When a politician trades his seat of power for a school bench, you know you’re in for a ride. Dasvi, starring Abhishek Bachchan, Yami Gautam, and Nimrat Kaur, delivers a heartwarming and thought-provoking narrative set in rural India. This social dramedy, directed by Tushar Jalota, revolves around education, power dynamics, and personal growth, blending humor with important societal themes. Set against the backdrop of a small town in India, with a time frame that feels contemporary, the film explores how a powerful man, used to bending rules, finds himself learning life’s most crucial lessons the hard way.
The story follows Ganga Ram Chaudhary (Abhishek), a self-assured and often arrogant Chief Minister, who finds himself imprisoned after being implicated in a scam. Confident that his stay behind bars will be temporary, he soon realizes that things are not going as planned. In the meantime, his wife, Bimla Devi (Nimrat), unexpectedly steps into his political shoes, and the power dynamics between the couple shift in intriguing ways. In prison, Ganga’s overconfidence is challenged when Jyoti Deswal (Yami), the tough and disciplined superintendent, begins to take him down a peg. Faced with humiliation, Ganga makes an impulsive decision to study for his high school exams—his “dasvi” (10th grade)—as a way to regain his dignity and prove his worth. What ensues is a comical yet poignant journey of self-discovery, as the ex-Chief Minister, who once had the world at his feet, grapples with basic education and humility.
One of the film’s strongest aspects is its casting, particularly Abhishek in the lead role. He embodies Ganga with a mix of arrogance, charm, and vulnerability, and this combination makes his transformation both believable and engaging. Abhishek’s portrayal of a politician who is completely out of his depth in the world of education is nuanced and layered. He switches effortlessly between being a cocky leader and a struggling student, lending authenticity to his character’s growth. His comedic timing is spot on, particularly in scenes where he’s grappling with basic math or attempting to pronounce complex words. The sincerity he brings to Ganga’s realization that education is far more valuable than political power gives the film its emotional core.
Yami, as Jyoti, provides a strong counterbalance to Abhishek’s character. She plays the no-nonsense superintendent with a quiet intensity and determination, making her a formidable force. Her role as the catalyst for Ganga’s personal growth is crucial, and she handles the mix of tough authority and underlying compassion with ease. Nimrat, as Bimla, delivers an equally powerful performance. Initially portrayed as the submissive wife, her arc as a woman discovering her own political ambition is one of the film’s highlights. Nimrat injects both humor and sharpness into Bimla’s transition from housewife to politician, making her character not just a foil to Ganga but a scene-stealer in her own right.
The direction by Tushar Jalota keeps the film lighthearted without undermining the gravity of its central message. The film’s pacing is brisk, with just the right amount of humor and drama. Jalota smartly balances the personal and political elements, ensuring the narrative stays engaging without becoming preachy. The juxtaposition of Ganga’s life in politics with his experiences in prison as a student is well-executed, providing ample room for both character development and situational comedy. The director also handles the theme of education with care, presenting it not merely as a necessity but as a form of empowerment, which gives the film its uplifting message.
Cinematography by Kabir Tejpal is another strong suit of the film. The small-town setting is captured beautifully, with earthy tones and vibrant colors that reflect the simplicity and warmth of rural India. The contrast between the grandiosity of Ganga’s political life and the stark reality of prison is portrayed effectively through the visuals. The scenes set within the prison, especially Ganga’s moments of quiet introspection or struggle with his studies, are framed in a way that reflects the character’s isolation and frustration. The cinematography enhances the narrative, making the film visually appealing without being over-the-top.
The music, composed by Sachin-Jigar, complements the film’s tone well. While the songs aren’t necessarily chart-toppers, they blend into the narrative seamlessly. Tracks like “Macha Macha Re” capture Ganga’s larger-than-life persona, while the softer, more reflective tunes play during key emotional moments, amplifying the film’s message of transformation. The background score helps in maintaining the comedic rhythm and the emotional undercurrent of the story without overwhelming the scenes.
Another noteworthy aspect is the film’s screenplay, co-written by Suresh Nair and Ritesh Shah. The dialogues are sharp, witty, and full of clever wordplay, particularly during Ganga’s interactions with his fellow inmates and teachers. The film also cleverly uses humor to critique the flawed education system and the corrupt political machinery. By making Ganga, a man used to manipulating power, struggle with something as basic as high school exams, the writers expose the irony in a system where those in power often lack fundamental knowledge.
Costume design in Dasvi also plays a significant role, especially in visually defining the characters’ journeys. Ganga’s transformation from a flashy, self-important politician to a humble student is mirrored in his wardrobe choices. His prison attire, particularly his “dhoti” look, adds to the comedic element, but also serves as a visual cue for his growing humility. Nimrat’s character, as Bimla, also undergoes a visible transformation—from her traditional, simple housewife outfits to more elaborate, authoritative attire once she takes over her husband’s political responsibilities.
The film shines not just for its humor and heart, but for the important themes it tackles. Education is positioned as the great equalizer, something that gives people a sense of self-worth and dignity, regardless of their status. Dasvi makes a case for the power of knowledge, subtly reminding the audience that learning is a lifelong process. It also touches upon gender roles, with Nimrat’s character arc providing a commentary on how women, often sidelined in patriarchal structures, can rise to positions of power when given the chance.
In conclusion, Dasvi is a delightful mix of comedy and social commentary, brought to life by strong performances and smart direction. Abhishek, Yami, and Nimrat shine in their respective roles, and their characters’ journeys make the film both entertaining and thought-provoking. The light-hearted tone, coupled with the deeper message of education and empowerment, makes it a must-watch. While it’s not without its flaws—the pacing in the second half could have been tighter—the film’s heart is in the right place, and it manages to entertain while making a statement. For anyone in search of a feel-good movie that also has something meaningful to say, Dasvi comes highly recommended.
