In the grand tapestry of popular Hindi cinema, stories revolving around Dalit issues are rare finds. Thus, “Vedaa,” starring John Abraham and directed by Nikkhil Advani, emerges as a refreshing entry. This action entertainer delves into the grave realities of caste atrocities in rural India while tediously weaving elements of divine justice. The film opens with a compelling picture of change – a photograph of B.R. Ambedkar beside a mirror. It sets the tone for a story driven by a quest for equality and justice.
The main protagonist, Vedaa Bairwa, played by Sharvari, is a determined Dalit law student striving to transcend her social status by joining a college boxing club. Unfortunately, the gatekeepers of social hierarchy confine her to menial tasks. Enter Abhimanyu, portrayed by John Abraham, an ex-Army officer bearing personal grief, who returns to his spouse’s village and assumes the role of a boxing trainer at the local college.
Situated in a patriarchal domain where political correctness serves merely as a veneer for the elites, Vedaa and Abhimanyu soon clash with Jitendra Pratap Singh, the head of a caste panchayat. Abhishek Banerjee delivers a nuanced performance as Jitendra, a man ostensibly liberal but deeply rooted in regressive traditions. His father (Ashish Vidyarthi), reminiscent of a Tarantino villain, epitomizes ancient customs, while his younger brother embodies the typical local goon. When Vedaa’s brother falls for an upper-caste girl, Jitendra’s fury knows no bounds, setting off a chain of destructive events.
Director Nikkhil Advani, known for his romantic narratives, here crafts a stark and unsparing world. The brooding atmosphere, coupled with John’s intense portrayal of Abhimanyu, creates a riveting visual experience. Advani paints Abhimanyu as a resolute figure who believes in constitutional rights while packing a hard punch against injustice. However, he remains skeptical of the efficacy of formal legal avenues, a contradiction that introduces tension into Vedaa’s journey for justice.
.
Yet, the film grapples with its identity. Advani seems conflicted about balancing the movie’s social message with the expectations tied to a John Abraham action vehicle. The result is a hybrid film that intermittently shifts between intense action and contemplative discourse on equality. The script, enriched periodically with thought-provoking dialogues, is punctuated by prolonged action sequences that often feel disjointed from the core message.
The screenplay, crafted by Aseem Arora, is reportedly based on true incidents but is significantly embellished to appeal to Bollywood sensibilities. Performances are noteworthy despite the screenplay’s occasional lapses. John Abraham has refined his ability to communicate volumes through silent gazes, which is fittingly referenced within the film. Sharvari showcases growth in her role, though a more pronounced physical transformation might have lent additional credibility to her character.
Action choreography is a strong suit of “Vedaa,” yet the narrative frequently hints at deeper conflicts that remain underdeveloped. As viewers anticipate John’s character to cede control to Vedaa, reflecting the film’s titular focus, the plot repeatedly delays this shift. By the climax, Abhimanyu’s character arc transitions from silent resolve to quoting ancient scriptures, muddling the narrative intent.
The uneven melding of action and social commentary suggests that the film uses its grave thematic backdrop as a palate cleanser for mainstream cinema rather than fully committing to the narrative of caste struggle. The filmmakers appear cautious, ensuring Abhimanyu does not overshadow Vedaa as a savior, yet this delicate dance hampers the film’s organic flow. “Vedaa” might also have lost narrative sharpness while navigating the Censor Board’s scrutiny, but it’s apparent that both Advani and Abraham represent a transitional generation. They’re caught balancing the allure of commercial tropes, like item numbers, while striving for political correctness.
Ultimately, “Vedaa” presents a commendable attempt to blend the stark realities of social injustice with the visceral appeal of an action film. However, the execution wavers, leaving the audience to wonder what might have been if the film had either committed more deeply to its social narrative or fully embraced its action roots.
“Vedaa” is now playing in theatres, delivering a mixed but provocative cinematic experience worth pondering.
