Review of “Do Aur Do Pyaar”: Vidya Balan and Pratik Gandhi excel in a personal, outstanding movie

Do Aur Do Pyaar Movie Review: Vidya Balan and Pratik Gandhi’s film excels most in its close-knit narrative and likeable characters.

 

In summary, “Do Aur Do Pyaar,” which debuted in cinemas, examines relationships in the current era. Director Shirsha Guha Thakurta does this by using intimate storytelling, and there’s a noticeable spark between Vidya Balan and Pratik Gandhi.

 

Members of the cast and crew

 

Rating: Date of Release: April 19, 2024

 

“Being married is a social institution, but who would want to live in one?” The Groucho Marx quotation was the most applauded since it established the mood for the first scene of “Do Aur Do Pyaar.” The film toy with the idea of “to be or not to be” in the context of a contemporary relationship’s roller coaster.

 

Two “once in love” people, Kavya [Vidya Balan] and Ani [Pratik Gandhi], are stuck in a marriage where their conversations are limited to practical matters. Both Vikram [Sendhil Ramamurthy] and Nora [Ileana D’Cruz] search for love outside of marriage in an attempt to fill that gap, only to discover that their love may have been lost but never forgotten. Is it still possible for them to find each other or has that boat sailed already?

 

The filmmaker, Shirsha Guha Thakurta, examines relationships and their meaning in the fast-paced world of today via a contemporary lens. The most compelling aspect of “Do Aur Do Pyaar” is its close-knit narrative and sympathetic characters that invite more empathy than condemnation.

 

‘Do Aur Do Pyaar’ trailer starring Pratik Gandhi and Vidya Balan

Shirsha employs her skill to make the audience comprehend each character in the movie rather than viewing them through a strictly binary lens. Instead of using language, the director communicates more through discomfort, quiet, empty places, and deft writing.

 

It also helps that two of the top actors in the nation, Vidya and Pratik, play Kavya and Ani. Unquestionably excellent casting. The pair exhibit remarkable skill in depicting the vulnerability and loneliness of a partnership, as well as equal passion in showcasing their goofy side.

 

Vidya and Pratik seem so natural on television, and they have such a smooth exchange as artists. Their energies are mutually reinforcing. There is a strong on-screen chemistry between Vidya and Pratik. You feel almost tingly in their intimacy.

 

You should be ready to dance along when Vidya and Pratik get into a moment where they lose themselves in a 90s-style dance at a shaded bar. The scene is proof of their sizzling chemistry and ability to take you on a simultaneous emotional rollercoaster.

 

What makes the movie appealing is that it’s not your typical “run-of-the-mill” love story; rather than romanticising love, it normalises a number of taboos around it while adding a lighthearted touch that makes for a refreshing viewing experience.

 

Sendhil and Ileana are among the supporting cast members that add so many different layers and flavours to the narrative. Ileana in the role of Nora is charming, moral, and very dramatic. You will miss her a little bit more after seeing her after a lengthy absence. 

 

This narrative has no right or incorrect answers. It’s only feelings, transient and permanent alike. That’s where we should give Shirsha props. When relationships seem too difficult, “Do Aur Do Pyaar” serves as a helpful reminder that they don’t have to be. After all, “showing up” is actually what’s important!

 

Pyaar Do Aur Do (2024).

 

In Indian cinema, infidelity is either so demanding that it results in absurd comedy or so unimaginable that it brings endless suffering. Do Aur Do Pyaar strives to be in the centre of things. Although the film’s acceptance of wandering spouses is welcome, conservatism is always present, whether it’s in the form of an abortion-related scene or an attempt to explain the reasons behind the failed marriage.

 

Kavya’s family is among the extra belongings that were brought on the move from liberal America to traditional India. Kavya’s extensive clan, particularly her father (Thalaivasal Vijay), is undoubtedly causing annoyance to others. The utilisation of Yaara Dildara’s chart-topper Bin Tere Sanam is the only positive outcome of the meeting (1991). Not only does this club staple serve as a musical reminder of Kavya and Adi’s shared history, but it also has a livelier quality than the original soundtrack songs.

 

Kavya and Adi are accompanied by erratic tempo and uneven intonation as they search for the ideal balance between duty and happiness. There are some well-staged sequences, but these require waiting for.

 

To sum up their ossified marriage, Kavya wanly tells Adi, “We don’t even fight anymore.” Pratik Gandhi and Vidya Balan like a couple. The film’s lack of judgement works well for both performers, Gandhi particularly well in his role as the spouse who is excessively burdened. A lively presence, Ileana D’Cruz also adds excitement to her little screen time.

 

The other problem is American actor Sendhil Ramamurthy’s Vikram, who isn’t very good or believable. Parts of the film are in English because Ramamurthy uses his native accent. He also recalls recollections of a similarly dishevelled photographer in Aparna Sen’s Parama (1985) who draws in a married lady.

 

Nora, a character that resembles the feminist lead from Henrik Ibsen’s play A Doll’s House, is one of the Easter eggs hidden throughout Do Aur Do Pyaar. In a stage production, Nora plays the role of Rosie, which is also the name of Waheeda Rehman’s adulterous partner from Vijay Anand’s Guide (1965).

There are several Do Aur Do Pyaar precursors from Hollywood, Bollywood, and Indiewood that take different stances on morals. Guha Thakurta’s goal of changing the way people view marriage is always earnest. With his subdued colour scheme and close-ups that are intimate, director Kartik Vijay draws our attention to the four consenting .

 

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