In Shah Rukh Khan’s latest venture, “Dunki,” we witness the Bollywood icon donning the uniform once again, marking his third stint as a soldier after “Pathaan” and “Jawaan.” However, the much-anticipated collaboration with acclaimed director Rajkumar Hirani fails to deliver the magical charm that has become synonymous with Hirani’s name.
The narrative of “Dunki” revolves around the colloquialism of ‘dunki maarna,’ symbolizing illegal migration. Shah Rukh Khan plays the character of Hardyal Singh Dhillon, or Hardy, who serves as the catalyst for the journey of Mannu (Taapsee Pannu), Buggu (Vikram Kochhar), and Balli (Anil Grover). Their odyssey takes them through perilous underwater and overland terrains spanning Pakistan, Afghanistan, Iran, Turkey, all the way to their dream destination, London.
Before delving into the international escapade, the film sets the stage in a fictional Punjab village, showcasing the hardscrabble lives of its protagonists. Their aspirations are encapsulated in the pursuit of cracking the UK visa maze through small-time agents. While the challenges of navigating English interviews, facing rejections, and dealing with visa complications seem to be classic Hirani material, “Dunki” falls short of delivering the director’s signature fabulism.
Rajkumar Hirani has been celebrated for making audiences willingly suspend disbelief, creating colorful and charismatic characters in improbable scenarios. From a 45-year-old playing a 20-something student in “Three Idiots” to portraying a googly-eyed alien in “PK,” Hirani’s cinematic sleight of hand has captivated viewers. Yet, “Dunki” feels like a departure from this enchanting formula, presenting a decidedly jaded version of the director.
The film’s attempts to capture the essence of struggling with UK visa issues and the humor that usually accompanies such situations fall flat. The narrative, which should have been Hirani’s playground, feels more like a concoction of Mind Your Language with a touch of reverse Purab-aur-Paschim. The snarky interviews and the struggles of mastering the English language, usually a goldmine for comedic moments in Hirani’s films, lack the expected sparkle.
One of the film’s critical moments involves Shah Rukh Khan declaring his safety in his homeland, a scene reminiscent of the actor’s recent patriotic roles in “Pathaan” and “Jawan.” However, what should have been a poignant and stirring moment fails to leave a lasting impact. Unlike previous instances where SRK’s portrayal resonated emotionally, “Dunki” misses the mark, leaving the audience yearning for the depth that characterizes Hirani’s best works.
Amidst the shortcomings, Vicky Kaushal emerges as a standout performer, injecting a brief yet memorable arc that harks back to the earlier Hirani, capable of eliciting both laughter and tears. However, this lone bright spot isn’t sufficient to salvage the film from its overall lackluster presentation.
In conclusion, “Dunki” struggles to capture the magic of Rajkumar Hirani’s previous cinematic triumphs. While the premise had the potential to explore relevant issues with Hirani’s trademark wit and wisdom, the execution falls short. The film is a departure from the director’s established style, leaving audiences reminiscing about the captivating storytelling that defined his earlier works. “Dunki” remains a missed opportunity, offering a lukewarm experience rather than the enchanting cinematic journey expected from a Hirani-Khan collaboration.
