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Hrithik Roshan is one of the most popular Bollywood actors known for his dancing skills and versatility. He made his debut as a child actor but rose to superstardom with 2000’s blockbuster romance Kaho Naa….Pyaar Hai. He went on to appear in superhit films like Kabhie Khushi Kabhie Gham, Koi...Mil Gaya and Jodhaa Akbar. He was critically acclaimed for his performances in films like Guzaarish, Agneepath and Fiza and received several prestigious awards including the IIFA, Filmfare and Stardust among others.

Hrithik Roshan

Recipient of the prestigious National Award and the Padma Shri Award, Saif Ali Khan is an actor & producer. Hailing from the royal lineage of Pataudi family, Saif is known as one of the most versatile actors in Bollywood. Some of his most famous performances include Dil Chahta Hai (2001), Kal Ho Naa Ho (2003), Parineeta (2005), Omkara (2006), Cocktail (2012), Love Aaj Kal (2009) & Kaalakaandi (2018).

Saif Ali Khan

After beginning her acting career in theatre, Radhika Apte made debut in movies with Vaah! Life Ho Toh Aisi. Known for her unconventional acting skills, Radhika has acted in Bengali, Marathi, Telugu, Tamil and Malayalam films. A trained kathak dancer, her best known movies include Badlapur (2015), Manjhi: The Mountain Man (2015), X: Past is Present (2014) & Pad Man (2018).

Radhika Apte

Rohit Saraf

Satyadeep Misra, also known as Satyadeep Mishra, is an Indian actor who has worked in Hindi cinema, television and web series. He made his Bollywood debut with the 2011 film No One Killed Jessica.

Satyadeep Mishra

Sharib Hashmi made his acting debut with the Oscar-winning movie Slumdog Millionaire in 2008. He rose to fame with his second movie Jab Tak Hai Jaan (2012) that featured Shah Rukh Khan. Sharib became a star with his stellar performance in Filmistaan (2014). His other movies include Badmashiyaan (2015) and Phullu (2017).

Sharib Hashmi

Vikram Vedha (2022)

Vikram Vedha is an action-thriller showcasing the face-off between a tough cop Vikram (Saif Ali Khan) and a dreaded gangster Vedha (Hrithik Roshan). The film underlines 'between Good & Evil, what you choose, defines you'.

Vikram Vedha Teaser | Hrithik Roshan, Saif Ali Khan | Pushkar & Gayatri | Radhika Apte|Bhushan Kumar

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VIKRAM VEDHA is the story of a cop trying to hunt down a dreaded criminal. Vedha (Hrithik Roshan) is a gangster based in Lucknow who has committed 16 murders till date. He has become so notorious that the Uttar Pradesh police has created a Special Task Force (STF) to finish him and his gang. Headed by Vikram (Saif Ali Khan), the force gets a tip that Vedha’s gang members are hiding in a faraway abandoned structure. Vikram, his best friend Abbas (Satyadeep Mishra) and others of the STF reach the place with the intention of killing them. As planned, the STF eliminates everyone present, even though one of them was ready to surrender. This gangster, Muni (Amarjeet Singh), even offers a bribe in exchange for his life. Vikram, however, is an honest cop and he kills him. While checking the crime scene, the cops realize that one guy who was killed had no weapon in his possession and was presumably innocent. Realizing that this can put them into trouble, Vikram tells his colleagues to plant a weapon in his hand and make it seem like he fired at the cops, due to which the police had to also open fire. Vedha wasn’t present at this place and the hunt to find him continues. One day, the cops get a tip about his whereabouts. As they prepare to leave the police station to kill Vedha, they get the shock of their lives. Vedha coolly walks into the police station and surrenders! The STF members interrogate him one by one but he doesn’t open his mouth. Finally, when Vikram sits opposite him, Vedha asks him to hear his story. He takes him back to 13 years when he used to work for a Kanpur-based criminal, Parshuram (Govind Pandey) and how he won his trust. He also tells him about his brother Shatak (Rohit Saraf), his childhood friend Chanda (Yogita Bihani) and what made him commit his first murder. He also puts Vikram in a dilemma as Vedha’s story changes his perception of good and evil. Unfortunately for Vikram, before he could hear more stories from Vedha, the latter secures a bail. And the lawyer who gets it done is none other than Priya (Radhika Apte), who is also Vikram’s wife. What happens next forms the rest of the story.
Pushkar–Gayatri's story is fairly simple but has been written in a back-and-forth manner that makes it worthwhile. Pushkar–Gayathri's screenplay (Hindi adaptation by B A Fida) is entertaining and also makes you ponder. One of the biggest strengths of writing is that it surprises at regular intervals. It’s intelligent and the way every aspect and plot point is neatly linked in the climax is seen to be believed. The romantic portions of Vikram and Priya, however, could have been written better. Manoj Muntashir and B A Fida's dialogues pack a punch. This is important for a film like this where dialogues play a crucial part.

