Dono Movie Review: Not A Contemporary Movie | Cinegenics

Dono is a watery soup that attempts to uphold the Rajshri Productions tradition while also attempting to present a contemporary love tale about young people dealing with sorrow, the process of healing, and the act of seeking closure. It tumbles between two stools and never rises to its two shaky feet again.

Dono debuts the careers of up to three young professionals: the movie’s director, Sooraj Barjatya’s son Avnish Barjatya, the two lead actors, Sunny Deol’s son Rajveer Deol and Paloma Dhillon’s daughter. They aren’t exactly out of their depth in this thin affair, but they’re also not very hot in a cool movie either.

The inexperienced director makes sure that Dono has enough glitz and gloss, which is obviously simple to do, and the two young leads do their best to liven up the proceedings while working within the constraints of a shaky screenplay by Barjatya and Manu Sharma that is sandwiched between two distinct periods of Hindi cinema. But none of the contributions they make will be sufficient to make the film’s unevenness disappear.


Dono never successfully shakes off ingrained tendencies in order to soar. It is not only tough to digest but also attractive to the eye. The pulchritude of the people and locations the movie tries to find some resonance with are all overshadowed by a boring storyline, unoriginal writing, uninspired acting, and a thin premise that never leaps to life.

Dev Saraf, played by Rajveer Deol, is a struggling entrepreneur in Bengaluru. Meghna Doshi, who plays Paloma Dhillon, recently ended her six-year relationship. Alina Jaisingh (Kanikka Kapur), the woman Dev secretly loves, is being married to Nikhil Kothari (Rohan Khurana). Dev is experiencing severe mental distress.

Dev & Meghna in Dono

Dev and Meghna first cross paths at the extravagant destination wedding in Thailand, which drags on for an unacceptable two and a half hours as the two families, their friends, and the in-and-out-of-love kids (serving as models for color-coordinated lehengas, ghagras, and saafas) join in the fun.

All of this amounts to a clumsy remake of Hum Aapke Hain Koun, the 1994 Sooraj Barjatya movie that served as the model for future wedding dramas. Dono is presented in a bottle that appears to be brand-new but is actually not.


The movie mostly adheres to the same HAHK formula, but strives to be seen as a modern picture with sensibilities founded in a blend of modernism and tradition, with the latter predominating. However, this purposefully chaste mixture never veers too far from Rajshri territory since the aftertaste of previous accomplishments is never simple to get rid of.

Dev attends Alina’s wedding reluctanly. The bride, a girl he has admired for as long as he can remember but has never been able to confess his feelings to, has asked him to the wedding. He seeks resolution. The bridegroom’s best buddy Gaurav Shah (Aditya Nanda), who is also Meghna’s ex, is a friend of the couple. She is here to prove that she has moved on to the man she dumped.

Dev & Meghna in Dono

Once the stage is set, chaos ensues. The film lacks clarity, and the characters fumble their way through the unfolding problems. Dev and Meghna fall in love, yet the future is uncertain for the couple. Meghna’s ex makes an effort to get her back. She receives his apology for being the jerk he is.

When the dulhan starts to have second thoughts about exchanging nuptial vows, everything becomes more chaotic. Three options become available towards the midpoint of the movie: Meghna could go back to Gaurav, Dev could confess his love to Alina, or Dev and Meghna, whose relationship doesn’t fully develop until the movie is about to end, might decide to let their love succeed.

The story instructs wealthy kids to respect their parents and other adults. They are not a rebellious group, not even when they are pursuing their own independence. The movie permits them to have a few drinks, a cautious kiss, and some fun, but they aren’t the kind of people who veer away from the winding lanes of their sanskari background. Their families are in charge.


Rajveer Deol and Paloma Dhillon still have much more work to do before they can be considered finished goods, despite their enthusiasm. They do exhibit flashes that allude to their impending arrival. They do have a charming youth about them both on their own and in random circumstances. But the two don’t have a lot of chemistry.

The vast array of performers in Dono fills the screen without drawing our attention. This enables Deol and Dhillon to dominate the spotlight. Despite the fact that they must compete for screen time in a movie that is too lengthy. And uninteresting for anyone to sit up and take attention.

Dev & Meghna in Dono

Dono may create some brand-new etchings. Not the canvas. Avnish Barjatya handles this cinematic heritage with extreme care. No surprise Dono plays out as predicted, despite how aggressive the young people it is about are. There was nothing about it that suggested a blatant break with the past.

It is just too sterile to be the contemporary movie it claims to be. Even the plot of what was supposed to be a sophisticated love story is lost. Forget the layers. It is a long journey through miles of nonsense that tries to convince us. That this is how relationships in the modern world are, or at the very least, ought to be.

The two in Dono are doomed to be the outliers. Even if it may be true that everyone enjoys a good love story. Since the movie has no idea where it’s heading.

Film: Dono

Cast: Rajveer Deol, Paloma Dhillon, Kanikka Kapur, Vivaan Modi

Director: Avnish Barjatya

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Movie Name Dono  (2023)
Starring Rajveer Deol, Paloma Dhillon, Kanikka Kapur, Vivaan Modi
Director Avnish Barjatya
Year 2023
Release date 5 October 2023
Country India
Language Original: Hindi, Tamil-Telugu Hindi-dubbed
Movie Format 720p, 480p, 1080p Full HD

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