Sharvari Wagh – Rigobertha Reviews

July 4, 2026July 6, 2026

Alpha: Strong sisterhood saves the day

Shiv Rawail and Uday Chopra succeed in presenting two badass women. The dynamics of estranged siblings is the film’s beating heart. Sharvari matches Alia step to step whether its the hand-to-hand combat or the emotional sequences. Bobby Deol, Anil Kapoor and Dibyendu Bhattacharya also lend gravity to their respective parts. But the father and daughter thread needed stronger writing, also a Dhurandhar like twist feels forced. Yes, the scenarios leading up to the revelation is interesting but in the eventual scheme of things it feels like a hurried addition

Starcast: Alia Bhatt, Sharvari Wagh, Bobby Deol, Anil Kapoor, Dibyendu Bhattacharya and others

Genre: Action thriller/drama

Director: Shiv Rawail

Story: Uday Chopra

Screenplay: Shoumik Shukla and Sridhar Raghavan

Dialogues: Ishita Moitra

Producer: Aditya Chopra

Production House: Yash Raj Films

Songs: Rohansh and Abeer Pandit

Cinematography: Rubais

Running time: 2 hours and 20 minutes

The spy journey of Yash Raj beginning with EK Tha Tiger has seen a roller-coaster of a journey. It has been a mix of massive highs and huge lows. Until Pathaan all the movies were commercial blockbusters but with Tiger 3 everything changed. Tiger 3 was a reasonable success but nowhere close to the blockbuster status of Pathaan and War among others. War 2 was a bigger dud than Tiger 3 with a lot of criticism on similar visual aesthetics, the matters got further compounded with the mega success of Dhurandhar movies. Shiv Rawail’s Alpha’s comes at an extremely crucial moment for the future of spy verse as well as Alia Bhatt. The actor’s previous tryst with action Jigra couldn’t do much at the box office and Alpha is likely to go the same way. The movie has solid action and good performances but the writing tapers off after some solid world building.

The story of Alpha begins with the aftermath off 1999 Kargil War. Bobby Deol is commander Fateh Sing Lakawat. He trains Alia Bhatt’s Sita with a very potent Alpha serum. Sita grows up to be a ruthless assassin following her adopted father’s commands without much questioning. Anil Kapoor plays RAW Cheif Kaul. Kaul was a part of Fateh’s Alpha program, but a particular incident leads to Kaul distancing himself from Fateh Singh. Sharvari Wagh plays the estranged twin sister Durga. Last but not the least Dibyendu Bhattacharya is a scientist cum partner to Fateh. In simple terms the film focuses on how Sita’s life changes after a crucial revelation and how the estranged siblings eventually team up taking down Fateh and save India.

The beating heart of Alpha as already mentioned is the strong sisterhood between Alia and Sharvari. The two have contrasting personalities in terms of how they look at life. Durga like Sita has also grown without mother’s love as Kaul’s wife played by a radiant Dia Mirza, the character dies while giving birth to the twins. However, their lives have shaped up differently due to the contrasting atmospheres. Fateh has trained Sita as a cold-blooded assassin not getting himself emotionally involved. A particular sequence of Sita 18th birthday with Fateh giving the first assignment is a perfect example of this.

The impact of Fateh’s upbringing can be clearly seen in Sita’s initial interactions with both Kaul and Durga. A situation comes where the two have to stick it out together and here Sita’s coldness gradually evaporates and by the end the two have developed a strong bond. This gradual process has come out in a solid manner. It also helps that Sharvari is positioned as an equal and not a mere sidekick. The young actress does a fantastic job in the scenes of physical agility as well as the few poignant moments. Alia Bhatt gets into the skin of a trained assassin with panache; at the same time, she is her usual competent self in the scenes of vulnerability. Alia and Sharvari together lift the movie’s muddled screenplay with their camaraderie. A mention must also be made of a pre interval action block with the two taking on each other unaware of being sisters. The fight has been solidly choreographed with some raw action.

Bobby Deol as the primary antagonist plays the part with the required ruthlessness. While the part is no Bandar in terms of the different shades Bobby still makes for a formidable villain. The deep baritone voice coupled with the overall physical demeanor is a treat to watch. Anil Kapoor continues his golden form with another solid act. In spite of the hurried writing the veteran actor brings in an emotional resonance in his scenes with both Alia and Sharvari. Dibyendu Bhattacharya is also impressive within his limited screen time. His sequence with the adult Sita deserves a specific mention. Hrithik Roshan as Kabir shows too up in an extended cameo. The actor brings his usual swagger and style, his interactions with Alia and Sharvari have some interesting moments.