Pushkar–Gayatri's direction is marvellous and deserves distinction marks. They had also directed the original Tamil 2017 film of the same name and in terms of plot, there has been no change. However, in certain places, they have made some tweaks and it’ll leave even those who have seen the original astonished. Talking about their other achievements, they have effortlessly set the story in Lucknow and the characters, all of them grey, are very well fleshed out. And unlike other Tamil or Telugu remakes, this one is not a typical masala fare. It has action but it also relies a lot on the dialoguebaazi. And even the latter gives you your money’s worth.
On the flipside, at 159 minutes, VIKRAM VEDHA is a lengthy affair. In fact, it’s longer than the original film too. After Saif Ali Khan’s powerful entry, the interest dips. The entry of Hrithik Roshan happens after 20 minutes and till then, one tends to get restless. Even in the second half, there are scenes where the film tends to slow down a bit. The slapping scene between Shatak and Chanda could have been better executed. Lastly, the writers skip certain developments in the narrative. Of course, the intention was to keep the focus on the principal plot. Yet, one wishes it was taken care of. For example, in the pre-interval scene, Vedha is trying to run from the cops and he comes across a girl learning karate. The way she smiles at him and even helps him, shows he was a messiah for the residents. But why and how that happened is never shown. For a film where everything is there for a reason, this aspect doesn’t add up. Thankfully, there are minor shortcomings that don’t affect the narrative much.

VIKRAM VEDHA starts with a nice animation montage, explaining the story of Vikram and Betal. Vikram’s entry is heroic and the encounter sequence sets the tempo. The entry of Vedha, however, is terrific and not just single-screen cinemas but even multiplexes would thunder with whistles, claps and hooting at this point. All scenes of Vikram and Vedha together from here on are superb. The Kanpur sequence is surprising as the makers have changed the plot point and it’s too good. The use of the song ‘Jeena Isi Ka Naam Hai’ is witty. Abbas’ encounter and the scene where Vikram follows Priya are gripping sequences. The interval fight is decent but the intermission point has more of a massy appeal. Post-interval, the interest continues as Vedha further talks about his life. The scene where Vikram gets into an action mode while trying to hunt the informer and the sequence thereafter is terrific. The climax is the best part of the film.
VIKRAM VEDHA rests on the strong shoulders of Hrithik Roshan and Saif Ali Khan. Hrithik Roshan gets into the skin of the character and delivers one of his most accomplished performances. He carries the swag and the attitude with utmost ease and takes the film to another level. It’s also amazing how one can’t compare his work with that of Vijay Sethupathi in the original film. He portrays the character rather differently, and fans of the original will have no reason to complain. Saif Ali Khan, too, puts his best foot forward. He also has his share of massy dialogues and sequences and his strong persona works perfectly for the character. What’s also praiseworthy is that at not a single juncture are the two actors trying to dominate each other. They are simply going with the character and the result is magical. Radhika Apte has a supporting part but delivers a fabulous performance. Sharib Hashmi (Babloo), as expected, gives a memorable performance. Rohit Saraf has a late entry but leaves a mark. Yogita Bihani’s performance is sincere. Ishan Tripathi (young Shatak) and Drashti Bhanushali (young Chanda) also do well. Satyadeep Mishra is dependable. Manuj Sharma (Deepak; the newbie in Vikram’s team) is fine. Govind Pandey, Amarjeet Singh and others are decent.

The music gels well with the narrative. 'Alcoholia' is the best song of the lot and Ganesh Hegde's choreography enhances the fun. 'Bande' is the theme song and will keep lingering in one’s mind even after coming out of the theatre. 'O Saahiba' and 'Yaara' are forgettable. Sam C S's background score is the third hero of the film after Hrithik Roshan and Saif Ali Khan! At several point, it’s the BGM that ups the mass element.

