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Dor
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'Dor' Very Well Strung

By Naresh Kumar Deoshi
Film critic, ApunKaChoice.Com

Nagesh Kukunoor’s latest movie ‘Dor’ is a compelling watch. It is a moving tale of two women – one who undertakes a long journey to save her love, and another who dares to break the shackles of tradition and choose life as her heart wants it.

Like Kukunoor’s previous movie ‘Iqbal’, ‘Dor’ too is a film on the empowerment of the weak and the oppressed. It is a beautiful tale of love, loss, friendship, and courage to live anew. The film is raw and realistic in essence. And this is the reason why its story is so believable and deeply touching.

Those

who have the appetite for big-budgeted, opulent, star-studded, melodramatic Bollywood movies may not be enthused at the prospect of watching a relatively small-budget, realistic film with Ayesha Takia, Gul Panag and Shreyas Talpade in the lead roles. But mark my words dear friend, the acting performances and the direction in ‘Dor’ can put many self-proclaimed big shots of Bollywood to shame.

‘Dor’ is the story of two women, Zeenat (Gul Panag) and Meera (Ayesha Takia), both living in different parts of India. Their fate is invariably strung together by one incident that changes both their lives forever.

In the hills of Himachal Pradesh, Zeenat marries her lover Aamir just a day before he leaves for Saudi Arabia. In a Rajasthan village, the happily married Meera spends the few cherished moments with her husband Shankar before he too leaves for Saudi Arabia.

Zeenat is an independent woman who has struggled at every step in her life. She takes the financial responsibility of her in-laws after her husband’s departure. Meera, on the other hand, is domesticated into the strict traditions of a Rajput household.

The worlds of the two women collapse when Shankar is killed in Saudi Arabia, and Aamir, his roommate, is accused of the murder. Aamir is slated to get a death penalty.

According to the Saudi law, there is only one condition in which Aamir’s life can be spared : if Shankar’s widow Meera forgives him.

To save her husband’s life, Zeenat undertakes an impossible journey to Rajasthan to find Meera. On her way, she meets a Behroopiya (Shreyas Talpade) who adopts different guises to con people. Behroopiya first dupes Zeenat also, but later helps her find Meera.

As the two women come together, they become friends. They also learn from each other. The tamed and widowed Meera learns to live her life anew, while the hardened Zeenat learns mellowness.

What happens when Zeenat reveals the truth to Meera? Does she agree to forgive the killer of her husband? Will Meera resign to her fate and live a stifled life in her in-laws’ house?

The conclusion Nagesh Kukunoor gives to the story could not have been better. The movie’s climax takes the story’s emotive appeal to a crescendo and leaves a viewer overwhelmed.

Ayesha Takia has given the best performance of her acting career so far in ‘Dor’. In the first half, she is the meek, submissive housewife with dreamy eyes and many a muffled desires. In the second half, she becomes a woman who learns to defy the cruel tradition, who learns to listen to her heart and live the way she wants to. And Ayesha carries all these myriad emotions with the skill of a polished actress.

Gul Panag stands in equal stead, even though her character is shown mentally and emotionally strong and offers less challenge in the terms of histrionics.

Shreyas Talpade is a complete delight to watch. His comic imitations of the actors from Hindi film industry and the quicksilver changes in his appearances provide a welcome humorous relief in an otherwise serious movie.

To sum it up, ‘Dor’ is a film that definitely ought to be seen once. The movie’s theme is most relevant and the way it has been brought forth, without any melodrama and overblown emotions, is what makes the movie truly compelling. The dialogues are earthy and partly rooted in the local parlance. The background score (Padharo Maare Des) is just too good. The direction and acting performances are almost flawless.

A Must Watch

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