‘Dupahiya’ Review: A Light-Hearted Rural Comedy with Social Relevance

The latest entrant in the rural comedy genre, Dupahiya, directed by Sonam Nair, delivers a mix of humor, social commentary, and heartwarming moments. Featuring an ensemble cast led by Gajraj Rao and Renuka Shahane, the show offers clean, family-friendly entertainment with a determinedly cheerful air.

Set in the fictional village of Dhadakpur, the story revolves around a stolen motorcycle—‘dupahiya’—which sets off a chain of events involving quirky characters, sharp satire, and a countdown to an impending wedding. The show’s backdrop, reminiscent of the wildly popular Panchayat, swaps Uttar Pradesh for Bihar while maintaining a similar light-hearted charm. The writing, credited to Avinash Dwivedi and Chirag Garg, ensures that even as conflicts arise, the narrative remains engaging and optimistic.

Gajraj Rao plays Banwari Jha, an affable school teacher eager to become the principal while also navigating the challenge of finding a suitable groom for his city-loving daughter, Roshni (Shivani Raghuvanshi). The stolen dupahiya becomes central to the plot, especially as Kuber (Avinash Dwivedi), a prospective groom from Mumbai, grows attached to it. Renuka Shahane’s Pushplata Yadav, a woman with aspirations for the top panchayat post, adds to the drama as she tries to prevent an FIR from being filed for the theft. Yashpal Sharma, in the role of the somnolent yet sharp thana in-charge Mithilesh Khushwaha, further elevates the narrative.

The series introduces Dhadakpur’s residents across nine episodes, weaving in several subplots, some of which exist primarily for comic relief. Characters such as Bhugol (Sparsh Srivastava), Banwari’s son, and Amavas (Bhuvan Arora), a local mischief-maker with feelings for Roshni, contribute to the story’s quirky dynamics. Notable performances come from Brijendra Kala as a small-town newspaper editor who quips, “confirm karna logon ka kaam hai, hamaara kaam hai chhaapna,” adding a satirical take on modern journalism.

While the show attempts to address issues such as women’s empowerment, colorism, and dowry, it does so in a way that keeps the tone light rather than diving into deeper social critique. The demand for the dupahiya, at its core, ties back to the realities of dowry, yet the narrative chooses humor over heavy-handed messaging. Some moments, like a launda naach sequence, may feel out of place, but the performances by Srivastava and Arora keep the energy intact.

Despite occasional lags and inconsistent accents, Dupahiya succeeds in its primary goal—delivering wholesome, socially relevant entertainment. The show sets itself apart from the darker, violence-heavy rural narratives by embracing a world with “na gaali, na dunaali, na katta, no goli.” With plenty of laughs and lines like “yeh Bihar ka Belgium hai,” the series ensures that viewers remain engaged, even when its messaging is subtle.

With solid performances, witty writing, and a refreshing take on rural storytelling, Dupahiya earns its place as a worthy addition to the growing genre of OTT rural comedies. Rating: ★★★ (3/5).