In the bustling landscape of popular Hindi cinema, where stories of Dalits and their struggles often find sparse representation, “Vedaa” emerges as a refreshing outlier. Directed by Nikkhil Advani, this action entertainer intertwines the theme of caste atrocities with the thrill of high-octane sequences, set against the rustic backdrop of rural India. The film’s narrative boldly integrates the image of B.R. Ambedkar, a prominent Dalit leader, prominently displayed within a household, symbolizing the foundational ethos of the story.
At the heart of the film is Vedaa Bairwa (played by Sharvari), a Dalit law student with aspirations that stretch beyond the confines imposed by her social status. Driven by her passion, Vedaa dreams of joining her college boxing club. However, her aspiration is met with resistance from the entrenched social order which deems her fit only for menial tasks while reserving true participation for those higher up in the caste hierarchy. The film poignantly captures Vedaa’s struggle and determination to transcend these societal limits.
Supporting Vedaa is Abhimanyu (portrayed by John Abraham), an ex-Army officer who returns to his wife’s village carrying the weight of a personal tragedy. Abhimanyu serves as a boxing trainer at the local college, and his path soon intertwines with Vedaa’s. Together, they navigate the treacherous terrains of caste and patriarchal values deeply ingrained in the village’s ethos. Abhimanyu becomes a pivotal mentor in Vedaa’s fight, metaphorically and literally, against discrimination.
The village politics adds a layer of complexity to the story. The head of the caste panchayat, Jitendra Pratap Singh (Abhishek Banerjee), portrays a character caught between the old and new world orders. Jitendra’s father (Ashish Vidyarthi) embodies the archaic traditions with fervent zeal, while his younger brother is a quintessential goon establishing his authority through muscle power. The village dynamics shift violently when Vedaa’s brother engages in a relationship with an upper-caste girl, igniting a fierce and destructive conflict driven by Jitendra’s rigid mindset.
Nikkhil Advani, known for his romantic narratives, meticulously carves out a sinister world filled with realism and raw emotion. The film’s cinematography accentuates the grim realities faced by its characters.
. While the brooding landscapes reflect the inner turmoil, the director ensures the portrayal of hope and resilience through his protagonists. Abhimanyu and Vedaa’s journey is laden with symbolisms and real struggles faced by Dalits in contemporary India.
However, Advani appears to be cautious about saturating the film with social commentary, mindful not to alienate the audience accustomed to John Abraham’s action-packed performances. To strike this balance, the script incorporates extended action scenes interspersed with dialogues about equality and justice. This approach, though engaging, sometimes disrupts the narrative’s coherence, making it seem occasionally as if the characters are functioning within a video game algorithm, constantly trapped and rescued in loops.
The film’s disclaimer mentions its inspiration from real-life stories, which adds an element of authenticity to its engaging tale. Yet, writer Aseem Arora infuses the narrative with quintessential Bollywood elements, ensuring it remains palatable to a wide audience. The performances in “Vedaa” are robust, albeit with room for finer nuances. John Abraham’s portrayal of Abhimanyu is subdued and introspective, his silence and stare encapsulating a depth befitting his character’s past. Sharvari’s performance, while commendable, could have benefited from further physical transformation to convincingly portray a boxer’s journey.
The action choreography in the film is commendable, delivering adrenaline-pumping sequences that underline the protagonist’s courage and resolve. Nevertheless, the anticipation for a substantial resolution to the central conflict builds up only to reveal a protracted wait. The climax, wherein the seemingly atheist Abhimanyu quotes from the Mahabharata, feels disjointed, further accentuating the uneven blend of the film’s thematic elements.
“Vedaa” ventures into sensitive territory, addressing serious issues of caste discrimination within a familiar masala framework. The creators meticulously ensure that Abhimanyu does not overshadow Vedaa, maintaining a careful balance. Yet, the calculated restraint bears the risk of obstructing the narrative’s fluidity. One could speculate whether the film’s potency was dampened, possibly during its scrutiny by the Censor Board, or if it was a deliberate compromise by Nikkhil and John to cater to their contemporary audience’s expectations.
Despite these imperfections, “Vedaa” stands as a significant film, currently resonating in theaters. Its attempt to bridge social awareness with mainstream entertainment, albeit in a wobbly balance, constitutes a commendable endeavor within the realms of Hindi cinema.
