Vedaa Review: John Abraham And Sharvari's Film Is An Action-Heavy Mixed Bag Of Melodrama

Title: Vedaa

Director: Nikhil Advani

Cast: John Abraham, Sharvari, Abhishek Banerjee, Tamannaah Bhatia, Ashish Vidyarthi, Kumud Mishra, Rajendra Chawla, Tanvi Malhara

Where: In theatres near you

Rating: 2.5 stars

Nikkhil Advani's Vedaa is a film that sets out to tackle the deep-rooted caste system in India, wrapping its earnest intentions in a glossy action-packed exterior. The film, while ambitious in its aim to shine a light on Dalit oppression, often feels like an action-loaded entertainer.

John Abraham dons the role of Abhimanyu Kanwar, a court-martialed army officer who, like the unyielding winds of the Rajasthani desert, storms through the film with fists flying and barely a word to spare. His character is the stoic, muscle-bound mentor to Sharvari Wagh's Vedaa Bairwa, a Dalit girl whose boxing ambitions serve as a metaphorical (and quite literal) fight against the oppressive caste system. While Abraham excels in the action sequences, as expected, the emotional depth of his character is as sparse as dialogue in a silent film. He is a man of few words, but his punches do most of the talking—sometimes more than they should.

Sharvari Wagh’s Vedaa is the film's titular character, yet she often feels more like a supporting act in her own story. Her portrayal of a determined yet vulnerable young woman caught in the crosshairs of societal injustice is commendable. One can’t help but wish for more grit and less dependence on her action-hero mentor. Vedaa's journey is compelling, but her character arc struggles to land the knockout punch, leaving the audience wanting more than just the occasional flash of resistance.

Abhishek Banerjee, as the menacing Pradhan Jitendar Pratap Singh, brings a chilling intensity to the role. However, much like the screenplay, his villainy veers into melodrama, diluting the impact of the horrors the film aims to highlight. The caste-based oppression depicted is unsettling, yet the film’s tendency to slip into Bollywood tropes—random Holi songs, item numbers, and a draggy climax—undermines its serious message.

The film excels in its technical aspects, though the music, while atmospheric, often disrupts the narrative's flow. Malay Prakash’s cinematography significantly enhances the film’s emotional depth, with tight close-ups drawing the audience into the character's inner turmoil. These shots elevate personal stakes and intensify conflict, making the struggles feel immediate and visceral. The action sequences are choreographed with precision, and the rugged beauty of the Rajasthani landscape is captured beautifully. However, despite its technical strengths, the film’s uneven pacing in the second half leaves the audience waiting for a resolution that never fully materializes.

In the end, Vedaa is a film with its heart in the right place but its punches are often misdirected. It’s a mixed bag—a cinematic attempt to grapple with weighty issues while delivering the action-packed thrills that John Abraham fans expect. The result is a film that entertains but falls short of providing a knockout blow, leaving the audience with a lingering sense that the fight, much like Vedaa’s journey, isn’t quite over yet.