Vanvaas Movie Review: Nana Patekarâs show all the way

Anil Sharma began his career with emotional films such as Shradhanjali (1981) and Bandhan Kuchchey Dhaagon Ka (1983) but later transitioned to the action genre with Hukumat (1987). The film turned out to be a sleeper hit, cementing his reputation as an action director. With his latest release, Vanvaas, the filmmaker appears to have returned to his roots.

After watching Vanvaas, the immediate question that arises is why Nana Patekar is being so criminally overlooked by filmmakers today. Even at 75, he exudes the charisma to single-handedly carry a film. He’s fitter than most actors half his age, and when he immerses himself in a scene, it’s impossible not to applaud. A striking example is the film’s climax, where he moulds a pind out of snow and performs his own pind-daan (last rites), breaking down as he mourns his own passing. It’s a profound study in the portrayal of grief and loneliness.

Arguably, only one other actor of this generation could arguably have executed such a scene better—Amitabh Bachchan. The comparison feels apt, given that Bachchan played a somewhat similar role in Baghban (2003), where he portrayed Raj Malhotra, a father abandoned by his grown-up children. However, Raj Malhotra had the emotional solace of his wife Pooja, played by Hema Malini. In stark contrast, Patekar’s Deepak Tyagi has no such comfort, as his wife Vimla, played by Khushboo in a rare Hindi film appearance, has passed away. Adding to his agony, Deepak is suffering from dementia, and even his memories of her are fading.

His three sons and daughters-in-law abandon him in Kashi in this vulnerable state. Stripped of any means of communication or identification, his money is stolen, and he can’t even recall his name or address. His deteriorating mind convinces him that instead of him being lost, it is his three young children who are missing in the crowd. It is at this juncture that he encounters Veeru (Utkarsh Sharma), a petty conman who scams people under the pretext of helping them. Initially, Veeru views Deepak as just another target, but as an orphan himself, he begins to empathise with the old man. Veeru vows to help Deepak, and the remainder of the film revolves around their attempts to restore his memory. Along the way, Veeru is joined by a diverse group of companions, including his girlfriend Sapna (Simratt Kaur), a nautch girl, her aunt (Ashwini Kalsekar), and his best mate (Rajpal Yadav).

At 160 minutes, the film feels overly long. Anil Sharma, adhering to his old-school filmmaking approach, uses lip-synced songs as a narrative device. While they serve their purpose within the story, trimming or removing them could have significantly reduced the runtime. Although the music aligns with the film’s context, the songs fail to leave an impression when considered independently.

Anil Sharma excels in capturing the bustling atmosphere of Kashi and later Shimla, effectively showcasing the crowded streets and chaotic energy. However, the film’s primary issue is that, apart from Khushboo, who exits the screen all too soon, no other actor comes close to matching Nana Patekar’s towering performance. Aware of this disparity, the director allows the narrative to often feel like a one-character play, with the camera relentlessly following Patekar. It seems the actor was given free rein to interpret the role, resulting in a masterclass in acting. Yet, cinema is ultimately a collaborative art form, and this collaboration feels uneven, as the other actors struggle to keep pace with a giant’s footsteps. Utkarsh Sharma has gamely tried to up the ante and match his senior’s intensity. Full marks to him for the effort.

In summary, Vanvaas is a compelling showcase for Nana Patekar’s talent, but its uneven execution and excessive length dilute the overall impact.Vanvaas points out that it’s wrong to abandon old people. Continue reading …Read More