Dupahiya Review: Gajraj Rao, Renuka Shahane, Bhuvan Arora’s Series Is A Joyride Through Small-Town Chaos And Quirks

Title: Dupahiya

Director: Sonam Nair

Cast: Gajraj Rao, Renuka Shahane, Bhuvan Arora, Sparsh Srivastava, Shivani Raghuvanshi, Yashpal Sharma

Where: Streaming on Prime Video

Rating: 3.5 Stars

A crime-free village, a stolen motorbike, and a wedding on the line—Dupahiya- takes the absurd and spins it into a delightful comedy steeped in heartland eccentricities. Directed by Sonam Nair and penned by Avinash Dwivedi and Chirag Garg, this nine-episode series serves up an astutely crafted satire on aspirations, reputations, and the peculiar chaos that ensues when a prized possession goes missing.

Bookended by Mahesh Chandra Punetha’s evocative poem Sadak, the series captures the essence of the road—both literal and metaphorical—that its characters traverse. The story unfolds in Dhadakpur, a fictional utopia that takes immense pride in its crime-free status, only for that claim to be shattered when a motorbike, meant as dowry for an eagerly anticipated wedding, is stolen. The stolen two-wheeler becomes the catalyst for a frantic chase, sending the village into an existential crisis—after all, what is Dhadakpur without its 25-year crime-free record?

At the heart of the madness is Principal Banwari Jha (Gajraj Rao), a man who sees his daughter's wedding as both- a personal and professional upgrade. His daughter, Roshni (Shivani Raghuvanshi), however, has her sights set on city life and a different groom—Kuber (Avinash Dwivedi)—purely because he resides in an urban jungle. Kuber, as it turns out, demands a motorbike as part of the deal. The vehicle is procured with aplomb but gets stolen 8 days before the wedding, and what follows is a spiralling comedy of misunderstandings, half-baked conspiracies, and an investigation so convoluted it makes real-life bureaucracy look efficient.

The show’s strength lies in its writing—wry, sharp, and unflinchingly aware of its milieu. The dialogues, delivered with deadpan sincerity, land with effortless humour, while the screenplay skilfully weaves together multiple threads without losing grip. Beneath the surface-level hilarity lies an undercurrent of social commentary, tackling everything from dowry practices, to small-town aspirations, to being “atmanirbhar” (self-sufficient), all without ever feeling preachy.

Gajraj Rao, as always, is a scene-stealer, embodying a man who oscillates between ambition and helplessness with endearing exasperation. Shivani Raghuvanshi brings an infectious charm to Roshni, while Avinash Dwivedi and Godaan Kumar, as the groom and his older brother, play their parts with delicious cluelessness. Sparsh Shrivastava’s Bhugol, an aspiring influencer, adds a modern touch of social media obsession, while Bhuvan Arora’s Amavas—a lovelorn thief with kleptomania—elicits sympathy with all earnestness. The ensemble cast, including veterans like Renuka Shahane as the no-nonsense sarpanch and Yashpal Sharma as the reluctant police with a soft heart, rounds out the chaos beautifully.

Overall, the series thrives on its ability to turn the mundane into the extraordinary. It is both, riotously funny and quietly poignant—a perfect blend of humour, heart, and small-town idiosyncrasies. It is a joyride worth taking. It leaves you chuckling at its chaos and charmed by its heart.