Vedaa unfolds like a modern Western, set against a stark and rugged backdrop reminiscent of classic frontier tales. The film introduces us to Major Abhimanyu Kanwar, portrayed by John Abraham, who steps into the life of Vedaa (Sharvari) with an almost mythic presence. Much like a mysterious stranger riding into town, Abhimanyu arrives to offer aid to the downtrodden, resonating with Western tropes of lone heroes coming to the rescue. However, this film’s narrative feels undermined by Abhimanyu’s serious saviour complex. His character, though well-intentioned, overshadows the true protagonist of the story.

The film centres on Vedaa, a young girl who has endured the horrors of honour killings firsthand, including the brutal murder of her brother by the village Pradhan, Jitendra Pratap Singh (Abhishek Banerjee). Singh’s cruelty extends to killing a girl from his family for eloping with a lower-caste boy. Despite her aspirations to become a boxer, Vedaa faces discouragement from her community. Recognizing her potential, Abhimanyu takes it upon himself to train her, an act that doesn’t sit well with the local male boxers. The director could have continued this story arc, with Vedaa becoming a national level boxer but he chooses to ignore the Million Dollar Baby route, concentrating on making a solid action film, replete with flying bullets, flying cars and a damsel in distress rescued by a white knight.

While John Abraham’s physical presence adds authenticity to his role, his portrayal of Abhimanyu feels incomplete. His entry into the story is subdued, mourning the loss of his wife (played by Tamannaah Bhatia) and seeking vengeance. Although Abhimanyu’s support helps Vedaa gain confidence, the film’s climax betrays its foundational themes. The courtroom setting becomes the battleground where justice is sought, but Abhimanyu’s intervention—using a gavel as a weapon—turns the metaphorical into the literal, and the narrative’s tension dissipates. The resolution is particularly absurd. After all the build-up of Vedaa’s struggle and her quest for justice, it is an upper-caste man who ultimately handles the climactic confrontation, including killing the main villain inside the court. This not only diminishes Vedaa’s journey but renders the entire struggle for justice seemingly superfluous.

Abhishek Banerjee’s portrayal of the antagonistic Pradhan is a highlight, capturing the essence of passive aggression and maintaining a menacing presence. Ashish Vidyarthi, as the patriarch, delivers a solid performance, adding depth to the film’s central conflict. Sharvari Wagh goes from being a naive school girl to being a battle-scarred woman who finally gathers the courage to stand up for herself. Her expressions, especially in portions where her caste identity undermines her, are on point. John Abraham plays the strong, silent brooding warrior with consummate ease. He’s playing to his strength and the role suits him to a T.

In conclusion, while Vedaa demonstrates admirable effort and intent, it falters by relegating its central message to the periphery. We think the film might show Vedaa taking the wrong-doers to court and thus paving the way for others to follow but the gory climax lessens the impact. The film works great as an hardcore action flick but its social message gets submerged beneath all the noise. That said, filmmaker Nikkhil Advani has bravely shown how Dalits, even after 78 years of India’s Independence, are still treated in our society, especially in rural pockets and kudos to him for that.