Vikram Vedha

"Vikram Vedha" follows a team of encounters specialists, helmed by Vikram (Saif Ali Khan) who capture the notorious Vedha (Hrithik Roshan).

But the remake is a great example of what a talented directing duo can do with a higher budget and a pair of leads whose pitch is vastly different from that of the leads in the original. Due to the success of the original “Vikram Vedha” and its reach via the internet and OTT platforms, Pushkar and Gayatri are aware of the fact that they aren’t going to surprise anyone with the film’s plot. But it’s also palpable in the Chikankari embroidery on Vedha’s clothes, Vedha’s favorite “kulcha nihari” (which is an important plot point and a great adaptation of the mutton chop and “parotta” scene from the original), and, of course, the intricate chase sequence through the city’s “gullies” and rooftops that are bubbling with character and history. In conclusion, please watch the version of “Vikram Vedha” that features Hrithik Roshan and Saif Ali Khan first. Because a) it’s what we’ve grown up watching and b) it’s what stars of Hrithik and Saif’s caliber are capable of emulating. Especially the ones where Vedha has to retrieve a bag of notes from the “Mumbai gang” and the finale. Speaking of the action sequences in “Vikram Vedha,” they are not just a major upgrade in comparison to the original but also top-notch stuff in the realm of Bollywood itself. They know that those who are lucky enough to have no knowledge about the original’s existence will be dumbfounded by the revelations if they follow the original’s script to the T. Directed by Pushkar and Gayatri (and based on their own Tamil film of the same name), “Vikram Vedha” follows a team of cops that specializes in police encounters and is helmed by Vikram (Saif Ali Khan). From the animated “Vikram Betaal” opening sequence itself, it becomes evident that Pushkar and Gayatri have made a concerted effort to try and outdo the original in every perceivable way. And when they can’t do it officially, they famously rip off the story and say that it’s merely “inspired” by the original. Their mission is to capture the notorious Vedha (Hrithik Roshan), who is guilty of committing around 16 murders.

Vikram Vedha Box Office Review: Starring Hrithik Roshan & Saif Ali Khan, the film is a perfect successor for Bollywood after Brahmastra.

[Telegram](https://t.me/koimoidotcom) VV has elements which will work for both classes and masses. The good thing is, the film picked up in the afternoon shows with evening and night shows showing much better occupancy rates. However, it looked a like a film which we call “lambi race ka ghoda” at the box office. In the recent past, films like Bachchhan Paandey, Jersey and Laal Singh Chaddha tanked at the box office. Vikram Vedha Box Office Review : Expectations

Sometimes things are not as simple as they look; there is more to the story then just black and white characters. Vikram Vedha's tale has exploited this ...

As for Radhika Apte, she is connecting the dots between the two heroes and has played her role pretty well. And, the credit goes to flawless Bhojpuri of Hrithik and to Saif for acing the cop’s role. Saif, as Vikram the cop, knows only right and wrong side of law.

So what constitutes entertainment in cinema? Is it romance? action? comedy? emotions? music? Or a perfect blend of some or all of these?

Suffice to say that the music augments the sequences and the atmosphere like very few background scores manage to do in Hindi cinema. And the interesting developments continue until the bloodied climax that is a gem of a surprise! Not having watched the original, I can judge this as a standalone film and it gets high marks in almost all departments, as mentioned earlier. Minor loopholes (no spoilers please!) are all of the easily overlooked quality in the overall grip the film has on the viewer from the beginning to the end of the 159-minute narration. And here’s the surprise—the lady counsel is Vikram’s wife Priya (Radhika Apte)! That one element or two can be removed without diluting the slightest impact is clear from the latest South remake, Vikram Vedha, which eschews focus on romance, infuses humor only in the correct situations and proportions, and gives short shrift to music (but for the transiently catchy Alcoholia).

Film: 'Vikram Vedha' (To be released in theatres on September 30). Duration: 156 minutes. Directors: Pushkar-Gayathri. Cast: Hrithik Roshan, Saif Ali Khan, ...

The music and choreography, though, are the weakest links of the film. The songs obstruct the narrative flow and play absolutely no part in advancing the plot. Vinod effectively brings out the essence of Kanpur and Lucknow as he holds the pulse of the leading lines in his frames. The lines between right and wrong blur in the film, so the cinematographer P.S. This is perhaps the first time that Hrithik plays a menacing gangster on screen, and boy, he does it with absolute finesse! There are hardly any body shots of Hrithik flexing his muscles, yet he shoulders the film with his portrayal.

Pushkar–Gayathri's film is a refreshing take on the battle between good and evil, told flamboyantly with well fleshed-out characters and performances.

It particularly irks in the third act when the motivations of Shatak and Chanda (Yogita Bihani) — a crucial cog in the tale — demand a little more clarity, and the real villain of the piece, a little less predictability. He keeps Vikram smart, and us invested, even when the writing on the wall says that the mouse has more meat in this game of cat-and-mouse. There are sights and sounds of Awadh in the dialogues and backdrop, but it largely remains an outsider’s gaze. A little more nuance in the depiction of the workings of the UP Police would have added to the flavour of Kurma Nihari, the popular Lucknow dish, that becomes a plot device. The premise of Vikram Vedha also reminds one of Kapoor’s 1951 film Awaara, where the judge repeatedly invokes the idea that those who are born to criminals end up on the wrong side of the law. These seem like out-of-syllabus questions for a mainstream entertainer to address, but Gayatri and Pushkar answer them with sensitivity and urgency, within the framework of a festival tentpole.