One of the most highly anticipated Hindi movies of 2025, Dhadak 2 has finally released in theaters, starring Triptii Dimri and Siddhant Chaturvedi in pivotal roles. Directed by Shazia Iqbal and produced by Dharma Productions, the movie is being appreciated for its thoughtful approach to a sensitive topic, despite some misses. What adds to the importance of Dhadak 2 is the fact that it is an official Hindi remake of the highly praised Tamil movie Pariyerum Perumal (2018).
Karan Johar, who backed the film under the banner of Dharma Productions, validated during the trailer launch that Dhadak 2 is a “proud adaptation” of Pariyerum Perumal. The original, which is produced by Pa Ranjith, is hailed as a milestone film in Tamil cinema for its powerful socio-political message about caste discrimination presented in the form of a poignant love story.
Released in 2018, Pariyerum Perumal featured Kathir and Anandhi in the lead, with Yogi Babu, Lijeesh, and G. Marimuthu in supporting roles. The movie chronicled the life of Pariyan, a law student belonging to a marginalized class, who falls in love with Jothi, an upper-caste woman. Their love soon turns into romance, but the harsh realities of caste oppression dash their hopes. Selvaraj’s powerful narrative, combined with Santhosh Narayanan’s haunting score, brought the film critical acclaim along with commercial success.
The Politics of Pariyerum Perumal
Underneath its trappings as a love story, Pariyerum Perumal is actually a sharp commentary on the caste and class disparities in India. Perumal, the protagonist, has aspirations of becoming a lawyer so he could advocate for his people against the police and administration. He laments how the costly judicial system deprives Dalits of their right to justice. Perumal also finds it tough at law college where English is the medium of study, pointing out how even language itself becomes a hindrance in studies.
The movie grounds Perumal in his Dalit heritage his father is a traditional dancer who dances in female attire, a tradition observed by some Dalit families who dedicate their sons to temples. The film quietly laments the way society overlooks new art forms and Dalit artists by these practices. The Angum Pugazh song, praising temple dancers, received widespread acclaim.
One of the strongest metaphors in the film is in the figure of Karuppi, Perumal’s black dog. The song Karuppi ye Karuppi, rendered consistently throughout the film, was a cultural signpost of resistance. When the upper-caste men kill Karuppi by setting it on fire onto a railway track, the act represents the violent oppression and intimidation of Dalits. This poignant imagery lingers with audiences, rendering the film not only a love story but also a scathing critique of caste distinctions.
From Tamil Classic to Hindi Remake
Pariyerum Perumal has garnered many prestigious awards over the years, such as the Ananda Vikatan Cinema Awards for Best Story and Best Director, and was even screened at international film festivals, making it an instant modern classic. Its success was so overwhelming that it was remade not once but several times, namely the Kannada film Karki (2024) and the latest one is the Hindi remake Dhadak 2.
Interestingly, Dharma Productions has not done this for the first time. Dhadak (2018), the first film in the series, saw the launch of Janhvi Kapoor and Ishaan Khatter and was a Hindi remake of the Marathi blockbuster Sairat. Similar to Sairat, Pariyerum Perumal also has its roots in strong caste realities, so naturally, Dhadak 2 would appeal to Hindi audiences looking for socially conscious stories.
With Triptii Dimri and Siddhant Chaturvedi’s powerful performances, Shazia Iqbal’s direction, and the weight of Mari Selvaraj’s original narrative, Dhadak 2 attempts to reintroduce a much-loved Tamil masterpiece to a wider Hindi-speaking audience. While comparisons are inevitable, the film stands as a reminder of how regional cinema continues to inspire mainstream Bollywood with stories that matter.
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Sofia Babu Chacko is a journalist with over five years of experience covering Indian politics, crime, human rights, gender issues, and stories about marginalized communities. She believes that every voice matters, and journalism has a vital role to play in amplifying those voices. Sofia is committed to creating impact and shedding light on stories that truly matter. Beyond her work in the newsroom, she is also a music enthusiast who enjoys singing.
