Shiva Rajkumar and filmmaker A Harsha have collaborated thrice before Vedha, trying out something new each time around. The veteran actor, despite being one of the most adored and sought-after superstars in the business, has almost never shied away from shedding his image for the sake of an important story – and, interestingly, his last two outings have addressed the issue of sexual violence against women and children. Vedha deals with a case of child sexual assault.
In Vedha, Shiva Rajkumar’s 125th film as a leading man, the filmmaker makes a valiant but flawed attempt at asserting that violence, if need be, is the best tool of defence. As much as the film has its heart in the right place, the makings of its narrative are filled with contrivances and elements that are likely to leave the audience underwhelmed, agonised. What saves the film from sinking are the strong central performances, particularly of the female cast – be it Aditi Sagar, TV actor Ganavi Laxman or Shwetha Changappa. Vedha boasts many fierce portrayals with Shiva Rajkumar guiding the narrative as the titular character.
Vedha (Shiva Rajkumar) and his daughter Kanaka (Aditi Sagar) are travelling assassins who conceal a tragic past. The year is 1985 and we see the brooding father-daughter duo go on a rampage killing specific individuals. It’s a symbiotic relationship, wherein Vedha lays out the plan, draws the victim into the vicinity, and Kanaka unleashes her inner rage and kills the victim. As they travel setting off alarms and with the law chasing after them, the past is gradually unravelled, and we go back and forth in time to understand why Vedha and Kanaka are so emotionally charged.
Vedha’s plot, quite glaringly, is simple and generic but that’s mostly by design. Harsha, who is also the film’s writer, makes no bones about wanting to heighten and stretch the emotional core of his story, and uses the premise to imbue the narrative with a sense of vigilantism. We are aware, right off the bat, that Vedha and Kanaka have a defined set of people to kill, and once we also learn of the frightening reason behind their expedition, the film is laid bare in front of us. How Harsha keeps things engaging is through extreme stylisation that includes a thumping background score (Arjun Janya), a large collection of slow-mo shots, and a setting that allows for the actions of the central characters to seem believable and gripping. Does he succeed in etching it all together? Yes, but only to a certain extent and that too because of the conviction he rides on.
A major drawback in Vedha is the fact that Shiva Rajkumar, regardless of what is at stake, remains a larger-than-life entity throughout, and one never encounters any vulnerability in his character. Not only does this undermine what the film is pursuing, it also removes tension and thrill from the scheme of things — no matter how big the obstacle and how mighty the antagonist, the viewer rests assured that the hero will triumph over it all.
In the same vein, any film dealing with sexual violence takes on a huge responsibility, and it takes immense scrutiny, introspection, and a caring gaze on the makers’ part to put together a compelling story. Vedha is well-intended, and there are segments in the film that startle you, make you feel unsettled, but the issue arises when you sense that the setting of the film, along with the resolution it offers, is far removed from reality.
Despite the poignance underneath, Vedha never comes close to being a personal experience. As much as the flashy action involving machete swipes, impassioned screams, and generous bloodshed evoke hoots and whistles from the crowd, one is likely to walk out feeling energised only temporarily. The concluding moments of the film, which show Vedha and Kanaka championing the fight against violence against women and girls, further enunciate what the film is after. It’s a noble gesture, no doubt, but the presentation of the idea feels a bit too wishy-washy because the ethos of Vedha is contrived and mostly plays to the gallery. The film is riveting in parts but a majority of it is flawed and compelling only on the surface.
Watch the trailer here:
Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither TNM nor any of its reviewers have any sort of business relationship with the film’s producers or any other members of its cast and crew.