The action sequences are another highlight of the movie. The pre interval block and the climatic fight deserve a special mention. Yes, the closing fight feels stretched but the raw action with Alia and Bobby combating has been wonderfully staged. As viewers you fear for Sita and the scene of her finally pinning down Fateh serves as a perfect culmination.

A major flaw with Alpha is the loose writing when it comes to the father and daughter dynamics, whether it’s Sita’s equation with her adopted father or the biological one. There is a sense of hurry in the way the interpersonal relationships are introduced and then left hanging only to be revisited later.

This juggling act of action and emotion doesn’t land seamlessly. The second half in particular seems in a rush for Alia taking on Bobby. As a result the emotions don’t stir the viewers the way it should.

Alpha also suffers from a Dhurandhar hangover. A crucial twist related to the actual identity of Bobby’s Fateh Singh feels like a last-minute addition to please the deshbhakts. But this twist though shocking isn’t likely to please even the most patriotic ones.

The music with its mix of Hindi and English lyrics doesn’t work either. Sharvari’s introduction song for example just doesn’t land.

Final word: Alpha deserves marks for trying to something different within the spy verse formula. But the inconsistent writing makes it difficult to root. Having said that it makes for a fun watch especially for those who like seeing strong women saving the day.

June 13, 2026June 13, 2026

Main Vaapas Aaunga: A stirring tale of trauma and loss of humanity

Imtiaz Ali once again employs his favorite two timeline plot sequencing. More than the partition horrors the movie holds a mirror to today’s displaced homes due to bloodshed. The end montage song with the ever-charming Diljit Dosanjh hits hard. A strong aspect of Main Vaapas Aaunga are the scenes between Nasseerudin Shah and Diljit. The portions have a perfect blend of humor with emotional pathos. The pre partition romance though needed better writing

Starcast: Naseeruddin Shah, Diljit Dosanjh, Vedang Raina, Sharvari Wagh and others

Genre: Romance/drama

Director and writer: Imtiaz Ali

Additional writer: Nayanika Mahatani

Music: A R Rahman

Cinematography: Sylvester Fonseca

Producers: Sameer Nair, Deepak Segal etc

Production Companies: Window Seat Films, Applause Entertainment etc

Running time: 2 hours and 46 minutes

Stories of Partition and Bollywood go hand in hand; numerous filmmakers have depicted the horrors of partition in their own ways but still there is always something left to be explored. Imtiaz Ali’s latest Main Vaapas Aaunga is also about pre partition and the horrors following it. But the genre here makes a difference. Imtiaz packs in an intense tale of unrequited love, love so intense that our protagonist hasn’t forgotten his heroine though he is 95 years old. Naseeruddin Shah is Keenu. He falls in love with a Muslim girl Jiya/Afshana played by a radiant Sharvari Wagh. Vedang Raina plays the younger version in the flashbacks. Their blossoming romance hits a roadblock due to partition. He manages to make a living, but the scars haven’t completely left. Diljit Dosanjh plays the grandson Nirvair Grewal. Nirvair is going through his own hassles both professionally and personally. Nirvair becomes Keenu’s support system, and he is determined to fulfill his grandfather’s last wish and how that happens is the essence of MVA.

A strong aspect of MVA are the scenes between Nasseerudin Shah and Diljit. Their interactions have undertones of humor in the beginning especially the hospital ones. But as Nirvair becomes more emotionally involved the dynamics takes a different turn. The portions start to become emotionally poignant and the two feed off each other wonderfully. After a long time Naseeruddin Shah has gotten an author backed part and the veteran makes complete use of it. Whether its his intense love for Jiya/Afshana or the pain of leaving one’s home the actor tugs at your heartstrings. He also raises chuckles in his initial interactions with Diljit.

Diljit as the grandson gets his own arc and the dependable actor doesn’t disappoint. In spite of sharing screen space with an in form Naseeruddin Shah he more holds his own. From being curious and then the strong determination of making sure that the grandfather finds peace at least in death the actor doesn’t miss a single beat.

