The Marathi People's Reception of Dhadak: A Comparison to Sairat

The Marathi community's response to the Bollywood remake, Dhadak, has been a mix of appreciation and criticism, with many drawing comparisons to the acclaimed Marathi classic, Sairat. Both films capture the essence of rural Marathi life, but Dhadak, despite its production values, has not fully resonated with its intended audience due to a perceived lack of cultural authenticity.

Positive Aspects and Disconnects

Some viewers found positive aspects in Dhadak, particularly in the film's production quality, music, and performances. The lead actors, Ishaan Khatter and Janhvi Kapoor, received praise for their dedication and talent, though some felt that the film fell short in capturing the raw, cultural authenticity that made Sairat a hit.

Lack of cultural resonance is a significant critique, especially for those familiar with Marathi culture. Dhadak’s attempt to make a commercial success by reverting to Bollywood norms may have overshadowed the cultural nuances that elevated Sairat. One viewer expressed disappointment, saying: “I had thought about watching Dhadak, but after seeing 'Zingaat,' I lost all hopes from this movie. Zingaat is pronounced as 'jing-aat,' not 'zing,' which underscores the misalignment between local and global aspirations.”

Comparison to Sairat

Sairat, the original Marathi film, was a disturbing yet raw depiction of a woman from the upper caste who attempts to cross the social divide by marrying a man from a lower caste. The story’s authenticity and the actors' portrayals delivered a compelling narrative that deeply resonated with many. The cultural authenticity of Sairat lies in its ability to capture the essence of rural life and stand against social injustices. In contrast, Dhadak felt a step removed from this reality, with characters and settings fabricated to fit Bollywood tropes.

One review criticizes the film's characters: “Jahnvi Kapoor couldn’t carry that swag and her character was also very soft. The attempts to modernize Sairat with urban and Bollywood elements have led to a bland portrayal of a classic story.” This criticism highlights the disconnect between the original's cultural fidelity and the remake's commercial adaptations.

Criticisms and Cultural Nuances

Several critics pointed out that Dhadak's storyline did not accurately mirror the reality of Sairat. The characters, their settings, and the overall narrative failed to capture the authentic essence of rural Marathi life. Furthermore, the film's attempt to make the story more accessible to a broader audience often came at the expense of losing the original's cultural authenticity.

One viewer, who has seen both films, elaborates: “Dhadak is a pathetic copy of Sairat which was a cult classic. Jahnvi Kapoor could not carry that swag and her character was also very soft. Karan Johar destroyed a classic.” The sentiment not only criticizes the new film but also highlights the importance of respecting and preserving cultural nuances in film adaptations.

Another key critique centers around the cultural differences between the two films. For example, the rich cultural context of Sairat, where the characters’ financial status is realistically portrayed, contrasts sharply with the Hifisized versions in Dhadak. A viewer points out: “When something is already perfect and you make additions, the perfectness just vanishes. A guy from a meager financial background shouldn't be wearing branded sneakers, and jumping on a small terrace looks unrealistic.” This reflects a broader issue in film adaptations: the tension between cultural authenticity and market-driven visual glamour.

Some viewers have made explicit resolutions not to watch the film, reinforcing the gap between local and global aspirations in Marathi cinema. One such viewer states: “Something made by shit will always be shit. For example, on telling the guy from a meager financial background that his ‘Bae’ is now swimming in the well. A guy looking something like this is believable. But then in Dhadak, how is this guy from a meager background? Hoodie, shirt, plated cargos, branded sneakers. But according to Dharma Productions, if you don’t go to school in a Ferrari, you don’t go to a ‘real’ school per se.”

Conclusion

While Dhadak has found success in expanding the audience for Marathi stories to a wider demographic, it has also faced criticism for its commercialization and the loss of cultural authenticity. The Marathi people's reception highlights the delicate balance between cultural fidelity and marketability. As such, filmmakers must carefully consider how to preserve the essence of a cultural narrative while making it accessible to a broader audience. The experience with Sairat and Dhadak underscores the importance of cultural sensitivity in film adaptations.