P S Vinod's cinematography is splendid. The action and confrontation scenes are shot neatly and watch out for his camerawork in the 'Alcoholia' song. Parvez Shaikh's action is raw and fantastic. Darshan Jalan and Neelanchar Kumar Ghosh's costumes are realistic and yet stylish. Durga Prasad Mahapatra's production design is authentic. Anuj Deshpande's VFX is appropriate. Richard Kevin A's editing is fair but could have been tighter in some places.

On the whole, VIKRAM VEDHA is a brilliant massy fare that works due to the strong writing, unpredictable moments, Hrithik Roshan and Saif Ali Khan’s outstanding performances and the electrifying background score. At the box office, it’s sure to have a fantastic weekend due to the positive word of mouth and will successfully run in cinemas till Diwali. The mid-week Dussehra holiday will also aid its first week collections. Recommended!

Crafted out of the Tamil hit of the same name, 'Vikram Vedha' is a neo-noir action thriller which is rooted in Betaal Pachhisi, a popular Indian folktale. Vikram, a top-billed officer of the Lucknow Police Special Task Force, is assigned to find and kill gangster Vedha Betaal. However, Vedha surrenders himself to the police. During interrogation, he starts narrating stories to Vikram, which slowly start changing the latter’s own perception of good and evil.
Conceptually, the film has been written and throughout really well. Almost everything, even little props and minor satellite characters that play out in the film have relevance to the central plot. The directors, Pushkar and Gayathri, also the writers of the film, make it a point to leave the story’s flow to the two central characters after establishing them sufficiently. Vikram and Vedha’s parts have been written with a kind of finer detailing that works at so many levels. Like Vedha’s love for Raj Kapoor songs, which has been used in action scenes. It’s impressive how nuanced things like these have been woven into the narrative.
Nearly, everything ties up neatly at the end, without much wastage. The exception here is the track of a prominent character like Parshuram bhaiyya who is still out there with his minions. It’s left unfinished, though you keep hoping that it would tie up somewhere to the central plot at the end. The writers also could have focussed a little more on Chanda and Shatak’s (Yogita Bihani and Rohit Saraf) love story which gives rise to a pivotal conflict in the film. You also yearn to experience a little more of Vikram, and dwell some more on how Vedha became as powerful as he is.
In terms of execution, the film offers a degree of freshness, and stays true to its world. Even with a non-linear narrative, it’s not tough to keep a track of the story’s movement and the characters. Yes, the proceedings do feel slow at times, and the climax feels a tad stretched. But the film delivers on a host of accounts. Like the action scenes have been choreographed really well. Like the pre-interval action sequence where the police are combing an area for Vedha, and how he escapes to a container yard is quite slickly done. The use of Lucknow as a setting is quite neat. The film has a smattering of delicious local flavours - from the food to the bylanes to the neighbourhoods. The film’s music album is above average. The Alcholia track becomes even better with Hrithik dancing in the video, but you wonder if it was really required.
In terms of balance, the film tilts towards Vedha’s character, which has been performed excellently by Hrithik. He’s menacing, ruthless and yet, extremely emotional in parts. He imbibes the vibe of the character really well. He’s effortlessly convincing as Vedha. You can’t help but notice the dialect which reminds you of the actor from his Super 30 avatar; that needed a little more attention.
Saif as an honest cop, who thinks he knows what’s right and wrong, perfectly compliments Hrithik on screen. He’s in control of his body language, he embraces the character’s inner strengths, vulnerabilities and depicts the gradual change in his thinking really well. Yes, one would have loved to see a little more of Saif in the story. The actor is in his classic good form here, but he needed a little more to chew on. Ditto for Radhika Apte, who plays Vikram’s wife, Priya.
To sum up, Pushkar-Gayathri, the writer-directors of the film, have pretty much stuck to the blue-print they created for the original, including the way they weave in the elements of folklore in it. It’s a plus that they haven’t changed the roadmap too much. But they’ve also not tried revisiting the elements that they had at hand to make the redux better than the original. And yet, this one’s worth a ride to the big screen.

The story of Vikram Betaal is a classic. A king named Vikram who has a ghoul, Betaal, stuck to his back asking him to narrate stories if he wants to seek freedom from his clutches is a childhood favourite of many. The plot lights up every corner of our imagination because the idea of storytelling is universal. Any sentence that begins with the words ‘Once upon a time, long, long ago.’ is destined to capture our attention. That's exactly what directors Pushkar and Gayatri’s film Vikram Vedha is.