The pre partition romance also has his moments. Both Vedang and Sharvari look the part of bestowed lovers, but the writing could have been better. The love track could have been developed more; there is a hurried nature to the proceedings here. Having said that the conversations between young Keenu and Jiya have the right romantic spark. Vedang in particular impresses more so in the post partition scenes. The scenes of subtle pain and grief has been excellently portrayed by the young actor. Sharvari has much less to do in comparison, but she has a luminous presence and does a fine job in portraying a certain inner resilience.

The theme of humanity loss has a realistic feel to it as well. Human beings getting carried away in the cycle of violence and behaving in a barbarious manner has a contemporary feel. The post credit song Kya Kamaal Hai takes the audiences on a short tour of present horrors and the incredible spirit of fighting back. The tune coupled with Diljit voice is simply fantastic.

AR Rahman’s music jells perfectly with the movie’s tone capturing both the young love as well as the emotional undertones perfectly. The cinematography of Slylvester Fonseca particularly the pre partition romance has some nice frames. The proceedings have a lived-in feel

One of the things sticking out like a sore thumb is the subplot of Nirvair and his off/on relationship with Banita Sandhu’s Kaveri. It doesn’t add much substance to the movie. The subplot feels like more of a crutch to amplify Keenu’s deep love for Jiya. But this is a minor misstep in a mostly heartfelt drama on what it means to leave your home.

January 4, 2025January 4, 2025

Resurgence of Bobby Deol: An overview into the actor’s second innings with a variety of characters, both in theatres and OTT

While ‘Animal’ came across as a breakthrough performance, his performances on the OTT platforms with the web series ‘Aashram’ and the two movies ‘Love Hostel’ and ‘Class of 83’, also showcased his acting finesse.

Starting with the 1995 movie Barsaat, Bobby Deol has acted in more than 50 movies, including thrillers, action movies, and love stories.

From a boy next door in the likes of Barsaat the actor has transformed into a gritty actor with a diverse portfolio of characters. He has been a leading man, a supporting actor and has now transformed into a wonderful character artiste.

In the 1990s and 2000s Bobby Deol was a popular leading man primarily known for his stylish looks. However, as the years have gone by he has also proved his acting talent. While Animal came across as a breakthrough performance, his performances on the OTT platforms with the web series Aashram and the two movies Love Hostel and Class of 83, also showcased his acting finesse.

Standout performances in late 90s

In the late 90s and early 2000s too, the actor had a slew of fine performances to his credit. Among Bobby Deol’s earlier performances, his act in Abbas Mustan’s Humraaz (2002) deserves special mention. Bobby Deol’s character in Humraaz goes through many emotions, particularly in the second half. There is a palpable sense of distraught when Bobby’s Raj Singhania finds out that his wife has double-crossed him.

Another impactful character in Bobby Deol’s early career includes the romantic thriller Gupt (1997). In this movie, Bobby plays a young man wrongfully accused of murder. He portrayed the different nuances of the role in an impactful manner. Talking about comedy roles, Bobby’s act in Jhoom Barabar Jhoom (2007) as a mama’s boy was endearing to watch.

At one point Bobby’s career saw a dead end with no solid work coming. There were sporadic appearances but nothing substantial.

However, he rose to fame with the Sandeep Reddy Vanga’s Animal, in which he plays a non-speaking person. The film released in 2023 December, opened many avenues for the actor— he is now the most sought-after villain.

In 2024, he once again played an antagonist in Suriya’s Kanguva. While the movie didn’t work as expected, Bobby Deol’s performance earned praise.

Now let’s get into a little more detail about Bobby Deol’s reinvention by expanding on the recent films and the web series mentioned above.

Animal

In Sandeep Reddy Vanga’s Animal, Bobby Deol makes a late entry in the second half but leaves a lasting impact. His introduction scene captures two contrasting emotions. In the song “Jamal Kudu,” he dances joyfully with an alcohol glass on his head, celebrating. This is immediately followed by a moment of intense rage upon hearing of his brother’s death.

With his chilling eyes, Bobby’s character becomes a formidable opponent to Ranbir. In the climax, his emotional intensity shines through as he battles Ranbir.

Despite having no dialogue, his fiery eyes and body language convey murderous rage, making him an intimidating and deadly presence.

