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Anil Sharma's Vanvaas marks his return to socially conscious cinema, a genre he excelled in during the early 1980s with films like Shradhanjali and Bandhan Kuchchey Dhaagon Ke. Tackling themes of parental abandonment, dementia, and redemption, the film carries a profound message but falls short in execution due to its lengthy runtime and heavy reliance on melodrama.
At the heart of Vanvaas lies the poignant story of Deepak Tyagi (Nana Patekar), a retired widower battling early-onset dementia. Once a loving father, his idealistic nature and constant corrections frustrate his three sons and their wives. On his birthday, under the guise of celebration, his family takes him to Varanasi only to abandon him at a ghat. With no memory of his hometown or family, Deepak embarks on a heartbreaking journey, believing his sons—whom he remembers as children—are lost and need to be found.
Enter Veeru (Utkarsh Sharma), a small-time crook whose encounter with Deepak sets off a series of transformative events. Their unlikely friendship forms the emotional crux of the film, bringing out the best in Veeru and those around him.
Nana Patekar's Stellar Performance
Nana Patekar’s portrayal of Deepak Tyagi is the film’s strongest asset. He delivers an emotionally charged performance that captures the helplessness and vulnerability of an abandoned father with precision. Patekar dominates the screen, bringing authenticity to every scene, whether he's reminiscing about his late wife or navigating the chaos of Varanasi. His heartfelt dialogues—though occasionally preachy—highlight the social issues at the film's core.
Utkarsh Sharma as Veeru gives a sincere performance, showing noticeable growth as an actor. However, his inconsistent Banarasi accent detracts from the otherwise emotional arc of his character. Supporting actors like Rajpal Yadav and Ashwini Kalsekar lend credibility to their roles, while Simratt Kaur as Meena has little to contribute to the narrative.
A Social Drama with Flaws
While Vanvaas is thematically rich, it struggles with its execution. The 160-minute runtime feels overstretched, weighed down by excessive melodrama and underwhelming songs. The screenplay, though earnest, lacks the sharpness required to sustain engagement. The motivations behind the sons’ betrayal remain inadequately explored, leaving the narrative with unresolved gaps.
Anil Sharma’s direction shows glimpses of brilliance, particularly in the scenes capturing the emotional turmoil of abandonment. However, the film often veers into moralistic territory, making its message feel forced rather than organic. Despite these shortcomings, Kabir Lal’s cinematography shines, beautifully capturing the ghats of Varanasi and lending visual depth to the narrative.
Final Verdict
Vanvaas addresses an important and socially relevant issue, shedding light on the plight of the elderly and the impact of dementia. Nana Patekar’s powerful performance elevates the film, making it worth a watch despite its flaws. However, tighter editing and a more nuanced exploration of familial dynamics could have turned this into a truly memorable experience.
For audiences seeking an emotional drama with a meaningful message, Vanvaas offers moments of resonance, though it falls short of the emotional heights achieved by classics like Baghban.