Directors Pushkar-Gayatri’s film Vikram Vedha, starring Hrithik Roshan and Saif Ali Khan, is a remake of their own 2017 release, starring R Madhavan and Vijay Sethupati in the lead roles. The fact that VV’s plot is fairly linear and simple makes it an engaging watch.

Vikram (Saif Ali Khan) is a police officer who has been assigned the task of nabbing a gangster named Vedha (Hrithik Roshan). As simple as it might sound, what makes the film different is its treatment. Vikram Vedha is no ordinary cop-goon chase film. There are multiple layers and peripheral characters that contribute a lot to making the film a terrific watch. The pivotal twist comes when, instead of running from Vikram, Vedha surrenders himself and walks into a cop station. His decision to do so is mad and devoid of any logic. After his surrender, Vedha starts narrating stories from his past to Vikram. Are these fictional or real? How much can Vikram trust Vedha and will he fall for his tales? The film grapples with the grey areas between the right and the wrong.

Apart from Pushkar and Gayatri, who are the captains of the ship, the other pillars of this tour de force are the dialogue writers, Manoj Muntashir and BA Fida. Their writing is super-sharp and the lines are written, keeping the masses in mind. Everything from the background score to the camera work works in tandem with the two leading men in the film. The beauty of the film is how much the writing is in sync with what’s happening on the big screen.

The film is also a lesson in how to feel secure in a two-hero film where the needle of popularity could swing either way. The magic of Hrithik Roshan and Saif Ali Khan lies in how secure these two actors are in their craft. There is never a need to do more or to underplay anything. As Vedha, Hrithik reminds us why we fell for his charm in the first place. In most of the important scenes, he does a lot of talking with his eyes, his facial expressions, his body language. He almost becomes a vessel for what’s been written for his part.

Complimenting his every move is Saif Ali Khan as Vikram. It’s not just the well-fitting polo tees that stand out in his entry scene but the command he has over every line he delivers. Saif has gone for the kill in Vikram Vedha and he doesn’t hesitate to go all out in the big scenes. Hrithik and Saif’s confrontation and dialogue scenes are almost hypnotic and mesmerising in the oddest way possible. You can’t take your eyes off them when Vikram and Vedha lock horns on the big screen.

On the flip side, the film is overindulgent and lengthy. Especially in the attempt to stylise and do the slow-mo action scenes, the makers seem reluctant to let go of material on the edit table. Rohit Saraf and Yogita Bihani, who are in the supporting cast, needed some better scenes. Radhika Apte, who plays Vikram’s wife, could have had an equally important part to play. At the cost of focusing all the attention on the two central characters, the writers fail to give equal footage to voices who could have offered a different point of view.
Vikram Vedha is unapologetically massy. It’s also a lot of fun, and with two rock-solid performers like Hrithik and Saif, the film hits the bull's eye with ease.


I must confess that I was deeply apprehensive when I heard that ‘Vikram Vedha’ was to be remade in Hindi, even if the helmers were going to be the same. The 2017 Tamil-language cop-and-robber movie, written and directed by Pushkar-Gayatri, was a trip: I enjoyed every bit of it. R Madhavan as the cop was solid, and Vijay Sethupathi, as the gangster blew me away. This was the work of people who were clearly skilled at not just creating images, but who also managed to infuse feelings into those images. It had a crisp pace, the undercurrent of humour, the smart plotting which made light of its density, and all of it overlaid by that zippy theme tune, ‘Vikram Vedha’ was a cracking good time at the movies.

The near-faithful Hindi remake isn’t half bad, even if it isn’t as good as the original. In Tamil, not just the initial animation strip, about the myth of Vikram and Betaal from ‘Betaal Pachchisi’, is more fleshed out, the characters feel more grounded, and the supporting actors get a little more to do. Most importantly, the lead duo has more swag than swagger, and that makes all the difference. In Bollywood, looks matter — Saif Ali Khan’s cop’s beefed-up bulk is drawn more attention to than R Madhavan’s large build, even though they are given similar smart-alecky lines; and Hrithik’s near-dreadlocks are more artfully teased out than Sethupathi’s straight-up grey stubble.