Class of 83

Class of 83, directed by Atul Sabharwal, is based on the novel by acclaimed crime journalist Hussain Zaidi. The film follows a cop, Vijay Singh, who is demoted to the dean of a police academy as punishment. At the academy, Singh selects a group of rookies to restore justice through unethical means. His plan works for a while, but things eventually fall apart.

Bobby Deol’s portrayal of Vijay Singh is far from the traditional larger-than-life cops like Salman Khan in Dabangg or Ajay Devgn in Singham. Instead, he plays a brooding mentor, conveying much through silence and his intense eyes. Deol effectively captures Vijay Singh’s inner turmoil with a powerful, internalized performance.

Aashram (Web series)

Bobby Deol in Aashram — Bobby Deol in ‘Aashram’. (X)

In his web series debut, Bobby Deol played a charismatic godman in Aashram, directed by Prakash Jha. His character, Baba Nirala, is revered as a messiah for the downtrodden, but in reality, he harbours a dark past. The three seasons of Aashram tackle various social issues, such as the caste system and reservation, in typical Prakash Jha style.

As the cunning yet charming Baba Nirala, Bobby Deol brought immense charisma to the role. He skillfully portrayed the contrast between the god-loving persona he presents to his devotees and the darker side revealed once the curtain falls. Deol perfectly balanced the revered godman with subtle hints of his evil nature.

Love Hostel

In Love Hostel, Bobby Deol played a hitman named Dagar, who believes he is doing society a favour by killing young couples who try to break societal norms by marrying outside their caste or religion.

Deol portrayed the mostly emotionless Dagar with the perfect attitude, outstandingly capturing his self-righteousness. He also nailed the hinterland accent.

This is an overview of Bobby Deol’s resurgence. This list is by no means complete, as the actor’s second innings includes many more exciting projects.

These include Yash Raj Banner’s first female-led spy film, starring Alia Bhatt and promising new talent Sharvari Wagh. There is also Anurag Kashyap’s untitled thriller with Sanya Malhotra. In addition, Bobby Deol has Telugu films Daaku Maharaj and Hari Hara Veera Mallu, as well as the Tamil film Thalapathy 69. Here’s hoping Bobby continues to deliver solid work.

(Edited by Sumavarsha)

https://thesouthfirst.com/entertainment/resurgence-of-bobby-deol-an-overview-into-the-actors-second-innings-with-a-variety-of-characters-both-in-theatres-and-ott/

December 21, 2024December 22, 2024

Nikhil Advani: From romantic dramas to gripping social thrillers

Nikhil Advani has aced many genres, including action thrillers like ‘Batla House’, sports dramas like ‘Patiala House’, and films on social issues like ‘Vedaa’.

Starting from the romantic dramas Kal Ho Naa Hoo (2024) and Salaam-e-Ishq (2007) Nikhil Advani has created a distinct space for himself both on the big screen and also in the OTT space.

In a career spanning from 2003 to now, Nikhil Advani has donned various hats as a director, producer, writer and also creator for web series like the two seasons of Rocket Boys (2022, 2024) and The Empire (2021).

However, over the years, Nikhil Advani has moved from light-hearted romantic films to gritty tales about society, and history.

For example, the 2013 movie D-Day is a significant milestone in his career. At the box office, it was an average grosser but the critical reviews were very good.

Although an espionage thriller with all the nationalistic elements, the movie was nevertheless gripping showcasing a different facet of Nikhil Advani. The trials and tribulations faced by the four undercover agents in capturing the late Rishi Kapoor’s character modelled on Dawood Ibrahim packed an emotional punch.

Another TV show POW Bandi Yudk Ke was also directed by Nikhil Advani. The show based on two prisoners of war was taken off the air due to low viewership despite critical acclaim.

Nikhil Advani has aced many genres, including action thrillers like Batla House, sports dramas like Patiala House, and films on social issues like Vedaa. He has also dabbled in the OTT space, giving series like the recent Freedom At Midnight, and Mumbai Diaries Season 1 and 2.

Now let’s get into a little more detail about a few other projects that have been helmed by Nikhil Advani, showcasing how much he has grown as a director.

Batla House

In 2019, Nikhil Advani directed the action thriller Batla House based on the real-life police officer Sanjeev Kumar Yadav. The film focused on the controversial encounter showcasing Sanjeev’s struggles in proving both the authenticity of it and also dealing with post-traumatic stress disorder.

