Dharmajudhdha Film Review
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Dharmajudhdha Film Review
Dharmajuddha goes beyond being just a film; it serves as a powerful amalgamation of idealist and humanist messages. While the movie does include some stereotypical tropes like reverse love jihad, sharing food from the same platter, and the magnanimity of forgiveness, it goes beyond these clichés to address the pressing issue of communal disharmony in India. In the current divisive climate, it is crucial to have a more nuanced and mature voice from popular culture to help heal the discord and foster peace.
Films like Bombay, Parzania, Zakhm, Dev, and others have made sincere efforts to counter and pacify communal rage. These films have played a significant role in highlighting the importance of unity and understanding among different communities. They have contributed to creating a more inclusive and tolerant society.
Given the impact and relevance of such films, it is likely that we will see more of them in the future. As society evolves, popular culture will continue to reflect the need for harmony and bridge-building among diverse communities. These films have the potential to spark conversations, challenge stereotypes, and promote empathy, ultimately contributing to a more peaceful and harmonious coexistence.
However, Dharmajuddha has failed to present a comprehensive story that can be taken seriously as a film, let alone its attempts to bring social harmony back from conflict. The film has two flashbacks in the first half – one comes from Munni and the other from Jabbar. The second half presents two more – Raghav’s and Shabnam’s. Despite different stories, their narration more or less shows how personal losses and threats have made them hate the other community.
Nevertheless, the standout elements of the film are the exceptional performances by Subhashree, Parno, and Ritwick. While Ritwick maintains a subtle approach, Subhashree and Parno deliver high-pitched emotions while still making their characters feel authentic. Shabnam's portrayal includes moments of smart and snappy retorts, which are a delight to watch. Munni, on the other hand, comes across as a more ordinary character. Her flashback scenes with her husband (Saptarshi Moulick) are pleasingly shot and presented. Soham's performance is occasionally good, but there are instances where he goes overboard with emotions, resulting in a jarring effect. Unfortunately, Swatilekha's performance is affected by the mindless monotony of the dialogues.
While the film may have its merits in terms of performances, it falls short in accurately portraying the severity and complexity of communal tensions in India. It is essential to acknowledge the deeper layers of this issue and seek a more profound understanding in order to address and resolve the communal disharmony plaguing the country.