Dor - A Most Refreshing & Watchable Film. Review on Dor

It was last Saturday when I saw Dorat Growel/ Cinemax Multiplex at Kandivali (East), Mumbai. The decision was mostly guided by the rave reviews that had appeared in the press. What I found out after watching the film is that it is one of the best Hindi films, I have ever seen.

The word, Dor, meaning thread, stiches two totally unrelated and unconnected persons from very diverse backgrounds into one relationship of Humanity. The film did not have any big names in the star cast. Nagesh Kukunoor, its director, though reputed for regularly giving good, meaningful and clean entertainment, has yet to build up a huge reputation. The music is again not provided by one (or two) of the recognized maestros in the line. But what the film provided is a real nectar. The story, supposedly inspired by a 2004 Malayali film (without any acknowledgement/ reference to that effect though), is one that touches the core of heart of any sensitive individual.

As already depicted by some others in their reviews, the plot is set simultaneously in two beautifully scenic rural backdrops in Himachal Pradesh and Rajasthan respectively. Two youths from these two places go to Saudi Arabia for greener pastures leaving behind their recently wedded spouses. They land up as house-mates there and apparently have no problems with each other. But by a strange quirk of fate, Aamir, the fellow from Himachal is held responible for an apparently accidental death of his friend Shankar Singh, hailing from a place close to Jodhpur in Rajasthan. As per the rule of that land, Aamir is sentenced to death, unless pardoned by Meera, the widow of Shankar Singh.

With that as the background, Aamir's wife, Zeenat(enacted by Gul Panag) starts on a mission to locate Shankar's widow, so as to elicit the formal "Maafi Naama" from her. With just one photograph of the lady & the Rajasthani background, and a wrong postal address, this lady lands all alone in the desert land, only to be befriended and cheated on the very first day. However, on account of a change of heart of the thief (a Bahurupiya,apparently without any formal name in the film, enacted marvellously by Shreyas Talpade), he comes back to Zeenat and not only helps her in locating Meera, stays with Zeenat through thick and thin.

As is to be expected, our valiant lady is not only cold-shouldered, is literally thrown out of the household of Shankar Singh. The saving grace, however, was that Meera did not know about this incidence and develops into a close friendship with Zeenat during her daily travails to the deserted temple. Only when execution date for Aamir is finalised, does Zeenat disclose her real intentions of befriending Meera, which obviously leaves Meera shattered and disillusioned..

In the meantime, the patriarch of the family of Shankar Singh negotiate with the contractor (enacted by Nagesh Kukunoor himself) to give the widow away temporarily in lieu of money and restoration of his family pride, nay his individual feudal ego.

With this sort of a situation, the climax arrives with a feel good solution, which needs to be seen in the theatre.

A couple of flaws, or should I say shortcomings, I thought, could have been avoided. The Maafi Naamathat Zeenat leaves at the temple site remains as it is, to be retrieved by Meera, although desert storms are known to normally blow away and/ or cover up even huge substances. A simple piece of paper is definitely going to be lost like a needle in a haystack. Secondly, the melodramatic end could have been toned down with Meera being shown to continue to be at cross-roads, but with a huge sigh of satisfaction writ large on her face, as the train carrying Zeenat moves out of the frame. Let us remember that realities of life are not always what we desire them to be. A village belle, with a conservative up-bringing a la Meera, will under natural circumstances, find the concept of running away slightly obtrusive.

The acting of Aayesha Takia as Meera was outstanding. Especially, the simultaneous expressions of grief, joy, liberation and female emancipations were played with elan by the young and nubile lady to the hilt. Gul Panag was also very good with solidly determined persona, writ large at all times. But the most amazing performance comes from Shreyas Talpade. The best scene, to me, was when all three dance to the music played from the transistor radio, throwing all norms of conventional conversationism to thin air.

The best thing about all the three actors was that they performed without grease paints and looked absolutely natural, though Gul happewns to be a former Miss India and Ayesha, a glamour queen.

In days of Masala movies, such rare performances definitely deserve special recognitions for all the three of them, and I sincerely hope they receive what they so richly deserve.

The photography is simply captivating, especially due to beautiful editing effects where the lush green mountains of Himachal are juxtaposed against the arid desert environment of Rajasthan.

The music is rustic and the over-all impact of the film is spell bounding.

A Must See Film for all Sensitive Film-goers and Film-lovers who value human relations.