The movie isn’t entirely objective in its approach more or less siding with Sanjeev Kumar. Still, it was a taut film keeping the viewers engaged. Also, Nikhil Advani’s depiction of PTSD deserves major appreciation.

Nikhil Advani also pushed John Abraham beyond his action star image. On numerous occasions, the viewers see John battling with his inner demons, a particular mention must be made of the portions reminiscent of William Shakespeare’s play Lady Macbeth. Much like that play, here too John’s character is often haunted giving a much-needed emotional heft.

Vedaa

Vedaa (2024) headlined by Sharvari Wagh is flawed yet a gritty social drama about caste-based violence and discrimination. The movie was based on real-life events and Nikhil Advani did a fantastic job in showcasing the struggles of Dalits in climbing up the social ladder even after so many years of independence.

Vedaa deserved to be much more at the box office given its merits but unfortunately lost the box office battle with Amar Kaushik’s mega-blockbuster Stree 2.

A very strong point of Vedaa was how Nikhil Advani developed the character of its titular protagonist portrayed by the brilliant Sharvari Wagh. The character of Vedaa starts off as a timid girl but gradually she grows in confidence becoming a strong rebel refusing to bow down. This transition was wonderfully depicted by Nikhil Advani aided by Sharvari who didn’t miss a single beat.

Apart from Sharvari’s towering act, Nikhil Advani also created a strong antagonist in the form of Abhishek Banerjee’s Jitender Pratap Singh. As the man who firmly believes that one shouldn’t toy with the established caste system, Abhishek simply knocked it out of the park showcasing his immense range.

Mumbai Diaries Season 1 and 2

The two seasons of Mumbai Diaries directed and created by Nikhil Advani focused on two highly distressing real-life incidents.

A poster of the series Mumbai Diaries — A poster of the series ‘Mumbai Diaries’. (Instagram)

The first one was about the horrors of 26/11. Nikhil Advani along with Nikhil Gonsalves focused their lens on how medical professionals like doctors and nurses were pushed to their limits in a crowded hospital which is low on resources. The web series was also a tribute to the spirit of Mumbaikars.

A strong aspect of the first season was how it never portrayed the doctors as superheroes. All of them come with their own inner demons and have their backs to the wall both professionally and personally.

Nikhil Advani also did a very fine job in not pitting one religion or nation against one another. It was more about terror versus humanity. The strong acting performances led by Mohit Raina and Konkana Sen Sharma were another highlight of both seasons.

The second season of Mumbai Diaries focused on the rage of floods which had submerged the Mumbai city. Much like the first season this time too the focus was equally on both the doctors fighting against the unfavourable weather and their personal demons along with the fighting spirit of Mumbaikars.

A strong aspect of Season 2 was how Nikhil Advani along with his writers built a palpable sense of urgency. The viewers feel an emotional connection with the characters of Mohit Raina and Konkana Sharma among others.

The flood scenes were also authentically recreated, and the production design of Priya Suhass was simply top-notch.

Freedom At Midnight

Freedom At Might co-written by Dominique Lapierre and Larry Collins is a very difficult novel to adopt given the sheer vastness of the political turmoil.

In today’s political environment numerous filmmakers are seen playing to the gallery to please the ruling party but Nikhil Advani’s adaptation of the vast novel stands out for not just the brilliant writing but also the way in which he never takes sides. He let the audiences make their own judgements by placing them amidst the powerful leaders who had fought for India’s independence.

The dynamics between Gandhi and Nehru were a treat to watch in particular. Gandhi’s unwavering idealism and Nehru’s internal struggle leading to discord were both wonderfully written and enacted. The series was also technically top-notch particularly the portions featuring the riot-torn neighbourhoods.

The show moves the viewers on many occasions like the scenes of religious discord leading to communal violence. Cannot wait to see how the second season unfolds.

Apart from the ones mentioned above a couple of other web series worth mentioning here are Rocket Boys and The Empire. Nikhil Advani didn’t direct either of them but he was still creatively involved. Both these shows further demonstrated Nikhil Advani’s versatility.

This is all about the evolution of Nikhil Advani as a filmmaker. Here’s hoping that he continues to do stellar work.