But after some time of wrapping their tongues around Kanpur-Lucknow Hindi dialects (of course, such phrases as ‘baudam’, budbak, ‘chaukas’, and ‘bauraa gaye ho ka’ are strewn about, calling attention to not just themselves but the actors who are made to say them) and settling into their roles, both Saif and Hrithik begin to enjoy themselves. Both are great choices. And we get, after a long time, two top-flight stars sinking their teeth into a proper story which comes before them, which they have to insert themselves into, not the other way round. Hindi cinema has forgotten how to do this, and it’s taken ‘outsiders’ like Pushkar-Gayatri, whose web series ‘Suzhal’ has been one of the best offerings on the web this year, to show them the way.
Even in the original, a few things were a stretch. The cop’s wife being a lawyer to the ungodly was a nice touch, but her dance-a-deux with the devil wasn’t as believable. Here Radhika Apte reprises Shraddha Srinath’s role, doing a nice job of the ‘vakeel’ who plays footsie with her cop spouse. The supporting actors — Vikram’s colleague and good friend Abbas (Mishra), Vedha’s younger brother Shatak (Saraf) and his dear friend Chanda (Bihani) — are all in service to the two main leads. Despite this, Sharib Hashmi as Vedha’s right-hand-man with a grouse, stands out, just the way a good actor always does.
Smart, well-crafted thrillers don’t have to have emotional high points, but when they do, they become more impactful. Both Saif and Hrithik get a couple of those moments when they are not just filling out their parts of cop and criminal, when they not just exchanging snappy dialogues (‘ek kahaani sunenge, sir’ says Vedha to Vikram, and they are off and away) but getting a measure of each other, and those show us the actors they are, and can be, given a chance.

Everything is going swimmingly, and then, stop press, along comes the item number. Is it a case of have Hrithik, get him to dance? The Alcoholia number is kinetic, and Hrithik still has the most elastic moves, but it slows everything down. Also, at one point, the alert viewer will notice Vedha dropping his rustic accent: all along it has been ‘Satak’ for ‘Shatak’, and then he slips up that once; Vikram places one hand almost balletically on his waist, as he takes aim with the other, and I was instantly diverted. Thankfully, the climatic stand-off is as much a whoa moment as it was the first-time round, and everything ends with a bang. If you haven’t seen the original, you will have more fun with the Hindi version than carping critics, but I do suggest pulling out the original and observing the difference for yourself.
Finally, of course, it is the story which is the biggest star. For a movie full of bristling guns and bloody limbs, ‘Vikram Vedha’ underpins its stylish murder and mayhem with a philosophical question which has no easy answer: is a trigger-happy cop a better man than the criminal who has killed as many men? Who is morally superior? What is right and what is wrong?
I hope this collaboration of North and South is not just a flash in the pan, because if there’s anything that can save Bollywood right now, it is this confluence of talents streaming in from across the Vindhyas. Pushkar-Gayatri are passionate story-tellers who clearly love what they do: can’t wait for their next.

Nothing in Vikram Vedha happens without reason.

But nearly all the events in the story have already transpired when Pushkar-Gayathri's riveting drama about cops and crooks engaged in a moral jugalbandi begins.

We discover the movie over a course of reactions, realisations and retaliation -- a masterstroke that elevates a generic right versus wrong conflict into an irresistible study in perspective.

Vikram Vedha gets its inspiration from the Betaal Pachisi mythology in which Ujjain's virtuous King Vikramaditya sets out to apprehend a freakish phantom at the behest of a sorcerer.

On their way back to the palace, Betaal narrates a story to the King only to pose a riddle at the end.

Answering it will result in Betaal's escape and restart the cycle of detaining him all over again, but the king has an unsatisfactory response to all his conundrums.

This happens a good 25 times, hence Pachisi, till Vikram learns the truth about the sorcerer as well as Betaal's true nature.
Back in 2017, director duo Pushkar-Gayathri spectacularly contemporised the concept to create a rousing spectacle of face-offs between moral quandaries.

What made it cooler was a pair of leading men born to play the part.

When I first saw the acclaimed Tamil hit, I was blown away by Vijay Sethupati's chameleon quick emotional agility.

When I watched it again, R Madhavan's brash confidence taking a hit held my rapt attention.

Living up to these impressions was never going to be easy for either Hrithik Roshan or Saif Ali Khan.

But Hrithik's gift for putting his own spin on beloved characters, be it Vijay Dinanath Chauhan or Vijay Sethupati's has held him in good stead.

