermining the film’s authenticity and anti-caste message. Combined with a heavy-handed script, uneven pacing, and a sanitized adaptation, Dhadak 2 fails to match the raw power of Pariyerum Perumal. It stirs the heart but lacks the courage to fully confront its subject matter, leaving audiences with a poignant yet compromised reflection on caste and love in modern India.

Rating: Dhadak 2 earns 3 out of 5 stars, buoyed by stellar performances but weighed down by narrative flaws.