(Edited by Sumavarsha)

https://thesouthfirst.com/entertainment/nikhil-advani-from-romantic-dramas-to-gripping-social-thrillers/

August 27, 2024October 18, 2024

Munjya: A worthy addition to Maddock horror universe

Director Aditya Sarpotdar does a fine job in weaving a social message like the previous Maddock productions, Stree films and Bhediya. Here it is about consent in love.

Munjya streaming on Disney+ Hotstar is set in the backdrop of a Konkan folklore, year 1952. A young Brahmin boy Gotya is adamant on marrying a girl named Munni. He mistakes obsession for love, Munni’s marriage is fixed to another man leaving Gotya enraged. He makes an unsuccessful attempt to poison Munni’s fiancé in a fit of anger. The mother scolds him but Gotya is no mood to pay heed. He resorts to black magic in order to win Munni’s heart, this includes an attempt to sacrifice the life of his sister Gita (Khushi Hajare plays the young version). However, this only leads to self-destruction. Gotya turns into a restless spirit Munjya haunting the tree; he had died within 10 days of thread ceremony. Fast forward to the present Gotya aka Munjya latches on to the family’s descendent Bittu (Abhay Verma), using him as a facilitator to fulfil the wishes of marrying Munni. In a strange turn of events Munjya becomes bestowed with Bittu’s love Bela (Sharvari Wagh). Bela considers Bittu her best friend, she is already in relationship with an English man Cuba (Richard Lovatt) but isn’t very sure on marrying him. Bela has major career aspirations regarding Zumba dance. Bittu deeply loves Bela, but he doesn’t confess. This is the story in brief.

Munjya latches on to his family descendent Bittu (Abhay Verma)

A strong aspect of Munjya is the characterization of Bittu. Bittu starts off as an underconfident guy, he hardly comes across a hero who would defeat the wicked Munjya but as the movie progresses, we seem him gradually overcoming inner fears. Bittu desires to be a hairdresser adding an interesting layer. Additionally, Bittu respects Bella’s professional aspirations and never makes a move on Bela in spite of their close proximity.

There is a scene in the pre- climax where Bittu finally reveals his feelings. Bella replies that too much is going on in her life and she has no intentions of getting into a committed relationship at this point. Bittu replies that it is fine adding that he is not a Munjya who is going to make her life hell. The stark difference in behaviors in spite of the same lineage is the essence of this Aditya Sarpotdar’s directorial.

Munjya also benefits from the strong characterizations of Mona Singh and Suhas Joshi playing the mother and grandmother respectively. Mona Singh plays a fiery single mother never backing down from taking a stand for herself and the son. Suhas Joshi on the other hand is the sweet and adorable grandmother. She is an important source of motivation for Bittu in the battle with Munjya. Both the women are a delight to watch. Sharvari Wagh as Bella is also good particularly in the scenes where Munjya enters her body. She has a bubbly presence that goes with the role. Her dance moves in the end credit song Taras are quite fluid and she looks hot as well.

Bahubali actor S Sathyaraj plays a baba known for getting rid of spirits thankfully the characterization doesn’t follow the usual intense route. There is an absurdity to the character which Sathyaraj pulls off well. As Bittu Abhay Varma does a fine job in bringing out both the fearful nature and also the eventual transformation. His chemistry with the CGI generated Munjya has a good mix of scares and funny moments.

Special mention must be also made of the cinematography department. Saurabh Goswami does an excellent job of capturing the dread amidst the lush greenery. The VFX artists have also done a fine job in creating a scary villain however it has to be said that Munjya’s thick voice does get irritating at some points. Also, the styling of both Munjya and Bittu has a Harry Potter hangover which the movie could have done away with. The film pretty much follows the standard template of a horror movie and there is nothing unpredictable particularly for those who have grown on this genre. But all said and done Munjya is a worthy addition to this growing horror universe.

August 16, 2024August 23, 2024

Vedaa: A flawed yet a gritty social drama that touches upon caste-based violence and discrimination

In spite of a bloated second half director Nikhil Advani delivers a hard-hitting tale based on real events. Sharvari Wagh has delivered her career best performance.

