Dharam Sankat Mein is a film that revolves around a Hindu man (Paresh Rawal) who goes through an identity crisis when he discovers he was adopted as a son in a Hindu family but was born in a Muslim family. The journey starts with finding his real father. The film is an official remake of the 2010 British comedy film titled The Infidel. Wikipedia
Dharam Sankat Mein Reviews
The central question this film raises is profound: does the religion you are born into define you for the rest of your life? What if you are not who you believed yourself to be? It articulates the anxieties we live with, and uses the words ‘Hindu’, ‘Muslim’, ‘Isaai’ loudly and clearly, which is a relief because films these days are steering clear of these basic descriptives because we are now a nation of the easily offended. But it doesn’t jump into the deep end, carefully skirting the tough questions, and sticks to the majoritarian path, and clichéd representations.
Even Naseeruddin, Annu can't save this repetitive, preachy monologue on moral qualms...
Earnest, but clichéd...a bold attempt and some very good performances by the lead cast may make it worth your while.
Ultimately, between its sentimental leanings and farcical outbursts, the superficial sermonising of Dharam Sankat Mein remains just that -- superficial.
Dharam Sankat Mein, an official remake of the 2010 British comedy The Infidel, is certainly not half as horrid as the aforementioned monstrosity. But it is not in the OMG league either although that is quite clearly where it aspires to be.On one count at least, this film should pose no sankat to anybody. It is easy to rate Dharam Sankat Mein: one star for intention, but only half for execution.
The story tries to accommodate a whole host of issues, fake babas to real crimes, and fails. The Neelananda track is overplayed while the music is underdone. Given its realistic detailing, this could have been a livewire of wry wit - but it ends up a feather-duster of fuzzy philosophy instead. Caught between wise-cracking veterans and wise-sounding vachans, large sequences look low on energy and stereotypes, from lusty swami to kajal-eyed imam, stretch to yawning point.
The satire works at its best when Rawal is at the forefront of things. Thankfully, that's for almost all of the film. Without him, it would've been an also-ran.
...is once again an all talk, no play movie. It is funny in parts but overall the preachy type film that addresses the same issues of religion and Godmen.
...should be watched for its sheer simplicity and also for the message that has been conveyed through the film.
The actors are in top form – Paresh Rawal is a seasoned actor and Annu Kapoor gives him good company. Nasseruddin Shah does justice to his flamboyant character. All said and seen, Dharam Sankat Mein deals with an important subject and nevermind if it is not entirely satisfying, it is still is a positive step towards better cinema.
Today, when fundamentalism is one the rise, we need more films like Dharam Sankat Mein to remind us that harmony and tolerance are the need of the hour. That we are the same beneath the façade and that the stone I throw at my neighbour might boomerang towards my own house…
Director Fuwad Khan should get the credit for choosing a sensitive subject with the right kind of intention, but unfortunately, the end result is far from what it could have been.
...has some lucid moments of self-questioning where the religious divide is pungently scrutinized and satirized. Hilarity at the cost of organized religion is not an easy target to achieve for any filmmaker. This films achieves a remarkable threshold of thoughtful humour.Though a lot of it is gradually eroded by over-punctuated satire, this is that rare film which takes potshots at the religious divide without offending anyone.
Dharam Sankat Mein had quite an uphill task of balancing comedy and the religious sentiments of its audience. It succeeds fairly well – the jokes are in good taste and the film presents the hypocrisy in blind belief, rather than faith per se. Both Hindu and Muslim customs, two polar opposite sides of the spectrum, are made fun of with equally measured, over-careful restraint. Gujarat’s ban on alcohol gets a subtle dig.
Dharam Sankat Mein has many, many flaws, not the least of which are incredible plot twists (particularly at the end) and the ghastly performances delivered by the actors playing Dharam’s wife and son. While it keeps the audience hooked until interval, the second half of the film meanders into listlessness and struggles to keep up the energetic pace it had initially.
Clichéd representations of common stereotypes make the interest diminish. The performances by the three main leads and the all-too-brief bits of alleviating humor are the only magnets to your interest!
Audience Reviews for Dharam Sankat Mein
Brings The Same Concept & Theme And It Goes Very Wrong This Time..
If one looks at the number of Bollywood films that are being churned out about religion, piousness, and god-men, most deal with thwarting/satirizing the ideologies of faith and religion like OMG! Oh My God! (2012) and PK (2014). Dharam Sankat Mein promises a good theme but ends up confusing itself with its preachy message.
The story about Dharam (Rawal) who wakes up one day to find that he was born to a Muslim couple and was adopted by his Hindu parents is a clever start. And when he learns that his biological father is still alive, breathing, he decides to meet him. But is accosted by the aged man's caretaker to practice Islam so that he doesn't offend his father. Even this is acceptable, but the drama that follows and the way that everything is depicted is full of flaws and cringe- worthy.
If the makers wanted us to take the drama seriously, they could have polished it with doses of critical, thematic representations. Of course when you satire, seriousness is a collateral damage, but making Rawal fool around just to induce humor is some embarrassing tripe. Running around offices, stealing documents is not the best to way go about it. While the antagonist (Shah) brings back the nightmarish memories of MSG (2015), one can predict what's gonna happen and that is why PK is such a bad movie. It preaches, with no consequences.
One will also think why and how an agnostic person suddenly becomes so conscious about religion. No, not because of the obvious reason in the pot, but because of poor writing. The writers clearly have forgotten to base the primary character on something credible. The drama becomes tedious and deafening when Rawal goes on soul- searching, simultaneously practicing Islam and Hinduism. Annu Kapoor is a catalyst in the film who is an advocate in the film but carries out the job of a priest. It addresses issues like blind faith, religious differences, and conversions, but the problem is it shouts on your face. A few chuckles is all that the film offers, and if you (choose to) manage to pass the first half, second half will be easy.
The casting and performance is bad. Shah could've been replaced, while Rawal is the only thing that could salvage the drama which tears down to a substandard comedy. Ugly camera work and dialogs that are awkward do not support the trembling premise.
BOTTOM LINE: The film could have been better for the makers' intentions were wise - to satirize the plight of a man who is caught between the crossfire of two big religions. Unfortunately, the development and execution falters to make it just short of satire. 3/10 - below average.
Can be watched with a typical Indian family? YES