Saif grows into the part as does the deceit within and around him.

Quite like his wardrobe of polo t-shirts changing colour from pure white to smoke grey to charcoal grey, dangerously close to all black, like the one worn by his adversary Vedha.

While the Hindi remake retains the original's creators, technicians, treacherous twists, karmic repercussions, existentialist woes, Sam C S's thumping background music and grubby vibe, its two heroes have an entirely fresh take on the material.

Often the difference between an original and its remake is that of handloom and nylon.

The new Vikram Vedha doesn't have the earlier Vikram Vedha's raw, rooted swagger but it holds its own on the strength of wolf whistling stardom where even the sight of Hrithik's sandals and hand tossing kachori at a bunch of hungry Alsatians is bound to cause a frenzy among fans of robust masala.

Pushkar-Gayathri's 'if ain't broke, don't fix it' approach in a largely loyal remake seeks novelty by way of setting without losing the 'sur' of its engrossing original.

The action shifts from Chennai to Lucknow whose architectural charms and un-touristy facets lend Vikram Vedha's chases and brawls a spellbinding energy, one that P S Vinod's glossy camerawork duly captures alongside the ethical ambiguities amidst light, shadows and symbolism while Amethi born Manoj Muntashir's dialogues season it with local flavour.

There's something almost Shakespearean about the pursuit of judgement in Vedha's stories.

A line from Hamlet, 'Foul deeds will rise, though all the earth o'erwhelm them, to men's eyes' offers a profound summary to all the back and forth Vikram goes through before stumbling upon the unsettling truth.

When we first see him, catching up with colleagues cuts to coldly fired bullets as part of a staged encounter operation that he guiltlessly covers up in his good guy conceit.

When we first see Vedha, he pretty much offers himself to them only to narrate the first chapter of his flashback trilogy.

Vedha finds a justification for his actions in Vikram’s answers.

Vikram learns the importance of asking questions around Vedha.

Both have loved.

Both have lost.

Both are betrayed.

One's a bike nerd, another has a thing for Raj Kapoor's songs.

It's a fascinating equation between two people who can never become friends but well on their way to becoming soulmates in hell.

Meanwhile, unfamiliar (with the exception of Sharib Hashmi, Satyadeep Mishra) but compelling faces portraying good, bad and ugly men occupy Vikram Vedha's heavily male-dominated universe.

There a few chinks in its armour too.

The women are in a staggering minority and the romance between Vedha's kid brother and his childhood sweetheart, featuring a horribly miscast Rohit Saraf and clueless Yogita Bihani is one of the film's weakest, clumsiest, arcs.

Juggling between Vikram's wife and Vedha's lawyer, the lovely Radhika Apte does her bit as a woman caught in a crossfire. (See if you can spot Michael Palmer's Extreme Measures, a thriller about ethics among their bedroom reads.)

But it's Vikram's casual sexism, almost gaslighting his better half over a conflict of interest yet showing no qualms in exploiting her to gain information on Vedha that explains the deepening greys in his attire. Spiffy Saif nails these scenes.

Vikram's righteous arrogance reminded me of Amitabh Bachchan's cop in Aakhri Raasta.

He, too, (has daddy issues and) doesn't think twice before using his girlfriend to seek his mark's whereabouts.

Bachchan's wronged avenger from his 1986 double role resonates in Hrithik's towering aura and composed scorn as well.

Mostly though, Hrithik's Vedha is a feral, fierce beast going bonkers with the idea of settling scores and cutting loose. His item-esque song and dance turn in Alcoholia makes unhinged look like an art form.

A screenplay and superstar in perfect tandem, it doesn't get better than this.

Pushkar-Gayathri's entertaining remake is in complete possession of its two sides of the same coin tussle but smartly leaves the onus of figuring out the outcome of its final catch-22 on the audience.

Once again, Betaal has our back.

A remake is a remake even if it overruns with style and swag. Banish that thought and calibrate your expectations accordingly and Vikram Vedha, Pushkar and Gayatri's reshaping of their own 2017 Tamil smash hit of the same title, is a meaty mass entertainer that packs quite a punch.

Working with a screenplay that has yielded dividends before and banking on a pair of Bollywood stars who give a solid account of themselves, the directing duo cash in handsomely on the film's intelligently assembled resources.

