Dhoom Dhaam Review: You must have heard of project films. These films are made in corporate offices, where the owner of the production house and key members of the OTT team sit together and decide whether they need a romantic film, a comedy film or both, with a dash of thriller elements. In this process, a renowned filmmaker from the production house, who doesn’t even have to direct the film, promotes it with his name and suggests creating a story based on a one-night drama.
The names of actors who have been successful on OTT are thrown around, and the project is locked. Funds are approved, and then the search begins—for the story, for a director who will bring it to life within a fixed budget, ensuring profits for both the producer and the OTT team.
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Dhoom-Dhaam is one such story, produced by Aditya Dhar, who has started his own production house and has films like Uri and Article 370 in his filmography. He gets an idea about a boy and a girl who are poles apart. Their marriage happens in an arranged setup amidst an over-dramatic family comedy. On their wedding night, just before their suhagraat, a mysterious element named Charlie enters their lives, followed by goons, police, and CID. As they search for Charlie throughout the night, there’s plenty of drama; the bride and groom get anxious about their secrets being revealed, but by dawn, they grow closer, and the mystery of the elusive Charlie, who could be a person, place, or object, is solved, and the culprits are punished.
He pitches this story to Netflix, which they find somewhat appealing. Yami Gautam, who is part of this project due to her in-house deal with Aditya Dhar, becomes the face of the film. Director Rishab Seth, who directed the OTT film ‘Cash’ just before Dhoom-Dham, is brought on board after the story and heroine are locked. The screenplay is fine-tuned, with references to international cinema and a dash of feminism added here and there. The film is then wrapped up within a fixed budget, with shoots limited to a farmhouse in Mumbai, a half-built complex, and the mandatory Churchgate shoot at night.
Such projects, born out of corporate tables, are not films but a guaranteed dose of entertainment for a fixed amount. It’s like ordering Shahi Paneer or Chicken Korma at a restaurant – both have the same gravy and standard taste. The cinematography is good, and the screenplay description has already been provided. The songs are forgettable; you won’t remember them after watching the film.
The talented actors, Yami Gautam and Pratik Gandhi, are the faces of this film. However, just like such project films are made solely for profit, the work done in these films is also solely for the paycheck. Even the best actors have at least 10-15 such films. Aijaz Khan has tried to make an impact and has succeeded to some extent. The other characters, including Yami and Prateek’s on-screen family, are just passing through with this passing film.
If you’re feeling lazy on a weekend and want to watch something light and entertaining, you can watch Dhoom-Dham.
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