“Dolly Kitty aur woh Chamakte Sitaare” goes overambitious in trying to address way too many things in 2 hours and does not do a good job of anything! It is terribly cluttered, the screenplay is overly conscious about its woke intent to make too many points which unfortunately do not land anywhere. Every emotion is over expressed, and every issue is overstated and delivered sans any finesse in order to make it accessible on the face. In the process, the film or the two leads make almost zero emotional connect, with filmmaker Alankrita Shrivastava setting the mood right upfront with a overtly glossy and fake first scene, and somewhat maintaining that tonality through and through till the end.
This will be one rare film and treatment that even makes an actor like Konkona Sen Sharma majorly overact in almost every other scene. Bhumi Pednekar does relatively better, but Alankrita doesn’t help her much too with the kind of ecosystem she gives her to evolve. The film’s best performance comes from a solid Vikrant Massey, but overall that gets lost in the noise all around. Same is the case with possibly the only genuine moment of connect and tenderness in the film when Dolly and Kaajal have a quieter heartfelt conversation in the terrace and open up to each other. Only if there was more scope given to such nuanced moments in rest of the script.
The trailer had already indicated that there wasn’t much to offer by the overtly dazzling and sledgehammer narrative, and the film hardly tries to improve on that initial impression, other than a very few things here and there. May be it is an Alankrita Shrivastava thing – she always bites more than she can chew and in the process creates a glorified mess of everything. And unlike her previous film, she doesn’t even give space to any Usha Buaji kind of character here that could have at least redeemed the film to some extent!
“Dolly Kitty aur woh Chamakte Sitaare” has just released directly to digital on Netflix, but doesn’t do anything to earn its shining stars from the audience.
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