‘Dunki’ takes a heartfelt but bumpy road with illegal migrants
A poster of William Shakespeare looms large in a small classroom in a fictional town in Punjab, where a pretentious English language coach is helping a group of hopefuls to be comfortable in the Queen's lingo.
Despite the teacher's efforts, the students face difficulties with grammar and tenses, creating confusion in their use of vocabulary.
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"What difference does a language make? Communication of feelings is important," reasons a student as he struggles to string together a sentence in English. "Words are necessary to communicate, and language is about words," explains the teacher. Shakespeare would have approved.
It is a small touch but a deep take on the role of words, language, and conversation in our lives. This theme takes on added importance as it intricately guides the characters of Rajkumar Hirani's "Dunki" toward their destinies, notably exemplified by their pursuit of a visa to England.
The film has small moments that make big statements, aligning with Hirani's style of giving life lessons through simple gestures and throwaway dialogues. But alas, in "Dunki", those are few and far between. The story, about a group of desperate migrants, is uneven and simplistic, failing to take off in a way it could have.
"Dunki" is about the shocking ways in which people try to illegally migrate to the UK or any other developed Western country. Called the 'donkey route', it involves unscrupulous agents, tough border controls, corrupt officials, and lots of money. But rather than delving deeply into the mindset of 'dunkers' and the circumstances forcing them to undertake such risky trips, examining the legal, ethical, and moral stances of nations in accepting or rejecting migrants, the film opts for a straightforward, albeit heartfelt, depiction of a serious issue.
Shah Rukh Khan's Hardy Dhillon takes it upon himself to help his four friends, portrayed by Taapsee Pannu, Vicky Kaushal, Anil Grover, and Vikram Kochhar, reach London. Despite individual motivations to leave Punjab, the characters face a shared challenge of visa rejections, primarily attributed to language barriers.
The first half introduces the characters with their quirks and backstories. The focus is on preparing for getting to London, allowing opportunities for plenty of comedy. However, more often than not, the attempts at humour in the gags fall disappointingly flat. Even the scenes set in the classroom evoke memories of the popular British series "Mind Your Language" and the more recent Hindi film "English Vinglish", yet lack the expected sharp wit and humour.
The second half, when the characters embark on the 'dunki' journey, has a tonal shift so jarring that it seems we are watching two different films. But it's here that the story actually comes alive. Despite the lack of realism, you feel involved and moved by their plight. There is a naivety in their dream, oblivious of the reality of living as an illegal immigrant. However, the poignancy of touching moments is disrupted by forced humour injected into the screenplay numerous times. The comedic treatment of serious issues like sham marriages for visas undermines the film's potential impact, leaving viewers conflicted between emotional engagement and unconvincing humour.
Hirani, known for his seamless blend of comedy and social commentary in films, falls short in "Dunki". The multifaceted issue of immigration sparks intelligent debates, yet Hirani's rush to a tidy ending for the protagonists dilutes their impact. As viewers, we want to feel more invested in the characters and root for them, but their sudden and silly jokes undercut the emotional tension. We're left yearning to fully embrace their journey, only to be pulled back by misplaced humour. A bizarre Dubai sequence and a predictable (anti) climax featuring the death of a character make you sigh in exasperation.
The film's focus on highlighting the "greatness" of India and exaggerating the incompetence of the UK and its systems feels shallow and insensitive. It undermines the very real desperation driving people from developing nations like India to seek better lives abroad. Hirani wants to ask, 'Why do visas and borders only bar the poor?' but there are gaping holes in the narrative, as the journey of the characters is reduced to a simplistic tale of overcoming hurdles in foreign lands rather than grappling with the harsh realities that push them to leave in the first place.
The film is only interested in illegal immigration and the refugee crisis to the extent that it allows Hirani and Khan to grandstand. Scenes like Hardy's refusal to denounce his country for asylum exploit human suffering for a cheap moment of self-congratulation, ultimately undermining the film's purported social commentary. The hesitation to dig deeper into the root causes of migration robs the story of its honesty.
That being said, there are several factors that work in the film. "Dunki" is dunked with love and longing. Hardy is a vulnerable, emotional man full of passion who's in no hurry to prove his masculinity by exerting power over the woman. In fact, he falls in love with her only when she is leading from the front, taking a stand and fighting the world for him. He doesn't stop her when she makes a difficult decision that will change their lives forever. His eyes might show anger, but he doesn't let that furiousness get the better of him. He understands that the woman has a right over her life and even when he disagrees with the decision, he will live with it. Khan warms your heart with his performance despite the awkward Punjabi accent and de-ageing.
It is unexpectedly charming to see Pannu mould herself into the role of a woman who is so in love and yet maintains her individuality. Vicky Kaushal shines in an important cameo.
While "Dunki" is a worthwhile watch, the level of talent involved suggests it had the potential to be outstanding. In a world grappling with strife, the film conveys a crucial message of kindness and empathy. However, regrettably, the execution doesn't quite live up to the intention.
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