Do Patti Review: Kajol And Kriti’s Film Brings Twins, Trouble And Twists

Title: Do Patti

Director: Shashanka Chaturvedi

Cast: Kajol Devgan, Kriti Sanon, Shaheer Sheikh, Tanvi Azmi, Brijendra Kala, Prachee Shah Paandya, Vivek Mushran

Where: Streaming on Netflix

Rating: 3 Stars

In this film, identical twins Shailee and Saumya (both played by Kriti Sanon) navigate the stormy waters of sibling rivalry, personal trauma, and a love triangle gone awry. The film serves up a heady mix of emotional upheaval and social commentary, wrapped in the drama of domestic abuse and the consequences of staying silent. But while the premise is ambitious, the execution feels like it's been left in the oven just a little too long.

Shailee is the wild, free-spirited twin, full of life, adventure, and "amazing" moments. Meanwhile, Saumya, with her quiet demeanour and nose pin, takes on the role of the introverted and “boring” one, as is almost contractually required in any tale of twin sisters. Enter Dhruv Sood (Shaheer Sheikh), the son of a minister and the catalyst for all things chaotic in their lives. Dhruv manages to charm his way into both sisters’ hearts, stirring up a toxic cocktail of resentment.

The plot kicks off when Kajol’s character, police officer Vidya Jyoti Kanwar, is assigned to the quiet town of Devipur, Uttarakhand. There, she encounters the traumatized Saumya, who refuses to report her husband's abuse despite Kanwar's efforts. Enter their foster mother, portrayed by Tanvi Azmi, who explains why the family chooses silence as their coping mechanism. Kanwar rolls her eyes, conveying the weariness of having heard this story many times before—and indeed, we have.

The film's ambitions are high, but the narrative falters under its own melodrama. From twin sisters conveniently switching clothes in the police station to a mother figure swinging between wisdom and passivity, the film takes liberties reminiscent of a first-year law student cramming notes. Plausibility is sacrificed for drama, resulting in artificial tension. Additionally, lengthy, dialogue-heavy exposition reads more like a Wikipedia entry than a natural unfolding of the characters' lives.

Kriti Sanon shines as the film's star, effortlessly embodying the contrasting personalities of Shailee and Saumya. Her compelling duality makes us care about the sisters, even as the plot threatens to collapse.

Shaheer Sheikh, as Dhruv, navigates the tricky waters of lover and villain with sincerity, making his Jekyll-and-Hyde persona somewhat believable, adding depth to the narrative's emotional turmoil.

Kajol’s portrayal of the police officer feels phoned in, as if she's on autopilot, delivering her lines with disinterest, which is disappointing. Tanvi Azmi is underutilized, while Brijendra Kala adds no fresh energy as a stereotypical sidekick. The talents of Vivek Mushran and Prachee Shah are wasted in roles so small that you might miss them entirely.

The film boasts top-notch production values, with polished frames, but its heavy reliance on cinematic liberties is evident. While the title’s metaphor, translating to “Two Cards,” is presented with poetic flair, it may arrive too late for the audience to stay engaged.

In the end, the film is a mixed bag—watchable mainly due to Kriti Sanon's standout performance. Ultimately average, it leaves you questioning whether the filmmakers should have shuffled the deck a bit more before dealing with this hand.