“Dhak Dhak” is a cinematic endeavor that ardently advocates for female empowerment but ultimately falls short, offering a well-intentioned yet inconsistent narrative. The film draws its strength from the earnest performances of two stalwart actresses, Ratna Pathak Shah and Fatima Sana Shaikh.
The narrative unfolds around a quartet of intrepid women who embark on an epic journey from Delhi to Khardung La, situated at the pinnacle of the world as the highest-altitude motorable pass. For Sky, embodied by Fatima Sana Shaikh, this expedition represents a professional undertaking entwined with a poignant personal setback. Mahi, masterfully portrayed by Ratna Pathak Shah, seeks to redefine her identity, diverging from the conventional persona of a doting grandmother celebrated for her culinary prowess. Uzma (Dia Mirza) aspires to liberate herself from the confines of a domestic role that confines her to being the culinary virtuoso tasked with conjuring biryani and phirni in the blink of an eye.
On the other hand, there’s Manjari (Sanjana Sanghi), an individual sheltered from life’s unscripted adventures, who yearns to savor the world’s offerings before her scripted union with a young man she has never met. While Sky and Mahi’s motivations appear cogent, Manjari and Uzma’s enthusiasm for heavyweight motorcycling and a perilous odyssey might be deemed less persuasive. Nonetheless, the journey itself becomes emblematic of their collective aspiration for liberation.
The film adheres to a conventional route observed in concept-driven cinema, where plot developments adhere to foreseeable trajectories punctuated with intermittent doses of popular philosophy. The barriers encountered by these audacious women are discernible from afar, with the emotional profundity surging predominantly in the movie’s latter half.
Despite the film’s inherent limitations, it sustains its allure due to the adept cast that infuses the narrative with piercing wit and insightful commentary on life and human relationships, drawn from their own lived experiences. One subtle yet incisive commentary presents Nani not as the conventional archetype but as a woman who may very well own a motorcycle, signifying an inconspicuous challenge to entrenched cultural norms. Guided by the incredibly adaptable Ratna Pathak and the captivating Fatima Sana Shaikh, these four women naturally cultivate a bond, and their heartfelt dialogues serve as the lodestar navigating the uneven terrain of the film’s narrative.
To encapsulate, “Dhak Dhak” represents a well-intentioned cinematic work that grapples with the theme of female empowerment but is somewhat held back by execution. The film’s primary strength lies in its ensemble cast, which contributes dimension to a narrative that, at times, appears disjointed. The movie, while falling short of perfection, offers genuine performances and a heartfelt exploration of women’s aspirations for empowerment.