Starcast: Sharvari Wagh, John Abraham, Abhishek Banerjee, Ashish Vidyarthi and others special appearances (Tammanna Bhatia and Mouni Roy)
Director: Nikhil Advani
Writer: Assem Arora
Producers: John Abraham, Monisha Advani and others
Production Companies: Zee Studios, Emmay Entertainment and JA Entertainment
Music: Ammal Malik and Manan Bhardwaj
Cinematography: Malay Prakash
Running time: 2 hours and 36 minutes

Nikhil Advani has had a very interesting filmography starting from the romantic dramas Kal Ho Na Ho and Salaam e Ishq. He shifted gears successfully with the film D-Day a well-made action thriller. Nikhil further proved his versatility on OTT with the two seasons of Mumbai Diaries. Of course, the director has also fallen flat on his face with certain movies but there is no denying that Nikhil is a fascinating filmmaker. His latest directorial is based on some real-life incidents dwelling into the oppression of lower caste. Vedaa alternates between a social drama and a high-octane action thriller with dollops of blood. This mix doesn’t always work particularly the long-drawn climax however there is no denying that Nikhil Advani makes an important statement.

Vedaa alternates between a social drama and a high-octane action thriller

The story of Vedaa deals with an ambitious Dalit girl played by Sharvari Wagh. Vedaa aspires to be a boxer breaking the boundary of social stigma. However, that is easier said than done given her family background and the upper caste bigots. Abhishek Banerjee in his second release of the week plays an unhinged antagonist who firmly believes that one cannot toy with the firmly established caste system. The actor is simply phenomenal which I will elaborate on later. John Abaraham on the other hand is a typical hot headed solider who faces court martial for his rebellious streak. His character Abhimanyu comes to the village of Sharvari, his father-in-law stays here. Abhimanyu tries to lead a normal civilian life but an honor killing incident changes everything. Vedaa’s brother falls in love with an upper caste girl, she also reciprocates but expectedly there is no happy ending. Abhimanyu becomes the guiding force of Vedaa echoing Mahabharata.

Sharvari Wagh’s Vedaa aspires to be a boxer breaking free from social stigma

A strong aspect of Vedaa is how Nikhil Advani has showcased the humiliation that Dalits go through. Even after so many years of independence the social and economic conditions of Dalits leave a lot to be desired. There are some hugely disturbing scenes like the one where Vedaa is assaulted by upper caste hooligans, but she is not a position to fight back. There is also a scene where lower caste men rub their noses on the ground. Of course, the treatment is more in your in your face unlike Article 15 that was more nuanced but still these moments leave a strong impact.

Vedaa also benefits from the strong characterization of the central role. Sharvari Wagh starts off as a timid girl but gradually the character grows in confidence becoming a strong rebel. A scene which deserves a particular mention is Vedaa’s confrontation scene with the younger brother of Abhishek Banerjee’s character. A very violent fight ensues with Vedaa taking out all of her pent-up frustration. Sharvari proves to be a worthy action heroine, on a side note cannot wait to see her kick some serious ass with Alia Bhatt in Alpha.

Abhishek Banerjee proves himself as a supremely talented artist with his portrayal of Jitender Pratap Singh. The actor does a wonderful job in portraying an intimidating villain. He gives John Abaraham more than a tough fight in the hand-to-hand combat sequences. It is hard to believe that this is the same man who played the role of Jana in Stree 2. He is that good.

Abhishek Banerjee proves himself to be a supremely talented artist

The second half of Vedaa has numerous car chases and action sequences. These sequences offer a thrilling ride for the viewers. There is constant tension about how Vedaa is going to emerge victorious from all this. However, it has to be said that the fights become too elongated as well and the climax in particular becomes a never-ending saga. John Abraham’s Abhimanyu Kanwar is pumped with numerous bullets but still he stands up. The gritty texture of the first half is in complete odds with these scenes. Similarly, Abhishek Banerjee is seen walking normally even after being shot in the stomach.

Talking about John Abraham the actors hulk like presence goes completely with the role. Abhimanyu is a man of few words letting his fists doing the talk. However, John’s performance feels like a letdown in comparison to his character of Jim in Pathaan.

Vedaa’s music also leaves something to be desired. The only song that makes an impression is Arjit Singh’s ‘Zaroorat Se Zyada’. Malay Prakash’s cinematography coupled with Manoj Sikka’s sound design deserves a major appreciation. The hinterland of Rajasthan has a lived-in feel.

Vedaa in spite of some flaws is thought provoking making the viewers root for the titular character.