Vanvaas Review: Plot - The narrative centers around an elderly man, Deepak Tyagi (portrayed by Nana Patekar), who is grappling with advanced dementia, and experiencing frequent memory lapses. His children, intent on disposing of him, transport him to Benaras and abandon him at the Ghats. There, Veeru (played by Utkarsh Sharma), an orphan, discovers Deepak. Following two musical interludes and several intense dramatic moments, Veeru resolves to locate Deepak's home. Their journey unfolds as Deepak's children falsely declare him deceased, plotting to seize his inheritance. Will Deepak manage to return home? Will he reclaim his past?

Vanvaas Review: Analysis

The resurgence of classic films into franchise formats has reestablished Anil Sharma's relevance in the industry. The filmmaker, known for the blockbuster Gadar, quickly became the foremost advocate for his work, with subsequent projects reflecting elements of the Sunny Deol-led film. Following Gadar, he released Apne, and his approach has since revolved around blending these two successful formulas to create what he presents as innovative cinema. Currently, he introduces Vanvaas, a narrative heavily influenced by Baghban and imbued with the unmistakable essence of Gadar, which serves as a constant reminder of Sharma's previous endeavours. Here, subtlety is absent, and even the most minor actions are exaggerated for dramatic effect.

Vanvaas, which is written, directed, and produced by Anil Sharma, resembles more of a monologue than a cohesive story. The film features a digitally de-aged Nana Patekar as Deepak Tyagi, who is seen romancing his deceased wife, Vimla, as they aspire to create their paradise on earth. The narrative shifts to a scene where his children devise a comical scheme to eliminate Deepak, executed in an absurdly humorous manner. The performances, particularly those of the supporting cast, evoke the feeling of actors reading from a script-held off-camera, a stark contrast to Patekar's seasoned portrayal. The screenplay relentlessly emphasizes the notion that millennials and subsequent generations are irreparably flawed, suggesting that their pursuit of happiness is futile.

The phrase “Social media par status lagana hota hai” serves as a mockery. In this moment, one can observe Anil Sharma smiling from behind the camera, as he intends to ridicule the younger generation while simultaneously appealing to an older gentleman in his sixties seated in a corner of the press event, who might exclaim, ‘Wah kya likha hai’. This film and its narrative strictly adhere to a binary perspective, lacking any nuance; one can either be devoted to ‘Papa ki seva’ or resort to ‘Papa ko mardo’, with no middle ground. The character who attempts to occupy this middle space, portrayed by Paritosh Tripathi as Deepak’s young son, quickly becomes a source of comic relief. The entire presentation is so monochromatic, and the script so insubstantial, that it is evident that every actor surrounding Nana is merely awaiting the director's cue to say cut, as there is virtually nothing more to add to the scene.

When a talented actor like Snehil Dixit Mehra delivers lines such as “Papaji ki utility nhi thi, who grocery bhi nhi laa sakte the,” it fails to evoke sorrow and instead comes off as quite amusing. The film is replete with sharp dialogues aimed at children as if Baghban has not already inflicted enough damage on our living rooms. Furthermore, within this sea of contrived emotions, one must question why the narrative insists on portraying daughters-in-law as incapable of becoming daughters. It is now 2024, yet we continue to exploit this outdated plot device, with three such characters present, yet none are afforded the opportunity to be depicted as fully realized human beings.

One study indicates that no medication can restore a patient with severe dementia to a normal state in mere seconds. While such treatments may slow the progression of the condition, they do not fully revert the individual to normalcy. Additionally, the role of social media in this context remains unaddressed. Anil Sharma initially critiques this aspect, yet he later relies on it when a character vlogs Deepak in an attempt to uncover his hometown. This topic is not revisited thereafter. Furthermore, it is important to note that this narrative centres around Deepak, yet the screenplay largely neglects his character for a significant portion, instead elevating Veeru, portrayed by Utkarsh Sharma, who is also Anil Sharma’s son. Notably, Veeru seems to forget his dialect more frequently than Nana Patekar experiences dementia episodes.

Moreover, Vanvaas illustrates that Anil Sharma appears to dwell in a blend of Gadar and Apne nostalgia. Whether through the storyline or the characters, he consistently reminds the audience of his previous successes via the background score. One song features an introduction reminiscent of "Udjaa Kale Kawa," while another emphasizes the word "Apne" throughout its duration. A duet by Shreya Ghoshal and Sonu Nigam even evokes memories of the scratch track "Deewani Mastani" from Bajirao Mastani. Mithoon, known for his better works, deserves to be remembered for more than this album.

Vanvaas aspires to emulate the emotional depth of Goodbye, featuring Amitabh Bachchan and Rashmika Mandanna, yet it fails to explore the opposing perspective. It resembles an inflexible individual determined to assert that their narrative is the only valid one. This is further exacerbated by an excessive amount of drama that feels so implausible that it detracts from the commendable efforts made by Nana Patekar to elevate this film.

Vanvaas Review: Final Verdict -

Consider Vanvaas as a detrimental family member who, despite having fractured the very family they claim to value, attempts to impart lessons on familial principles. The film suffers from a monotonous narrative style that renders its world akin to a movie set, leaving viewers anticipating the director's cue to end the scene so they can escape to the comfort of home.

Vanvaas is set to premiere in theatres on December 20, 2024. For further updates on this film and other streaming content, please stay connected with OTTplay.

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