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Do Deewane Seher Mein: Low-Stakes Love Story Squanders Potential

Do Deewane Seher Mein keeps rising and falling, and this constant crest and trough robs much of the film’s urgency, which was unhurried to begin with.

Ishita+Sengupta

Feb 22, 2026

Promo poster for Do Deewane Seher Mein

FOR BETTER OR WORSE the intensity of love stories is understood in terms of conflict. The bigger the conflict, the more sweeping is the love. Pop culture has routinely peddled this notion, embellishing it till this has become the norm. Ravi Udyawar’s Do Deewane Seher Mein poses a challenge to the discourse by designing a low-stakes love story, but across its runtime, the film squanders all its potential, proving in culmination that prototypes are effective for a reason.

Levity aside, this is a pity because Udyawar’s film starts off almost disarmingly. Boy and girl are forced to meet. Shashank (Siddhant Chaturvedi), a marketing guy, is arranged by his parents to meet Roshni (Mrunal Thakur), a content creator for a fashion label. No sparks fly, but it rains. They are on the terrace, and the dry clothes risk getting wet. He helps her with it, and in the act, falls a little. When asked, Shashank says yes, but Roshni says no.

Using this as a scaffolding, Do Deewane Seher Mein ekes out the more unflattering detail — the insecurity and misgivings. Shashank, an introverted man with roots in Patna, is eager to know the reason for Roshni’s rejection. In any other scenario, it would have come across as a man’s refusal to ‘no’, but there is a context to it. In his head, he assumes the reason (he pronounces “sh” as “ss”) and only her to confirm or deny.

There is a sweetness to this, stemming largely from Chaturvedi’s understated performance. The actor is really effective as Shashank, a mild-mannered man whose game is that he has no game. He is shy and keeps to himself, often rebuked by his father, but comes on to his own fairly soon. Udyawar, who worked with Chaturvedi in Yudhra (2024) before, retains the sweetness for the large part of the first half.

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Having said that, the film resists extending this generosity to the female character. Written by Abhiruchi Chand, Do Deewane Seher Mein, at its heart, is about two people overcoming their insecurities using love as the bridge. But Roshni is mostly written as a concept, the way "difficult" is perceived and not understood. Wearing thick-rimmed glasses, she is boisterous and independent. She turns a deaf ear to her mother’s constant nagging about marriage. Roshni is everything Shashank is not.

This works on paper, but the character lends itself to an opacity that works against the actor — Thakur leaves an imprint with her turn — and distils her self-doubt to annoyance. As a result, she gets one long monologue calling out beauty standards, even though there is little buildup to it.

These niggling issues keep getting amplified as the writing loses its steam. There is no roadmap to a great love story except that there can be, ideally, one big crescendo. Do Deewane Seher Mein keeps rising and falling, and this constant crest and trough robs much of the film’s urgency, which was unhurried to begin with. By the time the second climax begins, it becomes increasingly difficult to invest — both in the lovers in the title, or in the city.

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Do Deewane Seher Mein: Low-Stakes Love Story Squanders Potential

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