Minor tweaks in the story, a drastic backdrop change and Hindi dialogue that alternates between the conversational and philosophical enable them to craft a movie that not only does not appear like a once-too-often exercise but also possesses the potential to pull the crowds in.

Saif Ali Khan and Hrithik Roshan face off in a battle of attrition that is crammed with intrigue and energy, what with an array of characters orbiting around the cop and the criminal engaged in penetrating mind games. The two male leads, on their parts, deliver performances that stand out amid the orchestrated din.

Fleshing out characters that have been drawn from a centuries-old folktale and placed in present-day Lucknow, the actors are aided in rising above the stereotypical nature of the two men - one a policeman, the other an urban brigand; one on the side of good, the other against it - by the out-of-the-ordinary situations and the questions of ethics and emotions that the screenplay hinges on.

Senior superintendent of police (SSP) Vikram (Khan) is drafted into a special task force and pressed into an operation aimed at nabbing the sly and slippery Vedha (Roshan), who lords over the Lucknow underworld and keeps the law enforcers on their toes.
Vikram Vedha kicks off with a shootout in which a few gangsters are killed, which sparks off a round of violent confrontations between the STF and the vengeful Vedha. The end of violence seems nigh when the dreaded Vedha turns himself in to the police.

Vedha's surprise move is only the beginning. He has more up his sleeves than the cops anticipate. One of his trump cards is lawyer Priya (Radhika Apte), who happens to be Vikram's wife. A woman doing her job, her husband doing his and the two at loggerheads with each other - this recipe for marital discord adds a layer to the story that occasionally yanks it away from the hurly-burly of the police station and deposits it within the walls of domesticity.

Thrice in the course of the narrative, delivered as a series of flashbacks that spring out of twisted and protracted tales that Vedha narrates to Vikram, the cop is close to eliminating (or at least outwitting) the criminal. Each time, the latter convinces the former to hear a story rooted in his own life. Every story ends in the manner of a fable with a question of moral import centred on good and evil, the nature of crime, policing and culpability, and the dynamics of revenge and justice.
Inspired by the folktale Baital Pachisi in which King Vikramaditya sets out to capture a wily demon who repeatedly foxes the righteous ruler with riddles on whose answers their fate rests, Vikram Vedha transports the mythic tale to the capital city of Uttar Pradesh.

Lucknow, with its historic structures, has a key role in the film if only as a physical setting that gives the film a distinctive visual texture just as Chennai did in the original Vikram Vedha.

At three specific junctures, the police officer is forced by Vedha to confront an ethical dilemma regarding his role as a defender of the law and his firm belief that none of the encounter deaths he has caused was of an innocent man.

If you are among those that have seen the Tamil-language original, be warned that this is by and large a scene-by-scene, line-by-line reiteration that is 20 minutes longer than the Madhavan-Vijay Sethupathi starrer. The film's ability to startle and shock is therefore severely curtailed. But if you are unaware of the plot, Vikram Vedha has enough twists and turns to hold your attention all the way through.

Pushkar and Gayatri, perhaps the only husband-wife duo of directors in Asia, do well not to tinker with a successful construct. They fall back on not only the same Sam C.S. background score to shore up the action on the screen, but also on the director of photography (P.S. Vinod) and the editor (Richard Kevin).

While the cinematographer has to make significant adjustments to factor in a new location and a significantly altered production design, the editor is not required to do much that he has not done once before. But familiarity does not take anything away from Vikram Vedha.

Thanks to a new setting - Lucknow serves as a strikingly evocative backdrop to the fast-paced crime drama - and a fresh set of actors, Vikram Vedha has a colour palette of its own. Despite its length, it never feels stodgy or sluggish. The credit for that accrues as much to the technicians as to the writers (the directors themselves).

If comparisons are to be made no matter how odious they may be, Saif Ali Khan makes a far better Vikram. He inhabits the character of the tough cop with conviction and exudes the external toughness that defines the man and his mission.

Hrithik Roshan, who refrains from modelling his performance on that of Vijay Sethupathi, harnesses his star appeal and screen presence to deliver the goods and then some. It is well-nigh impossible to go one better on the inimitable Vijay Sethupathi. Roshan does not even try and that stands him in good stead.
With two major Bollywood stars powering the film, the actors in the supporting roles suffer just a touch. Be that as it may, Radhika Apte, stepping into Shraddha Srinath's shoes as Vikram's lawyer-wife, Satyadeep Mishra playing Vikram's police academy mate SSP Abbas Ali (replacing the Tamil film's Simon), and Sharib Hashmi in the role of Vedha's foe-turned-friend-turned-foe Babloo add their mite to the film.

