Plot : Satya, who resides in a railroad colony, aspires to play cricket for the railroads and eventually for Team India. He quickly develops a passionate love for Nisha. Satya’s life, however, undergoes a significant transformation when local politician Bhaskar wrecks havoc in both his personal and professional lives.
Cast : Riteish Deshmukh, Genelia, Raj Kande, Ashok Saraf, Jiya Sankar, and Shubham Tawde, Salman Khan (Special Appearance).
Director : Riteish Deshmukh
Ratings : ⭐️⭐️⭐️
Review : Satya (Riteish), a young man from the suburbs of Mumbai who is ambitious, wants to play cricket. He meets a girl and develops feelings for her. Even after getting married to a woman who has always loved him, destiny separates him from her, and he continues to live in grief. It’s about him getting his just desserts and putting the past behind him.
The ideal fusion of Kabir Singh and Chulbul Pandey as a lover is achieved by Riteish Deshmukh in the role of Satya. He is quite obvious in his anger and desire to engage in combat and murder, and the actor is flawless in the role.
Mr. Dinkar’s father, played by Ashok Saraf, is adorable. He is also a welcome surprise, and as always, his acting chops are spot on.
The character of Shravani, played by Genelia D’Souza, is interesting and attractive. She makes a darling wife for him. She tells her side of falling in love in the most exquisite way.
The relationship between Ashok and Genelia is the best development in the movie. It is natural and enjoyable for them to bring Jodha-Akbar, Salim, and Anarkali. The comedy in the film makes it unwatchable at times. Riteish and Genelia grow incredibly cute in the second half. They experience sorrowful and loving moments. Riteish’s moment with sign language is the icing on an already delectable dessert.
Besuri, a song, is an excellent example of how Satya and Shravani are connected. The song is a significant part of the movie since it shows how their relationship has changed over time. The role of Nisha, played by Jiya Shankar, is fleeting yet significant. She returns in the shape of pleasant recollections, all of which make you smile. Ved balances humour and action equally. Every actor is excellent in scenarios that call for both.
The relationship between Riteish and Genelia is the focal point of this adorable gift of a movie, as one might anticipate. Even though they frequently outweigh one another, you can’t help but support them as a couple. There is always more to Ved than what the Naga Chaitanya-Samantha picture delivered, even though the movie undergoes a significant transformation and has a Majili feel to it. This movie’s ending is remarkably similar.
The final song is Ved Lavlay, as one could anticipate. Apart from the song, Salman has a surprise in store for everyone, leaving every Bhai fan whistling.
Riteish, who is making his directorial debut, has almost two decades of experience and is skilled at how to market a movie, at the very least through the promotional materials. He got one of the most prolific music composers to write the songs, hired a superstar to perform a song (Salman Khan), and romanced or irked his wife on-screen. The two have a sizable following for each other as a couple. There are nearly all the necessary ingredients to create an alluring movie when you add in a sport that is like a religion in India. But is that sufficient?
Ved, a film with a screenplay by Sandeep S. Patil and Rushikesh Turai, starts off on familiar themes. However, it has the ability to create moments. The movie creates a few situations that speak about the characters and the helplessness of the movie’s protagonist, a man-child, the most effectively. When Riteish opens the film with the amusing commentary provided by Siddharth Jadhav and Jitendra Joshi, it is important to take note of how he uses situational comedy to lend an undercurrent of humour to the film. Such is the case with emotions when Satya and Shravani’s highly mature romance is added to the screenplay. she lends him money without giving the impression that he is dependent on her.
In addition to the film, Riteish Deshmukh is a master of crafting montages. Just take a look at the two song sequences Besuri and Ved Tujhe to see how he uses slow-motion shots and deft editing to convey the flashback. He seamlessly combines the performers, plot, and music. Additionally, the camera helps him produce those. He does have the makings of a director, but not quite. We might one day have a capable director if we focus more on the main guy chair.
Ajay-Atul’s music works well with the overall tone of the movie. The album’s recall potential worries me, though. Additionally, why was the Salman-featuring title tune placed at the conclusion rather than in the middle? Why not use the end credits for something meaningful when not everyone watches them?