Metro… In Dino: Love & Emotions Are Back
Metro In Dino is the spiritual sequel to the 2007 film Life In A Metro, which explored the complexity of modern relationships. When Life In A Metro released back in 2007, the idea of exploring such relationship dynamics was relatively fresh. However, in the last 18 years, Bollywood – especially with the advent of OTT—has delved into this theme in many different ways.
Anurag Basu, like in the original, keeps the same structure as Life in a Metro, showcasing four couples and the complexities of their relationships. But to add a fresh flavor, he presents Metro… In Dino as a musical, a format he previously experimented with in Jagga Jasoos. As both a writer and filmmaker, Anurag has always been a master of portraying human emotions on screen, and he succeeds again here. He does a good job fleshing out most of the characters, though a few characterizations falter slightly in the writing—and that shows on screen.
The earlier film was based in Mumbai, where the city itself became a character. In contrast, this movie jumps between Mumbai, Delhi, 
Kolkata, Bengaluru, and Pune, which can sometimes make it difficult to place where a particular scene is set.
Among the stories, I found the Ali Fazal and Fatima Sana Shaikh track the most relatable and emotionally powerful—it really tugs at the heartstrings. Another standout is the story of Pankaj Tripathi and Konkona Sen Sharma, portraying a married couple in mid-life crisis. This segment is humorous and genuinely funny. The track featuring Anupam Kher and Neena Gupta also brings depth to the screenplay, showcasing a heartfelt longing for love in older age.
However, the track of AdityaRoy Kapoor and Sara Ali Khan, which explores modern-day love, is in my opinion the weakest of the lot.
The inclusion of music, much like in its predecessor, is done extremely well. Anurag also weaves in a few subplots—some work, some don’t—but overall, the story and screenplay will make you laugh, cry, feel deeply, and leave you with a smile. The only drawback is its length: at around 159 minutes, it could have been trimmed by at least 25 minutes.
The dialogues by Sandeep Shrivastava and Samrat Charavarthy help each storyline stand out without sounding cheesy, and they support the film’s emotional flow effectively.
Where the movie truly excels is in its performances. The standout is the ever-dependable Konkona Sen Sharma, who shines as Kajol, a housewife determined to teach her cheating husband a lesson. She is the only actor returning from the original, and she more than justifies her presence.
Fatima Sana Shaikh, as Shruti, steals your heart from the word go. While her role wasn’t the most well-written, she owns it completely and delivers a sparkling performance that elevates the material.
Two other standout performances come from Anupam Kher and Neena Gupta as the elderly couple. The maturity and grace they bring to their roles are truly delightful.
Pankaj Tripathi, as Monty—Kajol’s husband—brings comic relief with his goofiness. He’s very good, though his chemistry with Konkona felt lacking compared to her dynamic with Irrfan Khan in the previous film.
Surprisingly, Aditya Roy Kapoor, as Parth—the carefree travel blogger—impresses with his charm and candor. I must admit, he gets the best dialogues in the film and delivers them with finesse. This may be Aditya’s finest performance to date.
Ali Fazal, playing Shruti’s husband and childhood love Akash, feels a bit one-dimensional. His role lacks depth, which I attribute to the writing. However, he redeems himself in a powerful pre-climax breakdown scene.
Last but not least, Sara Ali Khan, as Chumki—a confused and timid young woman—delivers an earnest and convincing performance. Kudos to Anurag Basu for bringing out such a strong act from her.
Special mention to Darshana Banik and Pranay Pachauri, who shine in brief roles within one of the subplots. The rest of the cast, including Saswata Chaterjee, Yash Jotwani, and Rohan Gurbaxani, also do a commendable job.
The music is another highlight. The way it is integrated into the narrative is impressive. Pritam brings back romantic melodies with style, and the lyrics by Qaisar Ul Jafari complement the compositions beautifully. It’s refreshing to hear music laced with poetic depth. My personal favorites are “Zamana Laage” and “Aur Mohabbat Kitni Karoon.”
The cinematography is another strong point. It’s delightful to see that Anurag Basu, along with Abhishek Basu, took charge of this aspect. The frames are visually stunning and in perfect harmony with the narrative.
Credit must be given to Anurag Basu for managing such a large ensemble cast while ensuring each character gets their moment without disrupting the story flow. He has a deep understanding of human emotions and leverages that beautifully here. However, I must admit that his indulgence is evident in a few extended sequences that felt unnecessarily stretched, contributing to the film’s long runtime.
Anurag, much like Shoojit Sircar, has a distinct storytelling style—and it’s visible throughout the film.
Metro… In Dino is a breath of fresh air in an otherwise chaotic world—it flows like music. That said, a word of caution: if you’re not into musicals, you may find parts of the film dragging or dull. I’m aware this movie will divide opinions—some will love it, others may not—but I believe it largely does what it sets out to do, albeit a bit too long.