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The characters played by Rohit Saraf and Yogita Bihani - Vedha's younger brother and the girl in his life - somehow do not seem to make the impact that Kathir and Varalaxmi Sarathkumar did in the same roles in the 2017 movie. But these are but small blips in a power-packed, compelling action thriller that knows exactly what it is getting at and achieves its ends with aplomb.

Back in 2000, the first time that Hrithik Roshan walked on the screen as Raj Chopra in Kaho Naa… Pyaar Hai, there was nothing less than fireworks in theatres. The actor won over the country with his charming smile and impressive acting. Those memories crossed my mind while I watched Hrithik walk in and out of scenes sporting the same charming smile but only gotten better with time in Vikram Vedha. A remake of the Tamil film by the same name, Hrithik is joined by the classy Saif Ali Khan, and together, they present a massy film that Bollywood has been longing for.

Before I dive into the review, I have to confess, I did not watch the original film. While I had the urge to watch it before the new Vikram Vedha was released, I chose not to because I wanted to experience the world director duo Pushkar–Gayathri build for viewers of Hindi cinema. Looking back, I think I am glad I chose not to give in to the urge.
Vikram Vedha is based on the concept of the folklore Vikram and Betaal. As the folklore goes, Vikram ventures into the deep dark forest to retract Betaal, a looming soul attached to a tree, to present him in front of a saint and help his kingdom. Vikram (Saif Ali Khan) in Pushkar and Gayathri’s world, is an encounter specialist who ventures into the deep dark world of Lucknow’s gangster world to drag out Vedha Betaal (Hrithik Roshan).

Much like the age-old tale, Vikram is intertwined in Vedha ‘Betaal’s’ stories, leaving him to choose between the right and wrong answers. If answered correctly, Betaal, or in this case Vedha, finds his way back to his tree and Vikram has to start the process of dragging him out yet again.
In the film though, questions are followed by a morally dividing tale which is narrated chapter-wise, all propelling the story further. In the process, Vedha slowly and steadily changes Vikram’s set-in-stone ideologies and shows him that everyone, including Vikram, is grey. The shift in morale takes the film in a new direction, even until the last twist.
While I am consciously refraining from revealing spoilers about the film, what I can tell you about Vikram Vedha is that it is a treat for the eyes, especially for Hrithik Roshan fans. Cinematographer PS Vinod helps Hrithik emerge as a massy hero yet again. Every frame celebrates Hrithik’s stardom. Pushkar, Gayathri and Vinod have added numerous slow-motion shots and wide-angle shots that project Hrithik as a larger-than-life man. While these are a visual treat during the first half, the slow-motion scenes go overboard in the second half.
The trio manages to balance out Hrithik with Saif. Although the film focuses a little more on Vedha and his tales, Vinod helps Pushkar and Gayathri make a flawed hero out of Saif as well. Two scenes that stood out for me with regard to Saif were the whole portion that establishes the crux of the film and the climax scene where he shares the frame with Hrithik.
The cinematography is elevated by powerful music by Sam CS. The score echoes in your ears long after the film ends. Besides the visual and audio experience, Vikram Vedha’s powerful weapon is a strong script. Written by Pushkar–Gayathri, the story doesn’t have a single dull moment. Pushkar and Gayathri ensure that every scene mentioned on the storyboard has a certain connection with the following scenes.
Although a great film experience, Vikram Vedha has its share of flaws. The film felt imbalanced when divided into two halves. The first half of the film features two chapters — one from Saif’s perspective and the other from Hrithik’s. The second half has too much going on. Not only do we get to see Vedha’s back story and his connection to Vikram, but it also features two subplots that form a crucial part in concluding the film. This leads to the second half becoming heavy. This could bother some people, especially those who’ve lost their patience to watch long films.
Another issue is Hrithik’s Awadhi accent. His accent is inconsistent and it becomes difficult to ignore. The green-eyed star also falls short while delivering heavy-weight dialogues, leaving a lesser-than-expected impact in some scenes. Saif on the other hand shines in every scene he’s handed. Steering away from his cop role in Sacred Games, Saif offers a fresh side to him and it is fun to watch him share scenes with Hrithik.