Humour is going to be the kind’s last way to salvation. Whether to pick it up as a medium to combat the uncertainties, or the clownery or even the loopholes that our society beholds; humour is going to be the safest and generous weapon to teach the world the ‘bigger picture.’ That’s pretty much what I inferred after watching ‘Dupahiya.’
Opening with a poetic prelude, ‘Dupahiya’ directed by Sonam Nair, captures the unhurried rhythm of village life with striking finesse.
The quaint, slow-paced existence of Dhadakpur—reminiscent of a world untouched by the frenetic urban rush—comes alive with soft imageries that instantly transport the audience. It’s a deliberate setting, one that lulls you into the simplicity of rural landscapes before it catapults you into chaos.
The inception of the chaos? A motorcycle
A never-seen-before marvel, a symbol of aspirations, a wedding gift that goes missing just days before the ceremony.
And now what gets you completely on the hook that how the theft of this motorcycle becomes a disruption in the ecosystem of the village. In urban settings, stolen bikes are shrugged off as routine inconveniences; in Dhadakpur, it’s an existential crisis. The narrative leans into this contrast, making the trivial appear monumental, and therein lies its charm.
The characters are sculpted with an innocence that is both endearing and intriguing. Whether it’s the ‘reeler’ Bhugol who represents the social media-fueled aspirations of the youth or the ‘prized motorcycle’ that becomes the village’s center of gravity, the hullabaloo perfectly cocoons the stakes of everyday problems in rural life. And then, of course, there’s the ‘passionate patrakar’—a journalist who thrives on the sensationalism of small-town news, a stark nod to how narratives are spun in the smallest of places.
Irony plays a crucial role in the script. Just as Dhadakpur is celebrating 25 years of being crime-free, a theft shakes its very foundation. The juxtaposition is sharp, the irony biting—an entire village, smug in its self-sufficiency, suddenly finds itself in disarray over a single act of theft.
Adding to the commotion is a love triangle that simmers in the background. The stolen ‘Dupahiya’ is not just a vehicle but a catalyst, pushing past relationships into the limelight, reigniting old tensions, and weaving romance into the very fabric of the investigation.
Love, longing, and unresolved conflicts are neatly tucked into the narrative without overwhelming the central plot.
Symbolism runs deep in ‘Dupahiya.’
An empty cage speaks volumes about captivity and freedom of the ‘Dupahiya’ as it gets rescued and almost of the entire village as it survives an existential crisis. The masculine identity (‘mardana/macho’) gets a satirical nod through Bhugol, a character who sustains his ‘stardom’ purely on the basis of perception, you get it as you watch it. The series also makes a tongue-in-cheek commentary on dowry, patriarchal norms, and social expectations—but through a lens of humor, making it palatable without losing its bite.
Sisterhood finds its place, particularly in the last episode subtly shifting the narrative from being a testosterone-fueled chase to something more layered and profound. It’s a quiet triumph, a gentle assertion of female agency in a world largely dictated by men.
Metaphors are scattered throughout, none more potent than ‘ab pahunchi’—a phrase that mirrors the journey of the series itself, where everything eventually finds its place, whether it’s the missing motorcycle or the tangled fates of its characters.
At nine episodes, ‘Dupahiya’ is lengthy but never dull. What keeps it afloat is the impeccable ensemble cast, the humor that is neither forced nor predictable, and the authenticity with which the world is built. The performances are stellar—Gajraj Rao, Sparsh Shrivastava, Shivani Raghuvanshi, Yashpal Sharma, Renuka Shahane, Bhuvan Arora and others bring their A-game, ensuring that even when the narrative meanders, the audience remains hooked.
Fair to say that ‘Dupahiya’ is more than just a comedy about a stolen motorcycle. It’s a reflection of small-town aspirations, of the ironies embedded in tradition, and of the unbreakable spirit of communities.
It’s a worthy watch—one that makes you laugh, ponder, and most importantly, stay invested till the very last frame.
IWMBuzz rates it 4 stars.
