A Taboo-Breaking Family Drama, But Still Unconvincing

RATING – ⭐ ⭐ 2/5*

Vada Paav Review movie Talkies:

Living in Dadar, I hardly need any introduction to the iconic “Shri Krishna Vada Paav,” the name around which this film loosely revolves—even though it ultimately has little to do with the Story itself. To explain Prasad Oak’s Vada Paav in the simplest way, just imagine Ajay Devgn and Rakul Preet’s age-gap romance in De De Pyaar De (2019) with a Marathi spin and a couple of twists. That’s pretty much what Oak offers here. It’s disappointing because Oak once left me stunned with his brilliant Kachcha Limbu, a gem that showcased his potential as a filmmaker. But since then, his graph has dipped alarmingly. This year alone, he directed the embarrassingly subpar Susheela Sujeet, and now comes Vada Paav. To be fair, this one isn’t a disaster, and it does have a few notable points worth appreciating in the context of Marathi cinema. First, it tackles a taboo subject within the framework of a family drama—something that still feels relatively rare in our industry. Second, it experiments with the idea of changing family equations and shifting definitions of relationships. Sadly, whatever promise it builds up is quickly squandered in the messy and unconvincing climax.

Vada Paav Story:

The Story follows Jaidev (Prasad Oak), a widower and single father who runs a successful vada paav franchise abroad. He lives with his joint family, and they all appear content and close-knit. Having lost his wife two decades ago, Jaidev had decided never to remarry. But in a shocking turn, he returns home one day with a new wife, Gauri (Gauri Nalawade). His family is understandably stunned. He insists that the marriage was accidental and doesn’t really mean much to either of them. However, his mother insists that Gauri stay on as the family’s daughter-in-law. Just as things begin to settle, Jaidev’s son Arjun announces plans to get married, and complications arise. What follows is a tangle of emotions, conflicts, and unexpected reactions that set the stage for the film’s central drama.

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At under two hours, Vada Paav never drags, which is a blessing. Its strength lies in its attempt to challenge conservative thinking through a taboo subject while still packaging itself as a mainstream family drama. It raises questions about age-gap, love, responsibility, and the place of tradition within modern contexts. Yet the film constantly undermines itself by falling back on conventional tropes—joint family ideals, easy reconciliations, and the tried-and-tested “love knows no boundaries” message. The real problem comes in the final act. The climax, instead of providing closure or depth, feels rushed and forced. For a Marathi family drama set abroad, Oak insists on sprinkling “foreign culture” into the mix, which feels unnecessary and jarring. Divorce, live-in relationships, and unconventional choices could have been presented with sensitivity and authenticity, but instead, they’re brushed over with half-baked writing. Marathi audiences, who expect nuanced handling of such topics, are unlikely to connect with this superficial approach.

One of the most frustrating aspects of the film is how easily characters flip their emotions. One moment, they’re rigidly opposed to an idea as though it were life-or-death, and in the very next, they accept it without much struggle. Life-changing decisions don’t work that way. The writing needed to dig deeper into the psychology of its characters. Instead, what we get is a sketchy, outer-layer treatment of complex emotions. The web of relationships may have been smartly woven, but the reactions to them are far from convincing.

Vada Paav Cast:

On the performance front, things are serviceable but never extraordinary. Prasad Oak, playing closer to his actual age, is a wise casting decision. His salt-and-pepper look lends authenticity, and to his credit, he doesn’t try to glamorize or dilute his role. Gauri Nalawade, despite the unconventional edge to her character, carries herself with confidence and poise. Ritika Shrotri brings charm to her Gen-Z girlfriend role, while Abhinay Berde plays his part with sincerity. Savita Prabhune delivers a surprisingly effective turn, while Rasika Vengurlekar, Shalva Kinjawadekar, Vinita Satchit, Siddharth Salvi, Mahesh Patvardhan, Samir Shirwadkar, and Kinhikar Devle all provide decent support.

Technically, Vada Paav is modest in scale. It isn’t the kind of film that requires elaborate production values, and the makers seem to know that. The editing maintains a steady flow and ensures the runtime feels light. Cinematography, however, is below average, rarely offering anything visually memorable. The background score is impressive and elevates some otherwise dull moments, while the dialogues—though occasionally witty—often slip into cheesy territory. As the narrative heads into its predictable final quarter, the pace stumbles, and you’re left wishing for the gripping edge Oak once brought to his storytelling.

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Vada Paav movie Review:

Ultimately, Vada Paav represents a missed opportunity. On paper, it had all the right elements: a taboo subject rarely explored in Marathi cinema, a family setting ripe for drama, and a director with proven talent. But the execution lacks conviction. Oak seems stuck in a loop of making mediocre projects that neither push boundaries nor entertain fully. For someone who once showed us what content-driven Marathi cinema could achieve, this downward spiral is disappointing.

Vada Paav could have been a bold yet relatable film about love, family, and changing societal norms. Instead, it settles for being a casual time-pass drama that leaves you unmoved. It wants to say something important but ends up saying very little. For viewers like me, who still remember the brilliance of Kachcha Limbu, this feels less like Oak’s failure alone and more like a loss for Marathi cinema as a whole.

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