Review of Metro In Dino: ‘Metro… In Dino’ by Anurag Basu is a poignant reminder of how love permeates daily existence like the season’s first rain. The characters in this collection, which is set in Indian metropolises, seem quite genuine. A symphony of passion, sorrow, and rediscovery is produced by Basu.
Movie Review of Metro In Dino: Like the splendor of the first rainy season
It’s odd that, despite creating love-themed stories for more than a century, we still lack a true formula for love. Really, what is it? Just a little moment of joy? A light skin-brushing? A sudden meeting of gazes? Stories remind us that love is everything, regardless of how it is defined. You can thus sense it in all its wholesomeness when Anurag Basu chooses to delve deeper into its myriad shades in “Metro… In Dino.” You experience the aging process of love, its unexpected arrival, and its aftermath.
‘Metro… In Dino’ is beautiful because of its location. Basu stages emotions in addition to telling stories. The sound of rain dripping is like music. In the backdrop, cities breathe. Love unfolds in a faint streetlight, on a sidewalk, and at a bus stop. What makes these places amazing is their banality—streets you may have traversed, cafés you may have passed. As if to remind us that the most romantic moments are frequently the most mundane, that familiarity gives the movie its understated beauty.
Basu relies on his own convergent narrative method, much like in ‘Life in… a Metro’. This time, however, he goes one step further and creates a true-blue musical that is founded in passion and filled with memories. Four couples with varying shades of love are dispersed among Delhi, Kolkata, Bangalore, and Mumbai.
Playing a middle-aged couple with a teenage daughter, Pankaj Tripathi and Konkana Sensharma struggle with their marriage’s waning spark. Anupam Kher and Neena Gupta are two lonely souls who never fully achieved their goals in life. Fatima Sana Shaikh and Ali Fazal portray a young couple torn between tenderness and independence. Additionally, the romance between Sara Ali Khan and Aditya Roy Kapur seems to be a little prod from fate.
In Basu’s romantic realm, the storylines are captivating, plausible, and incredibly romantic. Their pleasures are worthy of celebration, and their disagreements are well-known. You feel as though you’ve known things like an elderly lady who wants to relive her youth at a college reunion, a husband who follows his wife to Goa to apologize, a wife who perseveres in supporting her husband through difficult times, or two strangers who fall in love. Maybe you were one of them.
It’s a musical trip that allows you to fully immerse yourself in the lives on screen through a gentle, swaying flow of rhythm as well as sound. The script is excellent, and the performances are not to be missed. A grandiose drama is not promised in the movie. It honors life for what it is: warm, messy, flawed, and lovely.
“Do ajnabee, Anjana safar,” says Tripathi’s character Monty Sisodia in one scene. Kuch nahi bana toh kahaani banegi (A voyage unknown to two strangers). There will still be a tale even if nothing occurs. The film revolves about Tripathi. He is kind, well-known, and subtly strong. His moments are delightful to watch because of the sensitivity with which he anchors emotions.
Particularly noteworthy for their complex, multi-layered performances are Ali Fazal and Konkana. Ali’s best performance occurs during a direct and honest video call breakdown, which helps you sympathize with a man who isn’t sure how to ask for help. Because you can see how helpless Ali’s Akash is and how torn and tortured he is, you feel terrible for him.
Basu creates a universe that seems to have been lovingly drawn. “Metro… In Dino” is arguably the ideal monsoon romance. It embodies the exact essence of desire, waiting, and release while being soaked in rain. The cities—their commotion and quiet—become a part of the story. The images appear to be dripping with poetry: yellow cabs in Kolkata speeding by, couples conversing on balconies overlooking skylines, traffic passing through glass windows—Basu doesn’t just show you cities; he makes you feel and communicate to them.
This is not a chromatic movie. When the credits roll, you’ll be smiling because it’s colorful, textured, and lively. This is the romance movie that viewers have been waiting for—one that is both serious and lighthearted.
Pritam Chakraborty’s music is worthy of its own time. It defines the movie rather than embellishing it. The anthology wouldn’t be the lived-in, melodious experience that it is without it. The narrative is elevated into a memory by the tunes.
Delightful extras include Imtiaz Ali as himself, Basu making a brief appearance, and even a blink-and-miss Guddu-Kaleen Bhaiya scene (IYKYK). ‘Metro… In Dino’ has it everything, from naive ‘Jab We Met’ charm to sophisticated, melodious love, and it all makes perfect sense.
“Metro In Dino” evokes emotions. Each image seems as if it were taken from an art show, and each song has a message. This is the epitome of honest, beautiful filmmaking.
Completes
‘Metro…In Dino’ with four stars out of five.
