Vedaa
is
realistic
but
also
has
the
kind
of
mainstream
elements
and
action
sequences
that
make
a
film
gripping,
observes
Deepa
Gahlot.
The
mood
of
the
country,
during
Independence
Day,
is
that
of
optimism.
But
there
is
a
reality
check
when
reports
in
newspapers
portray
a
grim
reflection
of
another
reality
—
violence
against
women,
honour
killings
and
rampant
casteism.
Nikkhil
Advani’s
Vedaa,
written
by
Aseem
Arrora,
picks
from
the
kind
of
depressing
news
that
is
all
too
frequent
—
killing
of
a
man
or
woman
who
marries
outside
the
caste,
reprisal
rapes
of
sisters
if
their
brothers
elope
with
a
high
caste
woman,
oppression
of
the
lower
castes.
For
most
part,
it
is
realistic
but
also
with
the
kind
of
mainstream
elements
and
action
sequences
that
make
a
film
gripping.
The
laconic
Abhimanyu
Kanwar
(John
Abraham)
arrives
in
Barmer
after
a
court’s
martial
and
dishonourable
discharge
for
disobeying
orders
in
order
to
avenge
his
wife’s
(Tamannaah
Bhatia)
murder.
He
is
hired
as
an
assistant
boxing
coach
at
the
local
college.
The
town
is
ruled
by
Jitendra
Pratap
Singh
(Abhishek
Banerjee),
who
pretends
to
be
progressive,
but
under
the
pleasant
and
reasonable
demeanour
is
a
feudal
monster.
Vedaa
(Sharvari)
belongs
to
a
Dalit
family,
studies
law,
and
like
the
other
women
in
the
town,
puts
up
with
the
harassment
from
Jitendra’s
nasty
brother
Suyog
(Kshitij
Chauhan)
and
his
cronies,
who
misbehave
with
impunity
and
even
record
their
antics.
When
Vedaa
wants
to
join
the
boxing
class,
she
is
first
made
to
sweep
and
mop
the
gym
to
put
her
in
her
place.
Then
she
is
attacked
for
her
persistence,
her
fee
money
torn
up.
Abhimanyu
sees
the
fire
in
her,
and
trains
Vedaa
on
his
own.
A
horrific
crisis
engulfs
Vedaa’s
family
when
her
brother
is
caught
romancing
an
upper
caste
girl.
Vedaa,
her
parents
and
sister
are
humiliated
by
Singh,
and
the
rabid
upper
caste
men
let
loose
on
them.
Vedaa
escapes
with
the
help
of
Abhimanyu,
chased
by
the
entire
gang
of
murderous
hoodlums
and
corrupt
cops.
Stylish
fight
sequences
are
shot
on
picturesque
locations,
John
moves
with
a
feral
grace
that
makes
the
violence
palatable.
For
all
her
courage
and
indomitable
spirit,
Vedaa
insists
that
she
wants
to
go
to
court.
A
law
student,
who
knows
all
the
relevant
acts
and
sections,
is
naïve
enough
to
believe
that
justice
is
instantly
dispensed.
The
film
that
managed
to
evoke
emotions
of
outrage
and
even
sorrow
at
the
cruelty
inflicted
on
the
marginalised,
dissolves
into
absurdity
with
a
prolonged
carnage
shot
within
court
premises.
But
the
film
is
sincere
in
its
condemnation
of
social
evils,
making
a
case
of
judicial
intervention
in
putting
an
end
to
caste
and
gender
based
injustice
entrenched
in
the
system.
Jitendra
is
like
so
many
educated
men,
who
can
quote
from
Darwin
as
well
as
the
Mahabharat,
and
yet
hold
the
antiquated
view
that
caste
is
pre-ordained
and
cannot
be
challenged.
Vedaa
may
have
been
named
after
the
female
lead
but
it
is
a
film
designed
for
John
Abraham’s
unique
talent
for
action,
and
his
selection
of
unblinking
scowls.
When
he
says,
‘I
don’t
just
fight,
I
go
to
war,’
it
is
perfectly
believable.
Rather
early
in
her
career,
Sharvari
has
got
a
role
that
offers
a
proper
character
arc,
and
a
chance
to
portray
both
emotional
and
physical
strength.
Abhishek
Banerjee
is
more
menacing
because
he
does
not
look
like
a
movie
villain
is
expected
to
—
he
would
lose
a
fist
fight
in
an
instant
—
but
his
entitlement
gives
him
power.
If
there
is
something
that
is
out
of
place
in
a
film
that
talks
of
the
dignity
of
women,
it
is
a
crude
item
number,
which
adds
nothing
to
the
narrative
flow
and
detracts
from
the
seriousness
of
the
message.
Vedaa
Review
Rediff
Rating:
